I had high hopes for this album, because Swift was finally returning to the producers she used for 1989 and Reputation. I've listened to her music since we were both in high school, and my body remembers the anticipation it felt before some of her better albums, and the ecstasy of having that anticipation rewarded with an LP full of bangers.
The recent stomp clap discourse sparked a lot of conversations about how the divisive 2010s subgenre grew out of 2000s indie-folk, and the evolution (and "gentrification") of the latter is actually something that Stereogum managing editor Chris DeVille tackles in his upcoming book Such Great Heights: The Complete Cultural History of the Indie Rock Explosion, which comes out this Tuesday (8/26) via St. Martin's Press.
Commercializing inventions requires not only capital but also an emotional investment by the inventors. Visionaries pay for that ambition with insomnia, time away from family, and job insecurity.
Parks are open to everyone, except during festivals, and they're essential for building community through egalitarian access. Events companies often exploit these spaces, causing long-term damage.
"This is the wrong spirit," Jarvis told the Miami Daily. She described those profiting from Mother's Day as 'charlatans, bandits, pirates, racketeers, kidnappers, and termites.'
