Re: Dixie Chicks Article in Dallas Observer
Jon W. wrote; he's just a flat out liar, as anyone who's read, for instance, the current Country Music magazine piece on the Chicks (a full page on the band's history - with quotes about it from Seidel - including a their first three album titles, with combined sales figures) can attest. A mean-spirited, chuckle-headed, lying asshole. PFlash wrote; geez, but how do you really feelwhat's up with such completely "mean-spirited" attacks on critics that for some reason are not liked what a waste of time... Well, it's not a waste of time IMHO when the points Jon and Cheryl and others on this list have been making about the chronic historical, logical, and cultural fallacies too many pop writers engage in when they attempt to write about country and bluegrass all come home to roost so malevolently in the space of one (or I guess two) pieces. Those two pieces were so chock-full of erroneous info, barely-hidden class-contempt and generalized bullshit they stand as their own refutations to anyone with enough sense to know better. Hell, I don't like Natalie Maines either, also think that the Chicks looked silly in their Grammy outfits (as most folks do) and am not a big fan of their music in general, but reading those 2 pieces of sickeningly self-referential "typing" had my jaw on the floor damn-near, and I've been reading Wilonsky's dreck for a long time now (and can take whatever worthless credit due for warning this list about him probably 2 years ago-he's an absolute charlatan of the highest order.) My big fear is that there's a pretty good sense of how revolting that sort of "journalism" is here with many of the writers who hang out on P2, but not much if any awareness at all in the larger world of pop ink-stainers. Frankly, I think it's high time someone did a generalized yet lengthy piece in No Depression or Country Standard Time on "How Not To Write Country Music" or "20 Biggest Mistakes Most Pop Writers Make re Country Music" (or whatever the hell Cheryl's list is titled g). Hell, even the next time the Oxford American does their Southern Music Issue-in fact *that* would be the ideal venue for it probably, and I can think of at least few suspects hereabouts who could probably do a decent job on it. I'm sorry, but it is high time that pop and rock writers got taken to the stocks and read the riot act over this in some sort of public forum. offtabed, dan bentele "They wanted it so bad that they forged ahead, playing every gig like a showcase and proving again and again that there's nothing less attractive than unrequited ambition with a banjo backing." (Michael Corcoran) "There was just something endearing about women honoring Patsy Montana and Bill Monroe like anyone still gave a damn." (Robert Wilonsky)
RE: Dixie Chicks Article in Dallas Observer
Marie says:
From: [EMAIL PROTECTED]
geez, but how do you really feelwhat's up with such completely
"mean-spirited" attacks on critics that for some reason are not
likedwhat
a waste of time...
That was nothing. If you really want to see insults and venom
hurled about, bring up the 'M' word. Marcus...as in Greil.
Though I generally dislike his writing style, and though I think _Invisible
Republic_ has a lot of dopey stuff ("who is Willie," anyone?), Marcus has
written some good things, as well - and in the area of pure malice and
sleazy personal attack he can't hold a candle to Wilonsky.
Jon Weisberger, Kenton County, KY [EMAIL PROTECTED]
http://home.fuse.net/jonweisberger
Re: Dixie Chicks Article in Dallas Observer
"There was just something endearing about women honoring Patsy Montana and Bill Monroe like anyone still gave a damn." (Robert Wilonsky) I only got about a third of the way through this guy's ridiculous diatribe, so I missed this. These are fightin' words. Kimmie and I just produced a play with Joe Sears (of Greater Tuna) which was based on the great Tex Ritter song "Hillbilly Heaven". We had a scene featuring "Patsy Montana" (played by Maryann Price.) I sure as hell do assume there are people who give a damn, and if they don't then they damn sure should. I also assumed that it was a very worthwhile experience for all the kids in the show, who were exposed firsthand to live (and very convincing) versions of songs by Jimmie Rodgers, Bob Wills, Woody Guthrie, Hank Williams, et al. If the kids had never heard of any of these people or their music, then they have now. This is worthwhile. I'd like to roll up a copy of our play and shove it up this guy's ass. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Dixie Chicks Article in Dallas Observer
Quite an amusing read I thought. Two extremes and both too extreme IMO. The web site is at : http://www.dallasobserver.com/1999/041599/music1.html The Dixie Chicks What's Not To Like? By Michael Corcoran I'm prone to hyperbole, especially in situations where alcohol is served, so when I proclaimed, in the presence of a certain sports and music editor for a Dallas weekly, that the Dixie Chicks' Nashville breakthrough Wide Open Spaces was the best country album of 1998, a good-natured yet heated discussion ensued. This assignment to defend the Chicks is the SM editor's revenge, but I have no problem putting my byline where my mouth is. For years, while they dressed like Annie Oakley and warbled preciously as though Nanci Griffith were their Aretha, the Dixie Chicks were hard to take seriously. The Erwin sisters, Martie (now Seidel) and Emily, could really rip on the stringed instruments, but the whole presentation reeked of gimmickry, or at least as the punch line of a joke that asked you to cross Melrose Place and Appalachia. They wanted it so bad that they forged ahead, playing every gig like a showcase and proving again and again that there's nothing less attractive than unrequited ambition with a banjo backing. How can those same Dixie Chicks, the scourge of gritty Dallas hipsters, suddenly be one of the best things to happen to country music? Well, they're not the same Dixie Chicks, for one thing. In fact, I've heard the band may change its name to "Natalie Maines." After years of plugging away, looking for the magic that would pull them out of the Perot party circuit, Martie and Emily finally found it three years ago when they hired Natalie, the Lubbock-raised daughter of producer-pedal steel guitarist Lloyd Maines. The Chicks got their record deal without Natalie, but then-singer Laura Lynch needn't kick herself for quitting just before the windfall. The Chicks would've sold nine records, instead of six million, if Lynch were still hopelessly trying to verify the rumor that everyone has a soul. This is not a Pete Best situation, but more like Stevie Nicks and Lindsay Buckingham replacing Bob Welch in Fleetwood Mac. A million would-be Dollys have daydreamed in song at the baggage claim area of the Nashville airport, but it's been a long time since a blonde bundle of spunk and talent like Natalie Cool bounded through the gates.Foremost is a buoyantly vibrating voice that can, in the words of Graham Parker, "turn a cliché into a sensation." Maines has quite a few clichés to work with on Wide Open Spaces, but listen to everything she brings to a throwaway line like "It shoulda fit like a glove" on "There's Your Trouble," the song that vaulted them into Shania country. The video for "There's Your Trouble" found Maines moving like Lubbock got MTV right after Butch Hancock, Joe Ely, and Jimmie Dale Gilmore moved to Austin. For a glorious three minutes and 13 seconds, it looked and
RE: Dixie Chicks Article in Dallas Observer
Louise says: Two extremes and both too extreme IMO. Which is about right; if Natalie Maines were all the Monument Chicks have going for them, some folks - well, me, at least - wouldn't have much interest, so Corcoran's it's-all-Natalie "defense" is of minimal use. Wilonsky, on the other hand, is a supreme idiot - no, wait, that's too nice; he's a supremely mean-spirited idiot, and not just because of his snide anti-bluegrass hipster pathology, but because when he writes stuff like this: the Chicks keep insisting it's their first record, as though the past decade never happened. Too many times have they uttered such nonsense in interviews... he's just a flat out liar, as anyone who's read, for instance, the current Country Music magazine piece on the Chicks (a full page on the band's history - with quotes about it from Seidel - including a their first three album titles, with combined sales figures) can attest. A mean-spirited, chuckle-headed, lying asshole. Jon Weisberger, Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger
RE: Dixie Chicks Article in Dallas Observer
In a message dated 4/24/99 1:52:16 PM, [EMAIL PROTECTED] writes: he's just a flat out liar, as anyone who's read, for instance, the current Country Music magazine piece on the Chicks (a full page on the band's history - with quotes about it from Seidel - including a their first three album titles, with combined sales figures) can attest. A mean-spirited, chuckle-headed, lying asshole. geez, but how do you really feelwhat's up with such completely "mean-spirited" attacks on critics that for some reason are not likedwhat a waste of time...
Re: Dixie Chicks Article in Dallas Observer
From: [EMAIL PROTECTED] geez, but how do you really feelwhat's up with such completely "mean-spirited" attacks on critics that for some reason are not likedwhat a waste of time... That was nothing. If you really want to see insults and venom hurled about, bring up the 'M' word. Marcus...as in Greil. marie
Re: Dixie Chicks Article in Dallas Observer
In a message dated 4/24/99 6:52:16 PM !!!First Boot!!!, [EMAIL PROTECTED] writes: Wilonsky, on the other hand, is a supreme idiot - no, wait, that's too nice; he's a supremely mean-spirited idiot Despite his hatred for bluegrass, I think Wilonsky hit the nail on the head with the Chunks. Mitch Matthews Gravel Train/Sunken Road
