Open Culture
7 days
They may have arrived on the scene in the 80s as one of the four horsemen of thrash metalkin to such cuddly acts as Anthrax, Megadeth, and Slayer—but believe or not, Metallica had some serious crossover appeal from the start. Granted, that appeal was limited to a small subset of punks and skaters who came to appreciate metal thanks to Metallica’s covers of horror-punks The Misfits on their 1987 Garage Days Revisited EP . Nonetheless, it showed that the band always had a sense of humor and an appreciation for other—albeit very closely-relatedgenres. Since then, Metallica has grown up, sometimes awkwardly. We watched them do it with the help of a therapist in the 2003 documentary Some Kind of Monster . We listened to their grown-up angst on that bummer of an album, St. Anger . That year, they also took on a fourth member, bassist Robert Trujillo, whose extra-genre affinities are broad and deep—from his love for Motown, funk, and the athletic fusion of Jaco Pastorius to his dabbling in flamenco .
Open Culture
9 days
They may have arrived on the scene in the 80s as one of the four horsemen of thrash metalkin to such cuddly acts as Anthrax, Megadeth, and Slayer—but believe or not, Metallica had some serious crossover appeal from the start. Granted, that appeal was limited to a small subset of punks and skaters who came to appreciate metal thanks to Metallica’s covers of horror-punks The Misfits on their 1987 Garage Days Revisited EP . Nonetheless, it showed that the band always had a sense of humor and an appreciation for other—albeit very closely-relatedgenres. Since then, Metallica has grown up, sometimes awkwardly. We watched them do it with the help of a therapist in the 2003 documentary Some Kind of Monster . We listened to their grown-up angst on that bummer of an album, St. Anger . That year, they also took on a fourth member, bassist Robert Trujillo, whose extra-genre affinities are broad and deep—from his love for Motown, funk, and the athletic fusion of Jaco Pastorius to his dabbling in flamenco .
Open Culture
a year
(Anyone happen to know who is on vocals?) Above, hear “They, The People,” and “This Side of the Pleasure Principle” and below, we have “UNmeasure for UNmeasure,” “Johnny Head-in-the-Air,” and “Every Work is an Uncommitted Crime.” As you’ll note, Adorno’s titles allude to well-known works of art, politics, folk song, and theory and—as the publisher’s note in my Verso edition puts it— “involve irony or inversion,” primary rhetorical methods of his “ negative dialectic .” The hardcore punks who picked up, however unconsciously, on Adorno’s disaffected critique may have eschewed his self-consciously literary approach, but they were no less masters of irony, even if their targets happened to be much more pop-cultural. Punk rock Adorno comes to us from WFMU’s Kenneth S as examples of “academic theorysung by people who can’t sing.” As Colin Marshall pointed out in a post yesterday , Goldsmith has made his own contribution to the genre, singing writings by Walter Benjamin, Ludwig Wittgenstein, and Sigmund Freud.