The elimination of the woefully inadequate carbon tax by the Abbott Government is depressing. Knowing as much as I do about the extremely low productivity, age and infertility of the Australian continent those with serious ecological knowledge would hope for better.
Nonetheless, is there a point in crying over something scientists can do nothing about??
The answer is no - we must look to alternative causes to see why Australia lags further and further behind the rest of the world in greenhouse emissions reductions, when its infertile soils, hot climate and high species diversity suggest firmly it needs to be moving further and further ahead. It is pointless arguing the toss: Australia will move away from sustainability as the rest of the world moves toward it.
the FAO’s map of median terrain slope, with the modification of cutting off cryospheric land as if it was above about 9˚ slope. Although my rendition is not perfect, it is striking how vast the areas of extremely low slope are in most of Australia, and how even the relatively steep areas of the east coast, the Kimberley and central Australian ranges are not highly “dissected”. The vast supply of continuous flat land northwest from the Main Divide is rivalled - and barely - only in the Amazon and Sahara under climates equally or more inhospitable, and there the flat land is far more broken and less economic for farming or housing.
This is why “feeling” types, strongly interested in other people and deep romantic relationships, are attracted to Australia’s suburbs, whereas “thinking” types who are interested in things and ideas more than people gravitate to Eurasia and the Americas, where dense populations and lack of space allow for intensive discussions but little room for nurturing families.
Countering the natural tendency for exploitation in Australia and conservation in the northern and western hemispheres requires a completely different line of attack.
The most likely method is to demonstrate why Australia is responsible for global warming even though its emissions are not yet a large proportion of the global total (though they certainly will be in the future). Per capita emissions, especially given the relative ecological energy consumption of Australian vis-à-vis Enriched World ecosystems, are enough reason to give Australia an exceptional responsibility for man-made global warming.
With time the power of the Enriched World to demand Australia pay its fair (large) share for the costs of man-made global warming abroad will decline. This makes the Kyōtō Protocol more of a failure than its sceptics think, and makes a complete rethink of policies all the more urgent. If Australia was made to pay or sued for demonstrable damages, it would completely alter its ultraconservative, pro-mining and pro-freeway politics at a stroke. The effect would be immense compared to the changes made of late in Eurasia and the Americas!
Monday 18 November 2013
Tuesday 12 November 2013
Why people compain about the weather - reversing the popular myth
I have for a long time thought it odd that people in places blessed with comfortably cool climates - even if they are gloomier than could be desired - complain so much about the weather. England and Seattle are the most prominent places where people are supposed to complain a lot about the weather, but Europe throughout is known for this type of talk. One person on the web whom I will not name says:
This statement is based on the assumption that most of the world has much better weather than England. Whilst this a common perspective, I would dearly wish people to think about it logically. England does have a rather gloomy climate with a large number of rainy days, but it does not have:
More than that, some of those other places known for complaint about the weather, such as Seattle, also have unusually clement weather with mild summers and damp, cool winters. Seattle is quite a bit sunnier than England at about 5.2 hours of sun per day, and is very dry and sunny in the summer with 10 hours of sunshine and only 17mm of rainfall in July: in fact Seattle’s longest rainless spell is over fifty days, quite a bit longer than here in Melbourne.
What this clearly implies is that people in England complain about the weather so much because they are, relatively speaking, spoiled by having it so good compared to most of the world. As I see it, between 80 and 90 percent of the world must have worse weather than England. When the weather becomes a little uncomfortable or what they do not wish for, Europeans are easily upset, in contrast to Asia, Africa and most of Australia or the Americas where people accept dreadful weather very willingly as they acclimatise to it and tolerate it. It certainly takes a lot to cope with an average annual top of 36˚C as in Wyndham, or with -20˚C winters and humid 25˚C summers as in Harbin, but those used to them will see them in ways that make them less awful then they are. For instance, the extreme seasonal contrasts of Manchuria - which can be life different planets in summer and winter - no doubt becomes extremely interesting to those who live there, as would the extreme fluctuations of drought and flooding cyclones in the Pilbara.
With this sort of variety, horrible climates become something other than subjects of complaint, whereas comfortable climates generally cannot be thus transformed.
“if your country has better weather than England you’re not allowed to complain about it”
- extreme winds and heavy rainfall as is found in the tropical cyclone belts of Australia, Asia and the Caribbean
- extremely uncomfortable and even dangerous humidity as occurs in the summer or year-round in southern and eastern Asia, eastern North America, eastern South America, West Africa and most of Australia
- unpredictable and extreme droughts and resultant dust storms and stock losses as found in Australia and southern and Eastern Africa
- nor does England have the huge flood flows that occur in wet years in Australia, where the Burdekin River, with a VMAD of around 330m3/s, can reach a flow equal to that of the Congo.
- extremely hot and dry weather with dangerous sun conditions, as found in the hot deserts on the eastern side of subtropical anticyclones
- extremely heavy snowfalls as found in northeastern North America and northern Japan
- extremely cold conditions as found in northern North America, Siberia, Manchuria, Mongolia, Central Asia and Antarctica
More than that, some of those other places known for complaint about the weather, such as Seattle, also have unusually clement weather with mild summers and damp, cool winters. Seattle is quite a bit sunnier than England at about 5.2 hours of sun per day, and is very dry and sunny in the summer with 10 hours of sunshine and only 17mm of rainfall in July: in fact Seattle’s longest rainless spell is over fifty days, quite a bit longer than here in Melbourne.
What this clearly implies is that people in England complain about the weather so much because they are, relatively speaking, spoiled by having it so good compared to most of the world. As I see it, between 80 and 90 percent of the world must have worse weather than England. When the weather becomes a little uncomfortable or what they do not wish for, Europeans are easily upset, in contrast to Asia, Africa and most of Australia or the Americas where people accept dreadful weather very willingly as they acclimatise to it and tolerate it. It certainly takes a lot to cope with an average annual top of 36˚C as in Wyndham, or with -20˚C winters and humid 25˚C summers as in Harbin, but those used to them will see them in ways that make them less awful then they are. For instance, the extreme seasonal contrasts of Manchuria - which can be life different planets in summer and winter - no doubt becomes extremely interesting to those who live there, as would the extreme fluctuations of drought and flooding cyclones in the Pilbara.
With this sort of variety, horrible climates become something other than subjects of complaint, whereas comfortable climates generally cannot be thus transformed.
Saturday 9 November 2013
NME’s Top 500: A “repeat” of ‘Rolling Stone’ in 2003
Today, in the Bailleau Library, I had a look at “best albums” lists on a special scholarly site and saw that British magazine New Musical Express had only a few months ago written their own “Top 500”. The identity of its top album, which I have seen strongly praised and aggressively criticised (citing the Warlock Pinchers “Morrissey Rides a ****Horse” in the latter case), was enough to make me have a look, and here is the full list, with albums I own highlighted in pink.
What struck me when I compared this list with Joe S. Harrington’s from 2001 on Blastitude and the Rolling Stone list from 2003 is that the number of albums from Harrington’s list in this New Musical Express list is only one less than in Rolling Stone’s list (I haven’t checked agreement).
What this suggests to me is that New Musical Express, regarded in the past as less of a promoter of “popular” rock than Rolling Stone or Spin, is today no different from them. Writers like “janitor-x” have said that such magazines should ignore music that does not resemble 1960s music, like 1980s Metallica, Slayer, the Dead Kennedys and Black Flag, but this is hardly in evidence.
More than this, and probably more than with the Rolling Stone list, there is little consistency of any sort in the New Musical Express list, noted from when the Beatles’ Sergeant Pepper’s Lonely Hearts Club Band was at #87 instead of being at #1.
The treatment of the most famous “popular” singers and bands since the “punk revolution” is not consistent either: if Whitney Houston gets one album, should not all the popular “easy listening” singers since then do so??
More than that, those who have studied music for as long as I have – which dates back to my discovery of Harrington’s list by an accident on Google in 2001 – are so aware of the large number of omitted artists that I have decided to compile a list below of twenty omitted artists from the writings of Harrington, David Keenan and Piero Scaruffi. Whilst I am in no way certain that these are the twenty most deserving omitted artists, they would certainly change the list quite dramatically if added.
# | Album | Artist | Harrington’s List | Keenan’s List |
---|---|---|---|---|
1 | The Queen Is Dead | The Smiths | N | Y |
2 | Revolver | The Beatles | N | N(Y) |
3 | Hunky Dory | David Bowie | N(Y) | N |
4 | Is This It | The Strokes | N | N |
5 | The Velvet Underground and Nico | The Velvet Underground | Y | Y |
6 | Different Class | Pulp | N | N |
7 | The Stone Roses | The Stone Roses | N | N |
8 | Doolittle | Pixies | N | N |
9 | The Beatles | The Beatles | N | Y |
10 | Definitely Maybe | Oasis | N | N |
11 | Nevermind | Nirvana | N(Y) | N |
12 | Horses | Patti Smith | Y | N(Y) |
13 | Funeral | Arcade Fire | ||
14 | Low | David Bowie | N(Y) | N |
15 | Let England Shake | PJ Harvey | N | N |
16 | Closer | Joy Division | Y | N |
17 | It Takes a Nation of Millions To Hold Us Back | Public Enemy | Y | N(Y) |
18 | Loveless | My Bloody Valentine | N | N |
19 | Whatever People Say I Am, That’s What I’m Not | Arctic Monkeys | ||
20 | OK Computer | Radiohead | N | N |
21 | My Beautiful Dark Twisted Fantasy | Kanye West | ||
22 | Parklife | Blur | N | N |
23 | The Rise and Fall of Ziggy Stardust and the Spiders from Mars | David Bowie | N(Y) | N |
24 | Exile on Main Street | The Rolling Stones | N(Y) | N(Y) |
25 | What’s Going On | Marvin Gaye | N | N |
26 | Pet Sounds | The Beach Boys | Y | N(Y) |
27 | Screamadelica | Primal Scream | N | N |
28 | Back to Black | Amy Winehouse | ||
29 | Marquee Moon | Television | Y | N(Y) |
30 | Enter the Wu-Tang (36 Chambers) | Wu-Tang Clan | N | N |
31 | Dog Man Star | Suede | N | N |
32 | Paul’s Boutique | Beastie Boys | N | N |
33 | Modern Life Is Rubbish | Blur | N | N |
34 | Abbey Road | The Beatles | N | N(Y) |
35 | In Utero | Nirvana | N(Y) | N |
36 | Blood on the Tracks | Bob Dylan | N | N(Y) |
37 | Forever Changes | Love | Y | N |
38 | Never Mind the Bollocks… Here’s the Sex Pistols | Sex Pistols | Y | N |
39 | London Calling | The Clash | N(Y) | N |
40 | Unknown Pleasure | Joy Division | N(Y) | N |
41 | Daydream Nation | Sonic Youth | Y | N(Y) |
42 | Innervisions | Stevie Wonder | N | N |
43 | Rubber Soul | The Beatles | N | N(Y) |
44 | The Holy Bible | Manic Street Preachers | N | N |
45 | Parallel Lines | Blondie | N | N |
46 | Debut | Björk | N | N |
47 | Strangeways, Here We Come | The Smiths | N | N(Y) |
48 | Hounds of Love | Kate Bush | N | Y |
49 | Sound of Silver | LCD Soundsystem | ||
50 | Dusty in Memphis | Dusty Springfield | N | Y |
51 | Rumours | Fleetwood Mac | N | N |
52 | Let It Bleed | The Rolling Stones | N(Y) | N(Y) |
53 | Station to Station | David Bowie | N(Y) | N |
54 | Remain in Light | Talking Heads | N | N |
55 | Sticky Fingers | The Rolling Stones | N(Y) | N(Y) |
56 | After the Gold Rush | Neil Young | N(Y) | N(Y) |
57 | The Man Machine | Kraftwerk | N | N |
58 | Surfer Rosa | Pixies | N | N |
59 | In Rainbows | Radiohead | N | N |
60 | Blue Lines | Massive Attack | N | N |
61 | The Clash | The Clash | Y | N |
62 | Blonde on Blonde | Bob Dylan | N | N(Y) |
63 | Blue | Joni Mitchell | N | N |
64 | Highway 61 Revisited | Bob Dylan | N | N(Y) |
65 | Automatic For the People | R.E.M. | N | N(Y) |
66 | The Bends | Radiohead | N | N |
67 | (What’s the Story) Morning Glory | Oasis | N | N |
68 | Astral Weeks | Van Morrison | N | Y |
69 | Murmur | R.E.M. | N | N(Y) |
70 | Up the Bracket | The Libertines | N | N |
71 | Harvest | Neil Young | N(Y) | N(Y) |
72 | Transformer | Lou Reed | N | N(Y) |
73 | Bringing It All Back Home | Bob Dylan | N | N(Y) |
74 | Illmatic | Nas | N | N |
75 | Dookie | Green Day | N | N |
76 | Discovery | Daft Punk | N | N |
77 | White Blood Cells | The White Stripes | ||
78 | Suede | Suede | N | N |
79 | Kind of Blue | Miles Davis | N(Y) | Y |
80 | Raw Power | Iggy and the Stooges | N(Y) | N(Y) |
81 | Trans-Europe Express | Kraftwerk | N | N |
82 | Tapestry | Carole King | N | N |
83 | The Band | The Band | N | N(Y) |
84 | Live Through This | Hole | N | N |
85 | Born to Run | Bruce Springsteen | N | N(Y) |
86 | Grace | Jeff Buckley | N | N |
87 | Sgt Pepper’s Lonely Hearts Club Band | The Beatles | N | N(Y) |
88 | For Your Pleasure | Roxy Music | N(Y) | N |
89 | The Miseducation of Lauryn Hill | Lauryn Hill | N | N |
90 | A Grand Don’t Come For Free | The Streets | ||
91 | Purple Rain | Prince and the Revolution | N | N |
92 | Radiator | Super Furry Animals | N | N |
93 | Songs for the Deaf | Queens of the Stone Age | N | N |
94 | Beggars Banquet | The Rolling Stones | Y | N(Y) |
95 | Spirit of Eden | Talk Talk | N | N |
96 | Fear of a Black Planet | Public Enemy | N(Y) | Y |
97 | The Smiths | The Smiths | N | N(Y) |
98 | In the Aeroplane Over the Sea | Neutral Milk Hotel | N | N |
99 | The Libertines | The Libertines | N | N |
100 | Hatful of Hollow | The Smiths | N | N(Y) |
101 | Computer World | Kraftwerk | N | N |
102 | The Soft Bulletin | The Flaming Lips | N | N |
103 | Electric Ladyland | The Jimi Hendrix Experience | N(Y) | N(Y) |
104 | Funhouse | The Stooges | Y | Y |
105 | Rain Dogs | Tom Waits | N | N |
106 | IV | Led Zeppelin | N | Y |
107 | Rage Against the Machine | Rage Against the Machine | N | N |
108 | Pinkerton | Weezer | N | N |
109 | Darkness on the Edge of Town | Bruce Springsteen | N | N(Y) |
110 | Liege and Lief | Fairport Convention | N | Y |
111 | Dare | The Human League | N | N |
112 | Liquid Swords | GZA | ||
113 | If You’re Feeling Sinister | Belle and Sebastian | N | Y |
114 | Kid A | Radiohead | N | N |
115 | Bandwagonesque | Teenage Fanclub | N | N |
116 | Elephant | The White Stripes | N | N |
117 | The Lexicon of Love | ABC | N | N |
118 | Searching for the Young Soul Rebels | Dexys Midnight Runners | N | N |
119 | His‘N’Hers | Pulp | N | N |
120 | 3 Feet High and Rising | De La Soul | N | N |
121 | Selected Ambient Works 85-92 | Aphex Twin | N | N |
122 | Technique | New Order | N | N |
123 | 13 | Blur | N | N |
124 | Graceland | Paul Simon | N | N |
125 | Live at the Apollo | James Brown | N | Y |
126 | Ill Communication | Beastie Boys | N | N |
127 | Ramones | Ramones | Y | Y |
128 | Urban Hymns | The Verve | N | N |
129 | On the Beach | Neil Young | N(Y) | N(Y) |
130 | Turn on the Bright Lights | Interpol | ||
131 | Thriller | Michael Jackson | N | N |
132 | Dark Side of the Moon | Pink Floyd | N | N |
133 | John Lennon/Plastic Ono Band | John Lennon/Plastic Ono Band | N | N |
134 | Stories from the City, Stories from the Sea | PJ Harvey | N | N |
135 | The Marshall Mathers LP | Eminem | N | N |
136 | Fever to Tell | Yeah Yeah Yeahs | N | N |
137 | Blur | Blur | N | N |
138 | Illinois | Sufjan Stevens | ||
139 | Disintegration | The Cure | N | N |
140 | Bryter Layter | Nick Drake | N | N |
141 | Natty Dread | Bob Marley and the Wailers | N | N |
142 | Histoire de Melody Nelson | Serge Gainsbourg | N | N |
143 | Desire | Bob Dylan | N | N(Y) |
144 | Are You Experienced | The Jimi Hendrix Experience | Y | N(Y) |
145 | Odessey and Oracle | The Zombies | N | Y |
146 | Relationship of Command | At the Drive-In | ||
147 | Channel Orange | Frank Ocean | ||
148 | Nebraska | Bruce Springsteen | N | Y |
149 | Either/Or | Elliot Smith | N | N |
150 | Original Pirate Material | The Streets | ||
151 | Dry | PJ Harvey | N | N |
152 | Deserter’s Songs | Mercury Rev | N | N |
153 | The La’s | The La’s | N | N |
154 | To Bring You My Love | PJ Harvey | N | N |
155 | Music for the Jilted Generation | The Prodigy | N | N |
156 | Ladies and Gentlemen We Are Floating in Space | Spiritualized | N | N |
157 | Psychocandy | The Jesus and Mary Chain | N | N |
158 | Two Dancers | Wild Beasts | ||
159 | Entertainment! | Gang of Four | N | N |
160 | XTRMTR | Primal Scream | N | N |
161 | The Suburbs | Arcade Fire | ||
162 | The Boxer | The National | ||
163 | Neu ‘75! | Neu! | N | Y |
164 | At Folsom Prison | Johnny Cash | N | N(Y) |
165 | Let Love In | Nick Cave and the Bad Seeds | N | N(Y) |
166 | This is Hardcore | Pulp | N | N |
167 | Lady Soul | Aretha Franklin | N | N |
168 | Dummy | Portishead | N | N |
169 | Don’t Stand Me Down | Dexys Midnight Runners | N | N |
170 | Siamese Dream | Smashing Pumpkins | N | N |
171 | Fear of Music | Talking Heads | N | N |
172 | Songs in the Key of Life | Stevie Wonder | N | N |
173 | III | Led Zeppelin | N | N(Y) |
174 | I’m Wide Awake, It’s Morning | Bright Eyes | ||
175 | Young Americans | David Bowie | N(Y) | N |
176 | Want One | Rufus Wainwright | N | N |
177 | Young Team | Mogwai | N | N |
178 | The Coral | The Coral | ||
179 | Miss E…So Addictive | Missy Elliott | N | N |
180 | Germ Free Adolescents | X-Ray Spex | N | N |
181 | Music Has the Right to Children | Boards of Canada | N | N |
182 | Everything Must Go | Manic Street Preachers | N | N |
183 | Speakerboxxx/The Love Below | OutKast | N | N |
184 | Kala | MIA | ||
185 | Paid in Full | Eric B and Rakim | N | N |
186 | The Blueprint | Jay-Z | N | N |
187 | Isn’t Anything | My Bloody Valentine | N | N |
188 | A Love Supreme | John Coltrane | N(Y) | Y |
189 | A Wizard, A True Star | Todd Rundgren | N | N |
190 | Piper at the Gates of Dawn | Pink Floyd | N | N |
191 | Elastica | Elastica | N | N |
192 | Franz Ferdinand | Franz Ferdinand | N | N |
193 | Gold | Ryan Adams | N | N |
194 | Appetite for Destruction | Guns‘N’Roses | N | N |
195 | A Hard Day’s Night | The Beatles | N | N(Y) |
196 | Rattus Norvegicus | The Stranglers | N | N |
197 | Back in Black | AC/DC | N(Y) | Y |
198 | Sign of the Times | Prince | N | N |
199 | Giant Steps | The Boo Radleys | ||
200 | Last Splash | The Breeders | N | N |
201 | Hex Enduction Hour | The Fall | N | N |
202 | Maxinquaye | Tricky | N | N |
203 | Teen Dream | Beach House | ||
204 | Bad | Michael Jackson | N | N |
205 | Straight Outta Compton | NWA | N | Y |
206 | Slanted and Enchanted | Pavement | N | N |
207 | Pearl | Janis Joplin | N | N |
208 | Risque | Chic | N | N |
209 | The Kick Inside | Kate Bush | N | N(Y) |
210 | 69 Love Songs | The Magnetic Fields | N | N |
211 | Nightclubbing | Grace Jones | N | N |
212 | Youth and Young Manhood | Kings of Leon | ||
213 | One Nation under a Groove | Funkadelic | N(Y) | N(Y) |
214 | Moon Safari | Air | N | N |
215 | Mezzanine | Massive Attack | N | N |
216 | Power, Corrruption and Lies | New Order | N | N |
217 | Lust for Life | Iggy Pop | N | N |
218 | Primary Colours | The Horrors | ||
219 | All Mod Cons | The Jam | N | N |
220 | Alligator | The National | ||
221 | Broken English | Marianne Faithful | N | N |
222 | Fever Ray | Fever Ray | ||
223 | Neon Bible | Arcade Fire | ||
224 | Heaven Up Here | Echo and the Bunnymen | N | N |
225 | Electric Warrior | T. Rex | N | N |
226 | The Doors | The Doors | N | N |
227 | Imagine | John Lennon | N | N |
228 | Brighten the Corners | Pavement | N | N |
229 | Metal Box | Public Image Ltd | N | N |
230 | Aladdin Sane | David Bowie | N(Y) | N |
231 | The Chronic | Dr. Dre | N | N |
232 | Songs of Leonard Cohen | Leonard Cohen | N | N(Y) |
233 | Down in Albion | Babyshambles | ||
234 | Behaviour | Pet Shop Boys | N | N |
235 | Murder Ballads | Nick Cave and the Bad Seeds | N | N(Y) |
236 | Suicide | Suicide | N | Y |
237 | The xx | The xx | ||
238 | Show Your Bones | Yeah Yeah Yeahs | ||
239 | Boy in Da Corner | Dizzee Rascal | ||
240 | New Boots and Panties!! | Ian Dury | N | N |
241 | Ray of Light | Madonna | ||
242 | Off the Wall | Michael Jackson | N | N |
243 | The Hissing of Summer Lawns | Joni Mitchell | N | N |
244 | Smother | Wild Beasts | ||
245 | Fuzzy Logic | Super Furry Animals | ||
246 | MTV Unplugged in New York | Nirvana | N(Y) | N |
247 | Glasvegas | Glasvegas | ||
248 | The Slim Shady LP | Eminem | N | N |
249 | The Fat of the Land | Prodigy | N | N |
250 | Weezer | Weezer | N | N |
251 | Surf’s Up | The Beach Boys | N(Y) | Y |
252 | Visions | Grimes | ||
253 | Exile on Main Street | Pussy Galore | ||
254 | Meat is Murder | The Smiths | N | N(Y) |
255 | The English Riviera | Metronomy | ||
256 | This Year’s Model | Elvis Costello and the Attractions | Y | N |
257 | The Boatman’s Call | Nick Cave and the Bad Seeds | N | Y |
258 | Five Leaves Left | Nick Drake | N | N |
259 | Yo! Bum Rush the Show | Public Enemy | N(Y) | N(Y) |
260 | The Specials | The Specials | N | N |
261 | Live! | Bob Marley and the Wailers | N | N |
262 | Criminal Minded | Boogie Down Productions | N | N |
263 | I Speak Because I Can | Laura Marling | ||
264 | Please Please Me | The Beatles | N | N(Y) |
265 | Celebrity Skin | Hole | N | N |
266 | A Rush of Blood to the Head | Coldplay | ||
267 | Stupidity | Dr. Feelgood | N | N |
268 | Todd | Todd Rundgren | N | N |
269 | Skying | The Horrors | N | N |
270 | The Kinks Are the Village Green Preservation Society | The Kinks | N | Y |
271 | Loaded | The Velvet Underground | N(Y) | N(Y) |
272 | Parachutes | Coldplay | ||
273 | The College Dropout | Kanye West | ||
274 | Green | R.E.M. | N | Y |
275 | Quadrophenia | The Who | N(Y) | N(Y) |
276 | Ocean Rain | Echo and the Bunnymen | N | N |
277 | Reading, Writing and Arithmetic | The Sundays | N | N |
278 | Cut | The Slits | N | N |
279 | Trout Mask Replica | Captain Beefheart and his Magic Band | Y | Y |
280 | Drukqs | Aphex Twin | N | N |
281 | My Aim is True | Elvis Costello | N(Y) | N |
282 | Grand Prix | Teenage Fanclub | N | N |
283 | Roxy Music | Roxy Music | Y | N |
284 | 13 Songs | Fugazi | N | N |
285 | Midnight Love | Marvin Gaye | N | N |
286 | Dust | Screaming Trees | N | N |
287 | Reign in Blood | Slayer | N | N |
288 | Music of My Mind | Stevie Wonder | N | N |
289 | The Modern Lovers | The Modern Lovers | Y | N |
290 | Expecting to Fly | The Bluetones | ||
291 | Younger than Yesterday | The Byrds | N(Y) | N(Y) |
292 | The New Fellas | The Cribs | ||
293 | High Land, Hard Rain | Aztec Camera | N | N |
294 | Myths of the Near Future | Klaxons | ||
295 | Doggystyle | Snoop Doggy Dogg | N | N |
296 | Let’s Dance | David Bowie | N(Y) | N |
297 | Ege Bamyasi | Can | Y | N(Y) |
298 | Malcom McLaren | Malcolm McLaren | N | N |
299 | 16 Lovers Lane | The Go-Betweens | N | N |
300 | The Who By Numbers | The Who | N(Y) | N(Y) |
301 | World of Echo | Arthur Russell | N | N |
302 | Homework | Daft Punk | N | N |
303 | Mingus Ah Um | Charles Mingus | N(Y) | N(Y) |
304 | UFOrb | The Orb | N | N |
305 | Every Picture Tells a Story | Rod Stewart | N | N |
306 | The Freewheeling Bob Dylan | Bob Dylan | N | N(Y) |
307 | Midnight Vultures | Beck | N | N |
308 | It’s a Shame About Ray | Lemonheads | N | N |
309 | Metallica | Metallica | N | N |
310 | Countdown to Ecstasy | Steely Dan | N(Y) | N |
311 | Guerilla | Super Furry Animals | N | |
312 | Treasure | Cocteau Twins | N | N |
313 | Frank’s Wild Years | Tom Waits | N | N |
314 | Spiderland | Slint | N | N |
315 | Cheap Thrills | Big Brother and the Holding Company | N | N |
316 | Imperial Bedroom | Elvis Costello and the Attractions | N(Y) | N |
317 | Grievous Angel | Gram Parsons | N | N |
318 | OG Original Gangster | Ice-T | N | N |
319 | Who’s Next | The Who | N(Y) | N(Y) |
320 | Swordfishtrombones | Tom Waits | N | N |
321 | Lost Souls | Doves | ||
322 | This is Happening | LCD Soundsystem | ||
323 | Bitches Brew | Miles Davis | N(Y) | N(Y) |
324 | Life’s Rich Pageant | R.E.M. | N | N(Y) |
325 | Sea Change | Beck | N | N |
326 | I Can Hear the Heart Beating As One | Yo La Tengo | N | N |
327 | Mutations | Beck | N | N |
328 | Yoshimi Battles the Pink Robots | The Flaming Lips | N | N |
329 | Heroes | David Bowie | N(Y) | N |
330 | Third | Portishead | ||
331 | Kick out the Jams | MC5 | N(Y) | N(Y) |
332 | HMS Fable | Shack | ||
333 | Band on the Run | Paul McCartney and Wings | N | N |
334 | Since I Left You | The Avalanches | ||
335 | …Like Clockwork | Queens of the Stone Age | N | N |
336 | Raw Like Sushi | Neneh Cherry | N | N |
337 | The Grey Album | Danger Mouse | ||
338 | Ready to Die | Notorious BIG | N | N |
339 | Ten | Pearl Jam | N | N |
340 | We Are Family | Sister Sledge | N | N |
341 | Closing Time | Tom Waits | N | N |
342 | Lazer Guided Melodies | Spritualized | N | N |
343 | John Wesley Harding | Bob Dylan | N | N(Y) |
344 | Beautiful Freak | Eels | N | N |
345 | Punch the Clock | Elvis Costello | N(Y) | N |
346 | Low Life | New Order | N | N |
347 | Dirty | Sonic Youth | N(Y) | N(Y) |
348 | Whitney | Whitney Houston | N | N |
349 | An Awesome Wave | Alt-J | ||
350 | BRMC | Black Rebel Motorcycle Club | N | N |
351 | Sweetheart of the Rodeo | The Byrds | N(Y) | N(Y) |
352 | White Light/White Heat | The Velvet Underground | Y | N(Y) |
353 | Mclusky Do Dallas | Mclusky | ||
354 | Hot Buttered Soul | Isaac Hayes | Y | N |
355 | New York Dolls | New York Dolls | Y | N |
356 | Bossanova | Pixies | N | N |
357 | Copper Blue | Sugar | N | N |
358 | Rock Bottom | Robert Wyatt | N | N |
359 | We’re Only in It for the Money | The Mothers of Invention | N(Y) | N |
360 | Room on Fire | The Strokes | ||
361 | A Nod is as Good as a Wink | The Faces | N | N |
362 | Hello Nasty | Beastie Boys | N | N |
363 | Damaged | Black Flag | Y | N |
364 | For Emma, Forever Ago | Bon Iver | ||
365 | Fresh Fruit for Rotting Vegatables | Dead Kennedys | N | N |
366 | Songs of Love and Hate | Leonard Cohen | N | Y |
367 | Nights Out | Metronomy | ||
368 | Hail to the Thief | Radiohead | ||
369 | Strange Mercy | St. Vincent | ||
370 | Men’s Needs, Women’s Needs, Whatever | The Cribs | ||
371 | Odelay | Beck | N | N |
372 | Atomizer | Big Black | N | N |
373 | There’s No Place Like America Today | Curtis Mayfield | N | N |
374 | In the Wee Small Hours | Frank Sinatra | N | N |
375 | Vauxhall and I | Morrissey | N | N |
376 | Live at the Harlem Square Club | Sam Cooke | N | N |
377 | Stormcock | Roy Harper | N | N |
378 | Pink Flag | Wire | Y | N |
379 | The Boy with the Arab Strap | Belle and Sebastian | N | N(Y) |
380 | Silent Alarm | Bloc Party | N | N |
381 | Scary Monsters (and Super Creeps) | David Bowie | Y | N |
382 | Bridge over Troubled Water | Simon and Garfunkel | N | N |
383 | Someone To Drive You Home | The Long Blondes | ||
384 | Elvis Presley | Elvis Presley | Y | Y |
385 | Get Behind Me Satan | The White Stripes | ||
386 | Revival | Gillian Welch | N | N |
387 | Combat Rock | The Clash | N(Y) | N |
388 | Happy Sad | Tim Buckley | N(Y) | N(Y) |
389 | Le Tigre | Le Tigre | N | N |
390 | A Northern Soul | The Verve | N | N |
391 | Burial | Burial | ||
392 | Beauty and the Beat | Edan | ||
393 | Dirty Mind | Prince | N | N |
394 | Chairs Missing | Wire | N(Y) | N |
395 | De Stijl | The White Stripes | N | N |
396 | L.A.M.F. | Heartbreakers | Y | N |
397 | Reasonable Doubt | Jay-Z | N | N |
398 | Everybody Knows This Is Nowhere | Neil Young | N(Y) | N(Y) |
399 | The Lyre of Orpheus/Abattoir Blues | Nick Cave and the Bad Seeds | N | N(Y) |
400 | This Nation’s Saving Grace | The Fall | N | N |
401 | 20 Jazz Funk Greats | Throbbing Gristle | N | N(Y) |
402 | Twenty One | Mystery Jets | ||
403 | Vespertine | Björk | N | N |
404 | No Other | Gene Clark | N | N |
405 | Otis Blue | Otis Redding | N | N |
406 | Rated R | Queens of the Stone Age | N | N |
407 | Going Blank Again | Ride | N | N |
408 | Crooked Rain, Crooked Rain | Pavement | N | N |
409 | Tago Mago | Can | N(Y) | N(Y) |
410 | Antics | Interpol | N | N |
411 | Madvillainy | Madvillain | ||
412 | Endtroducing… | DJ Shadow | N | N |
413 | Pills N Thrills and Bellyaches | Happy Mondays | N | N |
414 | Dig Your Own Hole | The Chemical Brothers | N | N |
415 | Chet Baker Sings | Chet Baker | ||
416 | Merriweather Post Pavillion | Animal Collective | ||
417 | 1977 | Ash | N | N |
418 | Electro-Shock Blues | Eels | ||
419 | Let It Come Down | Spiritualized | N | N |
420 | People’s Instinctive Travels… | A Tribe Called Quest | N | N |
421 | Radio City | Big Star | Y | N(Y) |
422 | Too-Rye-Ay | Dexys Midnight Runners | N | N |
423 | Live at Leeds | The Who | N(Y) | N(Y) |
424 | The Joshua Tree | U2 | N | N |
425 | Nancy and Lee | Nancy Sinatra and Lee Hazelwood | N | N |
426 | Goo | Sonic Youth | N(Y) | N(Y) |
427 | Here Come the Warm Jets | Brian Eno | N | N(Y) |
428 | Born in the USA | Bruce Springsteen | N | N(Y) |
429 | Bleed America | Jimmy Eat World | ||
430 | Scott 4 | Scott Walker | N | N(Y) |
431 | Badmotorfinger | Soundgarden | N | N |
432 | Tindersticks | Tindersticks | N | N |
433 | 2001 | Dr. Dre | N | N |
434 | Steve McQueen | Prefab Sprout | N | N |
435 | Easter | Patti Smith | N(Y) | N(Y) |
436 | Mirrored | Battles | ||
437 | Dear Science | TV on the Radio | ||
438 | Aha Shake Heartbreak | Kings of Leon | ||
439 | The Futureheads | The Futureheads | N | N |
440 | Life’s a Riot with Spy vs. Spy | Billy Bragg | N | N |
441 | Arrival | ABBA | N | N |
442 | Al Green is Love | Al Green | N | N |
443 | Sometimes I Wish We Were an Eagle | Bill Callahan | ||
444 | Violator | Depeche Mode | N | N |
445 | Tusk | Fleetwood Mac | N | N |
446 | The Warning | Hot Chip | ||
447 | Diamond Dogs | David Bowie | N(Y) | N |
448 | Sci-Fi Lullabies | Suede | N | N |
449 | AM | Arctic Monkeys | ||
450 | Rid of Me | PJ Harvey | N | N |
451 | Third/Sister Lovers | Big Star | N(Y) | Y |
452 | The B-52s | The B-52s | N | N |
453 | The House of Love | The House of Love | N | N |
454 | The Writing on the Wall | Destiny’s Child | N | N |
455 | Vampire Weekend | Vampire Weekend | ||
456 | September of My Years | Frank Sinatra | N | N |
457 | Black Cherry | Goldfrapp | ||
458 | Yankee Hotel Foxtrot | Wilco | N | N |
459 | The Black Album | Jay-Z | N | N |
460 | Bleach | Nirvana | Y | N |
461 | Generation Terrorists | Manic Street Preachers | N | N |
462 | Master of Puppets | Metallica | N | N |
463 | Pod | The Breeders | N | N |
464 | Because of the Times | Kings of Leon | ||
465 | High Violet | The National | ||
466 | The W | Wu-Tang Clan | N | N |
467 | The Idiot | Iggy Pop | N | N |
468 | Chutes Too Narrow | The Shins | N | N |
469 | Holland | The Beach Boys | N(Y) | N(Y) |
470 | Graduation | Kanye West | ||
471 | Oracular Spectacular | MGMT | ||
472 | Mellon Collie and the Infinite Sadness | Smashing Pumpkins | N | N |
473 | A Storm in Heaven | The Verve | N | N |
474 | Tarot Sport | Fuck Buttons | N | N |
475 | Smoke Ring for My Halo | Kurt Vile | ||
476 | Foo Fighters | Foo Fighters | N | N |
477 | Crystal Castles | Crystal Castles | ||
478 | Trouble Will Find Me | The National | ||
479 | The Real Ramona | Throwing Muses | N | N |
480 | I Never Loved a Man the Way I Love You | Aretha Franklin | N | N |
481 | Smile | Brian Wilson | ||
482 | Lady in Satin | Billie Holiday | N | |
483 | Blood and Chocolate | Elvis Costello and the Attractions | N | N |
484 | The River | Bruce Springsteen | N | N(Y) |
485 | Good Kid, M.A.A.D City | Kendrick Lamar | ||
486 | Homogenic | Björk | N | N |
487 | Sound Affects | The Jam | N | N |
488 | I’m Your Man | Leonard Cohen | N | N(Y) |
489 | George Best | The Wedding Present | N | N |
490 | Back in the USA | MC5 | Y | Y |
491 | Actually | Pet Shop Boys | N | N |
492 | Hidden | These New Puritans | ||
493 | Blood | This Mortal Coil | N | N |
494 | The Head on the Door | The Cure | N | N |
495 | Hot Fuss | The Killers | ||
496 | Album | Girls | ||
497 | Random Access Memories | Daft Punk | ||
498 | Berlin | Lou Reed | N | N(Y) |
499 | Star | Belly | N | N |
500 | Stankonia | OutKast | N | N |
What struck me when I compared this list with Joe S. Harrington’s from 2001 on Blastitude and the Rolling Stone list from 2003 is that the number of albums from Harrington’s list in this New Musical Express list is only one less than in Rolling Stone’s list (I haven’t checked agreement).
What this suggests to me is that New Musical Express, regarded in the past as less of a promoter of “popular” rock than Rolling Stone or Spin, is today no different from them. Writers like “janitor-x” have said that such magazines should ignore music that does not resemble 1960s music, like 1980s Metallica, Slayer, the Dead Kennedys and Black Flag, but this is hardly in evidence.
More than this, and probably more than with the Rolling Stone list, there is little consistency of any sort in the New Musical Express list, noted from when the Beatles’ Sergeant Pepper’s Lonely Hearts Club Band was at #87 instead of being at #1.
The treatment of the most famous “popular” singers and bands since the “punk revolution” is not consistent either: if Whitney Houston gets one album, should not all the popular “easy listening” singers since then do so??
More than that, those who have studied music for as long as I have – which dates back to my discovery of Harrington’s list by an accident on Google in 2001 – are so aware of the large number of omitted artists that I have decided to compile a list below of twenty omitted artists from the writings of Harrington, David Keenan and Piero Scaruffi. Whilst I am in no way certain that these are the twenty most deserving omitted artists, they would certainly change the list quite dramatically if added.
A Representative Album by Twenty Artists Recommended by Two or More of Scaruffi, Harrington and/or Keenan and not on NME list | ||
---|---|---|
Album | Artist | Notes |
Free Jazz | Ornette Coleman | Aside from Davis, Coltrane and Mingus, these three were the giants of avant-garde and free jazz during the period it was the underground music |
Spiritual Unity | Albert Ayler | |
Atlantis | Sun Ra | |
The Hangman’s Beautiful Daughter | The Incredible String Band | Either adored or hated by most; NME omission understandable given the magazine’s history as a promoter of punk music. |
Live Dead | The Grateful Dead | |
Easter Everywhere | Thirteenth Floor Elevators | |
The Parable of Arable Land | The Red Krayola | Regarded by some as more experimental and eccentric than Beefheart; have heard but cannot agree fully. |
In the Court of the Crimson King | King Crimson | Regarded frequently as the first and best progressive rock album; though progressive rock is generally disliked at NME. |
The Marble Index | Nico | |
Master of Reality | Black Sabbath | Originally reviled, latterly revered and amazingly ignored by NME. |
Faust IV | Faust | |
Tyranny and Mutation | Blue Öyster Cult | Arguable the first pop metal band, often ignored by critics. |
The Dictators Go Girl Crazy | The Dictators | |
Wild Gift | X | Critically revered post-punk band |
Ace of Spades | Motörhead | Cited as the precursor to Metallica by that band, yet ignored by NME and many others. |
Minor Threat | Minor Threat | |
Double Nickels on the Dime | The Minutemen | Among most critically beloved bands of 1980s, but never dented Billboard Top 200 |
Charmed Life | Half Japanese | |
Twin Infinitives | Royal Trux | Acclaimed avant-garde band of 1990s |
Slow, Deep and Hard | Type O Negative | Frontman Pete Steele died in 2010; band known for its gothic metal style with humorous but dark themes |
Friday 8 November 2013
Insulting as a child, but with hindsight funny
A few days ago, without seeing it in the post, I saw that my mother had found a letter to me from Front Porch Republic:
It amazed me that the writers mistook me for a woman with “Dear Ms. Benney”!
As a boy, I was often called a “girl” and many children at PEGS said loudly “Julien’s sex is a female” and that insulted me enough that I said “My sex is a male”/“My sex is a male” and the teasing boy replied “fe” when I said it. I felt that whoever was teasing me really needed severe punishment so they would never, ever think of doing it again; however none of my schools did a thing to stop kids teasing me, to the point that I felt physical fighting was the only way I could hurt them enough, although I knew myself as much weaker than the bullies.
With age, I feel as though it’s not nearly so insulting to be called a female as it seemed in the manly world of Bush Senior Era youth, brought up on bands like AC/DC or Guns’n’Roses who (implicitly) had an ideal of a world without women. This world, which approximates what the masses in the Enriched World want today, clearly is not sustainable given the large government debts universal in Eurasia, the Americas and New Zealand and the absence of natural resources with which to pay for them. Being depicted as feminine and soft is in that sense inherently countercultural in the Enriched World, and for this reason I have not responded to what Front Porch Republic did as I would have in school.
It amazed me that the writers mistook me for a woman with “Dear Ms. Benney”!
As a boy, I was often called a “girl” and many children at PEGS said loudly “Julien’s sex is a female” and that insulted me enough that I said “My sex is a male”/“My sex is a male” and the teasing boy replied “fe” when I said it. I felt that whoever was teasing me really needed severe punishment so they would never, ever think of doing it again; however none of my schools did a thing to stop kids teasing me, to the point that I felt physical fighting was the only way I could hurt them enough, although I knew myself as much weaker than the bullies.
With age, I feel as though it’s not nearly so insulting to be called a female as it seemed in the manly world of Bush Senior Era youth, brought up on bands like AC/DC or Guns’n’Roses who (implicitly) had an ideal of a world without women. This world, which approximates what the masses in the Enriched World want today, clearly is not sustainable given the large government debts universal in Eurasia, the Americas and New Zealand and the absence of natural resources with which to pay for them. Being depicted as feminine and soft is in that sense inherently countercultural in the Enriched World, and for this reason I have not responded to what Front Porch Republic did as I would have in school.
Subscribe to:
Posts (Atom)