I’ve been thinking a lot lately about how incredibly short our collective attention span has become when it comes to watching people grow—whether they are athletes, artists, or even just professionals in a high-stakes industry. It seems like we’ve developed this weird, almost reflexive habit of writing people off the moment they stumble. We see one bad performance, one "off" season, or one public mistake, and suddenly the consensus is that the person is a "bust" or that their time has passed.
It’s like we’ve lost the ability to distinguish between a temporary dip in form and a fundamental lack of talent. We crave instant gratification and instant judgment. If a newcomer enters the arena and doesn't immediately dominate, the vultures start circling. "They aren't ready," "They don't have the mental toughness," "They'll never make it." We jump straight to the "obituary" phase of a career before the person has even had a chance to finish their first chapter.
I remember back in my early twenties, I tried to get into high-level competitive chess. I had a decent run for a few months, felt like I was really finding my rhythm, and then I hit a massive losing streak during a local tournament. I felt like a total failure. I remember thinking, "Well, that's it. I'm clearly not cut out for this." I was ready to pack it all in and tell everyone I was done. But looking back, I was just experiencing the natural growing pains of someone still learning the nuances of the game. If I had listened to that internal critic, I wouldn't have discovered how much I actually enjoyed the strategic depth of it. I would have "retired" before I ever actually learned how to win.
The problem is that in the modern era, this individualistic "failure" is amplified by a massive megaphone. We live in a culture of "hot takes." It’s much easier—and much more clickable—to say someone is a failure than it is to say, "They're struggling right now, but they're showing promise and need time to adjust." The latter doesn't get engagement. The former creates a narrative that people love to jump on.
There’s a massive psychological component to this, too. For the person being criticized, that constant barrage of negativity can actually become a self-fulfilling prophecy. If you are constantly told you don't belong, or that you've already peaked, it becomes incredibly difficult to maintain the psychological resilience required to actually improve. We are essentially punishing people for the very process of learning. Learning *is* a series of failures. You cannot master a skill without a period of looking incompetent.
I find myself wondering what happens to the "lost" talent—the people who actually had immense potential but were mentally broken by the sheer speed of public judgment. How many incredible careers end prematurely because the pressure to be perfect from day one was simply too heavy to bear? We celebrate the legends who had long, steady climbs, but we seem to have zero patience for the jagged, messy upward trajectories that most real success stories actually follow.
I think we need to get better at recognizing the "middle phase" of development. That period where someone is good enough to be in the room, but not yet good enough to stay there consistently. That’s where the real work happens. That's where the grit is built. If we don't give people the space to fail, we aren't actually testing their talent; we're just testing their ability to perform under a microscope.
Is it time we changed how we talk about people in the public eye? Should we be more cautious about declaring someone "finished" until they've had a chance to prove their resilience through a cycle of ups and downs?
Joining the rest of the frustrated crowd here, I feel compelled to take a metaphorical dump on the Segway of whoever decided that 7,000 or 8,000 people should be funneled through maybe seven or eight little stands selling overpriced bubbly water and a handful of booths categorized as 'providing basic concessions under a tent or at a bench'—or whatever legal jargon they use for those popcorn stands that basically turned into official voucher stations last night.
I guess I’ll also add, somewhat disappointed, that even though Sonic Youth are legends, their coldness and overly polished performance made them feel like they were just counting down the days until retirement. That sour Thurston smile when they came out for the first encore—which was just Kool Thing and 100% (with a little extra thanks from Verizon)—really said it all. They were way better back in New York City in 2003, and honestly, the crowd last night was pretty pathetic.
The rest was mostly irrelevant, though I'm hoping the guys and the drunks playing The Hold Steady might actually bring some energy today.
keywords: psychedelia, sinisterly precise production for American standards, sizzling synths, controlled chaos
After xxx years of digging through a decent band like Phonograph and early, undefined phases of Earth, Serge and the crew have finally nailed that perfect balance of substance and style. They’ve got a huge leg up thanks to their buddy Nick—the producer and unofficial fifth member—who takes these brilliant ideas and open structures and molds them into this thick, sticky mass of a humid, electronic dream that occasionally veers into a total nightmare. Maybe it was that mention of Trans Am earlier in this thread that prompted me to write this—it's good to see America finally has its own dark horse in the race.
I’m not trying to hype them up or tear them down, but I remember what it was like seeing them three years ago at the Sports Center in New Belgrade: the whole thing dragged on for nearly three hours. For the first fifty minutes, they just ripped through all the hits from the old albums, and man, hearing that live band sounded incredibly powerful and high-energy. Then, they spent about half an hour dragging us along with the new material, and for the final hour, Flavor Flav basically put on a freak show, pulling people from the crowd onto the stage to try and rap thirty-second snippets of whatever they wanted. By the end, the house lights came up and half the crowd had already cleared out, but they just kept going with some freestyle nonsense for God knows how long. The ticket price was 10 bucks.
Man, if they could just swap out that singer for some kind of David Yow clone, this would’ve easily been one of the best shows of the year—not that I was expecting much when I walked in. Still, I guess you have to hand it to them for pulling it together and starting to play within 15 minutes; as for the promoter, well, better luck next time, I suppose. 👍
I guess I’ve been bugging my wife about unknown, but honestly, it probably won't matter much since unknown will just spend more time making excuses...
My reincarnation fantasies actually came true last year at Coachella—Luna and The Stooges didn't just prove they aren't ready for retirement, they showed an insane amount of energy for their age...
Maybe we could even talk unknown into getting unknown together—I might ask some of his students from that technical high school over in NS. As far as foreign acts go, I've only got eight letters for you guys: Big Black.
Carol Jackson45 makes a fair point—how on earth are they going to fit that many fans in with this kind of marketing? 🙂 It really should have been a secret show, just spreading the word through word-of-mouth.
Look, I should probably apologize in advance for being (un)justifiably selfish here—I really wanted to catch you guys, but a 10-year reunion in a colorful little town like Jacksonville is a pretty hard offer to pass up 🙂...But, hey, I’ll try to work out those tour dates they mentioned, so maybe I’ll actually make it up to you...
Zacarias said:Just relax, Britney Spears just dropped her new album.
P.S. Don't even think about touching Taylor Swift.
I can't get over that track "You're the One" from Taylor's first album—it was written by the king of the Chicago stoner rock scene and yours truly. So, what's the deal with this new American Shakira?
Nellie McKay was all over my rotation this week—specifically Get Away from Me. It’s like watching a nineteen-year-old girl observe the world through this hyper-intelligent teenage lens, just writing songs and vibing; honestly, it feels like if Avril Lavigne ever tried to channel Jens Lekman.
Bella & Sebastian also brightened things up with Your Cover's Blown, which is basically their version of Bohemian Rhapsody.
Kings of Convenience — Riot on an Empty Street Kings of Convenience Arcade Fire, The Funeral Fiery Furnaces, The Blueberry Boat Danger Mouse - Your Blues Danger Mouse – The Grey Album Faint, The - Wet from Birth The Books - Faking the Books Team, maybe the Thunder Lightning strike was actually worth it. I guess. Desperate Youth, Blood Thirsty Babes by Desperate Youth. I guess it’s worth a listen if you're into that kind of thing. Sonic Youth - Panopticon 65 Days of Static - The Fall of Maths Futureheads Sonic Youth, maybe? Or just some Sonic Nurse stuff. I can't really tell anymore. Walkmen, The Bows and Arrows The Bows and Arrows Air Talkie Walkie Sufjan Stevens – Seven Swans Blood Brothers – Crimes Comets on Fire - Blue Cathedral Xiu Xiu - Fabulous Muscles Madvillain!!! Chik Chik Chik - Louden Up Now Franz Ferdinand Franz Ferdinand, Modest Mouse. Maybe some people just get it. Modest Mouse – Good News for People Who Like Bad News Modest Mouse, Fuckin' A Plastic Constellations – Let It Die Plastic Constellations Plastic Constellations. Mazatlan. Liars - WE Move Through The Weather Lambchop – Aw C'Mon Lambchop
Eh, I honestly thought I was talking about Dungen on this thread, but apparently, I'm just rambling under a tree... anyway, you definitely need to pick up their stuff—it's this upbeat yet melancholy Swedish pop-folk psychedelia, and Skandinavac is seriously killing it this year (I mean, even that (not exactly) beloved pick put them at number 13 on the annual list). Speaking of the region, Efterklang from Denmark makes some beautiful music too—a bit of crackle, a little My bloody Valentine, and really lovely male and female vocals.
Money's tight lately, so I haven't caught any shows in the last month, which makes me regret missing out even more after hearing this MP3. Luckily, it looks like AMT are becoming regulars at IEEE, so there should be more chances soon. Still, December is looking good, and we've got those travelers heading to New York City on our minds, so let's have something to look forward to in April 🙂
I guess I just don't trust The Stooges anymore after that last album—just a bunch of recycled chord progressions and lyrics that felt totally played out. Honestly, they sounded like a cheap imitation of Motörhead... maybe I'd prefer a country version instead. But this time, I definitely won't be skipping Mambo Kurt 😁
The Faint is pretty good; they’ve got a solid groove going.
My album of the week, obviously—Worlds Apart od and you will know US by The Trail of dead. I guess we were all expecting something else, but let’s be real, this is already their second outing with Interscope, so it’s bound to sound a little polished. Still, the guys went for some sweet retro vibes here, dipping into that Bacharachov territory with string arrangements, a full symphony, and those gorgeous female backing vocals (probably because Conrad, if I remember correctly, went to high school with Beyoncé🙂... The absolute highlights have to be the Lennon-esque dead and goniti (that's what it's called, right?) and that Texas-style march, The Rest will Follow. Oh, and the album doesn't even drop until next year—not like the label is rushing it just because of U2, No Doubt, or Eminem.
In Mexico, people rarely carry around small change, so I doubt you'll see those cents returned anytime soon—though honestly, how late they are or who they owe is pretty debatable.
The concert? I don't really get the complaints about the sound. Maybe it sounded different elsewhere, but from where I was standing at the mixer, it was loud, crisp, and intense; nothing bothered me. As for Vidmar and that whole sense of American camaraderie, my experiences at similar shows in places like the Fillmore or Madison Square Garden have ranged from getting my jaw broken to walking away with various angry bruises and scrapes, whereas I never had an issue playing shows in Ljubljana. There were plenty of people there seeing a venue like this for the first time, so they weren't exactly thinking about the stairs. I guess that level of caution and awareness from the crowd is rare these days, but combined with their Ramones-style non-stop playing, it gave off this charming eighties vibe—back when you didn't feel forced to get hammered and jump around like a kangaroo on everyone else's backs. Americans and Slovenacs alike deserve some credit for that.
The heavy guy was amazing, shifting from an angel to a devil; the heavy girl probably shouldn't have said that one line, the skinny punk played the best solo in history, and gritty Lovering held his own while the pros took over. Whether it's for the money or just some cheap hot dogs, it doesn't matter. I guess we've all finally grown up...
Trying to piece together last night's Metallica setlist in New York City—the order might be a little off since I haven't even slept yet:
intro – The Good Blackened Fuel Harvester of Sorrow Sanitarium Frantic for Whom The Bell Tolls st. St. Anger Creeping Death sad but True Fade Fade to Black Battery Wherever I May Roam Nothing else Matters master of Puppets One enter Sandman Four Horsemen Seek and Destroy
I'll post more details once I catch some sleep and my body stops aching from the mosh pit...