Sam Charles
Reviewing the Arts
“For Emma, Forever Ago” by Bon Iver
The first studio album by the indie-folk outfit Bon Iver, “For Emma, Forever Ago,” was released in the summer of 2007. It is the very definition of a bare-bones record. With half of the songs only featuring Justin Vernon’s voice and an acoustic guitar, Bon Iver proves, beyond a shadow of a doubt, that great music still can be played that doesn’t rely on loops, fills, and copious amounts of autotune.
Justin Vernon is the creative force of the group, having written all of the lyrics and musical arrangements on the album while, as he called it, “hibernating” in a remote cabin in Northwestern Wisconsin during the winter of 2006. According to the band, all of Vernon’s personal trouble, heartache, longing, loss and guilt that had been stockpiled over the course of the previous six years, and was purged into the form of song. Vernon’s songwriting style isn’t particularly complicated, but the powerful messages that he conveys are what make his songs so profound. On the third track, “Skinny Love,” Vernon writes, “In the morning I’ll be with you, but it will be a different ‘kind,’ I’ll be holding all the tickets, and you’ll be owning all the fines.”
“For Emma, Forever Ago” sounds like it was recorded in someone’s living room with only one or two microphones, which makes sense because that’s actually how it was recorded. The stripped down recording style helps the listener feel more connected. These are songs that you could easily imagine a friend playing outside next to a campfire in the middle of summer.
Vernon and his small supporting cast of musicians aren’t virtuosos by any stretch of the imagination. But they know their limitations and don’t try to over-play their instruments. Every song is played with simple chords that any student of guitar learns within two weeks of picking up the instrument. They don’t play to impress the audience, they play to relate with them, and it works.
The beautiful vocal harmonies created by Vernon and his band help carry the songs when the musical accompaniment needs a little help. The singers have the range of Thom Yorke, but they sing the same way they play their instruments. They don’t sing to impress, but to get closer to the listener.
This is truly an indie everyman record in both the sense that someone could learn to play it in about an hour, but also that it’s very relatable. All the emotions conveyed by Vernon and his bandmates are ones that everyone has felt at one time or another.
With all these elements coming together on one album, it’s hard not to be taken by “For Emma, Forever Ago.”
Sunday, February 14, 2010
Sunday, February 7, 2010
TimeOut Chicago Roundtable
Sam Charles
Reviewing the Arts
The critic I chose was Don Hall, a theatre blogger who writes for An Angry White Guy in Chicago.
Hall brings up a few different points throughout the roundtable discussion.
The first being the old saying that, “Opinions are like assholes, everybody has one.” Hall and the rest of the roundtable go on to further dissect this statement by talking about the differences between opinions that are worth reading and the many more that aren’t.
Hall stresses the importance of having knowledge of what one is criticizing. By having a strong understanding of what one is discussing, they’ll be able to provoke more thought from the audience.
Along with education, Hall says, comes passion. He says that if someone is passionate about something, be it theatre or anything else, you’re more likely to educate yourself about it. That’s the sign of someone who’ll truly be a good critic. It’s hard to write passionate, meaningful articles about something you hate. Fellow critic Anne Holub backs Hall by saying, “You have to have passion for it; otherwise, you’re simply not going to bother.”
Along with passion and knowledge of the subject, Hall says, it’s important to be aware of any prejudices a critic may hold. This is key because the more aware someone is of their biases and prejudices, the better they’ll be able to, either, (a) put them temporarily aside, or (b) back them up with a strong argument.
“You should be as sharp and precise as what you’re slamming,” says Hall. This reverts back to the idea that having strong knowledge of your subject will make you a much more effective writer. Also, it suggests that a critic shouldn’t bite off more than they can chew. If, say, a writer doesn’t like a book or movie, but they can’t pin down exactly why, then they should either (a) move on to a different topic, or (b) reexamine the piece to try and get a better understanding of it so they can form a stronger, more substantive point of view.
This ties into a later point that he brings up. When asked if it takes courage to be a critic, Hall says, “Only if you’re criticizing the powerful.” This only applies to critics who are in the public eye, however. Anonymous bloggers rarely have to own up to any comments they make. But published writers are much more available to the public and far easier to get in touch with, so if they make a negative comment or write a less than flattering review about a restaurant or theatrical performance, they have to keep in mind that their info is out there.
Overall, Hall stresses the importance of sticking to your guns and building strong arguments, two qualities of a successful critic.
Reviewing the Arts
The critic I chose was Don Hall, a theatre blogger who writes for An Angry White Guy in Chicago.
Hall brings up a few different points throughout the roundtable discussion.
The first being the old saying that, “Opinions are like assholes, everybody has one.” Hall and the rest of the roundtable go on to further dissect this statement by talking about the differences between opinions that are worth reading and the many more that aren’t.
Hall stresses the importance of having knowledge of what one is criticizing. By having a strong understanding of what one is discussing, they’ll be able to provoke more thought from the audience.
Along with education, Hall says, comes passion. He says that if someone is passionate about something, be it theatre or anything else, you’re more likely to educate yourself about it. That’s the sign of someone who’ll truly be a good critic. It’s hard to write passionate, meaningful articles about something you hate. Fellow critic Anne Holub backs Hall by saying, “You have to have passion for it; otherwise, you’re simply not going to bother.”
Along with passion and knowledge of the subject, Hall says, it’s important to be aware of any prejudices a critic may hold. This is key because the more aware someone is of their biases and prejudices, the better they’ll be able to, either, (a) put them temporarily aside, or (b) back them up with a strong argument.
“You should be as sharp and precise as what you’re slamming,” says Hall. This reverts back to the idea that having strong knowledge of your subject will make you a much more effective writer. Also, it suggests that a critic shouldn’t bite off more than they can chew. If, say, a writer doesn’t like a book or movie, but they can’t pin down exactly why, then they should either (a) move on to a different topic, or (b) reexamine the piece to try and get a better understanding of it so they can form a stronger, more substantive point of view.
This ties into a later point that he brings up. When asked if it takes courage to be a critic, Hall says, “Only if you’re criticizing the powerful.” This only applies to critics who are in the public eye, however. Anonymous bloggers rarely have to own up to any comments they make. But published writers are much more available to the public and far easier to get in touch with, so if they make a negative comment or write a less than flattering review about a restaurant or theatrical performance, they have to keep in mind that their info is out there.
Overall, Hall stresses the importance of sticking to your guns and building strong arguments, two qualities of a successful critic.
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