Nasties, formally referred to as Bear Necessities, hosts rowdy crowds of freshmen and upperclassmen in search of a greasy fix. Cooks stay up well into the night in order to supply students with burgers, fries, mozzarella sticks, wings and the like.
In 2006, a film called Crash took the Oscar for Best Picture home, prompting a surge of outrage. It is now best remembered as the punch line of jokes about unwarranted Oscar-winners and is perhaps more reviled than is necessary. Is it a bad film? No. But while it is only somewhat clunky and rough around the edges, it is not — in my humble opinion — superior to Capote, Brokeback Mountain, A History of Violence and even Cinderella Man.
Writing music criticism all too often feels like shouting into the void. When musicians remark on criticism, they often do so cautiously. Consider St. Vincent’s answer to Jessica Hopper’s question about her public image in a 2011 Village Voice article: “I have one answer for you if the tape recorder is on, and another if it’s off.”
Thus, when musicians openly engage their critical counterparts, it is a rare and valuable occurrence. As such, alt-country artist Ryan Adams’ rage-filled voicemail to concert reviewer Jim DeRogatis is an irreplaceable resource on music criticism, just as important as any Lester Bangs masterpiece.