Sunday, November 06, 2011

Music time

Unsurprisingly, for both men producing at such a rate resulted in works of varying quality. This reality, combined with Dickens’ and McCartney’s investment in audience response, led to ego-bruising encounters with criticism. Despite popular success, both men were stung by accusations of sentimentality and shoddiness, and both constructed a public persona as a screen for this vulnerability. Dickens cultivated his image as “Boz,” the friendly champion of the common folk, and McCartney has usually played the role of upbeat performer still in touch with everyday people. These personas are not lies, I would argue, but selective presentations of their real personality traits and values. Born performers, Dickens and McCartney strove to combine getting the audience and acclaim they needed with protecting a private life genuinely important to them. —"McCartney as the Dickens of Rock," guest blogger Nancy, Hey Dullblog

“He had a peculiar way of bending the strings,” Mr. Gibbons said, citing Mr. Hill’s linebacker build as the source of an audible physicality he brought to his sound. “The natural way of bending a string is pushing it upwards on the neck. Instead of pushing three or four times and getting a vibrato effect, he would push the note up to the higher note, return back to zero, and then pull the string down and it would stretch up to that same note. You have to be stronger than an ox to do it.” —"Finally, an Album for a Rock Star Who Never Was," Andy Langer, NYT

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