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The Paranoid Style
@paranoiacs
This is the twitter account of Elizabeth Nelson. Bylines: The Ringer, Oxford American, N.Y. Times, Pitchfork and LG&M. Singer-songwriter in the Paranoid Style.
Washington, DC
Joined October 2014
Posts
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    For the bold and brave: my new journalism/copywriting/Paranoid Style website Career Opportunities is up and running! If people out there know of opportunities for an experienced copywriter with strong journalism and research bonafides, please do reach out! elizabethnelson.org
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    Re-watching 'The Silence Of The Lambs', I'm struck that basically every interaction Clarice has with a male colleague is some combination of leering, lecturing and intimidation. Demme's direction implies that by the time she encounters Lecter, he scarcely registers as an anomaly.
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    This may be the least germane take on the Beatles' ‘Get Back’ documentary imaginable, but I'm finding the simple process of watching several uninterrupted hours of human interaction without cell phones entirely arresting. It’s incredible. They just stare out into space and smoke.
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    The paradox of the 'White Album' is that there's no way to extract its weaker material while maintaining the menacing dream-logic that makes the whole such a powerfully dislocating psychic experience. I wonder if it its the first album to consciously employ bad songs as a tactic.
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    Neil Young’s ‘Tonight's The Night’ LP remains the single most sinister and insinuating chronicle of the hippie generation’s inexorable drift towards the various death cults of hard drugs, wall-to-wall consumerism and the politics of personal gratification. Let the bad times roll.
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    Albini could say the dumbest things, but the broad outlines of his cultural philosophy were visionary. We live in a docile age of obedient consumerism and consensus-driven political and corporate tyranny. This isn't mandatory. Anger can be power. Did you know that you can use it?
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    Neil Young’s ‘Tonight's The Night’ LP remains the single most sinister and insinuating chronicle of the hippie generation’s inexorable drift towards the various death cults of hard drugs, wall-to-wall consumerism and the politics of personal gratification. Let the bad times roll.
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    "Forty years later, the Replacements 'Tim' feels like a five-alarm-blaze, prophesying an era of corporate driven consensus and the outsourcing of America's manufacturing sector." Thrilled to write about an all time fave album for my first New Yorker piece.
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    The paradox of the White Album is that there's no way of losing the lesser material without disrupting the menacing dream-logic that makes the entirety such a powerfully dislocating psychic experience. Maybe the first LP to consciously employ 'bad songs' as a creative strategy.
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    The paradox of the 'White Album' is that there is no way to extract its weaker material and still maintain the menacing dream-logic which makes the entire experience so powerfully psychically dislocating. I wonder if it is the first LP to consciously employ bad songs as a tactic.
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    Reflecting again on how John Cale’s piano playing on Nick Drake’s “Northern Sky” is one of the single most moving things I’ve ever heard, and also how it's like the thirtieth most important thing to occur over the course of his career in music. There's truly nobody else like him.
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    A fever dream of creeping spiritual corruption, Don Henley's "Boys Of Summer" may be the best song written about the failed revolutions of the 60's, and the nightmare of disillusioned consumerism that follows from its wake. The first spasms of the angry investor class. Buckle up.
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    The paradox of the 'White Album' is that there is no way to extract its weaker material and still maintain the menacing dream-logic which makes the entire experience so powerfully psychically dislocating. I wonder if it's the first LP to consciously employ bad songs as a tactic.
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    "Class resentment had always figured into the Replacements work. On 'Tim' that rage and resignation boiled over. Coulda' been a contender." ICYMI: at the New Yorker, I wrote about the new reissue and the open wound of Paul Westerberg's working man's blues. newyorker.com/culture/listen…
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