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| | | 'There's endless choice, but you're not listening': fans quitting Spotify to save their love of music | | by Liz Pelly Sep 27, 2022 | | Former streaming service subscribers on why they have ditched mod cons for MP3s, CDs and other DIY music formats Meg Lethem was working at her bakery job one morning in Boston when she had an epiphany. Tasked with choosing the day’s soundtrack, she opened Spotify, then flicked and flicked, endlessly searching for something to play. Nothing was perfect for the moment. She looked some more, through playlist after playlist. An uncomfortably familiar loop, it made her realise: she hated how music was being used in her life. “That was the problem,” she says. “Using music, rather than having it be its own experience … What kind of music am I going to use to set a mood for the day? What am I going to use to enjoy my walk? I started not really liking what that meant.” It wasn’t just passive listening, but a utilitarian approach to music that felt like a creation of the streaming environment. “I decided that having music be this tool to [create] an experience instead of an experience itself was not something I was into,” she reflects. So she cut off her Spotify service, and later, Apple Music too, to focus on making her listening more “home-based” and less of a background experience. Continue reading... | | | | | Interview with the Vampire review – Anne Rice's gothic horror gets queer TV update | | by Charles Bramesco Sep 27, 2022 | | A hit-and-miss adaptation of the 1976 novel has replaced the homoeroticism of the 1994 movie with explicit sex On Saturday Night Live, the late Weekend Update anchor and occasional short-form film critic Norm MacDonald delivered what would become the definitive review of 1994’s Interview with the Vampire: “Not gay enough!” At the time, he was being facetious, a ripe homoerotic energy radiating from every frame of the undead Louis de Pointe du Lac’s recounting of his dalliance with fellow bloodsucker Lestat de Lioncourt. Nevertheless, a new take on Anne Rice’s 1976 novel (rising from the grave in TV series form on AMC) presents itself in part as a corrective, directly servicing the interests of those displeased that the slim distance between the faces of Tom Cruise and Brad Pitt never vanished with a kiss. The remixed sequel created by Rolin Jones – a Pulitzer prize finalist playwright spending more time these days on lower-profile small-screen work such as Low Winter Sun, Perry Mason and, most germane to the matter at hand, The Exorcist – makes text of a subtext already so glaring that it eclipsed all other interpretations. Having relocated his upscale bachelor crypt from San Francisco to Dubai, Louis (Game of Thrones alumnus Jacob Anderson) summons journalist Daniel Molloy (Eric Bogosian) for another tell-all chat, now with an added revisionist wrinkle. As he once again relates the story of his time in turn-of-the-century New Orleans with the debonair Lestat (Sam Reid), he diverges from the record he previously laid out, explaining that the world of 2022 allows him to be candid about certain things that were best left unsaid 30-ish years earlier. Namely, that this pair of adult male companions given to ostentatious Gothic attire and arch double entendres were in actuality lovers. Molloy, ever the model of writerly professionalism, refrains from responding with “no doy”. Continue reading... | | | | | |
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