“An artist you love occupies a weird in-between place, where they’re somehow a little more than a father, but a little less than a neighbour. They can permanently re-organize your consciousness but they can’t sell you a Coke. You feel you know them more than anyone you actually know, which means that you don’t really know a damn thing. I feel I know Elliott Smith, but if I picture him in front of me, I find myself picturing a tiny figurine, or Mount Rushmore.” Sasha Chapin has written an intensely personal essay about Elliott Smith for Hazlitt. Here is The Millions’ own Torch Ballads & Jukebox Music column to satisfy any lingering musical urges.
The University of Toronto now has a webpage up for its current exhibition “Beyond the Words: Author Portraits by Carl Köhler.” See some of Köhler’s remarkable portraits of artists and intellectuals and read about him here.
Researchers at Google have analyzed “audiovisual patterns,” “title, description and tags,” “words associated with amusement” in user comments, “emoticons,” and even the number of o’s in the average “LOL” in various YouTube videos in order to identify the funniest content on the web. Then they set up an algorithm to rank their findings, and subjected those findings to an audience vote (which you can join over here). Based on their calculations so far, this was the funniest video of all time. What do you think?
In case you were wondering why “old media” companies continue to cling to print: Based on ad revenue, a print reader is worth $709, while an online reader is worth just $46. (via)
“Well, is ‘addiction’ what a literary writer should want in readers? And if a writer accepts such addiction, or even rejoices in it, as Murakami seems to, doesn’t it put pressure on him, as pusher, to offer more of the same?” Tim Parks writes for the NYRB about writers who keep producing more of the same to please hungry readers.