October 12th, 2009 / 6:22 pm
Web Hype
Matthew Simmons
Web Hype
Conor Oberst Sex by Kendra Grant Malone and Tao Lin
Happy Cobra Books just published—moments ago, in fact—a brand new ebook by Kendra Grant Malone and Tao Lin. It’s a story called “Conor Oberst Sex.”
And it’s not just a story. I sent a copy of the story to my friend Michael Sanchez (a musician, comedian, and filmmaker from Chicago, Illinois) and asked him to write some music inspired by the story. He turned in an EP under his band name, The Way It Is. The EP is called Music Is My Boyfriend.
Both the ebook and the music are very good. Please check them out and praise the lovely Kendra Grant Malone, the lovely Tao Lin, and the lovely Michael Sanchez.
I’d like to hear someone talk about ‘mad-lib fiction’: where it came from, why it is here.
I’d like to hear someone talk about ‘mad-lib fiction’: where it came from, why it is here.
Could you define “mad-lib fiction?”
Could you define “mad-lib fiction?”
fiction the impact of which depends in large part on a symbol/symbols that aren’t ‘specific’, that could be replaced with pretty much anything without structurally damaging the piece. it’s especially obvious when that symbol is a famous person’s name ie conor oberst (also when the writer(s) work(s) hard to make sure you know that their piece functions this way) (i am not offended by this- it is just something i’ve noticed and am curious about)
fiction the impact of which depends in large part on a symbol/symbols that aren’t ‘specific’, that could be replaced with pretty much anything without structurally damaging the piece. it’s especially obvious when that symbol is a famous person’s name ie conor oberst (also when the writer(s) work(s) hard to make sure you know that their piece functions this way) (i am not offended by this- it is just something i’ve noticed and am curious about)
Awesome, I’m looking forward to reading this.
I would also like to point out that for several years, I tried to get people to refer to the kind of haircut that Conor Oberst had when he first got famous — that choppy/long emo-boy hairdo — as “the Nebraska Waterfall.” It never caught on, which fucking pisses me off.
Awesome, I’m looking forward to reading this.
I would also like to point out that for several years, I tried to get people to refer to the kind of haircut that Conor Oberst had when he first got famous — that choppy/long emo-boy hairdo — as “the Nebraska Waterfall.” It never caught on, which fucking pisses me off.
nebraska waterfall sex
nebraska waterfall sex
pajama sunglasses sex
pajama sunglasses sex
OK, shit, this story is amazing. It makes me want to do something; I don’t know what. It doesn’t involve Conor Oberst, but it’s something.
OK, shit, this story is amazing. It makes me want to do something; I don’t know what. It doesn’t involve Conor Oberst, but it’s something.
this seems like an entirely fictional account of something that did not at all happen in real life, i love it
this seems like an entirely fictional account of something that did not at all happen in real life, i love it
Creamyfaced Htmlgiant, for a brief moment, removed itself from the tip of Tao Lin’s penis and then quickly resumed its existential attack on the flaccid cock.
Creamyfaced Htmlgiant, for a brief moment, removed itself from the tip of Tao Lin’s penis and then quickly resumed its existential attack on the flaccid cock.
The cock stared back at Htmlgiant with a ‘neutral, mildly-surprised’ look on its pockmarked head.
The cock stared back at Htmlgiant with a ‘neutral, mildly-surprised’ look on its pockmarked head.
i have to admit. i didnt want to like this story.
but i did.
a lot.
i have to admit. i didnt want to like this story.
but i did.
a lot.
harmony korine is spelled wrong on page 26 and this bothers me far more than it should
but i think i mostly like this
harmony korine is spelled wrong on page 26 and this bothers me far more than it should
but i think i mostly like this
I really wouldn’t want to have sex with conor oberst.
I really wouldn’t want to have sex with conor oberst.
How come whenever I google someone twee they have the same birthday as me? …Miranda July and now Conor Oberst…
How come whenever I google someone twee they have the same birthday as me? …Miranda July and now Conor Oberst…
I think I understand. I wonder about your use of the word “symbol,” though, to describe characters. I mean, I think the use of the public figure in place of a character is what charges that particular element of the story with symbolism. It becomes “This Could Be Anybody.” But before that, if the story has a generic male name in place of “Conor Oberst”—like, say, William—I don’t know that it is symbolic beyond the fact that all language is in one way or another symbolic.
Beyond that, though, I believe Kevin Sampsell pointed to some precedents to this technique—this “person masked with famous person as identity”—in an earlier post about Ellen Kennedy. I’m not really sure, though.
I think I understand. I wonder about your use of the word “symbol,” though, to describe characters. I mean, I think the use of the public figure in place of a character is what charges that particular element of the story with symbolism. It becomes “This Could Be Anybody.” But before that, if the story has a generic male name in place of “Conor Oberst”—like, say, William—I don’t know that it is symbolic beyond the fact that all language is in one way or another symbolic.
Beyond that, though, I believe Kevin Sampsell pointed to some precedents to this technique—this “person masked with famous person as identity”—in an earlier post about Ellen Kennedy. I’m not really sure, though.
will be fixed by tomorrow. thanks, mike.
will be fixed by tomorrow. thanks, mike.
a happy, publishing cobra
a happy, publishing cobra
I just can’t get into this guy.
I just can’t get into this guy.
Conor Oberst?
Conor Oberst?
wigwam rockingchair sex
wigwam rockingchair sex
i read conor oberst sex
and then read about federman dying
and i felt incredibly frail and non-threatening and quiet and sad
bravo team tao kgm
i read conor oberst sex
and then read about federman dying
and i felt incredibly frail and non-threatening and quiet and sad
bravo team tao kgm
I would like to know how the collaboration worked. Collaberation. Collabaration. Collaburation. Collab.
How the two of them wrote the story together, how that worked, I mean.
I would like to know how the collaboration worked. Collaberation. Collabaration. Collaburation. Collab.
How the two of them wrote the story together, how that worked, I mean.
Like did Tao write all the parts about rubbing books on faces and Kendra wrote that sex scene?
Like did Tao write all the parts about rubbing books on faces and Kendra wrote that sex scene?
i want to know more about the process as well. the idea of two writers collaborating, agreeing on tone and rhythm, is interesting. not sure if collaboration is the right word, or if we should call it a compromise. thoughts anyone?
i really liked the last few lines, the ending. it felt very tao–and yes, i’m making a pun, albeit a bad pun. i am stupid.
i want to know more about the process as well. the idea of two writers collaborating, agreeing on tone and rhythm, is interesting. not sure if collaboration is the right word, or if we should call it a compromise. thoughts anyone?
i really liked the last few lines, the ending. it felt very tao–and yes, i’m making a pun, albeit a bad pun. i am stupid.
I would totally want to do Wayne Coyne circa 1995 singing Vaseline on David Letterman. Conor Oberst, not so much.
I would totally want to do Wayne Coyne circa 1995 singing Vaseline on David Letterman. Conor Oberst, not so much.
I think Tao took over at the break in the story on page 22.
I think Tao took over at the break in the story on page 22.
That’s it? Huh. Cool.
That’s it? Huh. Cool.
I can tell you how it worked. So Tao and I talked about the story a lot a first as a joke. But then I think one night I wrote the first half of the story, the one from the perspective of the person who had sex with Conor Oberst. Then we talked about it and he asked me to email it to him sans the sex scene. He then wrote his half of the story which was most of the same events over the course of a month or so but from his perspective, because at the time we were together a lot and had all the same friends. Tao wanted to imagine the sex scene himself and that’s why I didn’t send it to him. Then he sent me his and we both liked it and Tao offered to edit them both so they would feel more like one story with two parts instead of two stories that were just related. Tao edited them, hence why they both feel like they were written by Tao, and then he sent it to me and said I could submit it anywhere I wanted or no where at all or whatever. I didn’t send it to anyone for a really long time but then one day I was talking to Matthew about it and he had really great ideas about getting a good designer and a musician to write music. It all took a really long time. I think we were both really bored and lonely when we wrote it so we both had lots of time to email back and forth all the time about it so all decisions felt fair and no one felt like they were doing too much work or lacked too much voice. I don’t think either of us took it too seriously though, we just thought it was funny and something nice to do. Does that explain it?
I can tell you how it worked. So Tao and I talked about the story a lot a first as a joke. But then I think one night I wrote the first half of the story, the one from the perspective of the person who had sex with Conor Oberst. Then we talked about it and he asked me to email it to him sans the sex scene. He then wrote his half of the story which was most of the same events over the course of a month or so but from his perspective, because at the time we were together a lot and had all the same friends. Tao wanted to imagine the sex scene himself and that’s why I didn’t send it to him. Then he sent me his and we both liked it and Tao offered to edit them both so they would feel more like one story with two parts instead of two stories that were just related. Tao edited them, hence why they both feel like they were written by Tao, and then he sent it to me and said I could submit it anywhere I wanted or no where at all or whatever. I didn’t send it to anyone for a really long time but then one day I was talking to Matthew about it and he had really great ideas about getting a good designer and a musician to write music. It all took a really long time. I think we were both really bored and lonely when we wrote it so we both had lots of time to email back and forth all the time about it so all decisions felt fair and no one felt like they were doing too much work or lacked too much voice. I don’t think either of us took it too seriously though, we just thought it was funny and something nice to do. Does that explain it?
Oh maybe I should add that I don’t think Tao added anything to my story when he edited it, only deleted things. But I could be wrong about that.
Oh maybe I should add that I don’t think Tao added anything to my story when he edited it, only deleted things. But I could be wrong about that.
i like this. i think more people should do things like this.
i like this. i think more people should do things like this.
Yes, that is great. Thanks.
Yes, that is great. Thanks.
i am guessing tao lin wrote the second half and kendra grant malone wrote the first
WHOOPS THIS HAS ALREADY BEEN POINTED OUT
i am guessing tao lin wrote the second half and kendra grant malone wrote the first
WHOOPS THIS HAS ALREADY BEEN POINTED OUT
in the weeks and months following the CMJ Music Marathon way back in 2007, when you couldn’t go ten minutes without hearing someone ordaining Black Kids saviors of rock and roll. The band had formed just a little over a year earlier and rarely played shows outside their hometown of Jacksonville, Florida. In August of 2007, they self-released their debut EP, Wizard of Ahhhs, for free via their MySpace page. It would eventually earn the Best New Music tag and an 8.4 from Pitchfork, and by the time CMJ rolled around in October, they’d secured a glowing endorsement from the New York Times. Their shows were selling out like crazy, and they’d even joined the festival circuit: Coachella, Glastonbury, Reading, etc.
All of this on the merit of one EP. Four songs. Fifteen minutes and six seconds worth of music.
When the time came for Black Kids to release their debut full-length, Partie Traumatic, in July of 2008, the music press already seemed to have recognized that it had made a mistake, that things were moving just a little too fast, and that its credibility was very much on the line. So, with its back against the wall, it lashed out at the band, dragging them down as quickly and with as much vigor as they’d built them up just months earlier. The whole thing culminated with the now famous Pitchfork “review” that read, simply, “Sorry :-/”.
It was disrespectful and childish, but it also captured exactly how a lot of us felt about what had happened to our profession and about how we were treating young bands. That the type of success Black Kids experienced was out there as even a remote possibility for other young bands could only be a bad thing, and we knew it, and it was mostly our fault. So for the next little while, you got the sense that people were being a bit more careful about who they declared important or messianic or whatever. It didn’t last, though, and it’s probably high time we acknowledge that it never will.
Cynically, we could blame this on the fact that everyone–from bloggers to, well, mostly bloggers, but also print journalists living in constant fear of becoming irrelevant–is more willing than ever to go on record with an opinion long before any valuable opinion has had time to form. Since no one wants to seem behind the curve, it’s easier, and less risky, to simply go along with what’s already being said. It snowballs, and before you know it, you have a band playing The Tonight Show that can’t do more than a half-hour at the Mercury Lounge.
There is definitely some truth to this argument, but there’s something a little less sinister at play, as well: For those of us who are so inclined, there are very few things more exciting than hearing a new band that, out of nowhere, seems to understand everything everyone’s been talking, singing and writing about in the 50-some odd years since rock and roll started. To a certain extent, what’s going on today has been going on that whole time: Everyone wants to be the one to tell their friends about the great new band. It’s just that, because of the Internet, and because of the newfound viability of “indie” in the mainstream marketplace, the stakes are higher than they were when you were just a loudmouth at the corner table of your favorite bar, or even when you were a DJ at your college radio station. You have more friends now, even if most of them only exist in an alphabetized list on your Facebook page, or as anonymous readers of your personal blog, or as people you communicate with on a message board. Somewhere out there, someone stands to make a decent living by staying tuned into the things you and your “friends” are talking about, and it complicates things greatly
http://www.thelmagazine.com/gyrobase/in-defense-of-hype-sorta/Content?oid=1321202&showFullText=true
in the weeks and months following the CMJ Music Marathon way back in 2007, when you couldn’t go ten minutes without hearing someone ordaining Black Kids saviors of rock and roll. The band had formed just a little over a year earlier and rarely played shows outside their hometown of Jacksonville, Florida. In August of 2007, they self-released their debut EP, Wizard of Ahhhs, for free via their MySpace page. It would eventually earn the Best New Music tag and an 8.4 from Pitchfork, and by the time CMJ rolled around in October, they’d secured a glowing endorsement from the New York Times. Their shows were selling out like crazy, and they’d even joined the festival circuit: Coachella, Glastonbury, Reading, etc.
All of this on the merit of one EP. Four songs. Fifteen minutes and six seconds worth of music.
When the time came for Black Kids to release their debut full-length, Partie Traumatic, in July of 2008, the music press already seemed to have recognized that it had made a mistake, that things were moving just a little too fast, and that its credibility was very much on the line. So, with its back against the wall, it lashed out at the band, dragging them down as quickly and with as much vigor as they’d built them up just months earlier. The whole thing culminated with the now famous Pitchfork “review” that read, simply, “Sorry :-/”.
It was disrespectful and childish, but it also captured exactly how a lot of us felt about what had happened to our profession and about how we were treating young bands. That the type of success Black Kids experienced was out there as even a remote possibility for other young bands could only be a bad thing, and we knew it, and it was mostly our fault. So for the next little while, you got the sense that people were being a bit more careful about who they declared important or messianic or whatever. It didn’t last, though, and it’s probably high time we acknowledge that it never will.
Cynically, we could blame this on the fact that everyone–from bloggers to, well, mostly bloggers, but also print journalists living in constant fear of becoming irrelevant–is more willing than ever to go on record with an opinion long before any valuable opinion has had time to form. Since no one wants to seem behind the curve, it’s easier, and less risky, to simply go along with what’s already being said. It snowballs, and before you know it, you have a band playing The Tonight Show that can’t do more than a half-hour at the Mercury Lounge.
There is definitely some truth to this argument, but there’s something a little less sinister at play, as well: For those of us who are so inclined, there are very few things more exciting than hearing a new band that, out of nowhere, seems to understand everything everyone’s been talking, singing and writing about in the 50-some odd years since rock and roll started. To a certain extent, what’s going on today has been going on that whole time: Everyone wants to be the one to tell their friends about the great new band. It’s just that, because of the Internet, and because of the newfound viability of “indie” in the mainstream marketplace, the stakes are higher than they were when you were just a loudmouth at the corner table of your favorite bar, or even when you were a DJ at your college radio station. You have more friends now, even if most of them only exist in an alphabetized list on your Facebook page, or as anonymous readers of your personal blog, or as people you communicate with on a message board. Somewhere out there, someone stands to make a decent living by staying tuned into the things you and your “friends” are talking about, and it complicates things greatly
http://www.thelmagazine.com/gyrobase/in-defense-of-hype-sorta/Content?oid=1321202&showFullText=true
collabozz
collabozz