Nice! I finally finished it a couple months ago. Sex, Drugs, and Cocoa Puffs is still my favorite Klosterman book, but IV is close behind. Fargo Rock City and Killing Yourself to Live are both classic as well, too. I'm ready for a new Klosterman book already.
Don't know if you saw Bill Simmon's last chat, but he said he's taking a break from his column for the website until the end of the year because he's writing a new book. Should be good. As much as I hate the Red Sux, I still really enjoyed "Now I Can Die In Peace".
--"I'm like an opening band for the sun"
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
"But there's what always confused me: Maynard James Keenan was raised in Ravenna, Ohio, which is 20 miles from Akron. Yet every time I'd write a "local freak makes good" article about him, I'd merely get 19 voice mails from kids saying, "Tool rules. Tool rules. 'Parabola,' fucker!" I suppose this random, anecdotal evidence proves that Ohioans are dangerously capricious. No wonder Bush won."
Hahahaha....So true.
--"I'm like an opening band for the sun"
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
klosterman is kinda a one trick pony. although, he is excellent at his trick, no doubt.
Meaning?
I mean, what's his one trick? I'm not sure I follow. He's written for Spin, Esquire, and ESPN, which couldn't be more different from one another. And, he writes about all forms of pop culture.
--"I'm like an opening band for the sun"
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
You never really take him seriously, as good and as well written as his arguments are. He's just kinda that funny, sarcastic writer that makes good points but doesn't have that 'serious' vibe - deservedly or not.
You never really take him seriously, as good and as well written as his arguments are. He's just kinda that funny, sarcastic writer that makes good points but doesn't have that 'serious' vibe - deservedly or not.
Of course you don't take him seriously, not with the amount of sarcasm in his writing. He's not trying to change the world with his writing. He's a social commentator.
But I don't see how that makes him any different than virtually any other author. All authors and writers have their own unique style and feel. In the same way you can tell a song sounds like it was written by a particular artist, so too can you tell a passage sounds like it was written by a particular author. That's practically univeral, and it certainly includes Klosterman. But I don't think that makes him a one trick pony....I think it makes him exceptionally good at what he does.
--"I'm like an opening band for the sun"
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
I mean, what's his one trick? I'm not sure I follow. He's written for Spin, Esquire, and ESPN, which couldn't be more different from one another. And, he writes about all forms of pop culture.
oh come on. he's got the whole tangent shtick. sure it's good and entertaining.
Ok, nevermind, I'm an idiot. It has been pointed out to me that shtick refers strictly to a comedic sense. Somehow in my 27 years of existence, I didn't realize this fact. I thought it could be applied to any routine or gimmick.
But my point stays the same. Klosterman is no more of a one trick pony than any other author. Those tangents you refer to are simply part of his literary voice. And every author DOES have literary voice....just not shtick
--"I'm like an opening band for the sun"
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
Klosterman is no more of a one trick pony than any other author. And every author DOES have literary voice....just not shtick
Applying this to YIELD in the context of that Guitar World interview is fairly interesting.
While BrainoJFK and and Low Light may appear to be Stone's and Ed's "trick" respectively, they actually belong to Mike and Jeff.
So my point is - maybe these "tricks" are just illusions. Or perhaps, I have no idea what I'm writing about.
If it has anything to do with Master & Margarita as I would suppose, since Jeff said in some interview that Pilate was
asking the question and Low Light answering it - this situation mirrors what goes on in the book.
I'll have to look it up and re-read it, but I think you just described the end of the book.
A google search unearthed this little nugget (from the board):
"Kat
05-03-2004, 12:16 PM
Here are a few things Jeff said at the time about Pilate.
Love,
Kat
From 1998 Guitar World article:
From: Guitar World "All For One"
by Vic Garbarini
March, 1998
GW: Your songs on Yield seem too reflect that process. "Pilate" is all
frenzied frustration, while "Low Light" is like a hymn, serene and at peace.
But why does Pilate have a dog?
JA: I think "Pilate" was the question I was asking myself, and "Low Light"
was the answer, the realization. Have you ever read The Master and Margarita
[by Mikhail Bulgakov]? I just read that book, and at the end they talk about
Pontius Pilate being all alone on a mountain with his dog. He couldn't sleep
and he couldn't function. It really struck me hard, because at that point I
was feeling very alone. I've always had this recurring dream about
being old and just me and my dog sitting on the porch. It wasn't necessarily
a sad dream of a premonition, but it it did get me to thinking about why
Pilate was so alone and freaked out. Then I realized he didn't get to finish
his conversation with Jesus- *that's* why he can't function, because he
didn't tie up the loose ends in his life. Later, I was playing the guitar,
and I was hit so hard by this amazing emotion. In that moment the words "low
light" came out, and somehow those were the only words to explain what I was
feeling. It was a kind of greatfulness at finding that place of calm and
peace at my center and getting a glimpse of the person I could choose to be.
It was the purest happiness that I've experienced in a long time, that
particular emotion. God, I thought I was going to explode. I feel very
lucky to have been able to put it down on tape that morning and work through
it until it became a song."
edit: the quote copied twice, removed one.
I was SO gonna post this the other day. I actually asked about it back on June 9, 1999, and that is what Kat posted!!! It was my first thread and I actually printed out her response to me!!! Crazy!!
So I'll just lie down and wait for the dream Where I'm not ugly and you're lookin' at me
Nice.
I have a newfound love for yield these days, and what strikes me about it is its healing character, which I believe comes from all the three themes outlined. I would like to add something on the "car" theme and further qualify it as a "movement" theme. It strikes me that VS. is much more the album of an angry and desperate movement away from something, while Yield is the album of conscious and almost confident letting go (of names given to us by others, of helplessness). It's movement towards something, there is the transition from being locked in, in hiding, to going back to opening doors and windows, to "still stand", run towards the ocean. It's not unequivocably hopeful: you may be riding "out on the sunset", there may be 2010 in the future, but the focus is on the future nonetheless.
I love it
I would like to add to this that favorite line of mine, from low light "clear a path to my home". I love that there is no sense of "going BACK home". Home is something to be earned, a goal, something in the future (reminds me of that Soul Asylum line: "I am so homesick but it ain't that bad cause I'm homesick for the home I never had".
... and the will to show I will always be better than before.
Why is that Fridays, the days when I have the least to do at work, are also the days that nobody is ever around to talk about YIELD?
People may be recovering from shows in New York yesterday. Dbt/Isbell/House.
There is definitely a connection between Pilate/MFC/Low Light...I'm still not big on the linear theory though since I don't see strong connections with DTE and In Hiding and Wishlist and the songs around this bunch.
Obviously, there are similar themes, but I don't see (or feel the need to feel) a direct connection between songs all the way through.
I don't think it's a direct journey.
People may be recovering from shows in New York yesterday. Dbt/Isbell/House.
Ah, that was last night, eh? I had no idea, but ironically enough, I am listening to Pizza Deliverance right now. Haven't listened to this one as much as I have the others. Figured it was time to give it a fair shake.
--"I'm like an opening band for the sun"
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
I would like to add to this that favorite line of mine, from low light "clear a path to my home". I love that there is no sense of "going BACK home". Home is something to be earned, a goal, something in the future (reminds me of that Soul Asylum line: "I am so homesick but it ain't that bad cause I'm homesick for the home I never had".
Very nice. I never even thought about it that way, but that makes total sense. Again, it's motion. Moving towards a goal rather than moving away from something. Once you've escaped, you can never truly go back to the way things were, but if you work at it, you can strive to move forward from that point and get to the place where you want to be. Good stuff.
--"I'm like an opening band for the sun"
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
Has anyone here ever discussed Pearl Jam opening four dates for the Rolling Stones in November 1997 as a prologue to/outgrowth of the nature of YIELD?
I know it's not measure-able by lyrical content, musical style, or inherent symbolism, but I think--for where they seemed to be in their careers and relationships with each other as co-creators--the chance to open for the Stones provided one more outlet in which to yield to themselves, their forerunners, and the album-making process.
Plus, it probably just felt good to play some of these songs live for the first time.
.
Memphis 1994 New Orleans 1995 Fort Lauderdale 1996 Atlanta & Birmingham 1998 New Orleans 2000 Tampa 2003 Kissimmee 2004 New York City (x 2) 2008 East Troy (x 2) 2011 Chicago & New Orleans 2013 Hampton, Raleigh, Boston 2016 Baltimore2020 Louisville 2022 Philadelphia & Baltimore 2024
Has anyone here ever discussed Pearl Jam opening four dates for the Rolling Stones in November 1997 as a prologue to/outgrowth of the nature of YIELD?
I know it's not measure-able by lyrical content, musical style, or inherent symbolism, but I think--for where they seemed to be in their careers and relationships with each other as co-creators--the chance to open for the Stones provided one more outlet in which to yield to themselves, their forerunners, and the album-making process.
Plus, it probably just felt good to play some of these songs live for the first time.
.
What were the dates of these shows? Had the band already recorded the album, or were they in the middle of recording it? I don't know the answers to these questions, but they could be good ones.
--"I'm like an opening band for the sun"
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
I am at a school session (on the Pepperdine campus) and they have us busy most of the time, so, I have little time to devote to this righteus thread.
Be well,
M
I guess they didn't tell him how to spell righteous at P-dine. Fucking cake eaters.
We're on the verge of getting some YIELD live again. I want to see 50,000 or however many people will be at the lolla show pogoing to DTE. I think it'd be quite the sight.
We're on the verge of getting some YIELD live again. I want to see 50,000 or however many people will be at the lolla show pogoing to ATY. I think it'd be quite the sight.
What were the dates of these shows? Had the band already recorded the album, or were they in the middle of recording it? I don't know the answers to these questions, but they could be good ones.
The dates of the Oakland shows were Nov 14, 15, 18, 19. There was also a surprise show on the 12th at a club in Santa Cruz.
The YIELD songs performed these nights were:
Given to Fly (12, 14, 19)
Do the Evolution (12, 14, 15, 18, 19)
Wishlist (12, 14, 15)
Brain of J (12, 15, 18)
Since the album was released on February 3, 1998, I would guess the tracks were mostly recorded and in final stages of production by the time they opened for the Stones. There are large chunks of time spent off the road in 1997, so that's why I made the guess that the songs were nearly finishe. Perhaps there are some interviews or a timeline to help establish this?
Still strikes me as a YIELD-y thing to do. Wondering what the rest think of it...
.
Memphis 1994 New Orleans 1995 Fort Lauderdale 1996 Atlanta & Birmingham 1998 New Orleans 2000 Tampa 2003 Kissimmee 2004 New York City (x 2) 2008 East Troy (x 2) 2011 Chicago & New Orleans 2013 Hampton, Raleigh, Boston 2016 Baltimore2020 Louisville 2022 Philadelphia & Baltimore 2024
The dates of the Oakland shows were Nov 14, 15, 18, 19. There was also a surprise show on the 12th at a club in Santa Cruz.
The YIELD songs performed these nights were:
Given to Fly (12, 14, 19)
Do the Evolution (12, 14, 15, 18, 19)
Wishlist (12, 14, 15)
Brain of J (12, 15, 18)
Since the album was released on February 3, 1998, I would guess the tracks were mostly recorded and in final stages of production by the time they opened for the Stones. There are large chunks of time spent off the road in 1997, so that's why I made the guess that the songs were nearly finishe. Perhaps there are some interviews or a timeline to help establish this?
Still strikes me as a YIELD-y thing to do. Wondering what the rest think of it...
.
Thanks for the info.
Interesting question. I know some bands write songs then road test them before even recording. I would imagine here that the record was already done since it must take a few months at least to print and distribute the album before the release date.
I definitely think that the songs change over time though when they play em live...Not For You, with the almost obligatory tag now, things like that. But even subtle things, like Jeff's bass line in RVM, have changed too.
Thanks for the info.
Interesting question. I know some bands write songs then road test them before even recording. I would imagine here that the record was already done since it must take a few months at least to print and distribute the album before the release date.
I definitely think that the songs change over time though when they play em live...Not For You, with the almost obligatory tag now, things like that. But even subtle things, like Jeff's bass line in RVM, have changed too.
Yeah, I think the performances of Brain of J and MFC before 1997 are proof that songs evolve and bands test them in a live setting. That seems pretty straightforward (and in line with YIELD theories elsewhere in the thread).
My observation is aimed more directly at the act of Pearl Jam accepting an opening slot for the Stones. For four nights. At that point in their careers. I guess I was alluding to a carry-over or collective YIELD experience among the bandmembers, having recorded or having been in-process with the record at the time.
Listening to the bootlegs might provide some evidence to support or refute the band member's headspace at the time, especially Ed. But so far, no one has mentioned whether s/he has the recordings.
.
Memphis 1994 New Orleans 1995 Fort Lauderdale 1996 Atlanta & Birmingham 1998 New Orleans 2000 Tampa 2003 Kissimmee 2004 New York City (x 2) 2008 East Troy (x 2) 2011 Chicago & New Orleans 2013 Hampton, Raleigh, Boston 2016 Baltimore2020 Louisville 2022 Philadelphia & Baltimore 2024
Comments
Nice! I finally finished it a couple months ago. Sex, Drugs, and Cocoa Puffs is still my favorite Klosterman book, but IV is close behind. Fargo Rock City and Killing Yourself to Live are both classic as well, too. I'm ready for a new Klosterman book already.
Don't know if you saw Bill Simmon's last chat, but he said he's taking a break from his column for the website until the end of the year because he's writing a new book. Should be good. As much as I hate the Red Sux, I still really enjoyed "Now I Can Die In Peace".
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
"But there's what always confused me: Maynard James Keenan was raised in Ravenna, Ohio, which is 20 miles from Akron. Yet every time I'd write a "local freak makes good" article about him, I'd merely get 19 voice mails from kids saying, "Tool rules. Tool rules. 'Parabola,' fucker!" I suppose this random, anecdotal evidence proves that Ohioans are dangerously capricious. No wonder Bush won."
Hahahaha....So true.
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
Meaning?
I mean, what's his one trick? I'm not sure I follow. He's written for Spin, Esquire, and ESPN, which couldn't be more different from one another. And, he writes about all forms of pop culture.
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
That's it, isn't it?
You never really take him seriously, as good and as well written as his arguments are. He's just kinda that funny, sarcastic writer that makes good points but doesn't have that 'serious' vibe - deservedly or not.
Of course you don't take him seriously, not with the amount of sarcasm in his writing. He's not trying to change the world with his writing. He's a social commentator.
But I don't see how that makes him any different than virtually any other author. All authors and writers have their own unique style and feel. In the same way you can tell a song sounds like it was written by a particular artist, so too can you tell a passage sounds like it was written by a particular author. That's practically univeral, and it certainly includes Klosterman. But I don't think that makes him a one trick pony....I think it makes him exceptionally good at what he does.
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
oh come on. he's got the whole tangent shtick. sure it's good and entertaining.
he's like smart candy.
Again, though, what author doesn't have a shtick?
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
john steinbeck.
You don't think Steinbeck's shtick was writing about the working class hero? I think he absolutely had a shtick.
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
But my point stays the same. Klosterman is no more of a one trick pony than any other author. Those tangents you refer to are simply part of his literary voice. And every author DOES have literary voice....just not shtick
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
Applying this to YIELD in the context of that Guitar World interview is fairly interesting.
While BrainoJFK and and Low Light may appear to be Stone's and Ed's "trick" respectively, they actually belong to Mike and Jeff.
So my point is - maybe these "tricks" are just illusions. Or perhaps, I have no idea what I'm writing about.
my favorite songis faithful.....i love the lyrics.
I was SO gonna post this the other day. I actually asked about it back on June 9, 1999, and that is what Kat posted!!! It was my first thread and I actually printed out her response to me!!! Crazy!!
Where I'm not ugly and you're lookin' at me
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
I would like to add to this that favorite line of mine, from low light "clear a path to my home". I love that there is no sense of "going BACK home". Home is something to be earned, a goal, something in the future (reminds me of that Soul Asylum line: "I am so homesick but it ain't that bad cause I'm homesick for the home I never had".
I'll talk Yield, if you talk Riot Act
There is definitely a connection between Pilate/MFC/Low Light...I'm still not big on the linear theory though since I don't see strong connections with DTE and In Hiding and Wishlist and the songs around this bunch.
Obviously, there are similar themes, but I don't see (or feel the need to feel) a direct connection between songs all the way through.
I don't think it's a direct journey.
Ah, that was last night, eh? I had no idea, but ironically enough, I am listening to Pizza Deliverance right now. Haven't listened to this one as much as I have the others. Figured it was time to give it a fair shake.
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
I already talked a little Riot Act this morning.....Crazy Friday
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
Very nice. I never even thought about it that way, but that makes total sense. Again, it's motion. Moving towards a goal rather than moving away from something. Once you've escaped, you can never truly go back to the way things were, but if you work at it, you can strive to move forward from that point and get to the place where you want to be. Good stuff.
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
I know, it was totally weird.
I know it's not measure-able by lyrical content, musical style, or inherent symbolism, but I think--for where they seemed to be in their careers and relationships with each other as co-creators--the chance to open for the Stones provided one more outlet in which to yield to themselves, their forerunners, and the album-making process.
Plus, it probably just felt good to play some of these songs live for the first time.
.
New Orleans 1995
Fort Lauderdale 1996
Atlanta & Birmingham 1998
New Orleans 2000
Tampa 2003
Kissimmee 2004
New York City (x 2) 2008
East Troy (x 2) 2011
Chicago & New Orleans 2013
Hampton, Raleigh, Boston 2016
Baltimore 2020
Louisville 2022
Philadelphia & Baltimore 2024
What were the dates of these shows? Had the band already recorded the album, or were they in the middle of recording it? I don't know the answers to these questions, but they could be good ones.
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
Hello all,
I am at a school session (on the Pepperdine campus) and they have us busy most of the time, so, I have little time to devote to this righteous thread.
Be well,
M
I guess they didn't tell him how to spell righteous at P-dine. Fucking cake eaters.
We're on the verge of getting some YIELD live again. I want to see 50,000 or however many people will be at the lolla show pogoing to DTE. I think it'd be quite the sight.
Fixed.
The dates of the Oakland shows were Nov 14, 15, 18, 19. There was also a surprise show on the 12th at a club in Santa Cruz.
The YIELD songs performed these nights were:
Given to Fly (12, 14, 19)
Do the Evolution (12, 14, 15, 18, 19)
Wishlist (12, 14, 15)
Brain of J (12, 15, 18)
Since the album was released on February 3, 1998, I would guess the tracks were mostly recorded and in final stages of production by the time they opened for the Stones. There are large chunks of time spent off the road in 1997, so that's why I made the guess that the songs were nearly finishe. Perhaps there are some interviews or a timeline to help establish this?
Still strikes me as a YIELD-y thing to do. Wondering what the rest think of it...
.
New Orleans 1995
Fort Lauderdale 1996
Atlanta & Birmingham 1998
New Orleans 2000
Tampa 2003
Kissimmee 2004
New York City (x 2) 2008
East Troy (x 2) 2011
Chicago & New Orleans 2013
Hampton, Raleigh, Boston 2016
Baltimore 2020
Louisville 2022
Philadelphia & Baltimore 2024
Thanks for the info.
Interesting question. I know some bands write songs then road test them before even recording. I would imagine here that the record was already done since it must take a few months at least to print and distribute the album before the release date.
I definitely think that the songs change over time though when they play em live...Not For You, with the almost obligatory tag now, things like that. But even subtle things, like Jeff's bass line in RVM, have changed too.
Yeah, I think the performances of Brain of J and MFC before 1997 are proof that songs evolve and bands test them in a live setting. That seems pretty straightforward (and in line with YIELD theories elsewhere in the thread).
My observation is aimed more directly at the act of Pearl Jam accepting an opening slot for the Stones. For four nights. At that point in their careers. I guess I was alluding to a carry-over or collective YIELD experience among the bandmembers, having recorded or having been in-process with the record at the time.
Listening to the bootlegs might provide some evidence to support or refute the band member's headspace at the time, especially Ed. But so far, no one has mentioned whether s/he has the recordings.
.
New Orleans 1995
Fort Lauderdale 1996
Atlanta & Birmingham 1998
New Orleans 2000
Tampa 2003
Kissimmee 2004
New York City (x 2) 2008
East Troy (x 2) 2011
Chicago & New Orleans 2013
Hampton, Raleigh, Boston 2016
Baltimore 2020
Louisville 2022
Philadelphia & Baltimore 2024