![what could be cooler than Brooklyn? latest findings from Census data what could be cooler than Brooklyn? latest findings from Census data](https://pages.vassar.edu/musicalurbanism/files/2013/03/flowsMapper-290x290.jpg)
what could be cooler than Brooklyn? latest findings from Census data
[Update 12 hours after originally publishing this essay: Well, this is interesting… and a little bit embarrassing: I seem to have misread the Census Flows Mapper data entirely incorrectly. So much for the “test drive”; it’s like I pulled out of the car lot and onto the highway with the emergency brake on the whole...
![Tito Larriva: the hombre secreto of L.A.'s culture industry Tito Larriva: the hombre secreto of L.A.'s culture industry](https://pages.vassar.edu/musicalurbanism/files/2012/10/LarrivaAnnSumma1-290x290.jpg)
Tito Larriva: the hombre secreto of L.A.’s culture industry
As a central destination for musicians, actors, filmmakers and artists, Los Angeles has more than its share of unsung, forgotten or behind-the-scenes figures who have made a significant mark on the city in the course of their careers. In this category, one of my favorites is Tito Larriva, who readers might recognize if they review...
![between champagne and eviction: more new wave rent party between champagne and eviction: more new wave rent party](https://pages.vassar.edu/musicalurbanism/files/2011/11/18-290x290.jpg)
between champagne and eviction: more new wave rent party
My last post introduced an imaginary sub-genre that I call new wave rent party and covered the basics of its aesthetic principles and historic urban context. Here, I continue that discussion with some more material from 1977-81 era. Well, maybe a couple of years further on as well—the sub-genre went on a few more years past its historic sell-by...
![remembering the serious triviality of pop music remembering the serious triviality of pop music](https://pages.vassar.edu/musicalurbanism/files/2011/11/The_Beat_Is_The_Law_2-290x290.jpg)
remembering the serious triviality of pop music
Something left unelaborated in my review of Echotone (from the last two posts: here and here) is a larger uneasiness with the instrumentalization of independent or underground music — the reduction of pop music culture from an end in itself to a means for other ends. Although this isn’t a new critique of post-punk music (i.e., music groups inspired...
![creatively exploiting the Austin scene: a review of "Echotone" (pt. 2) creatively exploiting the Austin scene: a review of "Echotone" (pt. 2)](https://pages.vassar.edu/musicalurbanism/files/2011/10/EchotoneSkyline-290x290.jpg)
creatively exploiting the Austin scene: a review of “Echotone” (pt. 2)
[This is the second part of my review of the documentary “Echotone” (2010, dir. Nathan Christ). For the first part, go here.] Technically, no one in Echotone ever says the phrase “creative class.” However, the filmmaker’s marketing materials invoke it regularly, starting with the DVD’s back-cover description: “Echotone is a cultural portrait of the modern American city examined through...
![losing Austin's weirdness: a review of "Echotone" (pt.1) losing Austin's weirdness: a review of "Echotone" (pt.1)](https://pages.vassar.edu/musicalurbanism/files/2011/10/ECH-Poster-AustinTheatrical-lyt2-v3-web-290x290.jpg)
losing Austin’s weirdness: a review of “Echotone” (pt.1)
A 2010 documentary that just graduated from the film festival circuit to DVD,Echotone captures the Austin music scene at a moment of transition. The film is a pleasure to watch and listen to, with great photography, fantastic sound (plus great sound editing, not something I usually notice), and an effective yet easy-going narrative style mercifully free...