以恐懼作思考的歇斯底里狀態

整個社會陷入以恐懼作思考的歇斯底里狀態，不管正反兩方都是如此，只是一個表層的恐懼訴諸行動，另一個則以深層的恐懼及過去的經驗宣揚特定原則的理念。兩方都無法說服對方，兩方也都無法完全說服我。然而社會現在卻有股巨大的騷動到處竄流正在尋找出口。

主要關鍵在於，主張執行之人專注在「因果循環」的伸張，殺害者起了個因，社會則希望看到一個果的完成。這即是主張執行一派所謂的伸張正義。多數人也採納了這個觀點。但說實在的，贊成者與是否能藉此達到嚇阻作用是完全不相干的事，無法扯為一談，這是贊成者失敗的原因。

同樣的，反對者一再強調過去制度的缺失，並以此宣揚特定理念及原則時，卻一再忽略贊成方所專注的事件起始的「因果循環」概念，卻一直引述過去失敗的案例， 則是反對方同樣失敗的因素。雙方都無法說服對方，看似很通但不通的邏輯持續空轉，恐懼與恐慌由淺層持續滲透到每個人心理，只有加速社會的分化與相互仇恨， 出口無處宣洩。

位居高位的司法界滾滾豬公，是否有思考到這些呢？

《偶像行銷》+《造音翻土》

今年音樂書很精彩，除了民歌兩本相關書籍，《造音翻土》補述台灣長期以來被忽略的音樂歷史外，由朱介英所著的《偶像行銷》這本則正好彌補了前兩本所無法涵蓋到歷史論述部分。

流行音樂及文化工業長期以來被歐洲諸多學者（如阿多諾）以鄙視的態度做了許多的批判，國內的音樂教育同樣的也被早期幾位留學回來的食古不通的學者所把持禁錮，造成台灣現今音樂教育的嚴重偏食及菁英主義的坐井偏見。

本書在此花了許多力氣引述近幾十年來文化論述的論證及耙梳，讓原本扭曲歪斜的偏見歧視得以重新受到檢視與批判，是本書諸多達成的成就之一，此外，作者並未 厚此薄彼，對於流行音樂產業的亂象，作者同樣亦提出相當清楚而犀利的批評。尤其難能可貴的，是除了對台灣及國外流行音樂（主要是英美）歷史的概述整理外， 對於市場、偶像行銷、傳播理論，甚至基本和弦組成、基本樂理都有相當簡明的說明。是關心流行音樂發展的朋友都該人手一本的著作。

好看的海報常常是吸引民眾的

好看的海報常常是吸引民眾的

The 300 Best Albums of the Past 30 Years (1985-2014)

  之前SPIN的榜單，因為原文連結了太多spotify的外部連結，跑得非常慢，索性找了個純文字檔備存，順便算了算，自己大約有245張左右，很多都是 歷年累積下來買的，如果一年選十張，SPIN慶祝創刊三十週年，總共選300張也只是剛好而已，其它沒有的片子，大部分是有該團其它專輯而缺被選上的專 輯。這份榜單看下來感覺上仍是偏美系的口味，英團歐洲團相對少些。有些被選上的名次持保留態度。但大體而言，仍是可以參考的榜單。

The 300 Best Albums of the Past 30 Years (1985-2014)

# 300. Green Day, American Idiot
(Reprise, 2004)

299. Parquet Courts, Sunbathing Animal
(What’s Your Rupture?, 2014)

# 298. Ice Cube, AmeriKKKa’s Most Wanted
(Priority, 1990)
# 297. Gorillaz, Demon Days
(Virgin, 2005)
296. Various Artists, Total 4
(Kompakt, 2002)
# 295. Old 97’s, Too Far to Care
(Elektra, 1997)
# 294. Sigur Rós, Ágætis Byrjun
(Play It Again Sam, 1999)
# 293. Garbage, Version 2.0
(EastWest/Warner Bros., 1998)
292. Usher, Looking 4 Myself
(RCA, 2012)
291. The Hold Steady, Separation Sunday
(Frenchkiss, 2005)
# 290. Tori Amos, Little Earthquakes
(Atlantic, 1992)
289. The Unicorns, Who Will Cut Our Hair When We’re Gone?
(Alien8, 2003)
288. Tyler, the Creator, Goblin
(Odd Future, 2011)
# 287. TV on the Radio, Dear Science
(Interscope, 2008)
# 286. Sugar, Copper Blue
(Rykodisc, 1992)
285. The Books, Thought for Food
(Tomlab, 2002)
# 284. The Killers, Hot Fuss
(Island/Universal, 2004)
# 283. Superchunk, I Hate Music
(Merge, 2013)
# 282. Digable Planets, Blowout Comb
(Pendulum, 1994)
# 281. The Go-Betweens, Tallulah
(Beggars Banquet, 1987)
# 280. Sleater-Kinney, The Hot Rock
(Kill Rock Stars, 1999)
# 279. Aerosmith, Pump
(Geffen, 1989)
# 278. Coldplay, A Rush of Blood to the Head
(Capitol/EMI, 2002)
# 277. Ride, Nowhere
(Sire, 1990)
276. Frankie Knuckles, Beyond the Mix
(Virgin, 1991)
# 275. Tegan and Sara, Heartthrob
(Vapor/Warner Bros. 2013)
# 274. Ice-T, O.G. Original Gangster
(Sire, 1991)
# 273. Slint, Spiderland
(Touch & Go, 1991)
# 272. The Mekons, The Mekons Rock ‘n’ Roll
(Collectors’ Choice, 1989)
# 271. Sublime, Sublime
(Gasoline Alley/MCA, 1996)
# 270. George Michael, Faith
(BMG/Columbia/Sony Music Entertainment, 1987)
# 269. The Pogues, Rum, Sodomy & the Lash
(1985)
# 268. Maxwell, Maxwell’s Urban Hang Suite
(Sony Music Distribution, 1996)
# 267. The Deftones, White Pony
(Maverick, 2000)
# 266. Stereolab, Emperor Tomato Ketchup
(Elektra, 1996)
265. Swervedriver, Mezcal Head
(A&M, 1993)
# 264. The Microphones, The Glow, Pt. 2
(K, 2001)
263. Neko Case, Blacklisted
(Bloodshot, 2002)
# 262. Sebadoh, Bakesale
(Sub Pop, 1994)
# 261. Sun Kil Moon, Benji
(Caldo Verde, 2014)
260. My Chemical Romance, Three Cheers for Sweet Revenge
(Reprise, 2004)
# 259. Bruce Springsteen, Tunnel of Love
(Columbia, 1987)
# 258. Bon Iver, For Emma, Forever Ago
(Jagjaguwar, 2008)
257. The Chills, Submarine Bells
(Slash, 1990)
# 256. Cannibal Ox, The Cold Vein
(Def Jux, 2001)
# 255. The Field, From Here We Go Sublime
(Kompakt, 2007)
# 254. Beastie Boys, Ill Communication
(Capitol/Grand Royal, 1994)
253. Caribou, Swim
(Merge, 2010)
252. Wussy, Funeral Dress
(Shake It, 2005)
# 251. M83, Saturdays = Youth
(Mute, 2008)
# 250. Basement Jaxx, Rooty
(Astralwerks, 2001)
# 249. L7, Bricks Are Heavy
(Slash, 1992)
248. Cursive, The Ugly Organ
(Saddle Creek, 2003)
# 247. Dirty Projectors, Bitte Orca
(Domino, 2009)
# 246. 2Pac, All Eyez On Me
(Koch, 1996)
# 245. Air, Moon Safari
(Astralwerks, 1998)
# 244. Grizzly Bear, Veckatimest
(Warp, 2009)
# 243. Lil Wayne, Tha Carter II
(Universal/Cash Money, 2005)
# 242. Queens of the Stone Age, Rated R
(Interscope, 2000)
241. The Weeknd, House of Balloons
(Universal Republic, 2011)
# 240. Animal Collective, Sung Tongs
(FatCat, 2004)
239. Rilo Kiley, The Execution of All Things (Saddle Creek, 2002)
# 238. Various Artists, The Indestructible Beat of Soweto
(Earthworks, 1985)
# 237. Godspeed You! Black Emperor, Lift Your Skinny Fists Like Antennas to Heaven
(Constellation/Kranky, 2000)
# 236. Interpol, Turn on the Bright Lights
(Matador, 2002)
235. Oneohtrix Point Never, Replica
(Mexican Summer, 2011)
# 234. Janet Jackson, Control
(A&M, 1986)
# 233. Bright Eyes, Lifted or the Story Is in the Soil, Keep Your Ear to the Ground
(Saddle Creek, 2002)
# 232. The War on Drugs, Lost in the Dream
(Secretly Canadian, 2014)
231. M.I.A., Arular
(XL, 2005)
# 230. The Shins, Chutes Too Narrow
(Sub Pop, 2003)
229. DJ Rashad, Double Cup
(Hyperdub, 2013)
228. Paramore, Paramore
(Fueled By Ramen/Atlantic, 2013)
# 227. R.E.M., Document
(I.R.S., 1987)
226. Nicki Minaj, Pink Friday
(Cash Money, 2010)
# 225. Portishead, Third
(Island, 2008)
# 224. Phoenix, Wolfgang Amadeus Phoenix
(Glassnote, 2009)
# 223. The Roots, Rising Down
(Def Jam, 2008)
# 222. Bikini Kill, Pussy Whipped
(Kill Rock Stars, 1994)
# 221. Snoop Doggy Dogg, Doggystle
(Death Row, 1993)
220. Brad Paisley, American Saturday Night
(Sony Music Distribution/Arista, 2009)
# 219. System of a Down, Toxicity
(American/Sony Music Distribution, 2001)
# 218. Ariel Pink’s Haunted Graffiti, Before Today
(4AD, 2010)
# 217. Orbital, In Sides
(FFRR, 1996)
@ 216. Destroyer, Kaputt
(Merge, 2011)
# 215. Spiritualized, Ladies and Gentlemen We Are Floating in Space
(Dedicated/RMG, 1997)
214. Chance the Rapper, Acid Rap
(Self-Released, 2013)
# 213. New Order, Brotherhood
(Qwest, 1986)
212. Beach House, Teen Dream
(Sub Pop, 2010)
211. Aaliyah, One in a Million
(Blackground, 1996)
# 210. The Mountain Goats, Tallahassee
(4AD, 2002)
# 209. Fiona Apple, The Idler Wheel…
(Clean Slate/Epic, 2012)
# 208. Run the Jewels, Run the Jewels 2
(Mass Appeal, 2014)
# 207. Deerhunter, Halcyon Digest
(4AD, 2010)
# 206. Sonic Youth, Sister
(SST, 1987)
205. Mobb Deep, The Infamous
(Loud, 1995)
# 204. Aphex Twin, Selected Ambient Works 85-92
(R&S, 1992)
# 203. D’Angelo, Brown Sugar
(Virgin, 1995)
202. Sleigh Bells, Treats
(Mom + Pop, 2010)
# 201. Rage Against the Machine, The Battle of Los Angeles
(Epic, 1999)
# 200. Moby, Everything Is Wrong
(Elektra, 1995)
# 199. Soundgarden, Superunkown
(A&M, 1994)
# 198. Sufjan Stevens, Illinois
(Asthmatic Kitty, 2005)
# 197. Lady Gaga, The Fame Monster
(Cherrytree/Interscope, 2009)
# 196. Various Artists, C86
(Rough Trade/NME, 1986)
195. Drive-By Truckers, Brighter Than Creation’s Dark
(New West, 2008)
194. The Pharcyde, Bizarre Ride II the Pharcyde
(Delicious Vinyl, 1992)
# 193. Wilco, Summerteeth
(Warner Bros., 1999)
# 192. Lauryn Hill, The Miseducation of Lauryn Hill
(Columbia/Ruffhouse, 1998)
# 191. Galaxie 500, On Fire
(Rough Trade, 1989)
190. Boredoms, Super æ
(Birdman, 1998)
189. Yeah Yeah Yeahs, Fever to Tell
(Interscope, 2003)
# 188. Nine Inch Nails, Pretty Hate Machine
(TVT, 1989)
# 187. Teenage Fanclub, Bandwagonesque
(Creation, 1991)
# 186. The Avalanches, Since I Left You
(Sire, 2000)
# 185. Jay Z, The Black Album
(Roc-A-Fella, 2003)
# 184. LCD Soundsystem, This Is Happening
(DFA/Virgin, 2010)
183. Jimmy Eat World, Bleed American
(Dreamworks, 2001)
# 182. The Smiths, Strangeways, Here We Come
(Sire, 1987)
# 181. Jeff Buckley, Grace
(Columbia, 1994)
# 180. Four Tet, Rounds
(Domino, 2003)
179. No Age, Everything in Between
(Sub Pop, 2010)
178. Black Star, Mos Def & Talib Kweli Are Black Star
(Rawkus, 1998)
# 177. At the Drive-In, Relationship of Command
(Grand Royal/Virgin, 2000)
# 176. Primal Scream, Screamadelica
(Sire, 1991)
# 175. Ghostface Killah, Supreme Clientele
(Epic, 2000)
# 174. Mastodon, Blood Mountain
(Reprise, 2006)
173. Disclosure, Settle
(Cherrytree/Interscope, 2013)
# 172. tUnE-yArDs, w h o k i l l
(4AD, 2011)
# 171. Blur, Parklife
(Food, 1994)
170. Lil Wayne, Da Drought 3
(Young Money, 2007)
# 169. The Smashing Pumpkins, Mellon Collie and the Infinite Sadness
(Virgin, 1995)
# 168. Eminem, The Slim Shady LP
(Interscope, 1999)
167. The Wrens, The Meadowlands
(Absolutely Kosher, 2003)
# 166. Run-DMC, Raising Hell
(Profile, 1986)
# 165. Le Tigre, Le Tigre
(Mr. Lady, 1999)
# 164. Janet Jackson, janet.
(Virgin, 1993)
# 163. Spoon, Kill the Moonlight
(Merge, 2002)
# 162. Modest Mouse, The Lonesome Crowded West
(Up, 1997)
# 161. Massive Attack, Mezzanine
(Virgin, 1998)
# 160. Oasis, Definitely Maybe
(Epic, 1994)
# 159. The Postal Service, Give Up
(Sub Pop, 2003)
# 158. Erykah Badu, Mama’s Gun
(Motown, 2000)
# 157. Yo La Tengo, And Then Nothing Turned Itself Inside-Out
(Matador, 2000)
156. Pistol Annies, Hell on Heels
(Columbia Nashville, 2011)
155. Sunny Day Real Estate, Diary
(Sub Pop, 1994)
154. Raekwon, Only Built 4 Cuban Linx
(Loud/RCA, 1995)
# 153. Pavement, Wowee Zowee
(Matador, 1995)
# 152. Tom Waits, Rain Dogs
(Island, 1985)
# 151. Pixies, Bossanova
(Elektra, 1990)
150. Cloud Nothings, Attack on Memory
(ADA/Carpark, 2012)
# 149. Ryan Adams, Heartbreaker
(Bloodshot, 2000)
# 148. Sonic Youth, Goo
(DGC, 1990)
147. Taylor Swift, Speak Now
(Big Machine, 2010)
# 146. Aphex Twin, Selected Ambient Works, Vol. 2
(Sire, 1994)
# 145. Lucinda Williams, Lucinda Williams
(Koch, 1988)
# 144. Pearl Jam, Vitalogy
(Epic, 1994)
# 143. The Notorious B.I.G., Life After Death
(Bad Boy, 1997)
# 142. The National, Boxer
(Beggars Banquet, 2007)
# 141. The Afghan Whigs, Gentlemen
(Elektra, 1993)
# 140. Nirvana, MTV Unplugged in New York
(DGC, 1994)
# 139. Animal Collective, Merriweather Post Pavilion
(Domino, 2009)
# 138. The Replacements, Pleased to Meet Me
(Sire, 1987)
# 137. Broken Social Scene, You Forgot It In People
(Paper Bag, 2002)
# 136. The Flaming Lips, Yoshimi Battles the Pink Robots
(Warner Bros., 2002)
# 135. The Stone Roses, The Stone Roses
(Silvertone, 1989)
# 134. Blink-182, Enema of the State
(MCA, 1999)
# 133. Elliott Smith, XO
(Dreamworks, 1998)
# 132. Michael Jackson, Dangerous
(Epic, 1991)
# 131. Sleater-Kinney, Dig Me Out
(Kill Rock Stars, 1997)
# 130. Frank Ocean, channel ORANGE
(Def Jam, 2012)
# 129. Beyoncé, B’Day
(Columbia, 2006)
128. Against Me!, New Wave
(Sire, 2007)
# 127. Fiona Apple, When the Pawn…
(Clean Slate/Epic, 1999)
# 126. Guided By Voices, Alien Lanes
(Matador, 1995)
125. The Knife, Silent Shout
(Brille/Rabid/Mute, 2006)
# 124. PJ Harvey, Stories From the City, Stories From the Sea
(Island, 2000)
# 123. Madvillain, Madvillainy
(Stones Throw, 2004)
# 122. Vampire Weekend, Vampire Weekend
(XL, 2008)
# 121. Kate Bush, Hounds of Love
(EMI, 1985)
120. Miguel, Kaleidoscope Dream
(RCA, 2012)
# 119. Built to Spill, Keep It Like a Secret
(Warner Bros., 1999)
# 118. U2, The Joshua Tree
(Island, 1987)
# 117. Primal Scream, XTRMNTR
(Astralwerks, 2000)
# 116. Mary J. Blige, What’s the 411?
(MCA, 1992)
# 115. The Fugees, The Score
(Ruffhouse, 1996)
# 114. The xx, The xx
(XL/Young Turks, 2009)
# 113. Radiohead, The Bends
(Capitol, 1995)
# 112. Beastie Boys, Licensed to Ill
(Def Jam, 1986)
# 111. Amy Winehouse, Back to Black
(Universal, 2006)
# 110. Panda Bear, Person Pitch
(Paw Tracks, 2007)
# 109. Tears for Fears, Songs From the Big Chair
(Mercury, 1985)
# 108. Jay Z, Reasonable Doubt
(Roc-A-Fella, 1996)
# 107. Paul Simon, Graceland
(Legacy, 1986)
# 106. Dinosaur Jr., You’re Living All Over Me
(SST, 1987)
# 105. Dr. Dre, The Chronic
(Death Row, 1992)
# 104. Kanye West, Late Registration
(Roc-A-Fella, 2005)
# 103. Depeche Mode, Violator
(Mute, 1990)
# 102. LL Cool J, Mama Said Knock You Out
(Def Jam, 1990)
101. Justin Timberlake, FutureSex/LoveSounds
(Jive, 2006)
# 100. Guided By Voices, Bee Thousand
(Scat, 1994)
# 99. TLC, CrazySexyCool
(LaFace, 1994)
# 98. Boards of Canada, Music Has the Right to Children
(Warp, 1998)
97. Clipse, Hell Hath No Fury
(Zomba, 2006)
# 96. Blur, 13
(Food/Virgin, 1999)
# 95. New Order, Low-Life
(Qwest, 1985)
# 94. The White Stripes, White Blood Cells
(Sympathy for the Record Industry, 2001)
# 93. Daft Punk, Homework
(Virgin, 1997)
# 92. Missy Elliott, Supa Dupa Fly
(EastWest/Goldmind, 1997)
91. Miranda Lambert, Crazy Ex-Girlfriend
(Columbia, 2007)
90. J Dilla, Donuts
(Stones Throw, 2006)
# 89. Madonna, Like a Prayer
(Sire, 1989)
# 88. TV on the Radio, Return to Cookie Mountain
(4AD, 2006)
87. Genius/GZA, Liquid Swords
(Altered Ego/Geffen, 1995)
# 86. Pixies, Surfer Rosa
(4AD, 1988)
# 85. Arcade Fire, Funeral
(Merge, 2004)
# 84. A Tribe Called Quest, Midnight Marauders
(Jive, 1993)
# 83. Japandroids, Celebration Rock
(Polyvinyl, 2012)
# 82. Tricky, Maxinquaye
(Island, 1995)
81. Weezer, Pinkerton
(Geffen, 1996)
# 80. Bikini Kill, The Singles
(Kill Rock Stars, 1998)
# 79. Oasis, (What’s the Story) Morning Glory?
(Epic, 1995)
# 78. Frank Ocean, nostalgia, ULTRA.
(Self-Released, 2011)
# 77. Slayer, Reign in Blood
(American, 1986)
# 76. The Smashing Pumpkins, Siamese Dream
(Virgin, 1993)
# 75. Yo La Tengo, I Can Hear the Heart Beating As One
(Matador, 1997)
74. N.W.A., Straight Outta Compton
(Priority, 1988)
# 73. The Breeders, Last Splash
(4AD/Elektra, 1993)
# 72. The Cure, Disintegration
(Elektra, 1989)
# 71. Aphex Twin, Richard D. James Album
(Sire, 1996)
# 70. Fugazi, Repeater
(Dischord, 1990)
# 69. Björk, Post
(Elektra, 1995)
# 68. The Flaming Lips, The Soft Bulletin
(Warner Bros., 1999)
67. Robyn, Body Talk
(Cherrytree/Konichiwa, 2010)
66. Ghostface Killah, Fishscale
(Def Jam, 2006)
# 65. Belle and Sebastian, If You’re Feeling Sinister
(Matador, 1996)
# 64. The Chemical Brothers, Dig Your Own Hole
(Astralwerks, 1997)
# 63. Drake, Take Care
(Cash Money/Universal, 2011)
62. Eric B. & Rakim, Paid in Full
(4th & Broadway, 1987)
# 61. Portishead, Dummy
(Go! Discs, 1994)
# 60. Vampire Weekend, Modern Vampires of the City
(XL, 2013)
# 59. Kanye West, The College Dropout
(Roc-A-Fella, 2004)
# 58. Sleater-Kinney, The Woods
(Sub Pop, 2005)
# 57. Guns N’ Roses, Appetite for Destruction
(Geffen, 1987)
# 56. Lil Wayne, Tha Carter III
(Motown/Cash Money, 2008)
# 55. The Jesus and Mary Chain, Psychocandy
(Blanco y Negro, 1985)
# 54. Janet Jackson, Janet Jackson’s Rhythm Nation 1814
(A&M, 1989)
# 53. PJ Harvey, Rid of Me
(Island, 1993)
# 52. De La Soul, 3 Feet High and Rising
(Tommy Boy, 1989)
# 51. Hüsker Dü, New Day Rising
(SST, 1985)
# 50. Eminem, The Marshall Mathers LP
(Interscope, 2000)
# 49. Wilco, Yankee Hotel Foxtrot
(Nonesuch, 2002)
# 48. Nine Inch Nails, The Downward Spiral
(Interscope/Nothing, 1994)
# 47. LCD Soundsystem, Sound of Silver
(Capitol/DFA, 2007)
# 46. Modest Mouse, The Moon and Antarctica
(Epic, 2000)
# 45. Kendrick Lamar, good kid, m.A.A.d. city
(Interscope/Aftermath, 2012)
# 44. Pavement, Crooked Rain, Crooked Rain
(Matador, 1994)
# 43. Neutral Milk Hotel, In the Aeroplane Over the Sea
(Merge, 1998)
# 42. M.I.A. Kala
(XL/Interscope, 2007)
# 41. Elliot Smith, Either/Or
(Kill Rock Stars, 1997)
# 40. OutKast, Stankonia
(LaFace, 2000)
# 39. Burial, Untrue
(Hyperdub, 2007)
# 38. Beyoncé, Beyoncé
(Columbia, 2013)
# 37. U2, Achtung Baby
(Island, 1991)
# 36. Public Enemy, It Takes a Nation of Millions to Hold Us Back
(Def Jam, 1988)
# 35. Pulp, Different Class
(Island, 1995)
# 34. Metallica, Master of Puppets
(Elektra, 1986)
# 33. Radiohead, Kid A
(Capitol, 2000)
# 32. A Tribe Called Quest, The Low End Theory
(Jive, 1991)
# 31. Weezer, Weezer (Blue Album)
(DGC, 1994)
# 30. Beck, Odelay
(DGC, 1996)
# 29. R.E.M., Automatic for the People
(Warner Bros., 1992)
# 28. Nirvana, In Utero
(DGC, 1993)
# 27. The Notorious B.I.G., Ready to Die
(Bad Boy, 1994)
26. The Dismemberment Plan, Emergency & I
(DeSoto, 1999)
# 25. Hole, Live Through This
(DGC, 1994)
# 24. The Replacements, Tim
(Sire, 1985)
# 23. Nas, Illmatic
(Columbia, 1994)
# 22. Green Day, Dookie
(Reprise, 1994)
# 21. OutKast, Aquemini
(LaFace, 1998)
# 20. Pixies, Doolittle
(Elektra, 1989)

# 19. The Strokes, Is This It
(RCA, 2001)

# 18. Björk, Homogenic
(Elektra, 1997)

# 17. Beastie Boys, Paul’s Boutique
(Capitol, 1989)

# 16. The Magnetic Fields, 69 Love Songs
(Merge, 1999)

# 15. Public Enemy, Fear of a Black Planet
(Def Jam, 1990)

# 14. My Bloody Valentine, Loveless
(Sire, 1991)

# 13. Jay Z, The Blueprint
(Roc-A-Fella, 2001)

# 12. Sonic Youth, Daydream Nation
(Enigma, 1988)

# 11. D’Angelo, Voodoo
(Virgin, 2000)

# 10. Pavement, Slanted & Enchanted
(Matador, 1992)

# 9. DJ Shadow, Endtroducing…..
(Mox Wax, 1996)

# 8. Kanye West, My Beautiful Dark Twisted Fantasy
(Roc-A-Fella, 2010)

# 7. Liz Phair, Exile in Guyville
(Matador, 1993)

# 6. Radiohead, OK Computer
(Capitol, 1997)

# 5. The Smiths, The Queen Is Dead
(Sire, 1986)

# 4. Daft Punk, Discovery
(Virgin, 2001)

# 3. Prince, Sign o’ the Times
(Paisley Park / Warner Bros., 1987)

# 2. Wu-Tang Clan, Enter the Wu-Tang (36 Chambers)
(Loud/RCA, 1993)

# 1. Nirvana, Nevermind
(DGC, 1991)

（雜想）

就某個角度來看，現代建築後來大抵就越來越朝雕塑及型塑的趨勢路子走去，但中國傳統建築卻是以「遊」及「道」這兩個概念為本質，然而西方現代建築卻不講這套，頂多動線排完功能達到就結束了。這是我個人感覺到現代建築越來越無聊的原因之一。


而進入網路時代，音樂確實已經退位或者說功能退化，換言之，願意花時間純聽音樂的新世代越來越少，大多是需要依附在影像的畫面才能順帶聽聽音樂在聲響什 麼，這是一主因，另一個則是，社會的工作型態丕變，許多工作或行業別幾乎是無法有時間聆聽音樂的，或甚至要求無聲安靜，像是醫、護、軍、警等長時間工作的 職業。音樂的社會性功能退回最原始的狀態，而人們對於音樂也再無更多的想像。音樂的能量與多面向無法傳遞，最後面臨的自然就是凋蔽衰退，也就是現在產業所 面臨的這個局面。

短句

一
預知有這樣一天
自我獨裁者將孤獨底離去
在生命的盡頭看盡死亡的縐摺

二
盛名如寫在水上，
在風中崩蕩，在謊言中自盡
最後在小行軍隊伍的口哨聲後悄悄離去


三
受夠了虛偽主義的喧囂
夜回故城
想舔乾身上的雨漬


四
向著懸崖奔去
孩子們都在狂奔
也不知往哪兒跑,，從什麼地方出來
在廢田裡的遊戲，在棄林中的游蕩
無所謂哪兒來，也無所謂哪兒去
虛空是唯一可以裹腹的瀝青


五
破敗地如曠野中的茅屋屋脊
在空無的大地上
承接急落的雪


六
皺起眉頭
瞥下眉間，你的目光如錦
就讓這火媳滅吧
在這一片荒原中

文化是什麼？

文化是什麼？文化與可見的歷史、生命、靈魂、自然及心智的關係
文化的證明是以何等的形式顯現出來？而這些形式又可接受且引為象徵到怎樣的地步程度？
-- 這些形式指的是：
民族、語言與紀元、戰爭與意理、城邦與神祇、藝術與建築、科學、定律、經濟形態與世界意念、人物與事件等。

每一文化，皆有她自己的文明，文明是一種人性發展所達到的最外在，最不自然的狀態。
文明，即是文化的結論，文明到來時，已經生成的事物替代了生成變化的過程，死亡跟隨著原來的生命，僵化替代了原來的發展。
-- 摘自 O. Spengler, "The Decline of the West"

Jamie xx - Gosh

其實看NASA影片蠻療癒的 （一下跳到電音應該不會太跳痛吧）

Eric Bibb - I Heard The Angels Singing

常與朋友感嘆介紹西洋音樂沒人理沒人購買實體音樂沒多少人在乎，知道又如何。藍調巨擘B.B.King過世沒多久，所以藍調就沒人了嗎？倒也不會， 只是中青輩的藍調樂手就如同許多實體唱片行，在台灣乏人問津（美國自己也好不到哪裡去啦），不過想想美國黑人社群也是沒好到哪去，年輕一代會運動的先優先 挖掘去大半，若要搞音樂，弄嘻哈的絕對是比唱藍調的是1/99的比例，搞不好還要動用老人族群輔助，看到一位老阿媽彈藍調被當成奇人異聞來競相觀賞。

聽點新一代的作品吧，至少在雨天，適合聽藍調。

我們賣力地畫著各種藍圖

我們賣力地畫著各種藍圖
卻總是忘記整理最初的索引表

Song From The Forest (2014)

看至目前為止讓我感受最多的一部，Louis Sarno，一位深入中非雨林深處，與亞美人（the Bayaka Pygmies）一同生活，娶妻生子，最後帶著兒子回到美國讓他看看這個世界的模樣，另一座都市叢林與大海。對於當初Louis Sarno進入雨林是一種全然的擁抱與找到歸屬的感覺，然而對於他的兒子，又是怎麼看這世界，從原本只有樹林、野獸的單純世界，到一個充滿水泥、鋼鐵及不 同膚色人群的忙碌世界？如果他再次回到雨林，他會怎麼重新看待這一切？
而當年Sarno所錄的叢林之歌，真的好美好純淨的聲響，單一的笛聲卻充滿了生命氣息。為自己而唱，為生命與周遭的存在而吟。這才是回歸音樂最原始的本質。

Supermensch: The Legend of Shep Gordon

終於知道當年Alice Cooper那些餿主意、鬼點子是誰幫他想的了，也一解多年的小困惑，以前覺得Cooper一看就不是那種聰明傢伙，但為何他卻始終能找出些怪點子來製造 話題，原來就是這位Shep Gordon大叔。強推給喜愛聽搖滾樂的朋友，這部可以看到一些搖滾樂惡搞但很真實的一面，搖滾樂從來就不只是作家或文青筆下的那種死樣子，搖滾樂從來就 是一個大染缸，我再強調一次，搖滾樂是一個大染缸。好的壞的都混在一起了。不知道城市遊牧影展還有沒有場次，但有的話，真的可以去看看。（從頭笑到尾）

今年的音樂書出版會很精彩

今年的音樂書出版會很精彩，而且即將出版的兩本大書也是早該出版的重要著作，然而隨著最近因一個案子的撰寫，順便重新回看過去二十年的音樂場景歷史及許多 人事物的故事，總覺得當年的許多事情仍然未被挖掘或仔細報導、耙梳，即使如「造音翻土」的出版，大概也只能說大的歷史架構及敘述總算建立起來，但這些資料 應該也只揭露了大約百分之七八十的歷史場景吧。很可悲的是，台灣的歷史向來大多只能談談主架構歷史敘述、詮釋竟已經難能可貴了，想要細談大多沒辦法，一方 面是訪談的資料建立沒人做，口述歷史也更需要花大量的時間人力去建立，或許很多人也都覺得不重要，但其實歷史的建構就是幫助人們去瞭解過去是如何發展到現 在的，這樣的脈絡若沒建立，很多事情再談也是虛的，就像今天社會上許多的論述、輿論都仍是空虛的空包彈。

為什麼要進錄音室？宅錄四大限制！

對我來說，宅錄只有少數幾種狀況，就是創作電子音樂，但想邀請合作樂手加一些傳統樂器的聲線時，可以用宅錄。要不就是玩lo-fi。如果想糟蹋自己的作品，聽起來像是半成品，那就儘管宅錄吧。

為什麼要進錄音室？突破宅錄四大限制！