i have ~ 200 records in my collection (started in 2016 bc there was a record store at the mall i worked at, really ramped up in 2020 bc a record store ~20 min away is where i’d go for my lockdown sanity walks when things opened up but were still 6ft + masks at all time) and i love everything about it; they’re larger form factor so they’re physically imposing on your space and catch the eye easily bc of the artwork. they’re the oldest physical media but have made a comeback as niche collectibles, so you could ostensibly have an original pressing sun ra and the new sexyyred in the same collection. you can get them for pennies at an estate sale, or thousands on resale markets. they feel as expansive as music itself in what a collection can look like and how you sourced the library of what you listen to
only downside is you can’t burn vinyls the way you can cds or tapes :(
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some people enjoy spending after hours shopping for new clothes. me? the record shop has always been a place of pure solace. the funny thing is, i don’t even own a record player - i just enjoy flipping through the lyrics and credits and immersing myself into the art of each album.
Feb 26, 2025
vinyl is too expensive now so ive been collecting cds, it’s nice to have cds because my car is old and I have a cd player so they actually do get used. I don’t listen to my vinyls much at all but they looked cool on my wall at my apartments. Glad I’m getting practical use out of the cds 🥹
Feb 7, 2025
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Mar 23, 2024
a treatise on the attention economy - checked it out on libby and got through it over the course of a work day, a lot of really interesting social and cultural explorations about how time itself is the final frontier of hypercapitalism and what decommodification of our attention and time should look like
the book starts with a story about the oldest redwood tree in oakland and how the only reason it’s still standing is bc it’s unmillable, and how being uncommercializable is essential to our survival. it ends with an exploration of alt social media platforms (mostly p2p ones) and what keeping the good parts of the social internet and rejecting the bad ones should look like
all in all a super valuable read; my only nitpick with the book is that odell isn’t just charting the attention economy but also attempting to “solve” it and relate it back to broader concepts about labor and social organizing, but her background is in the arts which leads to some really wonderful references to drive the points home while also missing some critical racial + socioeconomic analyses that one would expect (or at least really appreciate) from the book she promises to deliver in the introduction. but this does also make the book easier to read which is good because everyone should definitely engage with what she has to say
will definitely be revisiting
Mar 25, 2024