"Did you hear about Beck?"
"Do you think it could be true?"
"Why would he do it? Doesn't he care about us?"
As the gossip increased, it became more and more humiliating to be a fan of Beck. And while in certain social circles it was still acceptable to applaud the musician's work, this appreciation always had to be followed up with a disavowal of his misdeeds, similar to the way your mom talked about her Uncle Mort. He was a good man, but it's a shame about the whole "pedophilia thing."
Beck eventually came forward and admitted that the rumors were true. Hipsters everywhere hung their heads, and music critics began compiling vitriolic barbs to be used against the singer in future album reviews. Off in the distance a baby cried. It was true: Beck had a surname!
"Beck Hansen"
Fans and critics alike responded harshly. It was as if millions of voices suddenly cried out in terror and were suddenly silenced. Not since Hitler, had a name aroused so much contempt and ill-will. Answers were demanded. Would Beck's music still be listened to? Could it be enjoyed? What about any future releases? Which name would they be released under? What do we tell the children?
If liveDaily contributor Tjames Madison was affected by Beck's infidelity, he certainly shows no sign of it. In his review of Beck's latest, Modern Guilt, not once does Madison mention the artist's revised moniker. Are we to believe that Madison was unaffected by the whole affair, or that he's simply in denial? As us reviewers are wont to do, I will attempt to remain positive and believe the former.
Madison makes no attempt to reinvent the wheel. He knows what reviewers do well, and sticks to that. Opinions are offered up as facts and comparisons to prior works are made. He describes Modern Guilt as being Beck's "most even outing since 2002's Sea Change." And, of course, no review would be replete without the obligatory Bob Dylan simile. The lyrics to "Profanity Prayers" are described as being "overtly Dylanesque."
Unfortunately, though, neither Radiohead nor Pavement are mentioned. A writer of Madison's stature should know better than that. These shortcomings, while significant, are not enough to take away from the strength of the review. For Tjames Madison's review of Beck's Modern Guilt, I award it a child tableau.
