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Don’t ask us why, but Nerve.com, the stylish Webzine for connoisseurs of “intelligent smut,” sought us out for an interview. We drew the line at posing for one of their portfolios, though–that wearing-nothing-but-a-Telecaster thing has been done to death by Liz Phair. Anyway, you can read writer Margaret Wappler’s generous assessment of the book and her Q&A with the authors here. One P.S.: It might have been a case of mis-speaking, but in the bit near the end of the interview where one of us says that David Crosby is often blamed for the breakup of Crosby, Stills & Nash, it should say (as any Rock Snob will know) that Crosby is often blamed for the breakup of the Buffalo Springfield.* May we add, while we’re on the topic of smut, that we’re utterly befuddled by Amazon’s suggestion, in their listing of our book, that people purchase The Rock Snob*s Dictionary in tandem with Legs McNeil’s The Other Hollywood: The Uncensored Oral History of the Porn Film Industry?
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Kraftwerk. Acutely German, acutely secretive inventors of “robot rock” (their preferred term), a highly mechanized dance-pop heavy on synthesizers, vocoders, and lyrics about robots, computers, trains, and bicycles. Founded in Düsseldorf in the late ’60s by the KARLHEINZ STOCKHAUSEN-influenced art students Ralf Hütter and Florian Schneider, Kraftwerk effectively invented electronic pop music with their five albums released between 1974 and 1981, Autobahn, Radioactivity, Trans-Europe Express, The Man Machine, and Computerworld, all the while toying with Teutonic stereotypes by appearing in photographs as waxen, short-haired, emotionless mannequins. Hütter and Schneider have since become semi-recluses, infrequently releasing albums and playing live, though it’s said that they beaver away at their Düsseldorf studio, KlingKlang, on a daily basis.