the exceptions

In Oc­to­ber 1994 me and my friend Chris went to the open­ing night of Pulp Fic­tion. This was be­fore it was

Pulp Fic­tion, cul­tur­al touch­stone.

It was just a cool-look­ing flick that was com­ing out from a dude whose pre­vi­ous flick we liked.

As such, it was hard (im­pos­si­ble) to get any­one to go with us.

Which was just as well since it was a packed house.

So the thing ends and we are just *floored*.

We drove all over town try­ing to find friends out that night that we could freak out to about what we just saw.

At one point we parked in the Old Mar­ket got out and just jumped around go­ing like

“Can you fuck­ing be­lieve that shit!?”

Those mo­ments don’t come around a lot. 

You get jad­ed with mu­sic, you get jad­ed with gen­res, you get jad­ed with be­ing jad­ed. But every now and then a cul­tur­al light­ning bolt just hits and it feels like it re­sets everything. 

This is one of those times. And it doesn’t come from some­one mak­ing some­thing “new” through cal­cu­la­tion of trends. It comes from heart.

I have lived through a lot of clas­sic al­bum re­leas­es. Some are clas­sics im­me­di­ate­ly and some grow into clas­sic sta­tus over time. Some you know on the first lis­ten are seis­mic (Nev­er­mind, The Chron­ic) and game-chang­ing in a way that they feel like they have al­ways existed. 

I’ve of­ten won­dered what it was like to hear a record like What’s Go­ing On on Day One. With no pre­con­cep­tions and no hype or expectation. 

As much as any record I’ve heard in my four decades dick­ing around here on earth, in 2015, To Pimp a But­ter­fly felt like *that* Be­fore the copy­cats de­lud­ed it.

We don’t get these very often.

 

—ja­son malmberg

Flom­mist Ja­son Malm­berg is a sim­ple man who be­lieves in brown liquor and small dogs. He also makes art some­times. Copy­right © 2020 Ja­son Malmberg.

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