Latest news with #GenerationX.
Washington Post
14-05-2025
- Business
- Washington Post
A novel of the great Gen X icon: The misanthropic retail employee
The retail employee is a defining stock character in the mythology of Generation X. Whether he sells books, comics or records, he is a witty and withering antihero, a cultural gatekeeper but rarely a villain, embodying as he does the demographic's ethos: overeducated and underpaid, equally scornful of mediocrity and success, proud but embittered. Hair grown long to obscure loss, teeth rotting from neglect, he is past his sexual prime, which may not have been that primo to begin with, and when he clocks out, it is to crawl back to a cave of solitary squalor, kept company only by carefully curated trophies of taste that he will someday have no choice but to pawn. You can call him a loser, but at least he never sold out.
New York Times
26-04-2025
- Entertainment
- New York Times
Jed the Fish, Quirky Pioneer of Los Angeles Radio, Dies at 69
Jed Gould, the influential Los Angeles disc jockey known as Jed the Fish, who used his off-kilter sensibility and deep musical knowledge to shine a light on artists like the Cure, Depeche Mode and the Offspring at the groundbreaking New Wave and alternative rock station KROQ-FM in the 1980s and '90s, died on April 14 at his home in Pasadena, Calif. He was 69. The cause was an aggressive form of small-cell lung cancer, Rudy Koerner, a close friend, said. Mr. Gould was never a cigarette smoker, he added, and before he was diagnosed last month, he had thought his recent violent coughing fits were related to the Los Angeles wildfires. For decades, Mr. Gould served as a trusted musical savant — and drive-time friend — to young Angelenos, particularly members of Generation X. He also influenced future broadcasting stars. In a social media post after Mr. Gould's death, Jimmy Kimmel, who worked on the morning show at KROQ early in his career, described him as 'a legend.' On his podcast, Mr. Kimmel's old sidekick on 'The Man Show,' Adam Carolla, a former host of the relationship show 'Loveline' on KROQ, called Mr. Gould 'an icon.' With his boyish energy, free-ranging musical tastes and maniacal cackle, Mr. Gould helped lead a radio revolution at the maverick KROQ, based in Pasadena, starting in the late 1970s. At a time when FM rock stations were dominated by hyper-produced corporate juggernauts like Styx and Foreigner, KROQ became a sensation for its 'Roq of the '80s' format, which shimmered with fresh sounds from New Wave bands like Talking Heads and Devo, synth-pop groups like the Human League and Spandau Ballet, and local heroes like X and the Go-Go's. 'Jeddum Fishum,' as he sometimes referred to himself, and his fellow KROQ jocks brought a sense of anarchy to the airwaves, cracking irreverent jokes and dropping in audio snippets — like deadpan Jack Webb lines from 'Dragnet' — at well-timed moments in the middle of songs, often with hilarious results. Mr. Gould and his colleagues were in the 'right place at the right time,' he wrote on LinkedIn. 'We were leading the way but had no idea.' Following a broadcasting philosophy that he called 'consistent inconsistency,' Mr. Gould manned the afternoon slot at the station. His droll humor and his knack for musical surprises served as a needed tonic for a captive audience creeping along sclerotic freeways for hours that felt more like days. 'It took me years of imitation before I learned the simplicity of being myself on the air,' he wrote. 'Turns out this was a wacky position to take, but people seem to like the honesty behind it.' That prime post-lunch slot gave Mr. Gould a powerful platform for promoting new acts and hotly anticipated releases. 'Because Jed was on from 2P to 6P, immediately following our music meeting, he would often do the honors of world-premiering new music,' Andy Schuon, a former KROQ program director, wrote in a tribute on LinkedIn. In a social media post, Noodles, the guitarist for the Southern California punk-pop band the Offspring, wrote that Jed the Fish was the first D.J. to play the band's 1994 breakout hit, 'Come Out and Play,' 'which changed our band's trajectory in ways we never thought possible.' With a personality that was 'insane in all the best ways,' as Noodles put it, Mr. Gould was all too willing to defy convention. During a recent video tribute by former KROQ colleagues, Mr. Schuon recalled listening to Jed the Fish for more than an hour while driving to the office and noticing that he did not once mention the station's call letters, a standard practice for D.J.s that was crucial for ratings. When Mr. Schuon pressed him on the apparent oversight, Mr. Gould responded: 'Everyone knows if I'm on the station, it must be KROQ. Who else would hire me?' Edwin Fish Gould III was born on July 15, 1955, in Los Angeles, to Edwin Fish Gould Jr., a salesman for a valve-and-fittings company, and Joan (Hall) Gould. He grew up in the beach communities of Orange County before his family moved to Casa Grande, Ariz. In high school, he hosted a local radio program for teenagers until he was fired for reading George Carlin's famous 'Seven Words You Can Never Say on Television' monologue on the air. He graduated from high school in 1973 and enrolled at the University of Southern California, where he received a bachelor's degree in broadcast journalism. After college, he held a series of jobs at Los Angeles-area radio stations before landing a position at KROQ in 1978. His application consisted of a crude punk-style pink flyer that featured a picture of himself in a white leotard scrunched up in a chair and an offer to work '30 hours per week or less 90 day max FUR FREE!' It was not long before he was helping to orchestrate the chaos in the studio. In a 2001 oral history of the station, he said that for an outsider to ask about the early history of KROQ would be like saying, ''Tell me about Vietnam' or 'Tell me about the French Revolution.' No one will ever know all of it.' As it turned out, there was plenty about Mr. Gould that his listeners did not know. At one point in the mid-1980s, he said in the oral history, he left KROQ after he was kicked out of the Betty Ford Center for stealing a car to buy drugs. He returned, but he was pulled off the air again when he was arrested on suspicion of possession of heroin and drug paraphernalia in March 1989. After more than two months in a detox center, he once again assumed his spot at the microphone. 'In the old days, I'd just shoot a bunch of dope, go on the air and do anything,' he said in an interview the next year with The Los Angeles Times, while discussing his newfound commitment to sobriety. 'I'd developed my crazy style as a result of getting high. But now it comes out of being me. I'm more clearheaded and more focused.' Mr. Gould worked at KROQ until 2012 and later moved to two other local stations, KCSN-FM and KLOS-FM. In 2019, he joined the 'Roq of the '80s' Sunday night show on KROQ's HD2 station. He is survived by a half brother, Tony Chatterton. Throughout his career, Mr. Gould strove to keep the spirit of the music alive in his work behind the microphone. 'When a DJ is playing music we expect you to dance to, I think it's important for the DJ to dance,' he wrote on his professional site in 2018. 'It's not that I'm a lithe and dainty dancer,' he added. 'No one who incorporates a golf swing into their dance moves should be considered dainty. I just believe anyone in charge of the music should move with it.'
The Independent
03-03-2025
- Business
- The Independent
Millennials love bitcoin and now the baby boomers are joining in too
OK boomer,' the snarky bitcoin devotee tweeted at me, having read my last critical piece concerning what's increasingly known as the 'digital gold ' in investment markets. For the record, I'm not a baby boomer – I'm Generation X. But it scarcely matters. What does matter is that the ranks of those comfortable with the virtual currency are growing. Millennials are leading the charge. DeVere, a financial adviser, found that more than two-thirds (67 per cent) of the more than 700 millennial clients it surveyed said that they preferred bitcoin to gold as a safe-haven asset. They are increasingly dragging the Gen Xers and boomers who dominate the world government of money with them. Bitcoin is 'here to stay', said Rick Reider, BlackRock's chief investment officer of fixed income, in an interview with CNBC last month. BlackRock is the world's biggest fund manager and Reider's views created quite the flutter, precisely because they have clout. BlackRock's chief executive, Larry Fink, wondered earlier this week whether the crypto-currency could ultimately have an impact on the dollar's status as the world's reserve currency. He was answering questions alongside Mark Carney, former governor of the Bank of England, at a Council on Foreign Relations digital symposium. Fink's endorsement of bitcoin, if that's what it was, was tepid indeed. 'You see these big giant moves every day. It's a thin market,' he said. 'Can it evolve into a global market? Possibly.' But that's still a very different take to the one he had in 2017, the last time Bitcoin scaled the heights it has reached today, when he called it an 'index of money laundering'. JP Morgan's boss, Jamie Dimon, was more even more blunt. He branded bitcoin owners as 'stupid' and said he wasn't going to talk about it any more. The tide has turned since then. Janet Yellen, former governor of the US Federal Reserve and the proposed treasury secretary under US president-elect, Joe Biden, has said she's not a fan. Rumours of a crackdown before she even takes office have been doing the rounds, and they are apt to batter the currency's (in)famously volatile price; in graphical form, it resembles one of the rollercoasters at Disney's shuttered LA theme park. Bitcoin makes regulators nervous, and not just as a result of the potential for its misuse identified by Fink. Volatility breeds instability, and there's plenty enough of that to go around at the moment. I'm nonetheless starting to wonder whether they might be on the wrong side of history, and whether I might be in the same boat. The chief problem with bitcoin is the fact that it's wearing the emperor's new clothes. What separates it from the gold that millennials are turning their backs on is that gold is an asset with physical form. It doesn't matter how complex and opaque your derivative linked to it is, you can ultimately trace it back to a lump of metal in a warehouse somewhere that you can see and feel, even potentially use. Shares in quoted companies are backed by earnings streams derived from products and services. Traditional currencies, such as the dollar, the euro, even Britain's Brexit-battered sterling, have a central bank standing behind them, and are the units of exchange for physical economies. Crypto-currencies don't have any of that, and despite the vast store of value built up in them, it's still devilishly difficult to use them for anything other than trading. But again, things are moving in their direction. PayPal, for example, recently announced plans to allow US users to buy, sell and hold bitcoin. They came with caveats and restrictions, which critics were quick to point out, but it was nonetheless a significant move. Back to that DeVere survey. What I, and bitcoin's other sceptics, may have missed is a generational change in thinking. Bitcoin's decentralised store of value is essentially backed by an idea, or a belief. Those things have always been powerful, and they are becoming even more so in the digital world inhabited by millennials and the even-more-plugged-in Generation Z. It's interesting to note that what may seem intangible to Gen X parents, and boomer grandparents, is as real to their children as any physical product. Gen Z kids are as likely to spend their allowances on digital add-ons like Fortnite skins or Fifa expansions in the way we bought Pokemon cards and stickers. They're deaf to the cries of 'There's nothing there', hearing only the 'Well, I suppose it's your money to waste.' Except they don't see it as a waste. As they get older and start accumulating assets and disposable income, bitcoin may well be among them. That's the lesson of DeVere's survey, which made note of a huge generational wealth transfer that's on the way. An estimated $60 trillion (£44 trillion) is due to shift as the boomers die out and the millennials inherit. I'm not personally about to start trading the thing – although I'm aware that the cookies I've picked up in the course of researching this piece mean I'm about to be bombarded with pestilential ads urging me to do just that. I've been writing about finance for a long time, and I've seen too many people getting badly hurt by too many crises and crashes. But I also recall a whip-smart millennial colleague, who'd seen a few of those herself and whom I greatly respected, confessing that she wished she had started trading when bitcoin was last peaking. The tide is moving and while I remain wary, I confess that it's taking me along with it.
Yahoo
22-02-2025
- Entertainment
- Yahoo
Edward Burns: ‘In This Day and Age, If You Can Get a Movie Made, That's a Success'
Thirty years ago, writer and director Edward Burns' 'The Brothers McMullen' was one of several films — alongside Cameron Crowe's 'Singles,' Ben Stiller's 'Reality Bites,' and Nicole Holofcener's 'Walking and Talking,' among many others — that spoke directly to the emotional issues and social anxieties of Generation X. After Burns, now in his fifties, became an empty nester and started to think about how that changed his identity and his marriage — and those of his friends in the same age group — he realized there was fertile ground for a new drama that would address this new stage of life for Generation X-ers the way that 'McMullen' had represented the 1990s. 'There were a lot of conversations in my group of friends asking, 'What does tomorrow look like now that you don't define yourself as a parent and you're not actively parenting anymore?,' Burns told IndieWire. 'How do you define the marriage?' As Burns and his friends talked about their experiences the filmmaker realized there was a wealth of material in these topics, as well as the regrets and resentments some parents had over their partners getting to pursue their careers while they stayed home with the kids — not to mention the question of whether or not there comes a time when an artist can become creatively tapped out, with nothing left to say. More from IndieWire Here's Who Will Win at the 2025 Film Independent Spirit Awards Hunter Schafer Says Trump Policy Changed Gender on Her Passport: 'I'm Never Going to Stop Being Trans' The result of Burns' probing was 'Millers in Marriage,' a funny and insightful ensemble piece that ranks among the director's best work. The movie follows three middle-aged couples (Campbell Scott & Julianna Margulies, Gretchen Mol & Patrick Wilson, and Burns & Minnie Driver) as they navigate a number of professional and personal issues ranging from writer's block to extramarital affairs and the pleasures and challenges of starting up a new romance at 50. The economy of Burns' writing enables him to jam his two-hour running time with a novel's worth of provocative ideas and powerful emotional effects, as he explores a broad and deep assortment of themes with both compassion and a sly sense of satire. For cinephiles of a certain age, the movie has additional resonance thanks to the subtext that runs underneath the various plot lines related to artists whose relationship to their art has changed. That subtext is the unspoken but clear premise that the whole movie is, in a way, a metaphor for the world of independent filmmaking — for the promise and excitement it had in its youth and the questions about how it has changed and what it all means. The parallels were obvious to Burns and his cast even while shooting. 'It's funny, [the actors] and I all had a kind of coming out moment in the '90s,' Burns said. 'The whole cast is obviously still working 30 years later, but that was another thing worth exploring — trying to grind out a career if you don't stay at the tippy-top. If you still have the fire and something to say, can you reach an audience? Does the audience care?' For Burns, the changing realities of the film business — a business that saw movies like 'McMullen' and its ilk get major theatrical releases 30 years ago — have meant lowering his overhead and managing expectations so that he can simply get his films made and released without worrying about attracting a mass audience. 'About 10 years ago, we had a film called 'Fitzgerald Family Christmas,'' Burns said. 'We premiered at the Toronto Film Festival and got great reviews, but the next day when we got on the plane back to New York, nothing had changed. It was basically a small movie that would reach a small audience, and that would be its life. From that point my producing partner Aaron Rubin and I made a commitment to reimagine how to define success moving forward.' Viewing the film festival circuit as his theatrical release and letting his films build their audiences on streaming and cable has worked for Burns, slowly but surely. 'These films find audiences eventually,' Burns said, adding that he makes his films for low enough budgets to make sure they will always at least break even. 'In this day and age, if you can get a movie made, that's a success. It you can get final cut, that's another success. If we have a good time making the movie and we get to travel around the world to film festivals and see the movie play in some of the best theaters in every country, that's a success.' While Burns may keep his budgets low and his schedules tight ('Millers in Marriage' was shot in a brisk 20 days) he knows how to maximize his resources by focusing on the things that don't necessarily cost money — not just solid writing and acting, but a precise visual language that allows him to realize the fullest expressive potential in each frame. Throughout 'Millers' Burns subtly reinforces and deepens the relationships through blocking, editing, and camera movements that are most likely imperceptible to the audience on a conscious level but add force and depth to the emotional content of each scene. 'We wanted to show the disconnect between Patrick Wilson and Gretchen Mol,' Burns said, 'so if you look at the film closely, they're never in the same frame together. With Julianna Margulies and Campbell Scott, we played with the idea that Campbell was always in the background of her shots, sometimes in soft focus or with his head cut off to put him in a secondary position when she's in the foreground. We also played with the color red with Gretchen; both her and Patrick are wearing black and white for the whole film, but she'll have these shocks of red to indicate the passion and volatility underneath.' What makes 'Millers in Marriage' particularly impressive is its ability to honor all of its characters' perspectives, even though their points of view are often at odds. The editing is key, as Burns and longtime editor Janet Gaynor skillfully choose when to reveal each piece of information so that it shifts the audience's perception in productive ways; this is especially important in terms of the placement of the film's many flashbacks, which Burns says inspired a fair amount of experimentation on his and Gaynor's part. 'There was one we wrestled with for a long time,' Burns said of a flashback revealing that his character's soon to be ex-wife wanted kids and he didn't. Up to the point when the audience sees that flashback the ex comes across fairly unsympathetically, which made the choice of when to reveal her desire to have children extremely important — and extremely challenging. 'We established that she's 42, so there's still time to have a kid, and if he doesn't want a kid then doesn't she have every right to say, 'I want out of this marriage?' In each dynamic we tried to have scenes where the other partner had a winning argument.' Now that 'Millers in Marriage' is finished and opening worldwide, Burns is on to the next project — 'The Family McMullen,' the sequel to his breakthrough debut. 'It's me and Connie Britton and Mike McGlone,' Burns said. 'It's the two brothers and the sister-in-law. I had to figure out a way to give Connie a primary role, and sadly for Jack Mulcahy the easiest way was to kill his character off. We start shooting April 1 in Brooklyn and New Jersey. It's exciting.' 'Millers in Marriage' opens in select theaters and is available digitally on Friday, February 21. 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