Home is like: when you have to go there, they have to take you in.

Pop Cult Op-Ed


3
Mar 10

Ghostly Int’l – Faves Of The Decade

Ghostly’s 110

Our Favorite Albums of the Decade
C L I C K T O V I E W L I S T


25
Feb 10

St. James Infirmary Blues – Cab Calloway and Betty Boop

This is def a high times inspired piece.

From The Cotton Club Days:


30
Nov 09

In Honor Of The 10-year Anniversary of WTO Seattle ‘Bash Back’

“Let them eat cake!” Did she really say that? Who knows – Marie must have felt just awful when they were throwing things through the window and making all that rucous.

Obama: “Eight years of policies … have brought us to the most serious financial crisis since the Great Depression.”

I came across this article a when I began blogging almost a year ago: TENDENCIES – The Vulgar Game. In the face of a deep recession, fashion houses have started to proclaim a false modesty. By Sameer Reddy | Newsweek Web Exclusive Jan 10, 2009 full article

Reddy writes: As unpleasant as it might be to accept, greed, avarice and unrestrained lust are built-in elements of the human psyche. When people have enormous amounts of disposable wealth, these darker qualities tend to surface, manifesting themselves in diamond-and-ruby encrusted cellphones (Vertu, over $300,000), and 1200-horsepower, color-shifting sportscars (Dimora Motorcar- Natalia SLS, $2,000,000).

Alfred Dimora

Alfred Dimora

Natalia SLS

Natalia SLS

Well, for one thing, Reddy does write for Newsweek which qualifies him as sycophant of the aristocrats. But these jesters are allowed to slam the ruling classes because the media networks routinely deploy double speak to create a facade called ‘freedom of the press’.

The business of incorporating doublespeak began in earnest around the time of the famous WTO Seattle Summit ( more later), but here, Reddy goes on to nail the emo-double-speak for this conservatist rag:

…the richest segments of society, who played a major role in ruining things for everyone else, are simply paying lip service to a public notion of what is expected of them.

This wanking about the ‘Let Them Eat Cake’ bling-boasting upper crust is going to increase exponentially during this wave of recession, but lets recap a tad so I can make this a bit more cohesive:

The multinationals began dissolving the middle class for real back in 1988 when (in Canada) they paid to have Brian Mulroney elected and pushed the North American Free Trade Agreement into a hole where it wouldn’t really fit. And in those days, they didn’t even use lube. When Mulroney’s Conservative party began slipping dangerously in the polls pre-election, the business boys (CCCE) blithely took out $6 million in advertising including full page ads in every major Canadian newspaper to soothe the voter into liking free trade. The newspaper copy read like a Sesame Street book – Free Trade is soo good for Canada. Just relax, it won’t hurt, we promise.

(Prime Minister Brian) …Mulroney liked hearing the influential voices around him. Many of those voices belonged to members of the Business Council on National Issues (BCNI – now called CCCE), whose members are the chief executive officers of the 150 largest corporations in Canada. As Mulroney was to learn, the BCNI had been methodically mapping out a free trade strategy for him–or whoever else happened to be prime minister–for quite some time. Mulroney was being weaned as the new lapdog for Ronald Reagan under the guise of Security and Prosperity Partnership, which was nothing more than the next stage in annexing Canada to the United States Republic. Partially quoted from this article in The Multinational Monitor.

After the FTA was passed in ‘94 the sluice gates opened and companies began dissolving, merging and expatriating, closing manufacturing operations etc. etc. etc. For the first year it was a bit of a shock to people and then in the following years the working classes were subjected to the effects of closures and layoffs and successive waves of corporate restructuring— bankruptcies, mergers, takeovers, and downsizing. It was like every day in the paper huge layoffs and closures all over the country. Then publicly owned enterprises in strategic sectors such as energy and transportation were being transferred en masse to the private sector.

Then years later, the CCCE took off the gloves.

They came right out with tails blazing and held their first public meeting: The World Trade Organization summit in Seattle, 1999.

Seattle WTO

And then the summits became routine, and the dissolving middle class began protesting for real.

The corporate world rulers built a security wall around them at the Third Summit of the Americas: Quebec City, Canada April 20, 2001. This was more of a symbolic statement, a line in the sand. The intention was to make a division, a caste.

And then at APEC ‘97, the next public display of this pseudo aristocracy of CEO’s. With the gloves off – the RCMP following direct orders from the Prime Minister’s office, ignored our Charter of Rights and Freedoms and confiscated the protesters signs – using pepper spray on a non-violent crowd.

Wall

Wall

Hey, if you’re dissolving a middle class, that means eventually the upper middle class will be switching to knockoffs too. So where does that leave us now?

Coco Chanel: “I love luxury. And luxury lies not in richness and ornateness but in the absence of vulgarity. Vulgarity is the ugliest word in our language. I stay in the game to fight it.” Perhaps it’s time for them to reconsider why they’re in the game


6
Nov 09

There's a time and place for everything, and it's called 'college'.

I was just reading an article on Brooklyn Vegan’s website about The Dum Dum girls, and the commenters were chirping in about the Brooklyn music scene and the colleges around the area. (some seriously jaded blog dwellers out there!) Anyway, that led me to check out the college scene and came across an article on Village Voice that broke the whole thing down.

The Wesleyan Mafia: MGMT, Boy Crisis, Amazing Baby
How a Connecticut liberal arts school became the epicenter of surrealist Brooklyn pop

Although the larger ‘victor’ of the recent Wesleyan scene is MGMT, I didn’t find their music that interesting. (Especially the song on their MySpace that has 60 million plus plays – Is that even a real count??)

Then I came across Boy Crisis and this little video treat:

MySpace | boycrisis.net

Boy Crisis – The Fountain Of Youth
this is sort of like Felini, man

Boy Crisis formed initially as a project between Victor Vazquez, Tal Rozen and Alex Kestner at Wesleyan University in 2005, but they did not start playing shows until Lee Pender joined in 2007. Owen Roberts joined later that year, and they signed with B-Unique Records in November, 2008. Their first album, Tulipomania, is due out October 5, 2009, in the UK.
In October of 2008, Amy Phillips of Pitchfork Media declared Boy Crisis “the absolute worst band in the world right now. Seriously.” Victor Vazquez is also an MC and one half of the rap group Das Racist.
Tal Rozen is a really cool guy.

So there you have it. It seems it is true: There’s a time and place for everything, and it’s called ‘college’. Oh, and The Guardian take on all this.


26
Oct 09

Industrial Military Con-Plex

The posts in this category: Pop Cult Op-Ed are specifically for my opinions on the industrial military complex co-opted music business, and the acts that are involved.  I know that sounds really political and jargon-ish, but the point is to look at the commercial music business and see how it props control of the masses by the industrial rich nations.

I will usually see a huge act and some current event press release info about them – feel a the hand of big brother poking into music consciousness and need to make a note of it.  Sometimes I get snarky and negative, but it’s mostly just to note that these things are actually happening and that big press is trying to pretend that they are related to music.  Go figure.

Here’s a couple of quick items.

Film Michael Jackson1. Michael Jackson wanted to work on making  a comeback – getting back, lets say onto the good side of the industrial press. I mean, Michael has fans, they didn’t go anywhere.  Anyway, he didn’t live long enough to make that thrust but now Sony has picked up the ball and run with it – see how it is all related to banking information?  The industrial press continually pound the logic into the public that the status of the arts are related to how well they sell – particularly in the music and film industries.

LOS ANGELES (Reuters) – Heading toward its October 28 release,Michael Jackson movieThis Is It” looks like a box office winner forSony’s Columbia Pictures movie studio with one estimate saying it could make more than $600 million worldwide in a limited two-week run.

Jackson’s many fans are hungry for one last chance to see their idol sing and dance on screen, and the film’s makers promise an image of him that is more like the pop star who ruled the charts in the 1980s, and less like the frail paparazzi target he seemed in recent years.

Industry watchers say the unique nature of “This Is It” — part documentary and part concert film starring a legend who is no longer living — make it difficult to judge how successful it will be for Sony Corp unit Columbia Pictures because there are few, if any, comparisons to it.

Based on the $60 million Columbia paid to release the film, plus marketing costs, and taking into account distribution fees it will earn, industry insiders predict the film needs to make just over $100 million at worldwide box offices to profit.  ==>>> more

This is from Pop & Hiss, The LA Times Music Blog:
Live review: U2’s 360 Tour at the Rose Bowl

“Enough of the folk mass!” declared Bono during U2’s historic Rose Bowl performance Sunday, leading his band and the nearly 100,000 fans in the stadium out of a singalong and into a dance party.

To me, this is the forefront of the evolution in 1984’s Big Brother. The stage is designed to give the illusion that this is an intimate experience between the artist and the audience. Of course, in good faith, everyone must look at these things this way, but on the other side there is the actual effect it has on the way that we relate to music performance, media, and the acceptance of industrialized art delivery.

Ringed by a ramp that the band members usually reached via moving bridges, enclosing a good chunk of the crowd within a welcome pen, the Space Station truly conjoined U2 and its audience. The Rose Bowl’s relatively low walls enhanced the illusion that mere footsteps (and sometimes less than that) stood between the men unstack and their elated devotees. When Bono crouched at the ramp’s edge or the Edge strode across it, churning out a riff, they seemed as touchable as superstars could be.

bono pawned - will he make it to the other side and become king?

bono pawned - will he make it to the other side and become king?

Here’s a U2 fan, making the usual compromise in an articulate way.

“But as the band mixes in its activism and spirituality, the rock concert as rally and revival could be redemptive or creepy, depending on your perspective. Since I’m not nearly as cynical about the sheer pretensions of the tour as others outside the U2 fan community, I remain entirely open to the possibilities for reaching magnificent plateaus, beyond any lines on any horizon, in my moment of surrender to the sheer spectacle of it all.”

That’s all I have to say about this – I mean, sure – I like some things about U2’s music, but I’d rather get into music that isn’t part of the war machine. It’s absurd actually – the double speak of the Tutu message included in this fiasco, and the con of the whole U2 political influence.

Here’s another sample of big music and big messages.


24
Oct 09

Who Shot Rock & Roll?

Oh well, here I go just starting off this new music blog and getting snarky already. I decided to make a special category for this type of post:  pop cult op-ed because I do have a lot of thoughts about what went on and goes on in the pop culture world, which is actually often cult-ish, hence the category.

Who Shot Rock & Roll – The Brooklyn Museum Photo Exhibit
The rock & roll generation get’s to dust off the glam relics and pomp it up one more time. Personally, I’d be happier if this were an exhibition that addressed pop culture disillusionment, ha – but who am I kidding, it’s all disillusionment right?

Brooklyn, known center of the universe, is host to one of the oldest museums in Amerika, and The Brooklyn Museum is hosting a photographic exhibition by ‘the handmaidens to the rock-and-roll revolution’.

The print of Tina has just the right edge of surrealness & tinsel coating – and so it supports in a confidential way, the ‘gotta be tough to make it in this business’ edict. Actually, ‘this business’ of rock & roll is in dire straits, as most people are aware. I remember when I was growing up, there was that underground understanding that the bands who ’sold out’ and signed with a label were no longer worthy – well, anyone who went through the trenches of pop culture knows that routine.  The idea was to keep music free, by and for the people – it was nothing about business or money.  It was the ivy league kids who wanted to work in the cocaine cool industry instead of daddy’s widget factory that caused the music business to vault into an ultra competitive money making machine.  Now we can see that is crumbling, and musicians are making it for themselves.

Well anyway,  is it Rock & Roll that got shot or is it pop culture’s baby, the underground? Maybe it wasn’t a bullet, maybe it was a velvet underground hammer.  There is no underground now anyway – everything is so info-highway, and hi-tech, that you can start learning how to put together tunes and within a month you can have an entire presence on the internet, and a CD under your arm.  Can you imagine fifty years ago when you had to scratch and crawl just to get a song recorded?  Everyone has computer home studios now…

In today’s world, the cycles of life and death in pop culture have sped up and repeated so many times, that there is little perspective left of any of the origins. Let’s face it, in pop culture, artifacts and icons are there for reusing – and of course for selling products. But to the new generations, pop trash is just fodder for remixing.

Remember, creativity and originality is best served at the end of a whitewashed trail.

tina

Henry Diltz (American, b. 1938). Tina Turner, Universal Amphitheater, Los Angeles (detail), October 1985. Chromogenic print. © Henry Diltz

October 30, 2009–January 31, 2010
Morris A. and Meyer Schapiro Wing, 5th Floor

Who Shot Rock & Roll is the first major museum exhibition on rock and roll to put photographers in the foreground, acknowledging their creative and collaborative role in the history of rock music. From its earliest days, rock and roll was captured in photographs that personalized, and frequently eroticized, the musicians, creating a visual identity for the genre. The photographers were handmaidens to the rock-and-roll revolution, and their images communicate the social and cultural transformations that rock has fostered since the1950s.   full article