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Thread: method acting/role play supercedes irony as cultural strategy

  1. #16
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  2. #17
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    oneof my art rules is never get caught winking at any particular section of the audience

  3. #18
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    NO ONE should be in on the joke.

  4. #19
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    i think you're onto something

    people don't care about authenticity in the sense of a persona being grounded in some reality of the self or how it correlates with social background or any of those metrics of credibility / cred

    it's about the convincingness of the persona in that performance situation - making people believe that you believe

    (Bruza's "Not Convinced" is about this, the failure of the junior aspiring MC who's being dressed down isn't because he lacks for street cred, but because he doesn't put across the gestures of street knowledge, etc with sufficient skill to conjure authority and realness)

    that is a generalised thing in pop music and has been for a while - identity as something you can chop and change - whereas once it was an unusual, noteworthy, self-conscious strategy (Bowie etc), worthy of commentary, and something that was deeply divisive

    today it is assumed that the persona presented to the public is malleable, swappable - that it'll change, be discarded, etc as part of a career strategy

    nobody expects integrity or consistency

    but equally i think you're right that they don't want a sense of inverted commas/quote marks or ironically distancing, they want a performer to be fully vested in the role of the moment -- someone like Robbie Willams rolling his eyes as he sings a passionate song as if mocking the whole enterprise, that wouldn't play. Or the Darkness with the singer dude going 'geeetar' just before the guitar solo

    questions:

    what, besides the Internet, is behind this shift? *

    is it a good thing?

    * i think in politics it has become normalised that politicians say one thing to one audience, another thing to another audience. pundits talk about optics, about telling a story, about candidates needing a good narrative -- basically an acceptance of the idea of the constructedness of public persona

  5. #20
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    50 cent doesn't understand 2014. He thought exposing the past of rick Ross would finish his career but instead Ross has been the biggest figure on the rap landscape for years

  6. #21
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    50 cent is hurt and confused

  7. #22
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    There's been a big generational shift. They've lightened right up this lot give or take the odd riot. Example. In my day the cool thing to do was to walk around scowling if you walked through stratford shopping centre everyone was practising scowling trying to get good at it. If you go there now young people are practicing roller skating and dancing. You would never have been allowed in my day. Um intrigued, horrified and envious all at the same time

  8. #23
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    George mobnbiot says it's cos there's less lead about. Who knows. People are prone to mistake symptoms for causes but the internet seems important.

  9. #24
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    But that's a whole nother issue, related but far broader

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    Change is always a good thing cos we follow the storyline. We need narrative development. That's why people follow pthis stuff isn't it, trying to work out which way the wind is blowing

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    I quoted myself it's about fashion. This is where the first clues appeared no? As to what was about to happen

  12. #27
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    ok, im off my phone. its hard to write on a telephone.

  13. #28
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    fashion goes mainstream in the ealy 00s? rise of fashion high st brands top shop h&m zara

  14. #29
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    clothes no longer about tribal allegience

  15. #30
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    but having become a leading film maker i have learned that when constructing a character the first thing you need to anchor it is a costume

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