Beyond Soul.

Do comparative readings of Wordsworth and ja rule.

He’ll say Ian mcewan is a 21st century lady of rage

A rap Wordsworth would be someone who threw out the peformative cliches of prior rappers to bring rap closer to 'natural' speech.

sadmanbarty said:

Corpse will become a famous literary critic in his early 50’s, gaining notoriety for applying the paradigms of populist music journalism onto highbrow literature.

The inverse Reynolds

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Actually if you did a YouTube Chanel or a blog of that uou’d Do well out if it.

Taps into lit student’s sense of humour, their cultural sensibilities. Go on corpse! You’re easily capable of it, then you could spend your life immersed in romantic poets, lex lugar and wholesome looking 20 year old’s.

Let no fap April be the beginning of no fap ever again. Dismantle the wank pit, throw away the vr headset and your decades old, semen-drenched poster of girls aloud.

Your time has cum

I can acknowledge that Migos and future are emotional an soulful, so I'm not saying they are out of date, if anything i think they are more relevant than a lot of the stuff i am into.

But, the soul here, the overt emotion is the audiel manifestation of neoliberalism. all the cartoon and sex/drugs/blah blah aesthetics remind me of conservatives lamenting how teenagers and young adults aren't maturing/are left wing chancers. which, naturally, makes me want to cave in their skulls. but when my mates indulge in this fantasy world for too long they also seem to be saying well yeah, we'll let elders dominate us. this is why crunk was so threatening to white people. it was neoliberal darkside. We need to militate and go into the impersonal mechanisms to change things so that a new kind of soul can be born from the wreckage.

Bring back the guillotine. let us make no secret of being blood thirsty revolutionaries. kill my mates. the revolution knows no mercy. let us have no more fear of posh barnes 'wokeism.'

We must *rediscover* the soul by bonding ourselves to the machine. we must allow it (us) to completely re-program our psychosocial-neural kinesthetic responses. we must be the crazed pure proletarians that the bourgeoisie fear, no longer the quiescent dignified worker trapped in victorian protestant clap trap fantasies of the good society and redistributive justice. we must cease to exist as humans to reappropriate what is human and feminin.

Is the soul the self? Futurism isn’t the self.

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Yeah I guess it is, when people talk about free will that's the same thing as the soul. If we don't have free will and are basically just robots then we lack a soul. There is something we mean and seek to capture by that phrase that isn't soul in a religious sense - it means self or free will or whatever you think it is that allows real living existence. How that maps on to music (or art in general) I'm not entirely sure but I think that people instinctively feel that it does which is why this question constantly arises.

"hey guys, jack here from Lit Crit [cutaway:] it's lit [end cutaway]. before we get this video started just a friendly reminder to hit like button and make sure you subscribe for more videos we know you'll love."

his warm face, personable face. big bear muscles. he can film it in the same place he took my avatar picture.

what we must do, however, is to ruthlessly spurn the idea that the machine can exist within its existing psychosocial context, a la accelerationism. we must control the concentration of capital by overcoming the master slave dialectic. to first do this we must subsume the master whilst still consciously being the slave. we must deprive the master of its essentials, pop vs underground, marketing, etc. death to pop music, and death to underground music also! We must inflate the proletarian cybernetic system whilst demanding even more wages whilst drastically cutting the work day down to 4 hours, at the very least. We must impose this at the point of the annihilation of the species. we must invert the nightmares of the possessors, we must give them a taste of their own medicine.

In short, we must equate machines with funkiness.

We must only think as sex in terms of stamina and the mortification of the flesh. we must avoid falling into the death traps of either unconditional love or basking in the joy of the social production of the species for intangible motives we have no control over. we must seek pure uninhibited pleasure. we must love noone. to love someone means one cannot love everyone.

through inverting the machine dialectic and unifying and collectivising the cybernetic consciousness we also reconnect with the global.

middle eastern type beat.wav

when understanding the ancestral or the pagan we must also treat with utter derision an angsty intellectual need to seek a sense of fascist authenticity. we must look at its reflection on the assembly line. all that is solid burns away into fire, all old cultures are ruthlessly snatched from the jaw of the civilised exploiters by the barbarian hordes. We have no time for aristocratic generocity or spirituality, no mater how they were against a half baked opposition to private property.

the world party also has little interest in clockwork rhythms for the future that sound like waterfalls. at best they can be a highly instructive historical document of the past. what we must do is calibrate the body to experience electricity as a magnetic field that the organic circuits are in constant conflict with.

what we mus do however is also avoid the temptation to succumb to the shlocky ultra violence. in our listening to the sounds of the assembly line we must also whole heartedly embrace the jittery feminin, that femininity that has been inextricably shaped by masculinity. a strong rubbery funk bassline is one to look out for, or a good drum track.



What we must avoid is listening to lyrics but listening to rapture and intoxication. what we must recover is the dangerous utopianism of soul, as bliss put it in one of his early reviews of Zapp.

in our soulfulness we must settle for the classy and not the selfie. the selfie and all of its middle class crudity must be resisted. the proletarian aristocratism is far more revolutionary. one has more respect for a working man or woman who dresses up for a saturday night than a rich wanker in scruffy clothes.

what we must also recapture through the machine is the ghostly and motherly femininity of the post war ravages. pure texture but not in the ambient sense. lonely nights and introspective thinking. ambient is too mundane, it is too predicated on an idea of late 20th century consumer soul, bringing soul to the workplace and the shopping centre. we must completely ravage that notion.

We want the oceanic but only if the ocean is conceived as the lost ocean never to return.

conversely we can speak of a dysphoric emotion that mimics both the assembly line but the hyperconnectedness of every day reality. I think she is one of the most relevant artists/producers of the 2010s tbh.

Its the operative word for most peoples value system isn't it, at least of a particular demographic, maybe this is especially the case in england. eg on bbc london man of the people robert elms this morning the topic was uncoverable songs, perfect artefacts which couldn't be touched, owing to the "distinct" "soul" they "captured". heard it through the grapevine got the most votes as the high watermark of perfection on record and family affair was suggested as an imperfect mistake laden counterpart. both were unanimously agreed on as exemplary soul monuments. everyone who phoned in described being magnetically drawn to their chosen song, dropping everything when it comes on, soul in effect causing possession, inducing hypnosis, which gains power through canonisation.

that kind of possession could be the most desirable utopian collective feeling produced by music but also potentially magic fm being played in shopping centres. true the 'audiel manifestation of neoliberalism' is to be scorned but soul power can be reappropriated from its "authentic" source and amplified, redirected, everyone can understand the difference between the overwhelming transcendence of a sample in a tom and jerry tune and white boy roy playing the same sampled records at the friday night soul 45 session at a pub in nunhead for example.

"Soul" presents many of the same problems as the concept of Realism / Naturalism in fiction or acting (for film or stage)

You have a breakthrough into what seems - to the audience who embraces it avidly - an unprecedented rawness of emotion, a directness of feeling, no barriers, no prettification - the Real of desire in all its violence and shattering intensity.

And actually before soul and R&B takes on that role, the very first example of this in UK postwar pop music is skiffle - Lonnie Donegan singing the songs of Leadbelly. His wildfire success is through introducing into bland Fifties pop, what feels raw and real. 1000s of groups spring up making skiffle overnight, including the future Beatles.

This parallels what's going on in the theatre and fiction - Look Back in Anger (the ironing board in the living room, the husband ranting away), angry young men, Northern realist novels like Billy Liar, the kitchen sink social-realism movies.

But when you look back, it is blindingly obvious that Lonnie Donegan - for all the commitment he throws into his performance - is staging a performance, a pretence to something he's not (how could it not be, his experience is a million miles from Leadbelly), something just as stylized as Sinatra or Alma Cogan

likewise all those then innovative and shockingly naturalistic styles of acting (cf. the Method in America), as time go by reveal themselves to be just as mannered and performed as the earlier Lawrence Olivier "speaking your lines very loudly and clearly so the back of the hall can hear them" style of English stage acting.

or James Dean - i remember going to see Rebel without a Cause in the 80s, in a cinema, having since once before on TV and loved it - but almost as soon as it started, some in the audience started giggling, including me and my friends - cos his mumbling and punching the policeman's desk etc seemed almost camp - but others, older - who'd grown up with the movie when it came out, been liberated by it - turned around to hiss at us, for the sacrilege.

And the same goes with soul
- it hits, initially, as the hardest hit of realness yet - the raw grain of the timbre, the cries of passion, no politeness, no restraint, pure feeling from the depths

but Aretha, for one, rehearsed every last shriek and gasp

black soul and R&B etc in its own way is just as showbiz and performed as any Las Vegas routine

Janis Joplin, who believed in the mythology of soul with every fibre of her being and desperately wanted to be black, likewise planned out her vocal performances in the studio very carefully - they are not spontaneous eruptions of emotion taking her over, she's very much not "out of control"

so Soul - quickly became, or perhaps always alreadywas - Technique, and as such, capable of being learned and copied by people who didn't have the authenticating life experience (being black in America, basically).... a formalized language of vocal gesture and matching physical gestures that could be reproduced with absolute hollowness

what seems like Interior Truth is revealed to be Exterior Technique

So basically Soul / Realism in singing and acting needs to be reinvented, as each new mode of expression become a set of cliches - becomes in fact soul-less / un-Real