what if there is no next BIG thing?

DJ PIMP

Well-known member
I am well primed for the return of hip house.

Can't help but think that all the overt historicism from the past decade or more is a kind of re-evaluation of the myth of progress or the recognition of the perpetual flux/stasis of culture. Looking through some fashion mags the other day and Dolce & Gabbana in particular have these beautiful ads with colliding/vintage time periods. I know thats all pomo and not new, but here we are in 2006 and its still happening.

Celebrity culture *is* fascinating. Tabloids work on a number of levels, but in essence celebs are mythical figures. The sheer focus of the attention of millions elevates them to mythical status, but people aren't interested in the archetypal characters they portray in the movies (we're too moderne to believe in fairy tales); its their actual lives which become cautionary tales. You can have it all and be on top of the world, but the strings get pulled from Hollywood/Mt Olympus and you lose it or you get ditched by your lover; the divine comedy etc. Celebs lives are fables that prove the lie that money/fame buys happiness. People don't recognise them as archetypes because we live in such an inverted culture and the story occurs in the present, theres no distance of time by which one can gain perspective. Though thats the nature of instant interconnectedness or media in general... trapped in the continual mind-flow of symbolic stimuli.

Brad and Ang are interesting because they are the inverse of the dominant gender/relationship model of Western society - I think thats why people are captivated by them in way that Jen and Vince could never do. A figure like Michael Jackson is even more compelling... hes so sensitive that he became everything thats sick in society. So alienated he became an alien. No wonder we can't help but look - society simply cannot get enough of this stuff because there is so little recognition of the role of the unconscious/myth. She Blinded Me With Science.

On another note, do you people watch Lost? Its like Shakespeare meets The Bible on Fantasy Island. Possibly the best show since Twin Peaks.
 

swears

preppy-kei
Can't help but think that all the overt historicism from the past decade or more is a kind of re-evaluation of the myth of progress or the recognition of the perpetual flux/stasis of culture. Looking through some fashion mags the other day and Dolce & Gabbana in particular have these beautiful ads with colliding/vintage time periods. I know thats all pomo and not new, but here we are in 2006 and its still happening.

Yeah, at the time I thought the 90s was the post-modern decade, and the 00s would usher in a kind of neo-modernism (at least in music fashion, design, etc,) Stuff like 2step and Warp records late 90s tracks seemed to be setting a precedent for progress rather than regurgitation.
 
I am well primed for the return of hip house.
Bring it on! Hip house was tres funky and fun. Every one is so gawdamn serial these days. Even the fun and funky seem somehow forced and fake. For all the progression of hiphop by the youngers in their retro discovery of the late80's/early 90's, it seems they missed hiphouse. Boy, Are they in for a treat :D
 

gek-opel

entered apprentice
On cultural evolution: I think there are certain things which speed up formalistic evolutions... speed them up beyond a "natural" rate, and these are: Technology, Cultural interactivity, along with possibly traumatic global events. If the mid 20thC was filled with an explosion of technological leaps in terms of distribution and production of music, and a growing awareness of previously stored away musics outside the western tradition/inside the American Slave experience etc etc... eventually technological innovation will slow, as will the amount of new musical information possible to absorb from other cultures, when these do slow down, the rate returns to the previous level, which is incremental, slow, but still formalistic developments occur.


Side note on Lost: I think its perfectly entertaining at times, but basically its a not particularly revelatory story D r a g g e d out excessively, which relies on pure internal illogic to maintain a meagre amount of actual content over 22 episode seasons... like the way the characters never sit down and say "OK- lets work out everything we know"... or that a character will never tell someone something, no matter how relevant to the situation, unless they directly ask... Its one of the most irritating programmes I have ever seen. And there are too many characters who are simply uninteresting and mono-dimensional. Its got absolutely nothing on The Wire, but then again, what has?
 

DJ PIMP

Well-known member
Yeah, at the time I thought the 90s was the post-modern decade, and the 00s would usher in a kind of neo-modernism (at least in music fashion, design, etc,) Stuff like 2step and Warp records late 90s tracks seemed to be setting a precedent for progress rather than regurgitation.
The new dichotomies are emerging but they aren't yet cohesive. My feeling is it looks something like...

A singular global society based on pluralism - individuation rather than individualism.

Environment as god - science as custodian.

Recognition of myth - or history as the eternal present.
 

DJ PIMP

Well-known member
like the way the characters never sit down and say "OK- lets work out everything we know"... or that a character will never tell someone something, no matter how relevant to the situation, unless they directly ask...

Thats kinda because the characters are archetypes and unconsciously drawn to aspects of one other that they are unable to recognise in themselves. There is so much happening in that show... practically every scene and line has something going on.
 

gek-opel

entered apprentice
Thats a grotesque over-interpretative stance to take on a deeply mediocre TV show! The script is pretty clumsy anyway... the whole thing seems designed to appear far more profound than it actually is.
 

DJ PIMP

Well-known member
I haven't been grotesque in such a long time.

Lost may or may not be irrational, thats part of its whole science/faith yin-yang.
 

swears

preppy-kei
Something missing

It feels like something big should have happened between '98-'01 and we'd just start to be reacting against it now. As big as Punk or Acid House.
One comparison would be if people in 1986 had still been walking around in flares and thinking prog rock was an alternative rather than the problem. These days we're still wearing combat pants and listening to Radiohead.
I think part of the problem is that we've got everything we want now, in terms of music. There's no niche for anything new. But, I hope I'm wrong...
 

lazybones

f, d , d+f , p.
i agree with gek.

that dominic fellow who portrays the ex heroin addict stated in an interview that it was orignally meant to be a 2 series show but the producers/big wigs wanted to drag it on for 5+ series... explains it all really. twin peaks was infinitley better, the work of an auteur not some hacks.

it can be quite addictive but that is not a great thing on its own really..
 
N

nomadologist

Guest
I don't have everything I want in terms of music. Not at all. I don't think that's true.

I think people from the socio-economic backgrounds who don't have the means or the leisure time to make the really important new music they'd want to are in turn stifled by a music industry whose stranglehold on production and distribution, and reliance on huge name acts and divas for the big bucks, ensured that such would remain the case. Myspace has been a huge part of bands like Beach House's rise, and also I have friends who started a label Lovepump United, which releases stuff that's not necessarily anything I would want to listen to, but it's really blowing up.

The Digital Rights Management Act being just shoddy enough, I think the democratizing powers of the internet are slowly changing major label hegemony.
 
Bring it on! Hip house was tres funky and fun. Every one is so gawdamn serial these days. Even the fun and funky seem somehow forced and fake. For all the progression of hiphop by the youngers in their retro discovery of the late80's/early 90's, it seems they missed hiphouse. Boy, Are they in for a treat :D

Why couldn't Ghostface have had a hiphous-remix on his latest 12", dammit! :mad:
 

tate

Brown Sugar
this is pretty accurate
http://en.wikipedia.org/wiki/Emo_(music)

than pomp rock anyway :)
Late to the party on this one, but mms is right, the wiki article is a solid introduction, or, at least it gives some sense that the word 'emo' has quite a long and varied history. There are all kinds of minor chronological and geographical confusions in the article, but nothing egregious. I was particularly interested in the account of so-called 'second wave' emocore/hardcore, as I witnessed the transition from first to second 'wave' pretty much in real time and saw many of those bands on a regular basis. Boys Life were particularly magical live, and were acquaintances of mine whose musical opinions I learned a lot from back in the day. As happens so frequently, the word "emocore" was just one of many words floating around that were used to describe different styles of related music at the time, and then it later gained a foothold in the media and so was retroactively applied to describe twenty years of music - sometimes accurately, oftentimes with confused and misinformed results.

Here is a quite detailed recent interview with Bob Nanna of Braid (also of Hey Mercedes, Friction, and City on Film), talking about exactly this question, the history of 'emo' as a genre term, its use in Maximum Rock 'n Roll, its abuse by the media, what it meant as a young band coming up, and so on. Braid were one of the finest bands in the midwest during the mid-to-late 90s:

http://www.ithacatimesartsblog.com/...gillis-of-girl-talk/interview-with-bob-nanna/
 
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