Wednesday, May 31, 2006
The Lapsed Nerd's Guide to Final Fantasy's He Poos Clouds[1] Mr. Owen Pallett, Final Fantasy himself, says that the three goals of this album are as follows: 1. A set of songs that attempt to modernize each of the eight D&D schools of magic 2. Every song will be written for string quartet and voice 3. Nobody who listens to it will ever again entertain thoughts of suicide. Ah, but what are the eight D&D schools of magic, and how do they relate to the (ten, unfortunately) songs on the album? Well, armed with the lyrics and a copy of the D&D Player's Handbook (third edition[2]), I set off to find out. As it turns out, there's a pretty clear one-to-one correlation between the songs and the schools. 1. "The Arctic Circle" = AbjurationPlayer's Handbook says: "Abjuration are protective spells. They creat physical or magic barriers, negate magical or physical abilities, harm trespassers, or even banish the subject of the spell to another plane of existence." Final Fantasy sings: "Shieldth up! Shieldth up! Bar the door, and keep your duketh up!... But the quarry don't share his taste for Anne McCaffrey And he dresses alright but the conversation is wrong, all wrong Nobody nobody nobody will ever know his longing He has a heart that will never melt... Now you can endure the fear now you can endure the hell Now you can endure the lies now you can endure the fear. 2. "He Poos Clouds" = EnchantmentPlayer's Handbook says: "Enchantment spells affect the minds of others, influencing or controlling their behavior...All enchantments are mind-affecting spells...A compulsion spell forces the subject to act in some manner or changes the way her mind works." Final Fantasy sings: "And move him with your thumb, I move him with my thumb He needs, he needs my guidance, he needs, he needs my time Though I am not the only one He swam! To the edge of the wall of the world! Followed my voice, and he cried Master! The answer is maybe... Maybe not... Maybe not... Maybe not! I have goals! Gotta fulfill the seven prophecies! Gotta be a friend to grandmother! Gotta rescue Michael from the White Witch! Gotta find and kill my shadow self Gotta dig up every secret seashell You may have been made for love...But I'm just made." 3. "This Lamb Sells Condos" = ConjurationPlayer's Handbook says: "Conjurations bring manifestations of objects, creatures, or some form of energy to you; actually transport creatures from another plane of existence to your plane; heal; transport creatures or objects over great distances; or create objects or effects on the spot." Final Fantasy sings: "Have you seen our visitor? Look! Over the treetops! Newly conjured erections are making him a killing And Richmond St. is illing, so the graduates are willing To buy in to the pillage, now there is no hope for the village... When he was a young man, he conjured up a firemare And burnt off both his eyebrows and half a head of hair And then as an apprentice, he took a Drowish mistress Who bestowed upon his youthfulness a sense of Champagne Chic Oh seduction, his seduction to the world of construction Now his mind will start to wander when he's not at a computer Now his massive genitals refuse to co-operate And no amount of therapy can hope to save his marriage" 4. "If I Were a Carp" = NecromancyPlayer's Handbook says: "Necromancy songs manipulate the power of death, unlife, and the life force." Final Fantasy sings: "Tragedy, tragedy! Death has you fooled! No throne of bone, no terranean pool! No scythe, no cowl, no skeleton His greatest trophy is the myth Every sailor, salmon, every carp will follow rivers to the source Only the dead complete its course, and furthermore... Do you really want to know of the afterworld?" 5. " --->" = EvocationPlayer's Handbook says: "Evocation spells manipulate energy or tap an unseen source of power to produce a desired end. In effect, they create something out of nothing. Many of these spells produce spectacular effects, and evocation spells can deal large amounts of damage." Final Fantasy sings: "A taut wire, her father's evil empire Jenna dreams of being physically able To behead herself at the dining room table" (this is the entire song; I think he may be giving Jenna a little too much credit, but then again the image of a failed evocator rings true.) 6. "I'm Afraid of Japan" = NecromancyPlayer's Handbook says: "Necromancy songs manipulate the power of death, unlife, and the life force." Final Fantasy sings: "For some the spell was shafted, but I am in your sway Yes, I am still enchanted by the ways of yesterday... If I do it with an ice pick, will I come back as a jock? If I fast until starvation will I be born again a Christian? I read that death by burning means returning as a girl But only by seppuku can I retain my virtue But all my efforts have only made An army of greedy gays..." (incidentally, these are probably my favorite lyrics on the album, and the D&D parallels here are actually revealing: he's afraid of Japan because he views their honor & ancestors system as a kind of creepy-ass necromancy, necromancers in the D&D system often being after sort of half-human ghouls.) 7. "Song Song Song" = IllusionPlayer's Handbook says: "Illusion spells deceive the senses or minds of others. They cause people to see things that are not there, not see things that are there, hear phantom noises, or remember things that never happened." Final Fantasy sings: "Out of dust, out of empty space From the bedroom to the marketplace... Concern concern concern yourself with the invisible! Concern concern concern yourself with the incredible! Don't turn to motherhood so fast, you have been blinded There's a word for all you keep inside And though you try to hide it, we will write it!" 8. "Many Lives -> 49 MP" = Divination Player's Handbook says: "Divination spells allow you to learn secrets long forgotten, to predict the future, to find hidden things, and to foil deceptive spells." Final Fantasy sings: "Hey, Timothy, I wish for clairvoyance I wanna see my wife and kids And how I would live, and how I would die... I picture a man who lives in the past He keeps a book of photographs Of his younger self, clairvoyant self" 9. "Do You Love?" = TransmutationPlayer's Handbook says: "Transmutation spells change the properties of some creature, thing, or condition." Final Fantasy sings: "This hand, this hand is a cunning little bugger With a habit of turning every A into a B... There's a twitch twitch twitch and a rash, and an itch For a job, for a magic job, and a magic diet and exercise plan... Take a look at this brochure: Inject, inject, strip away, peel away The scars of self abuse with a couple of hours in a private clinic What have I left in life? The Knife! the Knife! this knife! this knife! Every inch, every inch of me will come to know its magic!" 10. "The Pooka Sings" = kind of a grand summing-upAnd so, we might as well take an opportunity here to sum things up, this blog being, if nothing else, annoyingly schematic. While at first I was fascinated with the music on the album, over time I've come to be less impressed with it. The turning point was probably when I saw the new version of Sweeney Todd, which I meant to do an entry on in earnest because it's so interesting. But the point is, where before I had seen it in terms of composition-major influences, I now saw it as a take on artistic musical theater[3], with the music's tendency toward the unmemorable being wholly justified in its service of the lyrics, which I then proceeded to enjoy without reservation. They really are the best thing on the album, highlighted by the fact that they actually fulfill their mission: not only do individual songs productively tease out the metaphorical implications of the individual schools, but over the course of the album a lot of parallels are drawn between the fictional settings of not only D&D itself but nerd culture as a whole, and the reality in which those geeks live, a juxtoposition that can be roughly summed up as "going to a sci-fi convention." That Pallett is as interested in nerd culture as he is in D&D itself is probably most blatant in "I'm Afraid of Japan," since, after all, Japan technically has not a damn thing to do with D&D, but it has a lot to do with modern nerd culture.[4] But the exploration is everywhere, from the semi-ironic casting of anti-gentrification efforts as an epic struggle in "This Lamb Sells Condos" to the melding of dates at the shooting range and Anne McCaffery[5] in "The Arctic Circle" to the application of magical language to dieting in "Do You Love?" But I think the most interesting example is the title song, which begins with a D&D-ish computer game that is compared to human relationships ("But hey, hey, all the boys I have ever loved have been digital/I've been a guest, on a screen, or in a book!/I move 'em with my thumb, I move them with my thumb") to the much more prosaic/banal, sordid/dirty real world of dating and sex ("Escape! Escape! This time, for real!/We fool around in the service lane/He's the only friend I have who doesn't do cocaine") and then back into the mythically distant ("He swam! To the edge of the wall of the world!/Followed my voice, and he cried/Master! The answer is maybe... Maybe not...") which is supposedly a differenet kind of cleansing distancing than games--chronological separation rather than the more present barrier of the screen--but even here it's put in the language of computer games, as anyone who has experienced their character bumping up against "the edge of the wall of the world" can attest. It brings up all sorts of interesting metaphorical parallels--between role-playing in games and in life, between emotional distance from fiction and emotional distance from reality, between myths about the outside world and myths about the self--without explicitly stating any of them, and in the process represents the movement between the private and public spheres with remarkable precision and complexity. Good shit. [1] People complain about the album title, but in retrospect it's a pretty smart move, given that not only does a general search for "Final Fantasy" prove unhelpful, but a search on the All Music Guide doesn't even turn up the Canadian FF--it turns up some UK techno act. There is, however, no other album named He Poos Clouds in the history of music. [2] Although I had a really good Thursday in general last week, the highlight of my day was undoubtedly when meeting up with Scott to borrow a copy of the player's handbook: as he works near Broadway and Price, and as we wanted to see which edition had a better description of the schools of magic, we ended up standing outside the Prada store, comparing versions of D&D guides. [3] Much as I think there's a temptation to hear Rehearsing My Choir in terms of the Furnaces' live shows, but it's more productive to view it as a song cycle; I left the theater with the distinct impression that RMC was the best album of the decade, but this is a horrible indie-rock thing to think, I know. [4] Although the reference to The Sound of Waves has nothing to do with either; it's just straight nerdy, or I guess maybe geeky. God bless us aesthetes. [5] Sort of the Pink Floyd of a certain type of nerd girls, for the unfamiliar. (Pink Floyd is the Pink Floyd of a slightly different type of nerd girls.)
posted by Mike B. at 5:43 PM
5 comments
Thursday, May 25, 2006
Apparently Literary Agents are the Laziest People on EarthON the first day of his internship last year, Andrew McDonald created a Web site for himself. It never occurred to him that his bosses might not like his naming it after the company and writing in it about what went on in their office.
For Mr. McDonald, the Web log he created, "I'm a Comedy Central Intern," was merely a way to keep his friends apprised of his activities and to practice his humor writing. For Comedy Central, it was a corporate no-no — especially after it was mentioned on Gawker...
But Comedy Central disagreed, asking him to change the name (He did, to "I'm an Intern in New York") and to stop revealing how its brand of comedic sausage is stuffed...
[T]he success stories...can embolden a determined blogger...For Mr. McDonald, the Comedy Central intern, it was the call of literary agents.
Now back in Kenosha, Wis., where he is finishing up his degree in English at the University of Wisconsin, Parkside, Mr. McDonald is hard at work on a book — a novel about a guy from Wisconsin who gets a job in New York. To any literary agents who might be reading this: I have a blog! I could write a novel! I could get fired!
posted by Mike B. at 12:11 PM
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Wednesday, May 24, 2006
I was asked to do a Jukebox Jury for onelouder (thanks Paul!) and now it is up. In it, I confuse the Homosexuals with the Police, contrast Sonic Youth unfavorably with the Smashing Pumpkins (!), discuss the staying power of teenpop, and get a li'l bit emo, sorry. Also, the King Biscuit song is just abominable. Even before the toasting starts. I don't know if I made that clear enough.
posted by Mike B. at 9:20 AM
1 comments
Monday, May 22, 2006
Walked out of practice tonight and turned on KTU, and danced all the way down Houston, due to "Kiss" being on; dancing while walking is easier than I thought it would be. On the D train and as we pull onto the bridge, "The Champ" comes on, and it's absolutely perfect, the swagger stomping in lockstep with the pull of the buildings below and the water beneath, some total Wall Street shit, but locked-in, too, enclosed, like the train, giving us a beautiful view through girders. Next to me, a teenage girl sporadically does a shoulder-and-head dance to her music that pops. On the 2 train, there's a younger dude sitting next to two bundles of eggcrate foam about as tall as he is, looking like they're going to go soundproof a studio somewhere. I listen to more Ghostface and bop my head. Down the row, a Hascid reads some scripture and bops his head, too. Sometimes I think about the idea of music in everything, but I think it's more useful to specify that there's also a beat in everything, and some we haven't found yet. The beat to trains or cars or walking or praying or ecstacy is easy, it's "don't stop" plus "mix it up." You box a beat in, you contain it, and you can understand it. But there's a beat to the open air that's lurking out there somewhere to be discovered, the beat of as-the-bird-flies distances and sightlines and the horizon. Maybe this is hippie shit or maybe it fuckin rocks, who knows. So yeah, it was a good trip. And I got an idea...
posted by Mike B. at 11:12 PM
2 comments
Sunday, May 21, 2006
It is time to put away childish thingsI'd read the list of the best American fiction of the past 25 years, but it wasn't until I actually sat down with the physical copy of the Book Review that I really grasped the implications. The thing that struck me when I saw the whole thing all splayed out like that in front of me wasn't so much that it was a bunch of white dudes and Toni Morrison as much as that it was a bunch of modernist realism. Oh sure, the well-represented DeLillo ostensibly writes postmodern fiction, but it's not, really, is it? White Noise is just a slightly more psychadelic Roth (though is real good), and Libra and Underworld are about as postmodern as Mason & Dixon. The most forward-looking book on that list is probably A Confederacy of Dunces, which was actually written in the 60s, and it seems really significant to me that the novels we've apparently chosen to canonize since then often feel like a regression. Postmodernism is, after all, forty or fifty years old now as a literary pursuit, which should be long enough to make it safely accepted, but whereas you'd certainly find postmodern works in any canonical list of visual art, architecture, film, TV, or even music, it's astounding that here we find a list of novels almost totally devoid of anything beyond solid realist narrative. There are a number of possible reasons for this, most tied up with the methodology used: a request was sent "to a couple of hundred prominent writers, critics, editors and other literary sages, asking them to please identify 'the single best work of American fiction published in the last 25 years.'" In the accompanying essay, by A. O. Scott, he mentions that a number of people asked to submit refused to on various ideological grounds, and it's certainly possible that these people, the ones with strong ideological opinions about fiction, were the ones who might have voted for non-modernist works, so it's more of a bullet vote. (Certainly looking at the people who did submit votes it's easier to understand the results, but still not entirely, and there's a handful on there whose abscence from the actual list of "winners" is absolutely baffling--though maybe it's significant that I see a lot of geezers on there.) Scott also mentions the fact that there was a similar poll done for the period 1940-1965, so perhaps the preponderance of authors born in the prewar period is in some way a compensation for the lack of a similarly-constructed 60s and 70s canon. But to be totally honest, the thing that struck me, and that still strikes me, is the omission of David Foster Wallace's Infinite Jest, which, according to Scott, received no votes whatsoever. Admittedly I'm a bit of a fan, but my impression was that there was a wide consensus that IJ is probably the most important novel of the 90s, both because it's making a clear effort to be a Big Important Book and because it actually succeeds. Certainly it's still cited as a major influence in all sorts of places, and I think it's impossible not to see Wallace's influence in the current crop of literary wunderkinds, i.e. The Jonathans. Scott observes that all the books on the list seem to be, at best, concerned with the present, but almost entirely concerned with the past, going as far to peg this as the dominant theme of the list. IJ, in contrast, is explicitly set in an imaginary near-future, and while it has things to say about the past and the present, its view is resolutely forward. That it's nowhere to be found on this list is very telling. I've written before about being put off by fiction, and while I think I've dealt with that fairly well, this is a pretty good encapsulation of what makes me shy away: its inherent conservativism. Not politically, but artistically, fiction seems remarkably backward-looking, the most visible symbol of which is probably the visual style associated with being a fiction writer. If you are a serious fiction writer, you are supposed to look like you stepped out of a picture of the boho 50s, exhibiting a sort of stoic, working-class, grumpy masculinity. And the fiction you write should in some way reflect this. Sure, certain weird deviations might be the flavor of the day, but in the final analysis, quality fiction always came down to a solid, well-crafted narrative, with believable characters showing clear psychological motivation, all revolving around a thorough treatment of a real geographic location and some sort of central tragedy. This is modernism, and this is fine--there's lots of modernism I love. But as I say above, postmodernism has been around in America for 40 years, which should be more than enough time for it to be established as something worthy of canonization, and though Scott feels that Gravity's Rainbow would be a shoo-in for the 60s/70s canon, it's unclear if that would prove that pomo's moment passed or merely that fiction decided it had had its fun, but it was time to grow up and be responsible now that the 80s were here. (Certainly the row of author's pictures The crazy thing is that it hadn't. It's possible that, as Scott says of Ann Beatty, postmodernism and its attendant literature "steadfastly refuses to try" to be part of a canon, but every new idea that announces itself as a revolution inevitably becomes the mainstream, and that's a good thing. Forget IJ for a moment--novels like Geek Love or Middle Passage or Motherless Brooklyn were good in no small part because they refused to do what they were expected to, and they're certainly better than any Philip Roth book I've ever read. (I might be more eager to read another tragicomic trawl through the aging male libido if I wasn't subjected to it on a daily basis.) Maybe the fault lies with pomo, which presented itself, foolishly, as an insurrectionary movement, making fiction perhaps unwilling to integrate any useful lessons it could have, or making the canon's gatekeepers wary of anything smacking of its touches. But, once again, this shit isn't actually revolutionary anymore, and some of it is fairly widely accepted, so to refuse to acknowledge it even is almost the defintion of conservative, especially when your field looks remarkably similar, style and subject-wise, to the field from the 40s and 50s, except (arguably) not as good. Things building on the past are great, but it just seems foolish for there to be nothing that looks to the future. And, for that matter, it might very well indicate that pomo's children have themselves failed to integrate its lessons in any productive way. I've said it before, and I'll say it again: criticism is literature, and this is one of the many reasons why. You'll find more acknowledgment of the forward-looking literature of the last 40 years in the year's best pieces of criticism than in this NYT list, and while that's pretty sad, it's also I think demonstrating why criticism has become literature: because literature itself is failing to evolve. There are steps it could be taking that it almost stubbornly isn't, and so that energy ends up emerging somewhere else. Criticism attempts to deal with the future and change the present, to think what could be and to gather together; fiction seems to want to wall itself off, and to join poetry in becoming mere craftsmanship. I know I'm wrong about all this--I've disowned this stance before, more or less--but goddamn does fiction make it hard not to be wrong sometimes.
posted by Mike B. at 10:55 PM
5 comments
Thursday, May 18, 2006
Tom Breihan has a really, really good piece up about music and politics. It's specifically a response to the kind of complaints we've seen for some time now that there's not enough "political music" in these dark times etc. etc. I have more to say, but I can't, so just go read it.
posted by Mike B. at 1:45 PM
1 comments
Wednesday, May 17, 2006
Three reviews in Flagpole today: two regional bands, one bad and one good (the Winter Sounds), and a really bitchy review of the new Flaming Lips album, which I am amused by but was probably overstating the case a bit. Still, if you're in the mood for a bitchfest, there you go.
posted by Mike B. at 3:40 PM
2 comments
Tuesday, May 16, 2006
Really, nobody else gives a shit!Simon Reynolds: (Topic for a future thesis: the absolute terror people have of being seen as a snob-- another sign of how culture has become the battleground for blocked egalitarian impulses that in another age would have found expression in actual you know politics) Well, that, or culture is the only place we can play at the fun game of egalitarianism, since "actual you know politics" requires a certain amount of elitism to function. Not much else worth adressing in there, but it's interesting to read with the whole shame thing in mind.
posted by Mike B. at 11:13 AM
1 comments
Monday, May 15, 2006
Virtua EMP paperPart 2: Economies of Shame(read part 1) Before we get into specifics, let's orient ourselves with a comparison or two between Economies of Shame (EOS) and Economies of Pleasure (EOP). A good example of a participant in an EOP would be something like an A&R guy or a DJ, whereas a good example of an EOS participant would be a poster on an internet message board or blog comment box, or, I dunno, a clerk at a record store or something. They're worth separating as markets because of fundamental differences in their functionality. An EOP is a gambler's market, with participants placing relatively few "bets" on individual acts and hoping those will pay off big. An EOS is more of a war of attrition (or, to be nicer, it's like owning your own small business), with the daily maintenance of capital through numerous small acts the norm, excepting the occasional well-timed big gesture, but even then, said gestures are really only effected when a participant has accrued a lot of capital in the market. In other words, where an EOP is about anticipating market valuation (and then working to manipulate that variation, but never so blatantly)--betting a work/artist is going to get yay high and then paying off if they hit the mark you've set--in an EOS, you work to impose your own individual valuation on the market, so your reward comes by changing market variance. In an EOP, the reward comes only if evidence of your involvement is absent, whereas an EOS requires your involvement to be as clear as possible, and thus pays off more constantly and in smaller increments than the all-or-nothing EOP. That's a big part of why the EOS is the much more common model. The reason for this distinction lies in the common belief that your likes are your own, but your dislikes stem from the understanding and imposition of external standards.[2] Thus, in an EOS, cultural capital is primarily accrued through the rejection of cultural offerings, and, as stated before, not only the rejection itself, but the timing and nature of the rejection. Such a rejection is presented as a "once I was blind but now can see moment," an understanding of the truth that must, as the night follows the day, change your opinions about individual pieces of music; if this rejection is not made by others in the marketplace, such performative utterances attempt to dictate, then you are simply rejecting the truth rather than its implications. The nature of an EOS dictates that even utterances ostensibly meant to promote or embrace a given artifact are simultaneously rejections: you are claiming that said artifact has a value greater than its current market value, and that disparity is due to cultural capital being tied up in certain other, overvalued artifacts. So, for instance, championing Gang of Four in 1998 would have entitled you to a lot of cultural capital two or three years hence~, but not if you were doing it as a "Gang of Four fan"--you had to be doing it as a function of shame. Why weren't you listening to Gang of Four back in 1998 you fool, since they are so obviously great?[3] The Essential Statement of an EOS is: "You don't like them, do you?" (This sounds pretty teenagery, and it is, but I think it's always there, if sublimated.) It works through assumptions, which is to say that it evokes the value of a particular work as something absolute and widely accepted, rather than in flux and contingent on the market in question--in other words you gain capital by convincing other people that the market value of a work is something other than what it actually is, and thus incrementally drive the value toward your own. The Essential Statement is not actually an argument, it's just opinion presented as observable fact, and indeed actual well-reasoned cases for the value of a particular object aren't really an efficient technique, economically speaking. If the market is well-balanced and large enough to contain so much capital that it would take a massive fluctuation to have any large-scale effects, then reasoned argument becomes a viable tool since the blunt object of scorn is no longer as effective, but as we'll see later, if the EOS is tied to a corresponding EOP, this actually diminishes the power of argument. Once a given player in an EOS gains enough cultural capital, the game for them changes somewhat. For instance, where generally one of your primary goals is to avoid the appearance of ignorance, once you have a large enough store of capital you can "spend" it by expressing ignorance in such a way that it seems noble--"Well of course I wouldn't have heard of them, I don't deign to follow such trivial matters." If someone with that much cultural capital hasn't heard of them, how good could they be? Again, the power in an EOS comes from your (perceived) intelligence and the (perceived) strength with which you express it. There's a real man-standing-alone image, although that image is pretty dangerous, as we'll get to in a second. You deserve capital because you are clear-headed enough to reject what others are accepting, or vice versa. It's very oppositional. But let's get out of all these semantics for a second and talk about the basis of all this: shame. This probably stems from the fact that we start talking about music in a way that's key to our identities as teenagers, which is a stage of life when we're ashamed of lots of things, few of which we can actually control. And the process of becoming a music fan involves gradually realizing how little you actually know, sort of like being a monk, except instead of being a religious devotee, you're ostensibly a free-thinking rebel, so willingly sublimating yourself to a master feels like the wrong way to go, even if we end up doing that anyway. I feel at this point I don't really need to point to the mountains of evidence of shame as a motivating force in music listenership, from the simple fact that people have "guilty pleasures" (yes yes I know) to people judging other people on behalf of their music collections to people actually making moral claims about music, with such moral claims rarely being positive. And I don't say this as someone who himself is trying to situate himself outside the dynamic, looking in and saying "tsk tsk tsk" to the participants. When I started writing my blog, avoiding the shame dynamic was a big motivating factor: I wanted it to be, like pop, a big inclusive tent, where if you didn't know something, that was cool, because there's lots of stuff I don't know, and let's talk about it, hey. But as I've become more enmeshed in the music nerd community, I've found myself, and found others with ostensibly similar views on inclusiveness, nevertheless resorting to shame as an easy tactic, no matter how hard I might resist it. And this, in turn, has made me think about how shame can actually be a productive force in some circumstances. [4] That said, it can also clearly be a negative force, and one particularly glaring example of this is what I'll call a deflationary spiral~, when an EOS market actually "crashes." As I say above, two characteristics of an EOS market are that shame is regularly invoked to acquire capital because it is more efficient than reasoned argument, and there's a persistent image of "standing alone" that is economically productive to cultivate. By itself, this combo is fine. But add in the fact that there's a low cost to entry~ in an EOS, i.e. that even actors with little to no cultural capital can nevertheless have an effect on the market, and you get what the internet has helpfully termed "trolls." Put in terms of the language we've been using, what a troll does is come into an EOS market and make a statement about a particular object "totally sucking," which of course amounts to "everyone is wrong but me." Now, while this is obviously wrong (it's positing the value of the object at 0, which is true for basically nothing, and it's positioning the speaker as the only one to hold such an opinion, which is also almost never true), it's also a pure expression of the way an EOS creates capital: it opposes the actual market valuation of an object. But whereas normally there would then be a counter-opinion introduced, with the resulting exchange actually producing capital for both parties, there is no possibility of discussion, because to admit any flaw in the original statement would violate the "standing alone" stance, which is the only way the troll can get any capital. If the troll is ignored, then nothing happens. But if they are engaged, the only possible counter is not to oppose, but to join in with the denunciations, creating a kind of post-revolutionary fervor of purity. At first, this is productive: it's like a breath of unambiguous fresh air to the constantly hemming-and-hawing EOS market. But after a while, the market will start to run out of things to denounce, so as the aggregate value of all objects in the market declines, so does the store of cultural capital in the market, since it's something that if not maintained is lost. The market's supply is choked off, and it either dies or descends into a forum solely for trolls. The funny thing about an EOS is that everyone in it is willfully (and, I might add, productively) ignoring its contradictions: it's a community, but made up of people each with their own strong opinions that derive solely from a clarity of vision uninfluenced by the community; it's a game of shame in which one way of winning is to be unashamed. Take a look again at that Essential Statement: "You don't like them, do you?" We've focused here mainly on the first clause, but it's that little turn at the end that makes an EOS market work. The first part posits the existence of shame, but the second part presents a way out of it, thus making yourself subordinate to the speaker, but also (so the assumption goes) boosting your store of capital and thus your position in the market overall. Every statement of shame is also, oddly enough, a pandering statement, meant both to question and to confirm the listener's assumptions--"you are wrong about this, but you are a smart, thoughtful dude, so you see that, right?" It's this pander that fundamentally separates an EOS from pop, which is inclusive, rather than pandering. But, like lotsa stuff, we'll get to that later. [2] Whether this understanding is true or not is immaterial, and is the subject for another discussion entirely. [3] A great, admittedly self-conscious example of all this was something Simon Reynolds would do from time to time: create a kind of "market snapshot" of bands it would be a good idea to "back" (particularly as an up-and-coming musician) if you wanted to score points in the coming year. Regrettably, I can't find this anymore, which makes me wonder if I'm imagining it, but it is interesting that he hasn't done it in a few years, basically since he stopped being particularly enthusiastic about modern music; if he did it now, it would come off as either self-parody or bitterness. Seems like when he doesn't have something to boost he moves from an EOP market to an EOS market, and maybe others have moved with him, but this will all be covered after I get this paper finished. [4] This statement in and of itself will probably cause some people to wish shame on me, but just wait and see where I'm going with this in a subsequent part. ...to be continued in part 2a.But first, a graph: 1-2: Market is somewhat stagnant and getting worse. General listlessness all around. 3: Trolling begins, with the market being too weak to oppose it. The value of objects decreases but capital shoots up as it is freed up and becomes falsely productive. 4: Value and capital cross at such an angle that a crash is almost inevitable, especially following (as it does) a slight dip in the aggregate capital. 5-6: Value and capital change in inverse proportions, as participants go on a denouncing frenzy and milk all value from the market. 7-8: Value comes close to bottoming out and capital, consequently, begins to fall. Realizing this, a market correction is attempted, but it fails. 9-10: Value and capital reach their lowest point and, lacking new supply, the market dies. Start over.
posted by Mike B. at 1:29 PM
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Sugar we're coming upSpotted in a catalog of Miss Clap's, a catalog in which you will also find girls in tank tops holding ukeleles on the beach: Oh, things have changed, haven't they? Maybe there's something to the whole " this generation's Nirvana" thing after all, although judging from what I hear around my neighborhood, this generation's Nirvana would seem to be Dipset. They aren't, but still.
posted by Mike B. at 10:34 AM
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Such high standardsPresented without comment, because oh how it will tie in to some upcoming things: Point blank: Has the 5, 8, 30-year old discussion around popism and rockism helped us establish an aesthetic practice and discourse that changes the world for the better?
Answer: Nope, it hasn't done shit.
So I've figured out it's pretty much a waste of my time. - Jeff Chang (author of Can't Stop Won't Stop)
posted by Mike B. at 10:27 AM
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Thursday, May 11, 2006
Virtua EMP Paper, Part 1(Disclaimer: this is a quick pass at what would have been my EMP paper, had my proposal been accepted. As such, it does not incorporate all the various readings and research I would have done had I had an actual conference presentation to get me to do it, to say nothing of the $50 I still owe the library that would've allowed me to get books out again. So anyway, there are some parts that I am going to go ahead with even though I don't know if they're true or even necessarily what I'm talking about, and I will indicate such parts with the following symbol: ~. This is meant to represent the twirly motion you do with your forefinger by your temple to indicate that something or someone is crazy, because I believe in academia this is referred to as "hand-waving" or, once a few drinks have been consumed, "talking out your ass." But this could be listed as a skill on my resume, so whoopdeedoodle.
On the bright side, I can now focus less on the one section I was going to limit myself to for EMP and present the theory as a sort of broad-based whole. I'm sure you are wetting yourself with anticipation, so, without further adoo...)"Why Would You Like Them?" : Performative Speech in an Economy of ShameAt this particular moment in history, arguing about music is as American as apple pie, or at least as American as "Cherry Pie," and as much a part of growing up as pimples and hormonally induced manic depression (but not hormonally induced "Manic Depression," which only afflicts a certain segment of the male population generally known as "shredders"). We discover music, we find artists we like, and then we argue about their worth and the worth of other artists, both with those we agree with (the "Metallica vs. Megadeath" argument) and those we disagree with (the "punk sucks vs. no it doesn't" argument), repetitiously and vociferously. We continue to do this even beyond the heady years of adolescence, not only as listeners with emerging sensibilities (i.e. college students) and full-fledged music geeks, but as casual listeners; even people with a minimal music collection are likely to have an opinion on the suckiness of Coldplay or the awesomeness of Johnny Cash. At first glance, the reason for this might seem to be obvious: we do it to define our identities. But this merely explains the possession of taste, not the arguments about it. After all, we don't feel the need to argue about our clothing with other people (though of course we will pass judgment on others' decisions, because this is fun) or to loudly declare how a particular model of car is not really a true hatchback. (Unless we are nerds, but this caveat applies to everything.) So what is the point of all that arguing? Fig 1: The "Shredder," here pictured in semi-repose. Pierre Bourdieu and Jean-Claude Passeron have this widely-known theory~ of cultural capital, you see, the idea of which is basically that some kids do better than others in school because of the particular familial, i.e. cultural, background they come from: because of your parents' place in the culture, they have instilled in you certain values that confer advantages other people don't have. This is nice, and apparently very useful, but I think it's unfairly claiming a really useful term. And they're doing it inaccurately, too--one of the main characteristics of capital is that it's fluid, but "cultural capital" as conceived by Bourdieu and Passeron can neither be traded with another person for goods or services, or accrued in greater amount by a given individual through participation in a given economy. I think it's much more interesting to conceive of cultural capitalism as the arty cousin of Richard Neustadt's (god rest his soul) theory of political capital ~, a term that was, unfortunately, introduced into the popular vernacular by our current President.[1] Like that slogan for that game ~, it's a concept easy to understand but difficult to master. In brief, political capital seeks to explain why a particular actor in a particular position can sometimes get what they want and sometimes cannot. It encompasses variables like favors owed to and from, public image, the party's strength, the actor's strength within the party, a general sense of inevitability, etc. and etc. and etc. It's very interesting but we're just going to get bogged down. What, then, do I mean by "cultural capital"? An easy but misleading shorthand would be "cred," but given that disowning "cred" is a great way to accrue cultural capital in this day and age, it's probably the wrong tree in terms of barkability. Basically, it's a representation of the fact that some people's opinions have more force than others', and an attempt to track why, exactly, that is the case. Cultural capital is primarily gained and lost through speech acts, which makes these speech acts, in the context of cultural capital, performative speech, like the courtroom pronouncements of judges, another useful holdover from politics. You can't assign a numerical value to it, but hell, since when was economics about actual numerical values? Where things start to get interesting is when you notice that an actor's cultural capital is actually tied to the cultural capital of particular art objects. After all, people might disagree about the worth of, well, pretty much every piece of art ever created (except for Prince's "Kiss"), but that doesn’t mean we can't assign a particular value to it. Thus, people accrue cultural capital based on what art objects they back, the absolute value of that art object, the change in value of the art object over time, the time period in which they choose to back the art object, and how they actually go about backing said art object. But the value of different art objects is different in different cultural markets: the Beach Boys, for instance, will have a widely different value depending on the group of people making the valuation, as would Tupac Shakur, although the accrual of individual opinion, depending on the cultural capital of the individuals, can drastically change the valuation of a given artwork in a given market. But given all these givens, let's talk a bit more abstractly, and focus on the two basic marketplaces of cultural capital: economies of shame (hereinafter referred to as EOS) and economies of pleasure (hereinafter EOS). [1] He said this after winning the election of 2004, but what he really meant was "I have a mandate," which is one of the ways you can have political capital but by no means the primary one, and even then it still wasn't true. It would have been far more accurate to say that he had a near-monopoly on political capital after 9/11 but blew through that in two years and was now back in a competitive market, with his stock being particularly volatile, with allegations of accounting irregularities surrounding it. But now we're just getting baroque. ...to be continued in part 2. But first, some illustrative graphs. This graph illustrates a typical value cycle in a "mixed economy," i.e. one neither shame nor pleasure based and of whatever genreic affinity. The cycle in question is one familiar to most of us: the process wherein a song, having languished in obscurity, is discovered by a small set of tastemakers and then enthusiastically embraced by the market at large, followed by a falling-off in value as the market begins to regard the work as "played out" or "dated," and ending up in the settled value position of a classic, although I am being a bit generous here, and it can easily fall off even farther. (See: Langley Schools Project.) 1-2: Obscurity. 3-4: Discovered by a small, generally "elite" segment of the market, and passed around for consideration; value within this mini-market has already hit a high and will enter its falling-off period about twice as fast as it does within the larger market. 5: The work's "IPO" if you will into the market, with near-universal awareness acheived through the means of its prominent use as a sample, its placement on a well-known MP3 blog, its reissue on a prestigious label, etc. 6-8: Value falls off, initially merely as a function of wider penetration (the plateau), but then steadily downward as early adopters see later adopters taking up the work and viewing it through the prism of their own familiarity. 9-10: Value falls / levels off to its "normal" level given near-perfect knowledge. Which leads right into the next cycle: The previous cycle is an exceptional one, but so familiar to us as a perceptible process that I thought it might be a useful initial example. In slight contrast, this one can be encountered at any point in a work's life cycle, assuming a certain constant level of regard. 1-2: General respect, but no particular attention paid; somewhat forgotten and thus useful to bring up if it has not been brought up in a while; a pleasant surprise. 3-4: Sudden spike in value as it becomes a common reference point for artists who themselves are ascendent or already at a high level of value, or as it is used in a well-respected movie in current release, or as it is otherwise embraced actively by the market for whatever reason. 5-6: Steep dropoff as it is now a "dated" reference, fixed in time by its value-spike rather than its actual date of release. 7-8: Languishing, which allows it to retain its previous value as a constant of constant quality. 9-10: Back to normal.
posted by Mike B. at 5:34 PM
9 comments
Tuesday, May 02, 2006
Kind of crickets on the novelty stuff right now, which is fair enough, but while you're, um, "digesting," let me point you toward Tom Breihan's most recent post, which is about hip-hop and Frank Kogen and immigrants and dovetails nicely with the novelty stuff, I think. For these guys, having an opinion on hip-hop is directly contingent to being hip-hop, and being hip-hop depends on adhering to certain aesthetic and cultural codes. A term like hip-hop means more than a term like rap music. Rap music means music with rapping on it. Hip-hop means burned-out Bronx tenement houses in the mid-70s and climbing fences into train yards and stealing electricity from street lights to fuel open-air DJ parties and Busy Bee battling Kool Moe Dee and KRS-One pushing Price Be offstage. The term has baggage, and that's why I don't use it. Next up...well, I'm not sure. Maybe I should take a poll or something. But right now I have to go do some guitar edits.
posted by Mike B. at 5:19 PM
1 comments
Monday, May 01, 2006
Creativity introduces novelty into the content of the manyA few other thoughts about novelty songs, a bit more more broad-view this time. Note: includes Ghostface content. What exactly is the "normalization" process that turns novelty songs, which are explicitly comedic, into "straight" pop, which is generally tragic or epic? In the podcast, I touched on two explanations. One is that of maturation, demonstrated both by the transition from Spike Jones' childlike mouth noises and bangs to the restrained sexuality of Aaliyah and by the more literal growing-up we hear of the child's voice in Lil Markie -> Daniel Smith -> Jack White; kids are silly and weird in part because they like things that are silly, but also because they have not fully socialized and are a bit more willing to let their strangeness out to those close to them, and so as we normalize and become older and become more fit for public consumption, so does novelty become pop: it grows up, but it still retains that inherant, particular strangeness, which differentiates it from everything else and thus provides a hook. The other was that of ambiguation, if that's actually a word. What most people call novelty songs are songs that are blatant about being different from non-novelty songs, whether it's the clear silliness of "Cocktails for Two" or the vocals on "Diary." The best test for whether or not something fits the conventional definition of a novelty song is if you can remove the novelty parts and still have a song left. You can take out the baby noise on "Are You That Somebody?" or add more instruments to "My Doorbell" and still have roughly the same song, but you can't do that with the Jones or the Markie. More than anything else, this has to do with the lyrics, since, after all, few pop songs are particularly ambiguous musically. Instead of being literal about the connection between the music and the words, there's more a channeling, as both the White Stripes and Danielson songs are much more concerned about expressing the feeling of a particular age than talking about being that age. This is pop's universality at play: by making things more ambiguous, you broaden your appeal. But it's also fair to say that the novelty to pop transition is also one of increased professionalism. Aaliyah's voice is so good and the production is so sonically perfect that she probably could sing about being aborted and still have it work in a much different way than the Lil' Markie does. A key aspect of novelty songs' weirdness is that they do things differently from how you'd expect them to, and indeed, it's precisely the unprofessionalism in "Cocktails for Two" that is the novelty, that great comic eruption of noises and shouts, the cool restraint of the crooner loosed into cartoonish mayhem. Pop demands professionalism, both in conception and execution, which is what makes the Danielson Famile indie rather than pop. Professionalism is the unity here, combining strangeness and the ambiguously familiar by smoothing out the edges, touching up the trim, making it sound like something you've heard before even if you haven't. Taken together, this is the way I think novelty models and creates pop. Pop's story is one of continual consumption and assimilation, and people talk about there being some sort of pop "formula," but I used the word "mystical" up there at the top for a reason: it's almost impossible to apply a formula successfully, because combining the strange and the normal in a way that doesn't abandon either is incredibly difficult; if you try and do it with a formula, you get something that sounds formulaic (which no great pop song ever is, at heart), and if you focus on the novelty, you get, well, novelty. Not all successful pop songs are novelty songs, except in very limited ways (none of U2's recent hits are novelty songs unless you've never heard U2 before), but it's the way novelty is incorporated that grants the aura of unfamiliarity to those that are. (Traditional novelty songs are new but familiar, in that they're pretty obvious about their oddity.) How do you make the repeated sound of a baby cooing not sound jarring and out-of-place? How do you make piano, unconventional drumming, and high male vocals lyrically and melodically harkening back to the 40s sound like something you should play on the radio? There may be answers to each of those questions individually, and they are actually just the kind of questions I like thinking about, but I think it's nearly impossible to generalize any particular techniques to a general philosophy. It's just very useful to look at novelty when you're looking at pop. A great place to see that in the here-and-now is on a track from the new Ghostface album: "Whip You With a Strap," which has novelty in fucking spades: starts out with a siren, then builds itself around a sample of a soul singer from the 70s saying "take my across her lap / she used to whip me with a strap / when I was bad" and the the vocalist starts talking about getting beat when he was a kid and how kids these days are spoiled. Take just that description and there's no way it could be anything other than novelty, whether unintentionally like Lil' Markie or otherwise. But it works. Partially it does so for the reasons above: he's not talking in the voice of a child and indeed is explicitly speaking from a position of experience, the tale he's telling is complex and detailed, and it's all tied together with a familiar, professional style: take out the lyrics on the hook and it's a regular ol' rap song. That Ghostface is able to do this so successfully and so easily for something that's not even going to be a single (probably) points toward an explanation for why hip-hop has the amazing cultural energy it does right now: it's the best right not at turning novelty into pop. This is hardly surprising. The first hip-hop record, after all, was regarded as a novelty song, and not without reason: it was a bunch of dudes talking bullshit over a disco record, and while this kind of thing is hadly unprecedented in terms of the crap they put out on vinyl, in its place and time, it simply didn't sound like legitimate pop. Hip-hop's more partisan historians are careful to present its origins as rooted in social injustice and subcultural eruptions and all like that, but then there's the new LL Cool J song, which somehow manages to do the "sound like how the band makes you feel, not like the band itself" thing despite actually sampling Afrika Bambaataa; perhaps this is because it does duplicate the feeling of Bambaataa while actually sounding sorta like "Funky Cold Medina." And if this all doesn't sound like novelty to you... All genres that take temporary posession of pop begin as novelty; it's just been to hip-hop's advantage that it depends on novelty for its continued existence, with samples and voices as fuel for that particular fire, and now that it's gotten so professional about its sounds, ironically enough it can actually assimilate things much more easily. As any number of producers have demonstrated of late, you can put the right drum sounds behind anything and make it sound like a track. And while this can be formulaic, it's also liberating, since much of pop's history is the search for more efficient ways to unite the strange and the familiar. We all notice the weirdness of pop songs, but we don't seem eager to unite them in the way we'd see the other elements as part of a whole. But there is a unification behind all those noises and samples and weird voices, and it's called novelty. (title's from the quote here, by the by, which synchs up amazingly well, considering that it's about, uh, math)
posted by Mike B. at 4:09 PM
1 comments
I Choose AmericaBig pro-immigration protest (is that the phrasing we've all decided on?) in Union Square right now, and it's great. In the middle, there are Che signs, which there always seem to be at these sorts of things--I guess when your dorm is right next to the protest site you can get out there faster--which is too bad, and across the street gawky white dudes say vaguely racist things to their girlfriends like "the problem with those protesters is that there's no rhyme or reason behind different races' attitudes toward work," but on the edges, on the corners and patrolling the borders, are people selling flags: And not just American flags, but flags from all different countries: And, you know, it made me tear up a bit. Somehow the whole thing seemed like exactly what's great about America, for reasons I can't really articulate. I think it probably has something to do with the fact that it was a bunch of people, at least some of whom were breaking the law simply by being there, all hanging out and waving brightly-colored things and yelling and pushing strollers, and buying things from people who might also very well be breaking the law simply be being there. Something about that attitude of, "We're breaking the law, woohoo, let's yell and buy things" that appeals to something patriotic in me. Maybe patriotic is the wrong word.
posted by Mike B. at 2:39 PM
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