The more one starts digging around at foundations, the trickier it gets. It’s good to seek-out different opinions, and often knowlegeable opinions, to augment our vital pop-music discussions. The future of the Nation may be at stake!
NY Times/Vox contributing USC musicologist, Nate Sloan, instructs a meaning-starved nation, turning its lonely eyes to him, that the Jonas Brothers have opened a ‘musical wormhole’ back to a funkier time.
Ah, the NY Times.
A piney backwoods, black-preaching, soul-screeching musical legend ran his band hard and got results. A real innovator.
Rick Beato, musician, music producer and potential Youtube purist, says no, the Jonas Brothers use quantized drum machines, so while syncopated and seemingly funky, like so much recorded music for the past twenty or twenty-five years, the feel is lost. It’s all digitized.
Real music is real people in real time, speeding up and slowing down, often intuitively, in response to other real people in the band and out in the audience. There are better standards.
You have to be there, man, or at least listen to Clyde Stubblefield recorded as he played.
Actually, Jonathan ‘Sugarfoot’ Moffet, who worked as a drummer for Michael Jackson, among others, is having a moment. He’s very precise with his time, and he plays to the song. Good art looks easy:
What’s going on with all the attempts at meaning and all this ‘explanation,’ almost if saying something ‘performatively’ will make it true?: Have you noticed how so many of the writers are talking about writing, and the comedians about comedy, and the cartoonists about cartoons?
Part of this can be explained by explosive growth in technology and a relatively open marketplace of ideas. There’s just a lot of stuff out there.
Some good advice I’ve received in dealing with all this potential knowledge; to help protect your valuable time: Learn something and keep learning. Go pretty far in at least one field or area. If you aren’t learning new things you aren’t doing it right. Even if you are a bit of a loner, or relatively deep, keep your family, friends, and professional and personal development active. Have many irons in many fires so no single loss becomes catastrophic.
Other problems possibly afoot: There sure is a lot of talk about the person and not the person’s achievements. There sure is a lot of focus on celebrities and so many of them famous just for being famous. There are all these media outlets are presuming to tell you how to understand the world, even though they can’t even pay reporters to get basic facts.
Everyone gets a trophy!
Some of these problems, I think, are related to what I’ll call the ‘postmodern’ problem, and I’ve been digging around at it for a while. This blog is still trying to work towards a definition of modernism:
‘Like many scholars of modernism, I’m often asked two questions: What is modernism? And why is modernist studies, it seems, all the rage right now? I don’t have a good, succinct answer to either question — and I’ve no doubt frustrated plenty of friends because of that — but the reasons why I don’t are pretty telling.’
From the comments:
‘The most useful definition of modernist fiction I’ve encountered comes from Brian McHale’s Postmodernist Fiction. He says modernist fiction tends to “foreground epistemological questions” such as “How can I interpret the world I’m part of? What is there to be known?Who knows it? What are the limits of that knowledge?” In contrast, postmodernist fiction tends to “foreground ontological questions” such as “What is a world? What kinds of worlds are there and how are they constituted? What happens when…boundaries between worlds are violated?’
As previously posted:
Via A Reader-Isaiah Berlin’s Lectures On The Roots Of Romanticism. Romanticism–>Modernism–>Postmodernism–>Wherever We’re Heading Now
Maybe it all started with Beethoven: Everyone’s a (S)elf.
I’d argue that this ‘postmodern’ problem also likely bleeds out into other causes, and abstract ideas, like the Climate.
Media issues: Aside from the knowledge problems faced by all of us (oh, how little we know), but especially the knowledge and truth problems faced by people peddling information and influence or writing for money, there are other challenges. There are problems of looking to political and ideological beliefs to define one’s (S)elf. The showcasing of activist concerns and the consultation of ‘experts’ has become the glue of much academic, media and bureaucratic life.
To my eyes, the below is not necessarily the sign of a healthy movement, nor a movement properly grounded in the pursuits of knowledge and truth. Some people are desperate to be a part of something, to have a righteous cause in common (one more protest), and to hate enemies if they must.
There’s actual binary logic, and systems of computation, models of the world, using data input channels to re-create and hopefully predict the world. Sometimes when you think you know something, as you close-in on a higher level of resolution, the model can simply give way. Christopher Essex discusses ‘Believing In Six Impossible Things Before Breakfast, And Climate Models.’
This stuff is complicated, but it’s a lot like the music discussion above.
It seems obvious that some climate radicalism has hardened into an idealism guiding much establishment conventional wisdom, producing an enormous gravy-train of special interests, regulations and questionable incentives. At present, it would seem a vast majority of people busy scribbling for media outlets believe in climate change as much as they believe in anything.
But merely believing in something, having a guiding ideal and becoming politically active around that ideal, may not actually enough to actually be grounded in knowledge and truth.
Beneath the political idealists, in fact, are still many radicals, utopians and crazies (though, admittedly, some pretty damned good gospel improv):
As previously posted: Bathe in the bathos of a warming world:
‘In “Sea Change,” Graham becomes Prospero, casting spells by spelling out her thoughts to merge with ours, and with the voices of the elements. The result is a mingling of perceptions rather than a broadcasting of opinions. Instead of analysis, the poems encourage emotional involvement with the drastic changes overwhelming us, overwhelm- ing the planet.’
‘Strengths and weaknesses, flows and ebbs, yet every poem in “Sea Change” bears memorable lines, with almost haunting (if we truly have but 10 years to “fix” global warming) images of flora and fauna under siege. Jorie Graham has composed a swan song for Earth.’
What are these poems being asked to do?