This is, we are told, a ‘post-factual age’. The EU referendum has seen myth collide with fact, and myth has won to devastating effect. It has been said that the UK has ‘had enough of experts’, and such a situation has proven to be fertile ground for a politics based on untruth.
What is ‘authenticity’ in musical performance; and what does a hegemonically-determined authentic musical performance look like?
Last week’s Brit Awards were defined by two wildly contrasting performances: on the one hand a celebration of white middle class domination of the arts in the UK; on the other, the biggest name in American hip-hop playing Trojan horse for the British grime scene.
In the wake of Wednesday’s attack on the office of Paris-based satirical magazine Charlie Hebdo, people appear to be clamouring, seemingly above all else, for an artistic response to the events. Beyond the rolling news, the newspaper front pages, the opinion pieces, it is art that people are turning to, talking about and sharing with one another. On social media and elsewhere there has been a proliferation of artworks – professional and amateur – taking these events as inspiration and as subject matter.
The recent trend for EDM/’American roots music’ crossovers contains some of the most unreal, aesthetic-as-commodity, artistically (morally?) bankrupt music I’ve ever heard, and is proof, if nothing else, that the culture industry is alive and well in the twenty-first century.
To mark the 100-year anniversary of Dylan Thomas’ birth, Wales – or, more accurately, the BBC – has been gripped with an attempt to align the poet’s life and work with the country of his birth. There is nothing untoward about this initiative in itself – anniversary-governed programming plays a huge role in the BBC’s arts output – but the tying of Thomas to Wales and its national and cultural identity doesn’t quite work here, and belies a quiet desperation to inject a dose of nationalism into a subject that doesn’t quite warrant it.
With the recent hype surrounding the latest batch of Christmas-themed TV adverts, it is notable how their reception appears to have displaced ‘proper’ art. I have witnessed, on social media and elsewhere, more excitement, anticipation and discussion regarding these adverts (particularly the ubiquitous offering from John Lewis) than I have any film, TV show or song in recent memory. While this is not inherently a bad thing – it’s not that I’m precious about people paying more attention to advertising than capital ‘A’ Art – the way people are coaxed into venerating content that exists solely to extract money from them is rather sinister.
‘In a world in which stylistic innovation is no longer possible, all that is left is to imitate dead styles, to speak through the masks and with the voices of the styles in the imaginary museum.’ – Frederic Jameson
‘The twentieth century’s closing scenes having witnessed the apparent end of history rather begged the question of what on earth we were meant to do from now on. The same instability and uncertainty which has produced a loss of faith in political orthodoxies, and analytical paralysis in the face of a multiplicity alternatives, has also produced a splintered and disintegrated culture at a loss as to how to define itself and, given the apparent imminence of disaster, unconvinced that it’s worthwhile bothering to do so.’ – Rhian E Jones
I’ve been intending to write about vaporwave for some time, but I’m glad I have refrained from doing so until now, as two pieces I’ve recently read have led me to completely reassess my thoughts on the genre, and by extension what I believe to be the misunderstood role of what is commonly identified as pastiche and retromanic tendencies in modern music.