|
News And Views From The Trenches Of Music Criticism.
By Roni Sarig
MY USUAL MODUS operandi as a music writer is to celebrate
the foibles and follies of the critical media surrounding music.
Communication, however, is at least a two-way street (and more
like an open field). So herewith are a couple of items dealing
with music that critiques the media:
MOMUS WAGS THE Dog: Besides being a terrific songwriter,
Nick Currie is a man of impeccable timing. Not that many have
noticed in the U.S., where it's taken his one-man band Momus more
than 13 years to develop even the slightest profile. His latest
record, though, contains what may have been something of a pop
music equivalent to cinema's recent Wag the Dog phenomenon--a
piece of art made available at precisely the point where it seems
most relevant to current events; and in particular, White House
events.
Released in early '98, the album Ping Pong contains--among
many truly wonderful and eccentric ditties--a quirky bit of synth-pop
called "The Age of Information," which serves as a sharp
piece of media critique/satire/forecasting. If Bill Clinton had
gotten ahold of it when the record first came out, we might all
have been spared those months of accusation, denial, and conjecture
following Monica Lewinsky's entrance into public discourse.
In his album notes, Currie introduces the song this way: "I
met the writer Douglas Rushkoff at a digital conference in Amsterdam,
and he surprised me by saying that his solution to the problem
of privacy on the Internet was not encryption but being morally
good. Everything that can be known will be known, so you shouldn't
do anything you feel bad about others knowing you do. That doesn't
mean you should become boringly respectable, though. Maybe the
new transparency will mean a new tolerance for the complexities
of human behavior. Nixon got impeached when people heard his secret
tapes, but the more people learn about Clinton's immorality, the
more they seem to like him."
Currie was referring to Clinton's other indiscretions--Paula
Jones, Gennifer Flowers, you name it--since the Prez's alleged
fondness for interns had not yet been revealed. But when the shit
hit the newsstands in January, sure enough, Bill's numbers hardly
flinched. And it seems reasonable to surmise that Clinton's ability
to stay popular during scandal says less about our love for him,
and at least as much, if not more, about our own sympathies and
insecurities at a time when holier-than-thou attitudes will bite
you on the ass faster than a new, high-speed modem can download
the contents of your hard drive.
Some inspired bits of lyric from the song:
In the age of information
the only way to hide facts is with interpretation/There's no way
to stop the free exchange of idle speculation/In the days before
communication, privacy meant staying at home/Sitting in the dark
with curtains shut, unsure whether to answer the phone/But these
are different times, now the bottom line is that everyone should
prepare to be known/Most of your friends will still like you fine.
DECONSTRUCTING THE ROCK Myth, Digitally: More good news
from the front lines of the information society! We used to worry
about how legal protections would restrict the free flow of media
between producers and consumers in the digital age. It seemed
unfair that we could be barraged with popular songs, images, and
advertisements, and yet be barred by copyright law from regurgitating
that information freely in the form of samples and appropriations.
Could it be that something as trite and ridiculous as that old,
rock-star myth--the one about rock stars being conscientious,
non-greedy, and supportive of other artists--is actually working
to diffuse this issue?
Not quite. There's still plenty of money to be made in sample
clearances. But in some cases, fear of public perception seems
to be motivating sampled artists' decisions to not pursue legal
action. A few years back, after U2's record company sued the group
Negativland for illegally sampling a U2 record, it caused so much
negative publicity for the Irish rockers--who looked like fat-cat
megastars out to squash a tiny group of avant-garde sound collagers--the
band eventually called off the legal attack dogs. (Last year,
Pepsi went easy on Negativland's parody Dispepsi for similar
fears of creating mountains out of mole hills.)
Now with the recent "Deconstructing Beck," a collection
of illegal samples by corporate subversives Illegal Art (with
the help of kindred spirits ®ark and Negativland),
Beck himself has made sure that no record company lawyers will
be sullying his indie cred by chasing around conceptual mixmasters
on his behalf. While sampling for commercial purposes still requires
payment, known culture-jammers like Negativland seem to be developing
a sort of immunity from copyright violation. It's creating a double
standard for sample clearances that, frankly, we can live with.
ANTICHRIST SUPER-DUDE: For those who wondered whether Marilyn
Manson spelled the death of rock music, if not western civilization
as a whole, he may have been beat to the punch by a fellow named
Jono Manson (no relation). An unfortunate choice of a blurb, found
in Paradigm Records' press release for Jono's latest album, isn't
likely to endear him to many discerning critics. The document
credits someone in High Times as having written, "If
it wasn't for Jono Manson, Blues Traveler, Spin Doctors, and Joan
Osbourne, the New York jam-band scene may never have happened."
Now at least we know who to blame.
|
|