I've had the "what do I do about?!" debate internally over The Smiths for at least a decade. The only solution I can stomach: I'm fully allowed to enjoy their music and lyrics. If a song fragment pops into my head, I can follow along for as much as I remember. I don't have to deny myself that gooey internal nostalgia I have for the girl who listened to them over and over again in her dorm room in 1994. What I can't do is give them money.
A fascinating article Carlos. Isn't it an aesthetic choice between the approach taken by Nick Cave and the late stage capitalism dictate that we must consume both the artist (warts and all) and his or her art? (I rhetorically ask). Apparently not, because in terms of social pressure it seems to be that today's PC Commisars will cancel us if we are unwary enough to laud, say, Ye's 808s and Heartbreak, or Ethan Kath's production on songs like Suffocation or Baptism (Crystal Castles). It's a deeply unhappy situation.
And now your article about the "New Authenticities" comes to my mind...
I've had the "what do I do about?!" debate internally over The Smiths for at least a decade. The only solution I can stomach: I'm fully allowed to enjoy their music and lyrics. If a song fragment pops into my head, I can follow along for as much as I remember. I don't have to deny myself that gooey internal nostalgia I have for the girl who listened to them over and over again in her dorm room in 1994. What I can't do is give them money.
A fascinating article Carlos. Isn't it an aesthetic choice between the approach taken by Nick Cave and the late stage capitalism dictate that we must consume both the artist (warts and all) and his or her art? (I rhetorically ask). Apparently not, because in terms of social pressure it seems to be that today's PC Commisars will cancel us if we are unwary enough to laud, say, Ye's 808s and Heartbreak, or Ethan Kath's production on songs like Suffocation or Baptism (Crystal Castles). It's a deeply unhappy situation.