I guess I should call this, “The Siege of The Warwick…”
but, left alone with a substantial supply of speed I forgot that I was heavily addicted to barbiturates and I started having strange compulsive behavior.
This was after I was done, well, I was shooting up every half hour, every twenty minutes on the half hour, thinking with each fresh shot I’d knock this nonsense out of my system, this physical disability I began to notice, namely convulsions, which lasted eight hours, during which I entertained myself while hanging on to, head down, hanging on to the bathroom sink, with my hind foot stomped against the drawer, trying to hold myself steady enough so I wouldn’t crack my stupid skull open.
Continue reading re:verse : “The Siege of the Warwick” – Edie Sedgwick
In a brief defense of Pop music, I would just like to say…
Pop music is here to elevate you. Pop music exists to channel transcendence. Pop music is not relegated to a single frame of performance or musicality. Pop music is the amalgam of experiential sonic rhythm, crafted and delivered for and to the contemporary body. Pop music is founded upon Pop musicians.
The contemporary is inundated with “new” media. The contemporary is a global marketplace. The contemporary is spectacular. Pop musicians, as such, are here to reciprocate and satiate said contemporary. The contemporary is a stage, the contemporary are performers – the audience are exhibitionist voyeurs and the actors are voyeur exhibitionists, we’re all in this Factory frame together.
And so, we dance, we sing, we get up, we do our thing, we put on a show tonight, do whatever the collective they like – for the fame, so they see our face and know our name. So, know this space. Know that the ones in the brightest lights push hardest in the darkest nights, know that the ones who do it endlessly – the ones who first trigger the reflexive ennui – do it for you.
Never Be Low Brow: Pop Canons.
Continue reading re:mind : on brief behalf of Pop music
If Graduation is Fame, 808s & Heartbreak Kills. In the wake of Graduation‘s superlative Indian summer high, 808s and Heartbreak is the inevitable comedown – the crash of the coldest winter. West described this album as “Pop Art,” in its ability to merge hip-hop credibility with mainstream appeal to innovate authentic music in a way only paralleled by Pink Floyd: Welcome to heartbreak – the dark side of the moon.
Continue reading My-Fi: 808s and Heartbreak – Kanye West
mood: the #battle is half the #turnup…
ring: now I’ve got a confession, when I was young I wanted attention. and I promised myself that I’d do anything, anything at all for them to notice me… but I ain’t complaining, we all wanna be #famous. so go ahead and say what you wanna say. you know what it’s like to be nameless? want them to know what your name is? ’cause see when I was younger, I would say…
Continue reading #andscene: ep. 12.20.27
Celebrity serves the purpose of highlighting otherwise opaque social relations, conflicts, concerns, and realities.
That which is the fueling, seemingly banal, everyday existence of the masses doesn’t manifest itself into anything of social significance, until an icon framed to represent and vividly portray the beautiful burden of an attributed demographic brings it into public discourse.
The celebrity brings with it an entire economy. It is the commodity, the product and property of a corporate entity, a media monarch within the greater sphere of private ownership of a public institution – a public figure within capitalist society. Money, power, and reference run through iconographies.
Equally, celebrity brings with it an entire ideology. It is the character, the product and property of a ruling class. It may reinforce, resist, reject, or repudiate the standing social order. It is also the product and property of the masses from which it emerged, and which it directly influences and impacts – it is the manipulated mouthpiece of an increasingly superficially divided monoculture.
Continue reading Vinyl Cut Prose: On the curious case of celebrity and contemporary culture…
Pulse the signature sound as apropos a sonic aesthetic as any you could possibly fathom. Be the rainbow coalition rallying cry emerging as the pulse of the marginalized and socially-oppressed communities. The uber-derivative genre infusing indigenous sounds with new synth technology. The cultural anomaly with which to be reckoned, that self-contextualized subculture hidden-in-plain-view.
Be the rainbow-haired bad romancer emerging as the pulse of the Generation Don’t Ask, Don’t Tell fringe networks. Bathe in uber-derivative artistry. Pull identity from Lorca, Queen, Motley Crue, In Living Color, Peggy Bundy, Kardinal Offishall, Stanley Kubrick, Yoko Ono. Wear it. Infuse influence with modern Pop veneer. Bear the cultural anomaly with which to be reckoned, that self-contextualized subversive supernova hidden-in-plain-view, the bleeding red corpse of American celebrity hanging from the rafters.
Continue reading EP. 27.6 : when i trance