2020-06-10

CAPITALISM - KAKISTOCRACY’S IDEAL


This week, I learned a wonderful new word: Kakistocracy.  I’d never heard it before until the other day when I was watching a recent video by Jello Biafra (WWJD #82).  The term is defined as “a system of government that is run by the worst, least qualified, and/or most unscrupulous citizens.”  I can’t think of a more perfect description of the current political state of the western world, particularly the US and UK.  We’ve allowed the worst of us to amass the most power and this year has been bearing the fruit of their incompetence and corruption in a manner so profoundly destructive, we’ve literally been witnessing the collapse of our civilization.  The question is: How did we let this happen?  How is it that the most contemptible, idiotic and useless examples of humanity have managed to maneuver themselves into every significant seat of power conceivable within our society?

I think the easy answer to this complex question is MONEY.  Those who have it get the advantages; those who don’t, get the shaft.  It is, however, a bit more complex than that.  To attempt to understand it, you have to look at the way capitalism has evolved in the west in the past century or so since the dawn of the industrial revolution, particularly within the last 40 years.  I think the crux of it can be found by looking at the difference between the idealized conception of capitalism vs what’s actually come to pass as a (dis)functioning reality.  To understand the “ideal” you have to look at the person who today gets inexplicably lauded by the right and condemned by the left.  To this point, it’s time for a bit of true confessions from me.

When I was a young adult, during the 1980s, a friend of mine gave me a book, The Fountainhead, by Ayn Rand.  I fell in love with it.  Firstly, Rand spoke plainly and logically and without recourse to religion or mysticism.  As an atheist and agnostic myself, this was fundamentally appealing to me. She was a rationalist and promoted reason as a methodology and intellect as a value.  What people now label as a “lack of empathy”, I interpreted as mere selectivity.  I just saw that she promoted a philosophy of caring for people who deserved it and not sacrificing yourself for deadbeats.  She didn’t advocate investing time and effort into people who were abusive, unappreciative, disrespectful, ignorant or prejudiced, something which was viewed as the height of irrationality.  I agreed with that stance and I still do, at least in terms of personal relationships.  As an aspiring musician and artist, I related to the struggle of her hero, architect Howard Roark.  He was a symbol of pure creative integrity: uninfluenced, unimpressed and unimpeded by the judgements of others.  It was an attitude I sought to ingrain into my own works and approach to life.  What I gleaned from her writing was an appreciation for innovation, imagination, integrity, commitment, honesty, intellect and a personal passion to be true to one’s creative vision.  I still feel this way.  I don’t think these are negative values. 

As I got deeper into her writings, I began to learn about her conceptions of economics and her championing of capitalism as an “unknown ideal”.  In her mind, it was an economic system which was driven by a desire to acknowledge the best and brightest through rewards commensurate with their achievements and abilities.  It was also about having the right to retain and control the fruits of one’s labors: private property, unassailable by taxation.  And it was about the creation of values: goods and services of quality and distinction.  Her conception of this system was that it would be self-regulating.  That the corrupt, the crass and the criminal would be weeded out by a kind of natural selection whereby they would ultimately fail in their businesses because the public would not support them.  Bad employers would not be able to retain staff nor appeal to enough customers to survive.  In this regard, she felt that nearly every aspect of civilization would benefit from privatization with capitalistic profit motives as a driving factor.  Profit, in her eyes, meant benefiting in some way from one’s efforts and exchanges and never sacrificing “something of value” for “something of lesser value”.  Her ultimate manifestation of these ideals was John Galt in Atlas Shrugged, an inventor and engineer, seemingly inspired by Nicola Tesla, intent on revolutionizing the energy industry in a similar manner to Tesla’s tower delivering free electricity through the air.  On the surface it was all very noble and heroic stuff.

That idealism was founded on a premise which has proven to be rather unsupported in the real world.  It’s the idea that ethics and morality are somehow latent, emergent properties of capitalism.  Though there were provisions for the existence of legal systems to resolve legitimate disputes or disagreements, there was no accounting for our innate disposition towards deception and criminality.  Humanity was given the benefit of the doubt, though we have proven most definitely undeserving of it.  It’s an assumption which has proven far from true and something of a fatal oversight.  As a result, what has manifest instead of a system for championing the exceptional is an economic system with a pathological, narcotic addiction to wealth and an obsession with the ruthlessly expedient when approaching that objective.  Rather than celebrating quality and craft, the system we have only seeks to concentrate riches in as few hands as possible and then grow that wealth exponentially while sacrificing any and all values regarding human quality of life in the process.  Standards of living, environmental sustainability, respect for life: all of them are subject to the chopping block if it should prove expedient to do so for the sake of even a modicum of profit.  Whenever an innovative product is put on the market, the natural inertia of the marketplace moves to look for ways to devalue it: to reduce its cost, to cut expenses on its manufacturing, to trim the investment required for staffing and increase the quotas of productivity expected from those still doing the work of creating it.  Corners are cut, inferior materials are substituted while any and all means are employed to offer less and financially gain more.  This is the exact opposite of the process that was envisioned by Rand’s conception of the system, at least as far as I interpret it from her writings.

When it comes to celebrating intelligence and achievement, in practical application and based on a continuous downward spiral of cost cutting and quality reduction, those attributes are seen as hindrances in our real world manifestation of the “free market”.  Ethics and morality are therefore inconvenient because they identify the shortcomings and contradictions inherent within that process.  The system, as it stands, depends on a sociopathy and psychopathy which divorces itself from any form of empathy as a means to enact the most brutal and harsh conditions conceivable in order to achieve its ends.  The result is a form of anti-intellectualism which seeks to stifle rationality and reason while distracting the populace from critical examination with mind-numbing trinkets of fascination in the hopes that people won’t realize the nature of the system bleeding them dry.  That’s assuming the populace has managed to grumble enough to convince their masters to indulge such diversions.  More commonly, simple naked force is used in less developed societies to compel people to participate in their own abuse.  In the end, we find ourselves being lead by the nose by idiotic and incompetent criminals who are incapable of even the most meager critical insights.

During a brief period in the mid-20th century, this rigid division between “have” and “have not” was mitigated by an era of upward mobility which created an effective middle class population.  Unionization and labor standards enabled people to build personal wealth without having to inherit it.  This became the “American dream”: the ladder up which supposedly anyone could climb. Well maybe you could ascend it if your skin was the right color.  Of course there were some exceptions permitted to disprove and obscure the rule, but the majority still found themselves nailed to their crosses for the duration.  However, as we’ve begun to reach a breaking point in terms of resources and impacts to our environment, those in power, aided by those who did manage to climb the ladder, have pulled that ladder up and have been steadfastly working towards undoing any progress made in the previous century.  There has since been a systematic dismantling of the societal framework which so many worked to create through two world wars and countless social movements.  The system, in the end, continues to perpetuate itself, but how?

The primary means by which this sort of social order can survive for any length of time is by virtue of privilege, by rigging the game so only those on the inside can win while everyone else merely subsists or sinks entirely.  Money is the ticket into this cabal of incompetence.  Those born into wealth and privilege are beneficiaries while those who suffer poverty, often aggravated by their skin color and geographic heritage, are denied and abused.  Though this is an initial driver in sustaining this system, there are two other key factors involved.

The second ties back to Rand’s other major work, Atlas Shrugged, which describes a world where the intelligent and the capable abandon civilization to its follies and fools while choosing to live isolated from it all as the rest of the world collapses.  In a sense this is very much the case with our modern world as so many of the able and intelligent of it have given up any hope of change.  Buddhism refers to the “Trance of Sorrow”, which is one of the first stages upon the road to enlightenment.  It is the point at which the adept realizes the hopelessness of existence, expressed by consciousness of mortality, and is tempted to give up on life.  This is where we have lost most of our intelligentsia as they have withdrawn from the world and do not endeavor to participate in its development.  And this is not an unreasonable tactic.  I have, for much of my adult life, felt like the state of the world is beyond my ability to influence and that the only path forward is to simply let it fail or even give it a nudge closer to the edge whenever that option presented itself.  It’s an assumption that change will only happen when the current system collapses and we finally have an opportunity to begin anew.  There’s still a significant part of me which is convinced this is a viable strategy.

The third factor in sustaining this system is the so-called “democratic” process and its inexorable tendency to reinforce the lowest common denominator.  It’s another form of inertia which tends towards an overall dumbing down and oversimplification within the culture.  When you have an uninformed, ignorant electorate, they’re going to make bad decisions and support incompetent people and irrational propositions.  The system takes great efforts to ensuring that the voting populace, or those who are allowed to vote, is kept distracted, docile and distant from any understanding of the issues or any comprehension of the qualities necessary to govern effectively.  The cult of celebrity is used in this regard to foist candidates onto the ballot based on popularity and personality.  It’s not necessary to master any skills or command any expertise in any area as long as you’re able to perform sufficiently for the amusement of whomever you wish to scratch an “X” next to your name. When the above three key factors are taken together, the manifestation of rule by the incompetent is not only feasible, but inevitable. 

What I find perplexing is how someone like Ayn Rand has been embraced by the conservative, religious right.  Having significant familiarity with her works, her message still remains, in my mind, diametrically opposed to theirs.  She was an atheist, for one.  She was a strict rationalist who abhorred the concepts of faith and mysticism.  Her conception of capitalism is still miles away from the “greed is good” corruption and predatory nature of the sharks prowling the economic waters since the dawn of the Reagan era.  She despised him and everything he represented.  There is cause to consider the possibility that Rand’s principals and values have been deliberately co-opted by the alt-right in order to subvert them and undermine the very tools which could be used to defeat them.  She was far from perfect, but her basic conceptions of rationality and reason remain, I contend, quite sound.  These same principals can be found enshrined in the likes of groups like The Satanic Temple, one of the foremost politically adept anti-fascist organizations currently active in the US, who are diligently working against allowing theocratic tendencies to destroy the separation of church and state in that country.

I’m well aware, at this stage of my life, of where Rand’s philosophy has failed in terms of providing some kind of balance between “selfishness” as a “virtue” and empathy as a necessity for creating an ethical, morally sound civilization.  Strict adherence to purely rational processes must also be balanced by the recognition of emotional responses.  Logic will always have a limit beyond which intuition has to fill in the gaps because omniscience does not exist.  Being concerned with one’s own welfare shouldn’t negate or be mutually exclusive of the ability to care for the well-being of others.  The concept was NOT simply selfishness as an end in itself, but rational self-interest where one didn’t simply act on whims but with reasoned consideration of results and consequences.  This can be seen again in the sloppy interpretations of Aleister Crowley’s “do what thou wilt” axiom, where people misinterpret it as a license for wanton indulgence without responsibility.  Being true to one’s natural tendencies cannot be pursued in a vacuum, unconcerned with the impacts on the world around us.  We should be able to comprehend that when others suffer and are left in positions of poverty and squalor it drags all of us down and, as we’ve witnessed first hand this year, makes us all susceptible to physical threats like pandemics and disease. 

We are all interdependent and when it comes to societal infrastructures, capitalism as it currently operates, divorced from all consideration of its impacts, cannot be used as a method for managing most aspects of that framework.  Corporations, in this environment, become thoughtless monstrosities which only seek to ensure their own fiscal well-being without any consideration for the world in which they exist.  The people who maintain them are not in control.  Like dead-eyed sharks, they mindlessly function only by rote mechanics.  They merely respond to stimulus in terms of seeking out solutions to monetary issues.  The human component is no more than a tangential consideration and only so far as they are necessary to perform essential functions.  When they can be replaced by machinery or computers or cheaper labor pools, they are chucked into the bin without any hesitation.

There is a place for a market of exchange of goods and services and it can be a mutually beneficial system when done fairly and with a sense of caring for your trading partners.  When you don’t view people as prey, you don’t seek to leave them as carcasses after you’ve done business with them.  Marketplaces cannot be left to their own devices in terms of oversight.  Rand’s contention that they would somehow moderate themselves was wholly ignorant of human nature.  You must have some sort of regulations in place to ensure fairness in the system and observance of considerations in terms of things like environmental and societal impacts as well as public safety.  There have to be formal standards and practices which are recognized and accredited to ensure objective adherence and consistent observance.  These things are necessary to ensure things like food isn’t contaminated and appliances don’t burst into flames and burn houses down.  This kind of bureaucracy is essential within a civilized marketplace.

Outside of this, in areas like the legal system, policing, medicine, education and public works (highways, power, water & sewage, etc.), financial profit cannot be used as a motive for operation in any way.  These things form the framework of a civilization and must function as mutually beneficial to all participants in that society.  They should seek to only operate within agreed-upon budgets funded by public input through reasonable taxation of the marketplace.  Healthcare is a perfect example of how this can go very wrong when driven by profit motives.  Curing illness is no longer the goal in western medicine.  Rather, maintaining it is the objective because that’s how you keep people coming back for more of your medications and treatments.  You don’t want them better because then they’re no longer a source of profits.  Even in a semi-socialized system, it becomes a completely counter-intuitive process.

Though the situation is quite dire, I do have a shred of optimism that we might be able to reform ourselves before we hit rock bottom: that place beyond redemption from which we may not be able to find recovery.  The thing about a kakistocracy is that it is, ultimately, run by mostly very ignorant people and that is an advantage for the rest of us.  They understand neither subtlety, craft nor cunning.  Watching that orange buffoon in the White House is proof that the only thing he comprehends is the bludgeon.  “TRUMP SMASH” is his only strategy.  He may be abetted by a few possessing a modicum of guile, but their objectives are still primal and primitive: power and wealth.  Enlightenment is something they are incapable of grasping nor aspiring towards.  They prefer to hunker in their shrouded bunkers, hoarding their bangles and beads, thinking these things represent true value and failing to understand that life is about experience and engagement and how you live it.  That’s not to say there aren’t a handful of particularly malevolent people possessing enough intelligence to put forward some effective strategies.  If it weren’t for these provocateurs, the conservative grip on the political main stage would have no chance of success at all.  The issue here is that they are operating unopposed.  As long as the liberal intelligentsia remain resigned and defeated, or worse yet, co-opted by trying to sustain the current system in a kind of “have their cake and eat it too” neoliberal death-spiral, alt-right/conservative minions will continue to run roughshod over the political landscape.

This year seems like we’ve reached a stage where our civilization has hit the boiling point.  The heat has been rising gradually for the past century as we’ve succumbed to greater and greater influence by the incompetent and the corrupt.  We’re all that hapless frog failing to notice how hot the water has become and we’re all about to be cooked.  Once we are, we can’t be uncooked.  Our time is nearly up and we’re going to see very soon whether we’re on a path to destruction, with only the hope of the survivors rebuilding from the rubble, or if we can wrest control of this bus away from the idiot driving it before we go off the cliff. 

2020-06-03

NURSE WITH WOUND - TO THE QUIET MEN FROM A TINY GIRLS & MERZBILD SCHWET @ 40


Though there is no definitive information on their actual release dates, I'm commemorating the release of both the 2nd and 3rd Nurse With Wound albums today as an arbitrary approximation for their 40th anniversary. Recorded in January and June of 1980, respectively, To the Quiet Men from a Tiny Girl and Merzbild Schwet represent critical stages in the initial development of this project.

Initiated the year before with the release of Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella, Nurse With Wound was founded by the trio of Heman Pathak, John Fothergill and Steven Stapleton. They would remain in this configuration for the 2nd LP, but creative differences would leave the project in the sole proprietorship of Stapleton by the recording of the 3rd. Going forward, NWW would evolve into an ever shifting conglomerate of collaborations with a huge variety of artists. Though some would become somewhat regular contributors, Stapleton would always remain its central instigator.

Whereas the first LP was essentially little more than a bit of a studio lark for the trio, being recorded with little forethought and little time (I believe it was a one day affair), they started to take things a bit more seriously with the 2nd LP and, by the time the third was manifest, the basic essence of the central concepts were well in place. The references to Dada and Surrealism were firmly fixed and the production values started to reflect a desire to offer some kind of high fidelity while simultaneously sabotaging it with the use of inexplicable distortions and glitches. United Dairies, the self-run label releasing the albums, even relied on a pressing plant specializing in classical recordings for their releases as the technicians there were more adept at dealing with extremes in audio dynamics inherent in the genre as opposed to other plants who were more used to the heavily compressed recordings common within the rock & roll arena. The results were records of uncommon clarity and precision within the scope of the material being presented.

The compositions themselves offered up a more interesting progression than the improvised cacophony of the depute from the previous year. Certainly, there was still a lot of clutter in the sound at times, but there was a much greater expansion in the appreciation of strategic silences. The principals of "cut-ups" were starting to manifest in the use of found voice elements, though the editing sophistication was still lacking and would not manifest into its full flower until the following year with the release of the pivotal Homotopy to Marie LP. However, the course and the evolution are clearly audible on these two albums and the progression is unmistakable.

Personally, I didn't managed to track these down until the early 2000s on CD, once online ordering became practical for me. I'd picked up an LP in 1989, The Sisters Of Pataphysics, which offered extracts from the first three LPs, but the presence of the Chance Meeting components put me off the album due to their rudimentary nature. Once I got a chance to hear these two albums in their entirety, I was much better able to appreciate the evolution which had occurred and the development of Stapleton's ability to surprise and misdirect. Merzbild Schwet, in particular, stands out as one of the few recordings I've ever heard which caused me to think my stereo system was broken. The opening few minutes had me rushing to my equipment, in a panic, thinking it was about to implode. I give kudos for that any time someone manages to pull it off.

Though they are albums which represent a "work in progress", I still find them very listenable, overall, at least as far as Nurse With Wound is considered. There's a certain ambience to them that sinks into the environment and allows you to absorb it all without too many instances of things jarring you out of your comfort zone. Of course, that's assuming your comfort zone is a bed of nails.

2020-06-02

IT'S NOT THE APPLE, IT'S THE BARREL


I keep seeing this image shared online and there's something about it that doesn't sit right with me. I understand the intent of it, that it's trying to get people to think beyond stereotypes, but it also plays into a narrative which I think is at the crux of the problems we're dealing with at the moment in terms of understanding the insidiousness of the racism which is rampant in our civil institutions. I've touched on this a few times in the last several days and it is generally referred to as the "rotten apple" argument. Simply put, it posits that the problem is that a few "bad apples" shouldn't cause you to misjudge an entire group or system within which these individuals operate. It exists based on the premise that the culture or the system is not faulty, only a few individuals who misrepresent and appropriate it. This is the lie that sustains the injustice.

This particular image is doubly stealthy because it features a woman of color, someone who is accepted as a representative of the victims being subjugated. But it's a co-opted image. The message is still that the system is not at fault and that it's only the "bad apples" that are creating the problem. "Not all cops are bad". That's the most relevant component of this sign in the current context, but it completely disregards the corruption of the system within which ALL police must function. That system is intricately structured to place people of color at a disproportionate disadvantage. The only evidence you need to consider of that is the vast disparity between the numbers of people of color vs Caucasians currently occupying prisons in the west. Policing, the courts and the justice system as a whole, from the ground floor to the top, are designed as a way to subjugate the non-white population and keep them in a perpetual state of fear and repression.

So don't tell me that there's some "good cops". There were, I'm sure, some lovely Nazis in WWII, fine folk with whom you could have a drink and a chat with about the football game, but here's the thing - THEY'RE FUCKING NAZIS! When der Führer gave the orders, they still fell in line and did their jobs. The same thing applies to cops. Trying to bury this truth in the guise of liberal fairness is a dangerous game in this climate. It de-fangs the opposition and the protests of what's been happening. It pulls the rug out from under every viable argument that needs to be made now.

This principal applies to ALL forms of prejudice and bigotry. It's the same when people say "not all men are sexist". No, they're not, but all men must exist within a culture which has enshrined sexism into its very fabric. There's no escaping it on a daily basis. All men must live in the world where women are second class citizens. All of us are, in some way, complicit in maintaining it. We all stand by while the injustices occur and are repeated, over and over, ad nauseam. We have got to stop making exceptions for ourselves when it comes to dealing with the pervasiveness of prejudice and bigotry.

To get where we need to go, we all have to do something no one wants to do. We all have to admit to our own prejudices. There are simply no angels among any of us. We're all guilty as sin and simply pointing the finger at others will never solve the problem. We have to solve the problem from within ourselves first. I know I have bigotry and bias built right into my social DNA. It's been there from childhood, carefully indoctrinated into me by every social influence which could play a part in shaping my identity. It's so deeply ingrained, I don't even realize it's presence most of the time. It's only occasionally, like when the world starts to burn like it has this week, that I catch myself in the mirror and realize that I'm part of the problem too. Like an alcoholic who's just reached the point where they're willing to admit they have a problem, I'm standing up and saying, this is me and I'm guilty too.

So stop trying to pretend there's not enough guilt to go around. There's more than enough and it's only going to be when you start to own it that there's going to be any hope of change in this horrible, corrupted world.

2020-06-01

THE MONKEES - CHANGES @ 50


50 years ago this month, in June of 1970, The Monkees, or what was left of them, released what would become the final album of their original era of their existence, Changes. After a mere 5 years, they had gone from the staggering heights of screaming teen heart-throb superstars to plunging to the level of "red-headed stepchild" of pop culture. Dismissed, reviled and ridiculed, they'd fizzle out like a dud firework. Or did they?

After the wild success of their first 4 LPs and two seasons of the TV show, things started to take a turn in 1968 with the double whammy of a feature film box office disaster, HEAD, followed up with an ill conceived and somewhat nightmarish variety special, 33 1/3 Revolutions Per Monkee. It was all too much for Peter Tork, who split after the TV special was filmed, but they soldiered on as a trio through a couple more LPs and a smattering of TV guest appearances on things like Hollywood Squares and the Johnny Cash show. By the end of 1969. however, it was enough for Michael Nesmith, who was the next to depart and move on to a more creatively fulfilling solo career.

With the proper "musicians" (and control freaks) out of the picture, the two "actors" of the group, Micky Dolenz and Davy Jones, were looking to rekindle their chart success and, not being driven by the need to have that full say in their material, reverted to the format of the group prior to the creative "revolt" and musical director, Don Kirshner's dismissal. They went back to the record label's stable of pop song-smiths and Wrecking Crew studio musicians and put together another "pre-fab" style LP, the kind they'd been so successful with on their first two LPs. But the bloom was too far off the rose by this point to score any chart success and the commercial failure of the album put the final nail in the Monkees coffin. Jones and Dolenz went their separate ways, thus ending the initial lifespan of the group.

But what kind of album do we actually have in this swansong? It took me a long time to give it any attention or consideration. I'd always dismissed it as the last gasp of a dying concept. It was the last album from the original era that I bothered to add to my library and I only initially did so out of my obsessive-compulsive habit of wanting "completeness". When I collect a band, I like to get EVERYTHING they did, good, bad and ugly, and I assumed this album pretty much tagging only two out of three of those attributes and you can guess which ones.

When I finally got around to giving it a proper, objective listen, what I discovered was that it is actually a rather nicely crafted bit of bubblegum pop music. Firstly, you've got the vocal talents of Micky Dolenz. I don't care what anyone says, but I consider him one of the great vocal talents to emerge from the 1960s. And then there's still good songwriting talent coming to bare on the record. Andy Kim and Jeff Barry contributed most of the songs to the album and there are some great tunes in the bunch. Ticket on a Ferry Ride is a sublimely beautiful bit of pop confectionery. Even Dolenz contributes a spry tune in the form of Midnight Train, though I must say that the album version pales in comparison to the a-cappella demo version he did with sister Coco. She was Dolenz's secret weapon throughout his career and it's no wonder she's still a critical part of his touring entourage to this day, solo or with The Monkees. With a similar vocal tone, but slightly higher range, she was often the vocal "flying buttress" that helped lift Micky up to the heights he might not have fully scaled on his own.

Ultimately, while this may not be The Monkees best, it is definitely not their worst (Pool It takes that "honor"). What it is, is a beautifully crafted, neglected pop album with more good to it than bad and worthy of a second look for fans of the group who want to dig a bit deeper than the obvious hits. It was the last chapter in the first part of their story, but it wasn't a tragic one.

2020-05-30

INFLUENTIAL ALBUM - THE VELVET UNDERGROUND AND NICO


It was sometime in 1984 when The Velvet Underground first made a notable impression upon me. I had probably heard the odd song here and there before, but was mostly familiar with Lou Reed as a solo artist for his song, Walk On the Wild Side, which had featured in the "punk" movie soundtrack of the film, Times Square (1980). Other than that, I didn't know a hell of a lot about the group. I just recall one summer Sunday morning, after a long night of warehouse partying when the last dregs of us were lounging around the space that the song, Sunday Morning, came on and it was such a perfect expression of the moment that it burned the groups essence into my mind and I started to look more closely at them and what they had achieved.

I didn't actually get a copy of The Velvet Underground and Nico album (on CD) until sometime in the early 1990s, but I would become very familiar with it from copies owned by various friends and acquaintances. I'd also become well aware of the scene around the group at the time of its creation; the Factory crowd, Exploding Plastic Inevitable multimedia live extravaganzas and the auteur of the scene, Andy Warhol. It was all a big influence on us in the mid 1980s as we were looking to create our own little version of it in Vancouver, occupying disused warehouse spaces and filling them with mind altered denizens of the night, dancing to strange electronic sounds amid whatever setting we could manage to concoct with no money and scraps of whatever.

It was another case where I understood that the revolution in music and art we were seeing in our times was inspired and influenced by something from the past and that it wasn't all happening in a vacuum. The sounds the VU managed to create became massively influential to the most extreme examples of new music we were seeing from our generation. When you understood the connections and heard the linkages, you could appreciate the continuity of culture being expressed through the decades that separated these artists.

Learning about the VU also put their era in a completely new light. Having lived through it, albeit as a child who was only impressed upon by virtue of the media of the day, namely the TV, my biggest sense of culture for the late 1960s was often the caricature of hippies which had managed to permeate the popular shows of the day. Even at that, the hippies were much more subversive in their core, and I'm talking about the Merry Prankster branch here, than what was seen on the small screen. But there was another, much darker tangent to those years which remained hidden and obscured until you took the time to brush away the detritus of popular representations and explore below the surface.

In this regard, The Velvet Underground represented the ultimate "hard core" of the most significant artistic influence to emerge from the decade. While groups like The Beatles would have admittedly massive influence on popular culture in the decades to follow, The Velvets would prove to be far more insidious, perverse and persistent in terms of providing a foothold for subversive evolution within the arts. Personally, I continue to consider them "ground zero" for the most original and alienating strands of artistic expression within the realm of experimental and alternative music.

2020-05-28

INFLUENTIAL ALBUM - MILES DAVIS, KIND OF BLUE


It was the summer of 1992 when my partner and I began cohabiting in my modest one bedroom West End apartment in Vancouver. When he moved in, one of his main contributions to our home was his expansive CD collection, accumulated by virtue of working for a major music retailer. This also facilitated numerous CD gifts thanks to his staff discounts. One of my favorites being the landmark 1959 Miles Davis album, Kind of Blue.

My partner's musical tastes are quite significantly different from mine, but I always appreciated that divergence as it allowed me to discover some music that I'd never have ventured into on my own. The world of jazz is someplace I'd been hesitant to explore, mostly because my conception of it was primarily based on the kinds of flashy, technique driven big band stuff that was often featured on programs like The Tonight Show with Johnny Carson. That sort of thing simply never appealed to me as it only felt like it was about cramming as many notes into a performance as possible.

I'd seen Miles perform on TV several years earlier when he appeared on an episode of Saturday Night Live. It was a rather baffling performance as he spent most of the time shuffling around the stage like Tim Conway's old man, not playing anything. Occasionally he'd blap out a few notes and then back to the shuffling. I didn't really get it. Listening to Kind of Blue was an eye opener, however, as it clued me into the aesthetic of proper "cool jazz". This was something I could dig because it didn't try to beat me over the head with virtuoso musicianship. It was more focused on creating mood and ambiance. It was an album I could put on and chill with and let it sink in around me. It was elegant and lingered like cigarette smoke in a Film Noir.

It was examples like this that opened my mind up to the reality that jazz was a much larger arena than I had considered and that there were examples within it which jived with my own musical sensibilities, and that they had a lot in common with the improvisational techniques of experimental performers like Throbbing Gristle. When TG used the term "jazz" in their album title, yes, part of it was ironic and tongue-in-cheek, but it was also a very serious statement at the same time that there was common ground here, but in a different form.

This was not the only revelation I'd find in my partner's music collection. There were many other artists I learned to appreciate who I'd never have bothered with if I hadn't had access to this "alternate universe" music collection. Miles Davis was the one that had the most impact in the end. He put in place a principal which guided my musical journeys going forward, that being that musical styles are irrelevant to enjoyment and that any style can hold artists of depth and imagination, regardless of how many other practitioners may seem only superficial and unoriginal.

2020-05-27

INFLUENTIAL ALBUM - JEAN MICHEL JARRE, EQUINOXE


From 1974 until 1981, legendary singer and actress, Dinah Shore, had a daytime variety talk show called Dinah! One afternoon in1978, while I was home for one reason or another, my mom was watching the show and the musical guest that day was this dashing young Frenchman by the name of Jean Michel Jarre. He was discussing his music and how he made it using all these electronic instruments and then they played a promotional video for one of his compositions from his most recent album, Equinoxe. The piece was Equinoxe Part 5 and was a sweeping instrumental with a driving, pulsing rhythm underpinning some majestic synthesizer swells. The video features various shots of Jarre wandering around while this odd looking graphic character featured on the cover of his album kept popping up. These binocular viewing blue men were positioned in various odd locations and the resulting effect for the video was something rather humorous, though also a bit unsettling.

At the time, I was just starting to get into electronic music and I think I'd just picked up my first Kraftwerk LP. Jarre was a bit different, however, because there was something of a classical leaning to his music. Not too surprising, I suppose, given his father was famous film score composer, Maurice Jarre. There was a more romantic and picturesque quality to Jean Michel's music over the overtly mechanical, robotic vision of Kraftwerk. Equinoxe plays out very much like a film score, seamlessly shifting through each movement, only interrupted by the separation of sides on the album. Otherwise, every piece segues into the next with remarkable precision and fluidity. The album is a journey through an alien electronic landscape, brimming with dynamics which completely belie the assumption that electronic music was incapable of expressing such emotion and dexterity.

Unlike a lot of the music I'm prone to enjoy, this work represents something meticulously crafted and composed rather than the more spontaneous and improvised genres that normally dominate my musical preferences. The proof of this is in the fact that Jarre has replicated it, note for note, in live settings, utilizing the exact equipment employed during its original creation. It's a bit of indulgence which is very familiar to Jarre and to fans of his work. He can be, at times, rather overtly a "showman" with his live presentations, and while this often is a bit much for me, there have been times when his excesses have been constrained enough for me to find certain works endearing and enduring far beyond their genesis. This is one of his best, for my money.