Speaking of boredom, let’s start with Tony Wilson’s gloriously earnest and nonchalantly pretentious Buzzcocks/Magazine documentary from 1978. In many ways it seems far longer ago than that, what with girls who work in Woolworths and all that quaint smoking indoors. Don’t make ’em like this anymore, eh? Continue reading
Also, you know what I’m bored of? I’m bored of middle-class pontificators referencing Situationism. It’s a useful analytical tool for any bedroom-bound fourteen-year-old Manics fan (hi!), but give it a rest now, you’re making it about as interesting as dubstep.
God I’m restless.
Laughter in dark times becomes necessary, providing both critique and consolation. And the nights are certainly drawing in. I mean, look at all this. Or, on what seems by comparison a light note, this surreal attempt to humanise the employees of an organisation geared solely towards turning a profit by trading in hatred and tits.
Satire has never seemed so conspicuous by its absence. It is one thing to see corruption, incompetence and venality occasionally exposed; it is quite another to see so many practitioners of corruption, incompetence and venality incessantly expose themselves with the bafflingly brazen insouciance of compulsive flashers drunk in a town park. So the news has turned horribly, endlessly funny – far funnier than any current attempt to dissect or diagnose its disgustingness. Look at this, or this, or the point at which the dark arts of spin, the erosion of journalistic enquiry, and the vacuum at the heart of the Labour Party coalesced to form a revelatory moment of pantomime androidry – and how quaint, how nearly comforting, how spot-on then but now unremarkable those past satirical visions seem, eh?
The lunatic reality of contemporary politics is galloping ahead of satire by significant furlongs, and few seem capable of or even interested in catching up. Which is where Flood Theatre come in.
Flood takes all the above into account, and styles itself ‘the new comedy for the new politics’. In soundscapes and sketches drawn with a dramatic flair for language and a fine sense of the absurd, it outlines our rats’ nest of politics, media and society with unflinching precision.
There’s a long and noble history of art that takes life in all its grim, bleak splendour and manages to wring out disbelieving laughter. There’s been Chris Morris, there is Stewart Lee, and, soon, there will be Flood.
Flood perform at the Edinburgh Fringe, August 5th-27th. Book now.
Simon Reynolds has decently condensed his new ‘un into a Guardian article:
As the last decade unfolded, noughties pop culture became steadily more submerged in retro. Both inside music (reunion tours, revivalism, deluxe reissues, performances of classic albums in their entirety) and outside (the emergence of YouTube as a gigantic collective archive, endless movie remakes, the strange and melancholy world of retro porn), there was mounting evidence to indicate an unhealthy fixation on the bygone…
The book is not a lament for a loss of quality music – it’s not like the well-springs of talent have dried up or anything – but it registers alarm about the disappearance of a certain quality in music: the “never heard this before” sensation of ecstatic disorientation caused by music that seems to come out of nowhere and point to a bright, or at least strange, future.
I don’t wish to dollop even further layers of irony on top of this particular trifle – but we’ve been here before, too, haven’t we? This is repetition, if not revival. What Reynolds castigates as ‘retromania’ has been sporadically identified throughout the past decade, most perspicaciously by several of my mates around about the point at which the third pint starts to make its presence felt, because we’re old enough to remember when revivals seemed novel, if only because this was the first we’d heard of them. Continue reading
So the next scheduled Apocalypse isn’t until October. Good; I have stuff to do before October, but little to do after it, and at the current rate of Armageddon I won’t need to pay off my student loan. More importantly, Dylan was 70 on Tuesday.
One of my favourite theories/lies/facts about Dylan is that the lyrics to ‘It’s a Hard Rain’s Gonna Fall’ consist of titles or opening lines for other songs which Dylan felt he wouldn’t have time to write before nuclear conflagration moved these matters rather lower down everyone’s list of concerns. In similar manner – and because I’m quite aware that most of my writing is what you’d get if you fed ‘The Libertines’, ‘class war’, ‘wank’, ‘appalling pun’, and ‘cultural history’ into a Random Lyrics Generator – here is a blog post consisting of titles for other blog posts which I doubt I’ll ever get around to writing. Only about two of these are serious proposals, of course, and the rest self-parodic. But the two keep changing. Continue reading
There are times when I think that readers of this blog are simply bearing witness to the Orwellian tragedy of someone once boundlessly enthusiastic about live music slowly having it ground out of them by the suspicion that I’d be better off reading a book than spending yet another evening squashed, skint and bored in Camden while some overindulged former public schoolboy vomits down a microphone, but oh well, on with the motley.
I was sorting through some things last night – ticket stubs, diaries, anal-retentively compiled whathaveyou – and look, these are all the gigs I went to in 2004, back when Dirty Pretty Things was still a club night named after a Stephen Frears film rather than a by-word for frustratingly pedestrian musical spin-off projects:
Let me begin with some residual New Year bonhomie by saying that the New Yorker‘s Alex Ross is not the problem here. It’s just that you sometimes need to take an inventory of the symptoms before starting on the cause. Last month I attended a talk by Ross on the release of his latest book. The talk and the discussion which followed were interesting enough, but throughout the evening I couldn’t help noticing that, although there were several women in attendance, every single raised voice in the room was male.