Listen to Medieval Covers of “Creep,” “Pumped Up Kicks,” “Bad Romance” & More by Hildegard von Blingin’

in Comedy, History, Music | June 15th, 2020

All ye bully-rooks with your buskin boots

Best ye go, best ye go

Outrun my bow

All ye bully-rooks with your buskin boots

Best ye go, best ye go, faster than mine arrow

If bardcore is a thing—and trust us, it is right now—Hildegard von Blingin’ is the brightest star in its firmament.

The unknown vocalist, pure of throat, pays heed to the fascinating 12th-century abbess and composer Saint Hildegard of Bingen by choice of pseudonym, while demonstrating a similar flair for poetic language.

Von Blingin’s nimble lyrical reworking of Foster the People’s 2010 monster hit, “Pumped Up Kicks,” makes deft use of fellow bardcore practioner Cornelius Link’s copyright-free instrumental score and the closest medieval synonyms available.

For the record, Webster’s 1913 dictionary defines a “bully-rook” as a bully, but the term could also be used in a joshing, chops-busting sort of way, such as when The Merry Wives of Windsor’s innkeeper trots it out to greet lovable reprobate, Sir John Falstaff.

And as any fan of Game of Thrones or The Hunger Games can attest, an arrow can prove as lethal as a gun.

Songwriter Mark Foster told Billboard’s Xander Zellner last December that he had been thinking of retiring “Pumped Up Kicks,” as listeners are now convinced it’s a bouncy-sounding take on school shootings, rather than a more generalized attempt to get inside the head of a troubled—and fictional—youngster.

With school out of session since March, it’s an excellent time for von Blingin’ to pick up the torch and bear this song back to the past.

Ditto the timing of von Blingin’s ode to Lady Gaga’s “Bad Romance”:

I want thine ugly, I want thy disease

Take aught from thee shall I if it can be free

No Celtic harp, wooden recorders, or adjustment of possessive pronouns can disguise the jolt those opening lyrics assume in the middle of a global pandemic.

(St. Hildegard escaped the medieval period’s best known plague, the Black Death, by virtue of having been born some 250 years before it struck.)

Von Blingin’s latest release is an extremely faithful take on Radiohead’s “Creep”, with just a few minor tweaks to pull it into medieval lyrical alignment:

Thou float’st like a feather

In a beautiful world

The comments section suggest that the peasants are eager to get in on the act.

Some are expressing their enthusiasm in approximate olde English…

Others question why smygel, eldrich, wyrden or wastrel were not pressed into service as replacements for creep and weirdo..

To borrow a phrase from one such jester, best get your requests in “before the tiktoks come for it.”

Listen to Hildegard Von Blingin’ on Sound Cloud and check out the bardcore sub-reddit for more examples of the form.

Manuscript Reveals How Medieval Nun, Joan of Leeds, Faked Her Own Death to Escape the Convent

1200 Years of Women Composers: A Free 78-Hour Music Playlist That Takes You From Medieval Times to Now

Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Help contain the plague spread with her series of free downloadable posters, encouraging citizens to wear masks in public settings. Follow her @AyunHalliday.

by Ayun Halliday | Permalink | Make a Comment ( 7 ) |

An Introduction to Thought Forms, the Pioneering 1905 Theosophist Book That Inspired Abstract Art: It Has Returned to Print

in Art, Books, Religion | June 15th, 2020

“It is sometimes difficult to appreciate the impact that the late-nineteenth century (and ongoing) occult movement called Theosophy had on global culture,” Mitch Horowitz writes in his introduction to the newly republished 1905 Theosophical book, Thought Forms. That impact manifested “spiritually, politically, and artistically” in the work of literary figures like James Joyce and William Butler Yeats and religious figures like Jiddu Krishnamurti, handpicked as a teenager by Theosophist leader Charles W. Leadbeater to become the group’s messianic World Teacher.

The Theosophical Society helped re-introduce Buddhism, or a newly Westernized version, to Western Europe and the U.S., publishing the 1881 “Buddhist Catechism” by Henry Steel Olcott, a former Colonel for the Union Army. Olcott co-founded the society in New York City in 1875 with Russian occultist Helena Blavatsky. Soon afterward, the group of spiritual seekers relocated to India. “Nearly a century before the Beatles’ trek to Rishikesh,” writes Horwitz, “Blavatsky and Olcott laid the template for the Westerner seeking wisdom in the East.”

Theosophy also had a significant influence on modern art, including the work of Wassily Kandinsky, until recently considered the first Abstract painter—that is until the paintings of Hilma af Klint came to be widely known. The reclusive Swedish artist, whom we’ve covered here a few times before, came first, though no one knew it at the time. After showing her revolutionary abstract work to philosopher and onetime German and Austrian Theosophical Society leader Rudolf Steiner, she was told to hide it for another fifty years.

Theosophy gained many prominent converts in the UK, Europe, and around the world. Af Klint joined the Swedish society and remained a member until 1915. The symbolism in her mysterious abstractions, which she attributed to clairvoyant communication with “an entity named Amaliel,” may also have been suggested by the drawings in Thought Forms, an illustrated book created by Theosophical Society leaders Leadbeater and Annie Besant, who was “an early suffragist and political activist,” notes Sacred Bones Books. The small press will release a new edition of the book online and in stores on November 6. (See their Kickstarter page here and video trailer below.)

Besant was “far ahead of her time as an artist and thinker. Theosophy was the first occult group to open its doors to women and Thought Forms offers a reminder that the history of modernist abstraction and women’s contribution to it is still being written.” Although that unfolding history centrally includes af Klint and Besant, the latter did not actually make all of the illustrations we find in this strange book. She and Leadbeater claimed to have received, through clairvoyant means, “forms caused by definite thoughts thrown out by one of them, and also watched the forms projected by other persons under the influence of various emotions.”

So Besant would write in 1896 in the Theosophical journal Lucifer. After these “experiments,” the two then described going into trances and viewing “auras, vortices, etheric matter, astral projections, energy forms, and other expressions from the unseen world.” The two described these visions to a collection of visual artists, who rendered them into the paintings in the 1905 book.

Among those who do study the Theosophical Society’s impact, its first generation of publications—especially Olcott’s “Buddhist Catechism” and Blavatsky’s 1888 The Secret Doctrine—are especially well-known texts. But Thought Forms may prove “the most widely read, lasting, and directly influential book to emerge from the revolution that Theosophy ignited,” Horowitz argues.

“By many estimates, Thought Forms marks the germination of abstract art”—originated through several artists’ best guess at what visions of psychic phenomena might look like. You can follow Sacred Bones’ Kickstarter campaign here.

Discover Hilma af Klint: Pioneering Mystical Painter and Perhaps the First Abstract Artist

New Hilma af Klint Documentary Explores the Life & Art of the Trailblazing Abstract Artist

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 1 ) |

Take a Virtual Drive through London, Tokyo, Los Angeles & 45 Other World Cities

in Radio, Travel | June 15th, 2020

When asked once about his beliefs, This American Life creator Ira Glass replied that he believes “the car is the best place to listen to the radio.” That seems to be a culturally supported perception, or at least it has been in over the past half-century in America. But does it hold true in other countries? Does listening to the radio in the car feel as good in London, Buenos Aires, Mumbai, and Tokyo as it does in Chicago, New York, Miami, and Los Angeles?

You can see and hear for yourself with the wealth of virtual urban-driving-and-radio-listening experiences on offer at Drive & Listen, where you can take your pick from any of the aforementioned cities and 40 others besides. The site makes this possible by bringing together two forms of media that have come into their own on the internet of the 21st century: streaming radio and streaming video.

In most every major metropolitan area, radio stations now make their broadcasts available online. At the same time, Youtubers have by now shot and uploaded a great many through-the windshield views of all those places, creating the once-unlikely entertainment genre of the driving video.

Here we’ve included some prime examples from popular Youtube driver J Utah, whose scope includes American cities large and small as well as such world capitals as Tokyo, Paris, Singapore, Hong Hong, and São Paulo. All in 4K video.

Click on one of the cities on Drive & Listen’s menu, and chances are you’ll see one of J Utah’s videos. It will come with a streaming-radio soundtrack, sourced from one of the stations in the city or country on display. Your virtual Havana drive may be accompanied by announcements of the news of the day, your virtual Istanbul drive by Turkish rock, your virtual Chicago drive by an NPR affiliate (perhaps even WBEZ, home of This American Life), your virtual Guadalajara drive by soccer scores, your virtual Miami drive by straight-ahead jazz, your virtual Berlin drive by Patti Smith.

Each time you select a city, you’ll get a different combination of radio station and driving footage. As every driver knows, day driving and night driving — to say nothing of rush hour versus the wee hours — feels completely different, and so the drivers of Youtube have shot at all possible times. Some of their routes thread right between downtown skyscrapers, while others stick to freeways along the outskirts. As a resident of Seoul, I can tell you that Drive & Listen accurately conveys the experience of riding in a cab through that city — provided you first crank the video speed up to 2x.

Enter Drive & Listen here.

Time Travel Back to Tokyo After World War II, and See the City in Remarkably High-Quality 1940s Video

London Mashed Up: Footage of the City from 1924 Layered Onto Footage from 2013

A Trip Through New York City in 1911: Vintage Video of NYC Gets Colorized & Revived with Artificial Intelligence

Pristine Footage Lets You Revisit Life in Paris in the 1890s: Watch Footage Shot by the Lumière Brothers

Reading While Driving, Seriously?

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

by Colin Marshall | Permalink | Make a Comment ( 1 ) |

Hear Enchanting Mixes of Japanese Pop, Jazz, Funk, Disco, Soul, and R&B from the 70s and 80s

in Music | June 12th, 2020

Franz Kafka’s unfinished first novel, published by his literary executor Max Brod as Amerika, tells the story of a young European exiled in New York City. He has a series of madcap adventures, winds up in Oklahoma as a “technical worker,” and adopts the name “Negro.” Amerika is a novel written by an artist who had never been to America nor met an American. His impression of the country came entirely from his reading. And yet, Kafka leaves readers with an authentically vivid, lasting impression of the harried din of American life.

We may feel similarly when watching the films of Sergio Leone, who had never seen the West when he started making Westerns. Detached from their cultural origins, Western tropes in the Italian director’s hands reveal their archetypal depths as avatars of lawless violence.

Europeans have been dreaming imaginary Americas for hundreds of years. And given U.S. popular culture’s global reach in the 20th century, nearly every place in the world has its own Americana, an homage from afar made up of local ingredients. Nowhere, perhaps, is this truer than in Japan.

“Jazz and Japan shouldn’t mix,” notes Colin Marshall in an earlier post on Japanese jazz, quoting the book All-Japan, which alleges a lack of improvisation in Japanese culture. But they have mixed particularly well, as you can hear in the 30-minute mix of 70s Japanese jazz above from Coffee Break Sessions, a YouTube channel filled with introductions to genres and styles from around the world. What’s more, jazz arrived in Japan as a double import, two steps removed. It “dates back to the 1920s,” writes Marshall, “when it drew inspiration from visiting Filipino bands who had picked the music up from their American occupiers.” When Japan itself was occupied by U.S. soldiers two decades later, the country already had a jazz tradition.

Japanese culture has long since surpassed the American influences it absorbed to create hybrid genres Americans have been furiously importing at a seemingly exponential rate. One of the newest such genres was actually created by an American DJ, Van Paugam, who aggregated a collection of Japanese records into what he calls “City Pop.” In another Open Culture post on this YouTube phenomenon, Marshall describes the music as “drawing influences from Western disco, funk, and R&B, and using the latest sonic technologies mastered nowhere more than in Japan itself.” Like Japanese jazz, city pop comes from music that began in the U.S. but become globalized and cosmopolitan as it traveled the world.

Paugam characterizes his City Pop mixes as infused with “themes of austere feelings, melancholic vibes, and a sense of having memories of living in a different time and place.” The cultural dislocation one might feel when listening to these songs comes from their uncanniness—they sound like hits we might have heard on top 40 radio, but their idioms don’t exactly click into place. This is especially apparent in the Coffee Break Sessions mix of late 70s, early 80s Japanese pop singers, above.

But there’s something too provincial in calling City Pop—or the disparate types of smooth pop that fall under the designation—a Japanese take on American music, since American music is itself a hybrid of global influences. YouTube phenomena like City Pop have themselves become part of a universal internet pop culture that belongs everywhere and nowhere. Someday everyone will experience the historic 80s pop music of Japan just as they’ll experience the historic 80’s pop music of everywhere else: as part of what Paugam calls a “false sense of nostalgia” for a past they never knew. Hear more mixes of Japanese pop, jazz, and funk over at Coffee Break Sessions.

Stream Loads of “City Pop,” the Electronic-Disco-Funk Music That Provided the Soundtrack for Japan During the Roaring 1980s

How Youtube’s Algorithm Turned an Obscure 1980s Japanese Song Into an Enormously Popular Hit: Discover Mariya Takeuchi’s “Plastic Love”

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( None ) |

After MLK’s Assassination, a Schoolteacher Conducted a Famous Experiment–“Blue Eyes/Brown Eyes”–to Teach Kids About Discrimination

in Current Affairs, History | June 12th, 2020

Getting history across to young students is challenging enough, but what should a teacher do when actual history-making events happen on their watch? They have to be acknowledged, but to what extent do they have to be explained, even “taught”? Of the teachers who have turned history-in-the-making into a lesson, perhaps the most famous is Jane Elliott of Riceville, Iowa. On April 5, 1968, the day after Martin Luther King Jr.‘s assassination, she divided her classroom of third-graders along color lines: blue-eyed and brown-eyed. On the first day she granted the brown-eyed students such special privileges as desks in the front rows, second helpings at lunch, and five extra minutes of recess. The next day she reversed the situation, and the blue-eyed kids had the perks.

What brought serious attention to Elliott’s small-town classroom experiment was the resulting article in the Riceville Recorder, which reported some of what her students wrote in their assignments responding to the experience. The Associated Press picked up the article and soon Elliott received a call from The Tonight Show inviting her to come chat with Johnny Carson about her “Blue Eyes/Brown Eyes” exercise on national television.

“I didn’t know how this exercise would work,” Elliott tells Jimmy Fallon on the clip from the current Tonight Show at the top of the post. “If I had known how it would work, I probably wouldn’t have done it. If I had known that, after I did that exercise, I lost all my friends, no teacher would speak to me where they could be seen speaking to me, because it wasn’t good politics to be seen talking to the town’s only ‘N‑word lover.’ ”

Elliott’s family also experienced severe blowback from her sudden fame, but it didn’t stop her from furthering the clearly resonant idea she had devised. She continued to perform Blue Eyes/Brown Eyes in class: the third time, it was filmed and became the 1970 television documentary The Eye of the Storm. (Some of the language used by her students surely wouldn’t make it to the air today.) Fifteen years later, PBS’ Frontline reunited Elliott’s third-grade class of 1970 for its Emmy Award-winning episode A Class Divided, and a decade thereafter German filmmaker Bertram Verhaag would again film Elliott performing her signature exercise for the documentary Blue Eyed. In a variety of settings across America and the world, Elliott continues, in her late eighties, to make her point. It isn’t always well received, as she reveals in this Frontline follow-up interview, and at times has even drawn threats of violence. “I can be scared, but I won’t be scared to death,” she says. “Or, at my age, of death.”

via Boing Boing

How Martin Luther King, Jr. Used Nietzsche, Hegel & Kant to Overturn Segregation in America

Read Martin Luther King and The Montgomery Story: The Influential 1957 Civil Rights Comic Book

How a Virus Spreads, and How to Avoid It: A Former NASA Engineer Demonstrates with a Blacklight in a Classroom

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

by Colin Marshall | Permalink | Make a Comment ( 6 ) |

Revisiting The Wire During 2020’s Black Lives Matter Movement

in Current Affairs, Television | June 12th, 2020

George Floyd’s murder while under arrest for allegedly passing a counterfeit bill of small denomination sparked massive worldwide demonstrations against police brutality and in support of Black Lives Matter.

It also led to the abrupt cancellation of television’s recent hit, Live PD, and its longest-running reality show, Cops.

As Amanda Hess recently observed in The New York Times, public opinion has turned on any show that promotes an image of police officers as universally decent forces for good, “lovable goofballs,” or anti-heroes whose rough edges make a play for viewers’ allegiance by suggesting the characters are realistically flawed and thus, relatable:

The “good cop” trope is a standard of both police procedurals and real-life police tactics, and now crowdsourced video of the protests has given cops a new stage for performing the role. In recent days, supposedly uplifting images of the police have spread wildly across the internet, competing for views with evidence of cops beating, gassing and arresting protesters. In Houston, an officer consoled a young black girl at a rally: “We’re here to protect you, OK?” he told her, enveloping her in a hug. “You can protest, you can party, you can do whatever you want. Just don’t break nothing.” In Nashville, the police tweeted a photo of cops kneeling next to a black boy with a “Black Lives Matter” sign, smiling from behind their riot helmets. And in Atlanta, a line of National Guard soldiers did the Macarena. On the final rump shake, a black rifle slung over one soldier’s back swung to the beat.

These images show cops engaging in a kind of pantomime of protest, mimicking the gestures of the demonstrators until their messages are diluted beyond recognition. They reframe protests against racist police violence into a bland, nonspecific goal of solidarity. These moments are meant to represent the shared humanity between officers and protesters, but cops already rank among the most humanized groups in America; the same cannot be said for the black Americans who live in fear of them. Cops can dance, they can hug, they can kneel on the ground, but their individual acts of kindness can no longer obscure the violence of a system. The good-cop act is wearing thin.

According to Hollywood Reporter critic Inkoo Kang, almost any portrayal of cops on TV right now rankles, even one that was lauded for its realistic portrayal of corruption and abuse on the force, HBO’s critically acclaimed The Wire—Barack Obama’s avowed favorite.

Kang writes:

In the first season of The Wire, just about every on-the-ground cop participates in police brutality — often as a kind of professional prerogative. Their violence is meant to add darker streaks to the characters’ otherwise heroic gloss, but it also has the effect of normalizing police brutality as a part, even a perk, of the job.

Her comments touched a nerve with actor Wendell Pierce, whose character was based on a Baltimore homicide detective, Oscar Requer, who achieved his position at a time when black officers routinely faced racial harassment from within the force. Pierce published his response on Twitter:

How can anyone watch “The Wire” and the dysfunction of the police & the war on drugs and say that we were depicted as heroic. We demonstrated moral ambiguities and the pathology that leads to the abuses. Maybe you were reacting to how good people can be corrupted to do bad things.

If The Wire did anything right, it depicted the humanity of the Black lives so easily profiled by police and the destruction of them by the so-called war on drugs; a deliberate policy of mass incarceration to sustain a wealth disparity in America that thrives keeping an underclass.

The Wire, if anything, was the canary-in-the-mine that forecasts the institutional moral morass of politics and policing that lead us to the protests of today. “The bigger the lie, the more they believe” was a line of mine that is so salient and profound in today’s climate.

“The Wire” is a deep dive study of the contributing variables that feed the violence in our culture: in the streets and at the hand of police. Classism, racism, destruction of public education, and moral ambiguity in our leadership all feed this paradigm of American decline.

I know I sound defensive and I probably am, The Wire is personal for me. The Wire is also Art. The role of Art is to ignite the public discourse. Art is where we come together as a community to confront who we are as a society, decide what our values are, and then act on them.

The critique here is that television seems to follow behind the current events of the day. I would ask that you consider that maybe The Wire was a precursor to the discussion that is mandatory now. It was an indicator, a warning light, of the implosion we are feeling today.

At a time when the world is called upon to listen carefully to what black people are saying, and much of the world has shown themselves ready to do so, Pierce’s words carry extra weight.

His assertion that the show, which ran from 2002 to 2008, accurately depicted a system so rotten that collapse was inevitable, is echoed in interview clips with creator and one-time police reporter, David Simon, above.

The video essay was put together by aspirant screenwriter Nehemiah T. Jordan whose Behind the Curtain series aims to provide insights on how celebrated scripts for both the big and small screens—Fight Club, Uncut Gems, The Sopranos, Breaking Bad—come by their aesthetic quality.

Simon’s ambition for The Wire was that it truthfully convey what he had observed as a reporter, as well as the lives of the people he interacted with—both Baltimore cops and those they mostly failed to serve.

In a 2015 White House conversation with then-President Obama, Simon remarks that an emphasis on drug-related offenses led to an epidemic of presumptive police work, and a decline in “competent retroactive investigation of felonies.” A disproportionate number of young black and Latino men were incarcerated during this time, and upon their release, their felony histories meant that few of them were able to secure meaningful employment. America’s problems were compounded.

Whether or not you are moved to watch, or rewatch The Wire, we heartily recommend Where We Go from Here, a recent New York Daily News op-ed by actor Michael K. Williams, who played fan favorite Omar Little, and whose real life counterpart Simon discusses with Omar-fan Obama.

New York native Williams, who has worked to end mass juvenile incarceration, foment collaboration between police and at-risk youth and serves as an ambassador for The Innocent Project, possesses a deep understanding of the New York Police Department’s structure, chain of command, and day to day workings. Stating that tangible action is needed to “shift police culture” and “transform the relationships between law enforcement and communities of color,” he makes a case for six concrete reforms:

Overhaul CompStat, the NYPD’s crime tracking mechanism.
Eliminate plainclothes units.
Create an independent body to investigate “use of force” incidents at the time they occur.
Reimagine the duties of civilians within the department tasked with community-building.
Implement ongoing trauma-centered training, education and activities for officers, executives and the communities they serve.
Make racial justice a core component of NYPD training and education.

Read Michael K. William’s Op-Ed here.

The Wire Breaks Down The Great Gatsby, F. Scott Fitzgerald’s Classic Criticism of America (NSFW)

The Wire as Great Victorian Novel

Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday.

by Ayun Halliday | Permalink | Make a Comment ( 1 ) |

Explaining the Pandemic to My Past Self: A Dark, Comedic Reflection on the Last Few Months

in Comedy, Current Affairs | June 12th, 2020

What would happen if I tried to explain what’s happening now to the January 2020 version of myself? That’s the question that Julie Nolke asked and answered in early April.

Now she’s back with a sequel where she tries to explain the events of June to her April self.

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by OC | Permalink | Make a Comment ( None ) |

Tom Morello Responds to Angry Fans Who Suddenly Realize That Rage Against the Machine’s Music Is Political: “What Music of Mine DIDN’T Contain Political BS?”

in Current Affairs, Music, Politics | June 11th, 2020

“I, Dancing Bear,” a song by an obscure folk artist who goes by the name Birdengine, begins thus:

There are some things that I just do not care to know

It’s a lovely little tune, if maudlin and macabre are your thing, a song one might almost call anti-political. It is the art of solipsism, denial, an inwardness that dances over the abyss of pure self, navel gazing for its own sake. It is Kafka-esque, pathetic, and hysterical. I love it.

My appreciation for this weird, outsider New Romanticism does not entail a belief that art and culture should be “apolitical,” whatever that is.

Or that artists, writers, musicians, actors, athletes, or whomever should shut up about politics and stick to what they do best, talk about themselves.

The idea that artists should avoid politics seems so pervasive that fans of some of the most blatantly political, radical artists have never noticed the politics, because, I guess, they just couldn’t be there.

One such fan just got dunked on, as they say, a whole bunch on Twitter when he raged against Tom Morello for the “political bs.”

That’s Tom Morello of Rage Against the Machine, whose debut 1992 album informed us that the police and the Klan work hand in hand, and that cops are the “chosen whites” for state-sanctioned murder. That Rage Against the Machine, who raged against the same Machine on every album: “Bam, here’s the plan; Motherfuck Uncle Sam.”

The poor sod was burned so badly he deleted his account, but the laughs at his expense kept coming. Even Morello responded.

Why? Because the disgruntled former fan is not just one lone crank who didn’t get it. Many people over the years have expressed outrage at finding out there’s so much politics in their culture, even in a band like Rage that could not have been less subtle. Many, like former lever-puller of the Machine, Paul Ryan, seem to have cynically missed the point and turned them into workout music. Morello’s had to point this out a lot. (Ditto Springsteen.)

This uncritical consumption of culture without a thought about icky political issues is maybe one reason we have a separate political class, paid handsomely to do the dirty work while the rest of us go shopping. It’s a recipe for mass ignorance and fascism.

You might think me crazy if I told you that the CIA is partly responsible for our expectation that art and culture should be apolitical. The Agency did, after all, follow the lead of the New Critics, who excluded all outside political and social considerations from art (so they said).

Influential literary editors and writing program directors on the Agency payroll made sure to fall in line, promoting a certain kind of writing that focused on the individual and elevated psychological conflict over social concerns. This influence, writes The Chronicle of Higher Education, “flattened literature” and set the boundaries for what was culturally acceptable. (Still, CIA-funded journals like The Paris Review published dozens of “political” writers like Richard Wright, Gabriel Garcia Marquez, and James Baldwin.)

Then there’s the whole business of Hollywood film as a source of Pentagon-funded propaganda, sold as innocuous, apolitical entertainment….

When it comes to journalism, an ideal of objectivity, like Emerson’s innocent, disembodied transparent eye, became a standard only in the 20th century, ostensibly to weed out political bias. But that ideal serves the interests of power more often than not. If media represents existing power relationships without questioning their legitimacy, it can claim objectivity and balance; if it challenges power, it becomes too “political.”

The adjective is weaponized against art and culture that makes certain people who have power uncomfortable. Saying “I don’t like political bs in my culture” is saying “I don’t care to know the politics are there.”

If, after decades of pumping “Killing in the Name,” you finally noticed them, then all that’s happened is you’ve finally noticed. Culture has always included the political, whether those politics are shaped by monarchs or state agencies or shouted in rap metal songs (just ask Ice‑T) and fought over on Twitter. Maybe now it’s just getting harder to look away.

Hear a 4 Hour Playlist of Great Protest Songs: Bob Dylan, Nina Simone, Bob Marley, Public Enemy, Billy Bragg & More

Love the Art, Hate the Artist: How to Approach the Art of Disgraced Artists

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 35 ) |

Listen to Medieval Covers of “Creep,” “Pumped Up Kicks,” “Bad Romance” & More by Hildegard von Blingin’

An Introduction to Thought Forms, the Pioneering 1905 Theosophist Book That Inspired Abstract Art: It Has Returned to Print

Take a Virtual Drive through London, Tokyo, Los Angeles & 45 Other World Cities

Hear Enchanting Mixes of Japanese Pop, Jazz, Funk, Disco, Soul, and R&B from the 70s and 80s

After MLK’s Assassination, a Schoolteacher Conducted a Famous Experiment–“Blue Eyes/Brown Eyes”–to Teach Kids About Discrimination

Revisiting The Wire During 2020’s Black Lives Matter Movement

Explaining the Pandemic to My Past Self: A Dark, Comedic Reflection on the Last Few Months

Tom Morello Responds to Angry Fans Who Suddenly Realize That Rage Against the Machine’s Music Is Political: “What Music of Mine DIDN’T Contain Political BS?”

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