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| re: Kid from Wisconsin/The importance of spectacle.... | |
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CultOfByron 05:08 pm UTC 04/23/10 |
| In reply to: | Kid from Wisconsin/The importance of spectacle.... - ricgough 12:59 am UTC 04/23/10 |
| Maybe it's your choice of the word 'spectacle' but when I hear that word I think of Debord and the situationists. The spectacle for them is something that enslaves people into accepting lives that they would otherwise attempt to escape. This is along the same lines as Aldous Huxley and his notion of 'soma' which evolved into more of a cultural drug, delivered by television and mass media. I agree with the heart of what you're saying but I've always interpreted the 'Kid from Wisconsin' as an imagination of the artist/author/creator and not a tool for marketing types. I know that's not what you're implying and I'm probably reading far too much into it ;) Perhaps where Jim's work relates to spectacle is in the world he inspires people to create inside their heads when they listen to it... -- Aside: I remember a few years back when an unremembered Rockman poster said the best setting for listening to Jim's music was in the dark (I use the word setting intentionally) -- ...is this the kind of spectacle you refer to? I mean, Everything Is Permitted is an example of a spectacular song that isn't necessarily spectacular in its material execution, same with LBAGG and the first few verses of FCOL. Marketing has its uses but only in making sure that 'the Kid' hears the stuff in the first place. Never in determining or shaping the content. I'd like to reply to your post below too regarding the recent onslaught of commercials and piss-takes - someone quoted Bill Hicks on the MLUKFC recently; along the lines of if you get involved with advertising you're off the artists roll-call forever...? It's an extreme sentiment but it's a point well made. Fucking hell, I'm going to have to lie down after that... Apologies. > Kinda think that that is what 'kid from wisconsin' is a > euphamism for - and that everything Jim has done that has > been commercially successful has in some way, be it > lyrically, musically or by humour or sheer production > value has made the song/production a spectacle. > > The lack of spectacle, despite some quality compositions > in TMIL simply lacked spectacle. > > Meat, even when his voice is clearly finding it difficult > always provides a spectacle - do you see what I'm > saying?? > > The boy from wisconsin gets forgotten sometimes in the > politics, the business, in the name of getting things done > - In my opinion, If I look at any sucessful rock and roll > record - there's always something there for the 'kid form > wisconsin'. > > It is a doctrine (should you choose to value it as such) > that is probably one of the most undervalued in marketing, > yet you can put all of the elements in a can, shake 'em > up, but if you forget the art of spectacle, the 'kid from > wisconsin' in Rock and Roll, then it will bite you in the > ass. > > The best stuff in this world demands a second-glance. > Hoping whoever has control of BatMusical realises that to > be successful it has to appeal to a rock and roll crowd as > well as being a hit for the regular westenders. > > The 'kid from wisconsin' has to be a part of any theatre > representation of Bat. > > Steinman has the ability to merge genres and Bat did just > that. > > Hopefully, the importance of spectacle will not be lost > when this show finally gets into production - especially > if compromises are a very real consideration in ever > getting this project off the stave. | |
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