This is a long one. If you're looking for the TL;DR version, sorry oh denizens of Short Attention Span Theatre, there isn't one.
My oldest (Thing 1) and I recently
had a debate over the relative musical merits of Kate Bush: I think she has
merit, Thing 1 thinks she does not. It
was one of those debates and ultimate disagreements that reasonable, educated
people have that, far from being destructive, add the sort of spice to life to
keep it from being an unrelieved death march.
I'm not a fanboy for anyone, including Kate Bush. I long ago started thinking of her as the
Charles Ives of pop music: a pile of interesting ideas that often deliver
something significant but at least as often get in each other's way. Like Ives, people tend to either love her or
hate her and have legitimate reasons for both positions, but tend to simply
entrench for "reasons." And
this sort of "debating" got me thinking (a dangerous prospect).
The whole discussion with Thing 1
started when I watched a 2014 BBC documentary on Kate Bush. I thought it was pretty well done. It showed a number of intelligent, talented
people who find merit in Bush's work. It
interviewed Lindsay Kemp, who still had four years left in the tank at that
point, and showed his influence on art rock at the time (basically everybody
from Bowie on) (It also showed a couple of other things, perhaps without
meaning to. It showed through Kemp's
gestures the extent of mime vocabulary's influence on what might be
characterized as "gay mannerisms", Kemp being a dancer and
choreographer with heavy mime influence, having studied with Marcel
Marceau. It also shows the difference
between European artists and intellectuals and US pseudos. In the interviews, several people casually
remark on having seen Kemp's "Flowers", based on Jean Genet's
"Notre Dame des Fleurs". You
would be hard-pressed to find any in the US to this day, outside of core LGBTQ+
culture, who have heard of Kemp, "Flowers", or even Jean Genet other
than by reference.). And then toward the
end it shows why rock critics as a group are ignorant, vicious little
parasites. More on that below the fold,
wherever the Hell that might be.
Once upon a time I was in
newspapers, and one of the things I did was write music reviews. It was a paycheck, and as I’ve noted
elsewhere, I’ve always been closely involved with music. I wrote by two rules: 1) Be consistent, and
2) make it about the music on its own terms.
On the first point, it doesn’t matter if the readers agree with you;
they just need to know what to expect from you.
If they know you don’t like a particular artist or a particular type of
music, they can read you through the appropriate filter. The second point breaks in two. First, it’s about the music, not the
people. I did not savage Van Halen
because they were pricks who brutalized the little people who had to service
their every whim. I went after Eddie Van
Halen (who let’s face it was the real core of the band) who went shredding up
and down the fretboard at random with no regard for chordal or modal structures
(In fairness to Mr. Van Halen, he no longer plays like that and is a far
superior musician than when every blockhead with a K-Mart electric six-string
thought Eddie was God and gave us a generation of speed monkeys with zero
musicianship.) (The speed monkey syndrome unfortunately spread to other
instruments. It was the overwhelming
norm among the Celtic fiddlers who followed Bonnie Rideout to Ann Arbor and
insisted on playing faster than their talents, compensating by dropping notes
out at random, and then blaming all the rest of us for all the ensemble
issues. To all of you, I give an
eternal, “Fuck you and the banshee of an instrument you tuck under your hiply
stubbled chins and rape with your bows.”).
Second, you have to put it in the music’s own frame of reference. It makes no sense to pan a Metropolitan Opera
performance of Cosi fan Tutte because it isn’t a Black Sabbath
concert. I realized early on that almost
no rock music critics could grasp either of my rules (From this point on, you
may assume that “Robert Christgau is a wanker” is flashing subliminally in the
background.).
From the beginning of such things, Rolling
Stone has been the center of rock criticism (I just damned near wrote
“crock recidivism”. I’m not a nice
person.). It has also been the center of
what is wrong with rock criticism for just as long. These guys were groupies. They were wannabes who couldn’t cut it, so
they hung out with the guys who could, basking in the limelight. The reviews weren’t reviews, they were
hagiographies. “The music must be great
because I party with these guys.” “They
must be significant because I party with these guys.” Everything was on a chummy, first-name-only
basis (“Mick and Keith were really rockin’ it Thursday night.”) that became the
norm for roughly forever (Cam Crowe slipped a screamingly funny joke about The
Rocket’s review style in his movie Singles.). As tastes changed and their substance-abuse
buddies died, faded away, or became arena bands (and now nostalgia bands
playing the Peppermill in Wendover), Rolling Stone found itself
unsuccessfully playing catch-up, jumping on every bandwagon that rolled down
the street in a desperate attempt to get in front of The Next Big Thing and
failing miserably. If it weren’t for
Matt Taibbi, that rag would have no reason to exist.
In the 70s other rags stepped into
the breach, but they took the Stone’s style sheet and were all clones of
one another. They couldn’t comprehend my
rules, either. I remember one of these
rags (probably Circus, but who honestly gives a shit at this point, they
were fungible) going after every Harry Chapin recording because it “wasn’t
rock.” Well no shit, Sherlock. Chapin wasn’t a rocker, he was a folkie,
self-proclaimed, and condemning him for not being what he wasn’t was…well…not
even wrong. Congratulations, rock
critics, you just earned Stephen Fry’s second-greatest insult, right after “I
almost care.”
There was one exception to the
Clone Wars: Creem. But that
didn’t make it good, just different.
Admittedly, Creem was covering a lot of things no one else was,
including the early days of punk and all that was happening over at CBGB. But my gods the pretension. Memo to Lester Bangs: Just because you
covered something doesn’t mean you invented it.
Just because you came up with the label “punk rock” doesn’t mean you
created punk rock. Punk rock was created
by garage bands (US) and pub bands (UK) (I always envied the UK guys because no
matter how, frankly, BAD you were, there was someone willing to book you. Here in the US? Not so much.
Although you could always get homecoming and prom gigs if you were just
another shitty cover band.) (Punk was spawned by my half-generation, the Late
Boomers. The reason was simple: We were
fucking sick and tired of the hypocrisy of the Early Boomers, our big brothers
and sisters. They were the 60s Children,
the Flower People, and they were still peddling that bullshit even though the
wheels had fallen off the wagon and there was a global recession. They accused us of being self-centered for
not “working for change” like them while they busily leveraged the huge
advantage of having sucked up everything before we ever got on the scene. They took their 60s, corporatized,
commoditized, packaged, and slapped a smiley face on them, and expected us to
swallow it all without question. The
problem was that we just didn’t believe hard enough in the dream. Meanwhile we were saying, “The fuck? Our dreams hit the wall at 110 per in Fall
’73! The wreckage is everywhere, but you
dicks and everybody else is just stepping over it like it isn’t there!” We wanted to wave our private parts at them,
so we did. Which is a long way of
telling you Millennials that, if you lump the Early and Late Boomers together,
your ignorance is showing. Yeah, there
are plenty of Late Boomers who sold out [You hear me, Barry Obama? You sold us all out, but history will always
remember you fondly because you landed between the Texas Turd Tornado and
Hitler 2.0.], but we were the first ones to face the New Normal you folks are
now dealing with. You need old wise men
and women for your villages? Trust me,
we’re available in hordes.)
As yet another aside, there were
garage bands, and there were garage bands.
None of us were very good, but most of us wanted to improve to something
resembling competency. The early punkers
simply didn’t care (Hell, a lot of them, such as the New York Dolls, were so
bad they made The Kingsmen sound like conservatory virtuosos. And the Noo Yuck critics, apparently on
permanent bad acid trips from frequent visits to Andy Whore-wall’s Fucktory,
kept rubbing out one after another for them all. “Daringly campy!” “A raw, animal sound!” Shit-shoveling by rapidly deteriorating white
guys desperate to continue being perceived as bleeding edge.). Fortunately, this only lasted a few years
before a lot of the punkers decided it maybe would not be so inauthentic if
they actually learned how to play their instruments. I don’t care what John Lydon continues to
blow out his ass, Black Flag was never boring.
But I really can’t leave the topic
of pretension without a mention of The Village Voice, the self-proclaimed
font of all things cool and hip for over six decades and running. In reality The Village has been overrun with
gentrifying yuppie scum straight off the set of Thirtynothing since
before Rudy Giuliani parked his malignancy in the Mayor’s Office, and The
Voice has followed suit.
And Robert Christgau was at the
center of it all. It has never ceased to
amaze me how someone so admittedly ignorant could be such an expert on
everything. He admits he is “not at all
well-schooled” (understatement) in 50s and 60s jazz, yet he has reviewed jazz
artists such as Miles Davis, Ornette Coleman, and Sonny Rollins without any of
that context and has declared Frank Sinatra the greatest singer of the 20th
Century (A meaningless statement. How
can you compare Sinatra and, say, Pavarotti?
You can’t, and anyone with a lick of humility and two brain cells to rub
together doesn’t even try.) while apparently ignorant of Nelson Riddle’s role
in creating Sinatra’s best albums. He
was an early promoter of punk, right through all the “authentic vs. poseur”
wars, blissfully unaware that this was not a rebellion unique to punk but
rather was a recurring fight in music, most recently before that in the “this
is jazz/this is not jazz” that started with the rise of bebop after the Second
World War, that caused a butt-ton of damage to the genre, and that Miles Davis
was a pivotal player in until he finally got over it and put on that shiny red
leather suit and released Bitches Brew, which Christgau unironically
nominated to Jazz & Pop as jazz album of the year in 1970. He considers the New York Dolls one of the
five greatest artists of all time.
Please. The Dolls were influential,
true, and for two reasons: 1) Their show was cheap and entertaining and so
readily copiable and copied, and 2) their musicianship was so crude a
half-trained baboon could cover it. Not
exactly reasons to put them in GOAT contention.
Finally, Christgau doesn’t like and is nearly completely ignorant of
classical music. This tells me so many
things, but two bubble immediately to the surface: 1) He has neither the music
history nor the music theory to hold 90% (at least) of the opinions he’s been
paid for over the last half-century, and 2) he’s a shallow little shit who
needs to sit in a corner and STFU.
And believe it or not, all that was
just a warm-up to get around to John Harris.
Toward the end of the Kate Bush documentary is a roundtable discussion
of her latest album (Aerial) by several UK rock critics, including
Harris. Harris makes the remark that the
music sounds like something you’d hear in a department store and that it’s
obvious Bush hadn’t been in a studio for 12 years. I’ll start with the statements themselves and
then turn to their wider ramifications.
Department store music? I’d like to know where Harris hangs out that
this is the ambient Muzak. Let’s chalk
this one up to hyperbole and move on to the “12 years” remark. He doesn’t really elaborate on this (not entirely
his fault, given the roundtable format) so we can only speculate on his actual
point. Do her pipes sound rusty? Not really.
Does the technology sound dated?
No (And trust me, I keep up. It’s
not like I sit around listening to Sergeant Pepper’s going, “Oh wow,
they played those tapes backwards!”), and even if it did, that would be one to
lay on the producer and the engineer. Is
the music dated? An ambiguous word,
“dated”, but I’m afraid we’ve finally reached what Harris was driving at. By “dated” do we mean it doesn’t sound like
other music being produced now? First,
when has Kate Bush ever sounded like anyone else, and second when did sounding
like everyone else become a standard of musical quality? It hasn’t and it shouldn’t, but I’m afraid
this is the point Harris is trying to make.
Perhaps, though, he meant this sounds like her old material. Saying that an artist is repeating themself
is a helpful criticism, especially if you explain why you think so. Frankly that’s a point I can agree with; I
find a certain sameness in her work since Hounds of Love. But that isn’t even remotely what Harris
says. He says she sounds old-fashioned,
which is never a useful comment, merely a pejorative one, and worse, a
pejorative aimed not just at the artist but at the listener. You are listening to old-fashioned
music. You are old-fashioned. You are outdated. Catch up!
Under the best of circumstances,
this is unmitigated bullshit. Coming
from Harris, it is unmitigated bullshit that is part of a career full of it. Harris’s cred as a “serious person”
essentially rests on his 2003 book The
Last Party: Britpop, Blair and the Demise of English Rock (repackaged in
2004 as Britpop: Cool Britannia and the
Spectacular Demise of English Rock) and the follow-up BBC Four 2005 documentary The
Britpop Story. His thesis is that
90s Britpop was the last great shining moment for UK pop. No, really.
At this point, let facts be
placed before a candid world. The UK has
been a popular music powerhouse for quite awhile, and by “powerhouse” I mean a
global influence. Let’s start
arbitrarily with Gilbert & Sullivan, pass the baton to Ivor Novello, and
then to Noel Coward. The Second World
War made hash of it all, and the post-war generation found that the US had
stolen the baton, but rather than going gentle into that not-so-good night,
both the rockers and the mods invaded the US and stole much of the thunder
back. This continued into the 70s,
whether you’re talking about arena bands, metal, prog rock, or punk, and on
into the 80s, again whether you’re talking about power pop, synthpop, or New
Wave. Big influences that can still be
heard around the world.
Compare Britpop. The whole point of Britpop was to be a calculated foil
for Grunge and as safe and marketable as possible, the perfect theme music for
the Tony Blair years. It has so little
edge it couldn’t leave a mark on a piece of talc. Its influence has been negligible except as a
template for profitable pap. In 1997 the
whole sham came unraveled as Oasis released the bloated disappointment Be Here Now and Blur abandoned the field
to join the US “lo-fi” movement (and, through Damon Albarn, generate Gorillaz, which is actually something that matters). Their
lasting influence is Coldplay, and let’s be honest, if Coldplay is your gold
standard, I’m afraid you actually have a pyrite mine.
But Harris thinks Britpop was the
shining end of UK rock. There are a
number of holes in this assertion; two are glaring. First, there are still plenty of new bands in
the UK churning out good stuff (That Harris seems blissfully ignorant of these
bands makes me wonder just who is out-dated and needs to catch up.). Look them up yourselves; I’m not falling into
the trap of naming a few here. Suffice
it to say they’re diverse, and you’re likely to hit on several you consider
acceptable regardless of your musical tastes.
They’ve even been having an influence in the EU, but we’ll see what
Brexit brings (Influence in the US? Not
so much since we have reached a level of insularity here that rules out
anything beyond our borders having merit, in spite of having access to it all
on The Interwebz.). And these bands have
a Hell of a lot more to offer than the Britpop slag did.
Which brings us to glaring hole
two. As noted previously, Britpop didn’t
really have an impact. None outside of
the UK, and damned little in the UK on any time scale longer than the life of a
mayfly. Britpop was a nothingburger with
a side of flies and a So? Duh! Harris,
though, raises this localized, ephemeral phenomenon and turns it into the last
scion of the UK pop tradition. This
should just be considered a bad case of the sillies, except that Harris’s new
schtick is political commentary, especially for The Grauniad. In keeping with The Graun’s policies, his
position is “Support Remain but maintain that ‘both sides have merit’.” Which raises his Britpop position from silly
to ironic, because Harris’s thinking on Britpop (“It was important in the UK,
ergo it was IMPORTANT!”) is just the sort of insular, UK=World mentality that
made Brexit possible. Brexit happened,
for the most part, because of a bunch of people who believed that, whatever the
puzzle was, the UK was the only piece that mattered. Harris’s elevation of Britpop on so high a
pedestal rests on the same belief, even though he’s a Remainer. So it’s unintentionally ironic. It’s symptomatic of a malignant mindset. And it’s still silly.
And so I give you Christgau and Harris, Exhibits 1 and 2
in my case for the beyond-uselessness of rock critics. And the former is still being allowed to
write revisionist histories of the music of the last half-century while the
latter is still being allowed to…well…write.
What a world.Labels: arts