Posts Tagged ‘Sex Pistols’
“The function of small corner shops in maintaining cities as viable social institutions does not appear in the Washington consensus. The possibility that corner shops may do better at safeguarding social cohesion than mass imprisonment is considered outlandish – if it is considered at all.”*…
For decades, globalist neoliberalism (and here) has driven the policies and practices and political, commercial, and financial leaders and institutions across the developed– and given development policy, the developing– world. Rana Foroohar argues that its time may be up; geography is retaking the upper hand…
For most of the last 40 years, U.S. policymakers acted as if the world were flat. Steeped in the dominant strain of neoliberal economic thinking, they assumed that capital, goods, and people would go wherever they would be the most productive for everyone. If companies created jobs overseas, where it was cheapest to do so, domestic employment losses would be outweighed by consumer benefits. And if governments lowered trade barriers and deregulated capital markets, money would flow where it was needed most. Policymakers didn’t have to take geography into account, since the invisible hand was at work everywhere. Place, in other words, didn’t matter.
U.S. administrations from both parties have until quite recently pursued policies based on these broad assumptions—deregulating global finance, striking trade deals such as the North American Free Trade Agreement, welcoming China into the World Trade Organization (WTO), and not only allowing but encouraging American manufacturers to move much of their production overseas. Free-market globalism was of course pushed in large part by the powerful multinational companies best positioned to exploit it (companies that, of course, donated equally to politicians from both major U.S. parties to ensure that they would see the virtues of neoliberalism). It became a kind of crusade to spread this new American creed around the globe, delivering the thrill of fast fashion and ever-cheaper electronic gadgets to consumers everywhere. American goods, in effect, would represent American goodness. They would advertise American philosophical values, the liberalism tucked inside neoliberalism. The idea was that other countries, delighted by the fruits of American-style capitalism, would be moved to become “free” like the United States.
By some measures, the results of these policies were tremendously beneficial: American consumers in particular enjoyed the fruits of cheap foreign manufacturing while billions of people were lifted out of poverty, especially in developing countries. As emerging markets joined the free-market system, global inequality declined, and a new global middle class was born. How free it was politically, of course, depended on the country.
But neoliberal policies also created immense inequalities within countries and led to sometimes destabilizing capital flows between them. Money can move much faster than goods or people, which invites risky financial speculation. (The number of financial crises has grown substantially since the 1980s.) What is more, neoliberal policies caused the global economy to become dangerously untethered from national politics. Through much of the 1990s, these tectonic shifts were partly obscured in the United States by falling prices, increased consumer debt, and low interest rates. By the year 2000, however, the regional inequalities wrought by neoliberalism had become impossible to ignore. While coastal U.S. cities prospered, many parts of the Midwest, the Northeast, and the South were experiencing catastrophic job losses. Average incomes among U.S. states began to diverge, having converged throughout the 1990s…
Since the beginning of the neoliberal era, a handful of economists had pushed back against the received wisdom of the field. Karl Polanyi, an Austro-Hungarian economic historian, critiqued classical economic views as early as 1944, arguing that totally free markets were a utopian myth. Scholars of the postwar period, including Joseph Stiglitz, Dani Rodrik, Raghuram Rajan, Simon Johnson, and Daron Acemoglu, also understood that place mattered. As Stiglitz, who grew up in the Rust Belt, once told me, “It was obvious if you were raised in a place like Gary, Indiana, that markets aren’t always efficient.”
This view, that location plays a role in determining economic outcomes, is only just beginning to land in policy circles, but a growing body of research supports it. From the work of Thomas Piketty, Emmanuel Saez, and Gabriel Zucman to that of Raj Chetty and Thomas Philippon, there is now a consensus among scholars that geographically specific factors such as the quality of public health, education, and drinking water have important economic implications. That might seem intuitive or even obvious to most people, but it has only recently gained broad acceptance among mainstream economists. As Peter Orszag, who served as President Barack Obama’s budget director, told me, “If you ask a normal human being, ‘Does it matter where you are?’ they would start from the presumption that ‘Yes, where you live and where you work and who you’re surrounded by matters a ton.’ It’s like Econ 101 has just gone off the path for the last 40 to 50 years, and we’re all little islands atomized into perfectly rational calculating machines. And policy has just drifted along with this thinking.” He added, “The Economics 101 approach, which is place-agnostic, has clearly failed.”
The importance of place has become even more evident since the start of the COVID-19 pandemic, the economic decoupling of the United States and China, and Russia’s war in Ukraine. Globalization has crested and begun to recede. In its place, a more regionalized and even localized world is taking shape. Faced with rising political discontent at home and geopolitical tensions abroad, governments and businesses alike are increasingly focused on resilience in addition to efficiency. In the coming post-neoliberal world, production and consumption will be more closely connected within countries and regions, labor will gain power relative to capital, and politics will have a greater impact on economic outcomes than it has for half a century. If all politics is local, the same could soon be true for economics…
All economics is local: “After Neoliberalism,” from @RanaForoohar in @ForeignAffairs. Eminently worth reading in full (and contemplating the consequences of this all-too-plausible shift for addressing global issues like change change and the migration it is sure to drive).
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As we re-scope, we might recall that it was on this date in 1975 that prescient objectors, the Sex Pistols, made their live debut at St Martin’s School Of Art in central London, supporting a band called Bazooka Joe, which included Stuart Goddard (the future Adam Ant). The Pistols’ performance lasted 10 minutes.
“One day I will find the right words, and they will be simple”*…
Putting it as simply as possible…
Try explaining something difficult or complex using only the most common thousand—sorry, ten hundred—words [the list is here]. The Up-Goer Five Text Editor isn’t a new idea (here’s a MacOS app from 2016) but now it’s on the web…
Boing Boing
Here’s your correspondent’s shot at explaining “Manichaeism”:
“Explain something with the thousand most used words in English,” via @BoingBoing.
* Jack Kerouac, The Dharma Bums
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As we streamline, we might send tuneful birthday greetings to an avatar of a different kind of plain speaking, Steve Jones; he was born on this date in 1955. A musician and songwriter who has recorded and performed solo, in the short-lived supergroup Neurotic Outsiders with members of Guns N’ Roses and Duran Duran, and with the likes of Johnny Thunders, Iggy Pop, Bob Dylan, and Thin Lizzy, he is best remembered as the founding guitarist of The Sex Pistols (whose songs he co-wrote with John “Johnny Rotten” Lydon and drummer Paul Cook). He ranks in Rolling Stone‘s list of the “100 Greatest Guitarists of All Time.”
“Mozart died too late rather than too soon”*…
Glenn Gould was a gloriously talented and profoundly iconoclastic pianist, unafraid to challenge the conventions of the canon.
His April 1962 performance of Brahms’ first piano concerto, with the New York Philharmonic and Leonard Bernstein conducting, gave rise to an extraordinary situation in which Mr. Bernstein disagreed with Gould’s interpretation so vehemently that he felt it necessary to warn the audience beforehand. The performance was subsequently broadcast on the radio with Bernstein’s comments included. A draft copy of those comments can be found in the Leonard Bernstein Collection at the Library of Congress and is available to read online…
But perhaps his most egregiously unpopular opinion was his conviction that Mozart– especially late Mozart– was a “bad composer.”
How Mozart Became a Bad Composer, which was originally broadcast on a weekly public television series titled Public Broadcast Laboratory in 1968. The Library of Congress National Audio-Visual Conservation Center recently digitized the episode that includes the 37-minute segment from a two-inch tape found in the Library’s collection. It is now available on the web site of the American Archive of Public Broadcasting, which is a collaborative effort by the Library of Congress and WGBH in Boston, Massachusetts.
On the reception of the program, Peter Goddard in The Great Gould (2017) wrote, “Recognizing the outrage-driven ratings possibilities here, the Public Broadcasting [sic] Laboratory series by National Educational Television, the precursor to PBS in the United States, broadcast Gould’s thirty-seven-minute-long How Mozart Became a Bad Composer on April 28, 1968. After that, the show disappeared from sight worldwide, and a version of the script was only uncovered years later by New York-based documentarian Lucille Carra.” Kevin Bazzana in Wondrous Strange: The Life and Art of Glenn Gould (2004) notes, “The program outraged viewers in both the United States and Canada, including formerly sympathetic fans and critics.” The program is now widely available to the public for the first time since its broadcast. Although, ardent Glenn Gould fans may remember his interview in Piano Quarterly, which was reprinted in The Glenn Gould Reader (1984), “Mozart and Related Matters: Glenn Gould in Conversation with Bruno Monsaingeon,” in which he expresses many of the same reservations about Mozart’s music that are heard in the television segment…
Cait Miller (of the Music Division of the Library of Congress) puts it in a personal context:
My parents are or were both musicians – my father was a composer – and so my appreciation for classical music was probably equal parts nature and nurture. So, when I entered graduate school as a musicologist and met a fellow student named Masa Yoshioka, who became one of my best friends during my doctoral study, it was more than a little shocking when, during one of our many extended conversations about music, he revealed to me that he did not think that Mozart was a particularly interesting composer. As a musicologist who had come from a previous incarnation as a classical singer, this was tantamount to heresy. However, due to my regard for Masa and his well-thought-out opinions, I did not discount it out of hand. Instead, I took it as a challenge to listen to the music of Mozart and, in fact, the music of all composers, with fresh ears every time I encountered it and to let no preconceptions that I had learned as a child allow me to speak as a child when I heard new works by a composer whom I had been conditioned to revere. It is with this spirit in mind that I hope you will view Glenn Gould’s television segment…
Your correspondent would agree. In any event, enjoy:
“The Unpopular Opinions of Glenn Gould or “How Mozart Became a Bad Composer.”
[image at top: source]
* Glenn Gould (who also once suggested that “Beethoven always sounds to me like the upsetting of a bag of nails, with here and there also a dropped hammer”)
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As we tickle the ivories, we might recall that it was on this date in 1976 that another group of musical iconoclasts, The Sex Pistols, released their single ‘Anarchy In The UK‘. Originally issued in a plain black sleeve, the single was the only Sex Pistols recording released by EMI, and reached the No.38 spot on the UK Singles Chart before EMI dropped the group on 6 January 1977. (The band ran through five labels; their only album, Never Mind the Bollocks, Here’s the Sex Pistols (1977; #1 on the UK charts) was released by Virgin.)
“True care, truth brings”*…
Two decades have passed since pop-punk exploded in the American music scene, yet the quintessentially suburban, teen-centric music still seems to bounce around our collective skulls. Of all the elements of the Clinton-era mutation of punk music that embraced skate and surf culture, mild angst, goofiness, and incredibly hooky, catchy music, it’s the vocals that we remember. The very specific accent used in the mega-hits of the genre seems to still have a hold over anyone who was a teenager between 1993 and 2003: On Twitter you’ll see jokes made about the “pop punk voice” used by bands like the Offspring, New Found Glory, Avril Lavigne, and, especially, Blink-182. Their accents are a relic as strong as the Valley Girl voice.
There’s a whole Tumblr called Tom DeLonge Lyrics, dedicated to transliterating the spectacularly strange and exaggerated accent used by DeLonge, one of the singers of pop-punk band Blink-182… DeLonge is an extreme example but far from the only singer in the genre to adopt a very particular accent, usually described as sneering, whining, bratty, or snotty. By the early-2000s, with pop-punk nearing the apex of its popularity, singers from all over California had influenced singers from as far afield as Minnesota, Ontario, Maryland, and South Florida, all of whom sung pretty much just like DeLonge, who grew up just outside San Diego.
What’s going on here? How did that linguistic pattern take hold? From its start, punk has played with accents, with Americans sounding like Brits and vice versa, but this voice is different.
I called up a few linguists and music historians to try to get at the heart of the pop-punk voice. But it turns out that when you make a linguist listen to a Blink-182 song, you get more than you expected. Pop-punk vocals are on the forefront of shifting regional dialects and, especially, a major vocal change happening in California in the past few decades. The three-minute pop-punk song, one of the dumbest forms of music ever conceived (in a good way, I’d say), maybe isn’t so dumb, after all…
Knowledge is where you find it: “I Made a Linguistics Professor Listen to a Blink-182 Song and Analyze the Accent.”
* Blink-182, “All The Small Things,” Enema of the State
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As we listen carefully, we might recall that it was on this date in 1978 that 20-year-old Nancy Spungen bled to death on the bathroom floor of a room in the Chelsea Hotel in New York that she shared with her boyfriend Sid Vicious, the bassist of the (recently-disbanded) Sex Pistols; she had suffered a stab wound to her abdomen. Vicious (whose legal name was John Simon Ritchie) reported that he had found her after awakening from a drugged stupor.
Vicious was charged with her murder, but died of a drug overdose while awaiting trial…. thus marking for many observers the end of the Punk period… and creating the space for the emergence of pop-punk (and other post-punk sub-genre).
“Don’t hate the media; become the media”*…
Joan Jett (Runaways), Debbie Harry (Blondie), David Johansen (New York Dolls), and Joey Ramone (Ramones)
As a city that represents endless possibilities, New York has long been the setting for the dawning of new movements, styles, and musical genres. And perhaps no music origin story has inspired as much appreciation, celebration, and imitation as the birth of punk rock in New York City in the 1970s.
In [an] excerpt from his new book New York Rock, Steven Blush gathers interviews with many of the artists, critics and original scenesters who witnessed first-hand the formation of punk’s distinctive subculture—a unique prism of influences, crosscurrents, and psychoactive distractions that coalesced around groundbreaking artists like The Ramones, Television, Richard Hell, Talking Heads, and Blondie…
Read on: New York Rock: The Birth of Punk, an Oral History
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As we make our way to the mosh pit, we might recall that it was on this date in 1975 that the Sex Pistols made their live debut at St Martin’s School Of Art in central London, supporting a band called Bazooka Joe, which included Stuart Goddard (the future Adam Ant). The Pistols’ performance lasted 10 minutes.
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