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koganbotMark gave me: pragmatism! r. meltzer! red dark sweet! call-and-response! the rolling stones!
Pragmatism!: Did this here several days ago.
The sentence "I die every time I write" came from my pen, but I'm a product of my environment, and so is that sentence. So, what do I gain by being such a person, by writing such sentences? And what does a society gain, by producing people like me — by producing such sentences?
--Frank Kogan, Real Punks Don't Wear Black
R. Meltzer!:
One seeking to analyze rock... must take the lesson of environment and happening, art forms which in their expanded use of spatio-temporality contain the contexts for experiencing themselves. All sorts of things are part of this context, as money, competition, survival, acceptance by adolescents, reaction by standard adults, peculiar reaction by the community of prior art. "In" and "out" are part of this broadened context of art in the world, both in its aesthetic and ethical toleration, not even in the camp sense of "in" and "out."
--Richard Meltzer, The Aesthetics Of Rock
Red Dark Sweet!:
Band with core members Andrew Klimek (and here) and Charlotte Pressler that contained my context for experiencing it in that for eleven months in 1981 and 1982 it contained me, on guitar and bass and occasional vocals. Said to sound like the Fall but with more color and diversity.
Call-And-Response!:
A preacher says or sings (calls) something, the choir and often the rest of the congregation sing out a standard response, the preacher says/sings something else, the choir/congregation sings out the standard response again, etc. The audience is part of the form of the music, the structure; no audience, and the call gets no response. On record, the backup singers substitute for the audience; James Brown calls, "Say it loud!" and the singers respond, "I'm black and I'm proud!" In general, this form permeates black music, even when there's no congregation or backup singers. Chuck Berry says, "Go Johnny go, go," and his guitar plays a riff in response. Or Robert Johnson sings a phrase and his guitar finishes it for him. To speak loosely: Even when the music isn't precisely a call and a response, it is musical elements in conversation, voices and instruments playing off of each other, leaving space for each other.
--Frank Kogan "Death Rock 2000. Say It Loud - Get Off Of My Cloud: Dancing With Mr. Brownstones"
The Rolling Stones!:
Call-and-response is premised on a shared psychological space between singer and responders, between performers and audience. The Stones shattered that unity, set the relation between performers and audience as one of potential unresolvable conflict. And that's what attracted them their audience. "Don't hang around 'cause two's a crowd" attracted a crowd. The Stones were two mints in one, a come-here mint and a fuck-off mint, and the combination was involving, irresistible.
--Frank Kogan "Death Rock 2000. Say It Loud - Get Off Of My Cloud: Dancing With Mr. Brownstones"
Pragmatism!: Did this here several days ago.
The sentence "I die every time I write" came from my pen, but I'm a product of my environment, and so is that sentence. So, what do I gain by being such a person, by writing such sentences? And what does a society gain, by producing people like me — by producing such sentences?
--Frank Kogan, Real Punks Don't Wear Black
R. Meltzer!:
One seeking to analyze rock... must take the lesson of environment and happening, art forms which in their expanded use of spatio-temporality contain the contexts for experiencing themselves. All sorts of things are part of this context, as money, competition, survival, acceptance by adolescents, reaction by standard adults, peculiar reaction by the community of prior art. "In" and "out" are part of this broadened context of art in the world, both in its aesthetic and ethical toleration, not even in the camp sense of "in" and "out."
--Richard Meltzer, The Aesthetics Of Rock
Red Dark Sweet!:
Band with core members Andrew Klimek (and here) and Charlotte Pressler that contained my context for experiencing it in that for eleven months in 1981 and 1982 it contained me, on guitar and bass and occasional vocals. Said to sound like the Fall but with more color and diversity.
Call-And-Response!:
A preacher says or sings (calls) something, the choir and often the rest of the congregation sing out a standard response, the preacher says/sings something else, the choir/congregation sings out the standard response again, etc. The audience is part of the form of the music, the structure; no audience, and the call gets no response. On record, the backup singers substitute for the audience; James Brown calls, "Say it loud!" and the singers respond, "I'm black and I'm proud!" In general, this form permeates black music, even when there's no congregation or backup singers. Chuck Berry says, "Go Johnny go, go," and his guitar plays a riff in response. Or Robert Johnson sings a phrase and his guitar finishes it for him. To speak loosely: Even when the music isn't precisely a call and a response, it is musical elements in conversation, voices and instruments playing off of each other, leaving space for each other.
--Frank Kogan "Death Rock 2000. Say It Loud - Get Off Of My Cloud: Dancing With Mr. Brownstones"
The Rolling Stones!:
Call-and-response is premised on a shared psychological space between singer and responders, between performers and audience. The Stones shattered that unity, set the relation between performers and audience as one of potential unresolvable conflict. And that's what attracted them their audience. "Don't hang around 'cause two's a crowd" attracted a crowd. The Stones were two mints in one, a come-here mint and a fuck-off mint, and the combination was involving, irresistible.
--Frank Kogan "Death Rock 2000. Say It Loud - Get Off Of My Cloud: Dancing With Mr. Brownstones"
