I know we covered many of these topics during todays presentations. But I thought Eddie provides a good recap here. This is of course the old EM when he was still a tricklee not a trickeler. AC, I was especially thinking of you.
h/t Singular
In 1989 Lou Reed released what was probably his most critical political work with New York. One may call it a “concept” album, as each song reads like a chapter in a book. Reed tackles social issues from discrimination, environmental degradation, poverty, drug abuse, media manipulation, and domestic violence. Behind every song, the red thread that runs throughout the album is an unjust American economic system, perpetuated by elites and sustained by middle class apathy.
This is just really cleaver. What I find most interesting is how this reflects the trend towards a majoritarian progressive world view. It’s not all about politics, and in deed, among the more powerful political tools progressives have at their disposal are found in areas of creative cultural production, which can help establish life-long “values” impressions. I’m heartened to see cultural production that has the potential to move core ideologies of the next generation towards a more sustainable framework.
Eventually I’ll get around to a project I’ve been wanting to start which would explore environmental activism through the lens of art and other forms of cultural production.
I first learned of the Center for Cartoon Studies through a post at Containing Multitudes which I briefly review here. It’s simply a wonderful institution. Their web presence is phenomenal so be forewarned, digital vortex ahead.
Tags: Comics, Literature, Popular Culture
Last week Steen Christiansen posted an introduction to his essay, David Bowie’s Hauntology, which was accepted for a most interesting conference, Uncanny Media.
My initial random thoughts led me to associate the Hunger, the first postmodern vampire film which co-stared Bowie alongside Catherine Deneuve and Susan Sarandon. Which led to a review of the band Bauhaus, whose cult classic song, “Bela Lugosi’s Dead” is featured in the opening scene being performed by front man Peter Murphy.
That review of Bauhaus has apparently vanished in a most uncanny way into the digital ether. Perhaps my review and the relationship between Bauhaus and Bowie’s hauntology was not so clever so I won’t try and recreate it. However, I’ve just learned that Bauhaus has recorded and released a new album, the first since their breakup some 20 years ago. Bauhaus was a central band for me in the 80’s and this new album, from the tracks I’ve sampled, sounds every bit as authentically Bauhaus without sounding kitsch like so many “reunion tour” bands do.
Bonus. The album art and poster was created by the legendary “street artist” Shepard Fairey. See his signature Obey Giant logo at the bottom left, next to the signature Bauhaus logo.
Update: Well, I just couldn’t resist. I haven’t received my album (ok, it’s a CD and I know that too is just so last millennium) yet my signed and numbered Fairey prints (both the black and silver) arrived this morning!
Tags: Film, Journals and Publications, Music, Reviews, The Arts and Culture