2008 July 19
From The Art and Popular Culture Encyclopedia
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Belgian-born/New York-based canonical nobrow writer Luc Sante has a blog called Pinakothek[1]. There is a funny post called "Vile Smut"[2], in which he reviews Sadism in the Movies by George de Coulteray, and comments on a chart[3] reproduced in Lo Duca's L'Érotisme au cinéma[4] (J.-J. Pauvert, 1957)
- "Take this chart, for example, which is worthy of Edward Tufte's books:"
- The movies are (1) The Blue Angel, (2) Ecstasy, (3) Tabu, (4) The Lady from Shanghai, (5) Notorious, (6) Bitter Rice, (7) Manon, (8) Los Olvidados, (9) Miss Julie, and (10) One Summer of Happiness. No, I'd never heard of that last one, either. Don't you wish you could nonchalantly illustrate your humid reveries with charts so rigorously white-smocked? I certainly do."
- Blogger Uncertain Times reacts to my TAFKAP post[5]. And posts wm classic #55; "Tainted Love"[6] by Gloria Jones. I'd like to throw in Ann Peebles's "I Can't Stand the Rain"[7] and O. V. Wright's version[8] of Latimore's "Let's Straighten it Out" as number 56 and 57. The "Rain" track by Peebles is a curious example of an 808-sounding "demented" bassline (but more probably generated by a minimoog) which can also be heard on "Why Can't We Live Together?"[9] (which was wmc #2) and some of Perry's work, such as "Kentucky Skank" and to a lesser degree "Soul Fire"[10], with its added cow bell-style percussion. While we're on the subject of Perry: check "The City Too Hot" and a very nice selection of other Perry material.[11].
- The Fold (2008) is an American new web-based film series written by husband-and-wife writing team, Ray Sawhill and Polly Frost with Matt Lambert. It will be viewable at http://www.thefold.tv on 2008 August 3. It is an erotically-based science fiction series which content-wise comes close to ribaldry (think Pasolini's Trilogy of Life); while it has an artistic insouciance of an apparent Corman heritage.
- Blogger and friend Broken Projector celebrates his first birthday. Congratulations.[12]
I may have dismissed Philip Sherburne's piece on the current state of beats too quickly in my recent comment.[13]
The piece came my way via Simon Reynolds[14] a couple of days back:
- "Philip Sherburne addresses the malaise in electronic dance culture (i didn't know the economic side of it had gotten that parlous) and convenes a kind of brain trust to come up with remedies. --Simon Reynolds
And thus starts Sherburne's piece:
"Everything feels fucked up. The environment, the economy, war, terrorism, ..." --Philip Sherburne [15]
Regarding the economic side Sherburne says:
- "Still, dance music is suffering from some very real maladies, many of them economic. Record sales are declining-- labels that once could confidently move 1,000 copies of a 12" single now struggle to sell 250-- and legal downloads, while presumably growing, aren't taking up the slack."
As I said in my comment I find it hard to imagine that beats are going out of fashion.
Witness these beats set to The Stones's "You Can't Always Get What You Want"[16] remix[17] by Belgian dance-punkers Soulwax. Listen for the choral arrangements by Jack Nitzsche.
Regarding beats going out of fashion from a theoretical point of view.
The beat is a celebration of dance, dance is a celebration of hedonism. Hedonism flourishes in economic booms. Today is an era of poverty. Beats do not fit in poverty. Perhaps. But. Counter example one: the beats of Lindy Hop during Depression America. So evidence inconclusive, but if I had to investigate I would follow the economic boom/malaise route.
