Folkwrongica
May. 4th, 2007 10:22 am![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
freakytigger.livejournal.com posting in ![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png){kind=small}
poptimistsI got absorbed enough in this Guardian piece to miss my tube stop:
http://music.guardian.co.uk/folk/story/0,,2071468,00.html
A lot of its anecdotal material is good and I can't much disagree with the central argument (tho as they admit Tosches summarises it more neatly) but I didn't like the conclusion - even as a staunch poptimist "the inherent democracy of pop junk" is a MASSIVE handwave.
http://music.guardian.co.uk/folk/story/0,,2071468,00.html
A lot of its anecdotal material is good and I can't much disagree with the central argument (tho as they admit Tosches summarises it more neatly) but I didn't like the conclusion - even as a staunch poptimist "the inherent democracy of pop junk" is a MASSIVE handwave.
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the book
Date: 2007-05-04 10:07 am (UTC)review
"by the end, Barker (a musician and songwriter) and Taylor (I Was Born a Slave) find the distinction between real and fake "[b]reaking down and becoming increasingly meaningless." It becomes clear that even seemingly obvious examples of authentic and inauthentic defy easy categorization when scrutinized. After all, is disco's well-intentioned alternate reality any less "real" than the violent, "mocking pretenses" of the Sex Pistols? Though the book's final conclusions are not revelatory, it offers an intriguing take on the development of popular music. "