k-punk said:What is largely missing - and I really, really don't think this is an 'old fogey's perspective' - from Pop atm is that sense of Event. It's like thre's a direct, inverted relationship between 'techniques of archivization' and (to adapt a Badiou-ism that doesn't work too well in English any way) 'eventality.' Morbid attention to one's own place in history goes along with a revivalist approach to the past.
this is undoubtedly true, and i'm as guility as anyone
if you don't like what's going on today, you can all too easily lose yourself in music from the past
all the info is there to be found on the internet, sound clips can be hunted down
used to be that if you didn't like the times, you had to work to change the direction of music -- champion the most promising new sounds, support the best new records and artists -- or forever hold your peace
k-punk said:I think there's a problem of overavailability . . . . Many records we'd consider classics now were not very easy to get hold of in the post-punk period. Modernism in culture was about the moment, the unrepeated broadcast, a Now that was indifferent to its archivization . . . . There is no real need to watch the broadcast the first time round - and therefore no possibility of it becoming an Event.
surely that's how it used to work w/ 12" dance records -- if a record was any good, you had to get the record that week or the next week at the lastest -- especially if you lived in america
today there's gemm, plus several non-gemm-affiliated on-line stores -- all dealing records from the past, tracks you missed the first time around b/c things were moving so rapidly
so as you work your way through RIUSA and you're interested in a record that the author's describing, just hop on line and do a quick search -- and then you'll have what few people back then had
so it's our sense of time that's changed -- from newspapers to libraries
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