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Created: March 1, 2002
Latest Update: March 4, 2002

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Copyright: Jeanne Curran and Susan R. Takata and Individaul Authors, February 2002.
"Fair use" encouraged.

Subject: Rock on!


Aha! You've sought comfort in ambiguity!
Friends at Pulp Culture might comment!
Kants aesthetics?
Oh, Ricoeur, help!
Gadamer's idealism unfit!
"Hermeneutics and the Voice of the Other"
Is it here?
Such study of thought!
Pulp Theory bustin ass!
Ambiguity in art!
Dig the music!

Ever sculpted with oils?
Or put watercolors on canvas?
Dig the music!
F****'in A!



Comfort? sure!
in this turbulent world
they tell me is in competent hands
like Enron

Dig the music!
Sculpt with oils
of course I've done
and admit that transcendence
wasn't half bad

Chastised, I search
your sources
postmodern symbolism?
and lo! I find

Adorno knocking rock and roll

Dig the music
Sculpt with oils
mix with sand
WEIRD transmogrified!

We've won!
You're learning
and Adorno didn't get it
neither did we!

we never had the answers
no need
answers smother and kill

just dig the music
and sculpt!


References in the interest of Any clarity
that might exist

  • Pulp Culture
    "What is "pulp culture," anyway?

    pulp culture, n. Those genres of popular fiction -- such as science fiction, fantasy and horror -- that have their modern roots in the fiction magazines of the '30s, '40s and '50s.

  • WEIRD! Animated gif from Pulp Culture because I didn''t know they gave such a fancy name to those awful things I read when I was a kid. jeanne

  • Theodor Adorno Meets "Lo-Fi" Rock by Samuel Jeffries. May 1996.
    "Rock and roll is not about structural innovation. One could apply "structural listening" to rock and roll, but it would be like using a microscope to read a magazine. The structure is already given, and is easily discerned. Rock and roll creates its effect through repetition (both across and within individual songs) and slight variation. The established forms and styles of rock trigger emotional responses, responses which are historically prescribed. By triggering the pleasure-effects of established styles, and at the same time introducing variations within its standard structures, rock and roll inspires both the comfort of the familiar and the thrill of the new.

    "Adorno recognized all this, and spared no harsh words for the formulaic nature of popular music. For him, this "variation-within-a-structure" formula is the worst kind of musical production. It leaves the listener expecting and desiring nothing new, and, at the same time, remaining content with pre-ordained "deviations" in place of real change. In other words, the structure of popular music, along with the diachronic "constancy" of each pop-music form, directly interpellate the listener into the "false consciousness" of capitalist ideology."

    Adorno's rejection of rock and roll wrote shoulds to what must always remain interactive with the subject. Seyla Benhabib and her version of universalism filtered through postmodernity. Benhabib.