Hardcore for Nerds

"Why sneer at the intellectuals?"*
punk music, left politics, and cultural history - previously found here.
contact: gabbaweeks[at]gmail.com (sorry, no promos/submissions, thanks) or ask
Dublin, Ireland. 27, history, politics & law graduate
HFN | Best New Punk | HFN 2012 2011 2010 2009 | HRO 2k9 | Hoover Genealogy Project | @HC4N
*from the title of a review of Arthur Koestler's Arrival and Departure by Michael Foot, Evening Standard, Nov. 26, 1943.
Mar 04
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The chaos of a Tubby mix - the unexpected dropouts and surges and distortions - is indeed analogous to the political chaos outside those studio doors. But the real metaphor embedded in those dubs is embodied by the image of a man locked inside behind a mixing board as the bullets fly outside, his studio a neutral zone where you made your own laws. You can’t unfire a gun. The act of firing it is like a one-take live-in-the-studio recording. You live or die with what you get, and you can’t remix the past. Late at night at Tubby’s, you could imagine a better world, one where you had complete control - a place where even if the bullet had been fired long ago, you had an eternity to decide its trajectory.

Greg Milner, Perfecting Sound Forever (‘Tubby’s Ghost’)

Another brilliant passage which calls back to this one. My heart sank a little reading it at first, because ‘white American journalist using Jamaican political violence to make philosophical point’ is not usually a good look, but he kinda pulls it off here? This is where I can see the political speechwriter history coming through - maybe if he’d worked for Michael Manley things would have been happier (that’s if you believe in the power of rhetoric to subvert structural politics, which in the post-Obamania age is a tough bet). That’s what I like so much about the book - jumping through history to tell breezy anecdotes can be such a hokey element of these kind of ‘popular’ science/culture books, but he seems to nearly always do it well. Here it’s the story of how Tubby “began the Pro Tooling of the world by turning his tiny studio into a musical instrument”.

The image, however, directly contradicts an even more powerful one from the end of Camus’ 1951 The Rebel, his essay on existentialism, and a humanity torn between warring totalitarianisms:

“Each tells the other he is not God; this is the end of romanticism. At this moment, when each of us must fit an arrow to his bow and enter the lists anew, to reconquer, within history and in spite of it, that which he owns already, the thin yield of his fields, the brief love of this earth, at this moment when at last a man is born, it is time to forsake our age and its adolescent rages. The bow bends; the wood complains. At the moment of supreme tension, there will leap into flight an unswerving arrow, a shaft that is inflexible and free.”

'Complete control' is as the 20th century demonstrated a political impossibility, and dangerous to attempt (the 21st century suggests increasing control by, or of, the individual, depending on one's view of technology; and an accelerating lack of control at the environmental level). But Perfecting Sound Forever is patently not about the ‘end of the romanticism’: it is the continuation of it, such as with the mystique of analogue sound in which Milner indulges fairly heavily, and it is admittedly a rather petit-bourgeois romanticism. We will listen to our sonic experiments encoded onto petroleum and/or transmitted through electricity and plastic, while the world burns and others starve, but we shall be free? Or can we transmute our adolescent rages into art with revolutionary potential, become the arrow of self-determination and not the targeted consumer?

perfecting sound forever politics HFN hitler runoff camus dub
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