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I am not saying that you have to be a jazz fan to be a Mod. The Mod scene incorporates a wide variety of music genres, and you don’t have to like all of them to be a Mod. Considering that, you may not have to like every genre generally accepted in the Mod scene, but a basic respect for the genres that helped lay the foundation for the scene (Jazz, Soul, British Rhythm and Blues), especially their place in the scene, is something I feel should be expected of anybody in the Mod scene who wants their opinion taken seriously. That said, let’s be realistic: You may not have to like any one or two or ten specific genres of Mod music, but if you don’t like any of them, yet still fancy yourself to be a “Mod”, don’t be surprised when people in the scene don’t take you seriously at all. ↗
Now, as I understand it, the bards were feared. They were respected, but more than that they were feared. If you were just some magician, if you'd pissed off some witch, then what's she gonna do, she's gonna put a curse on you, and what's gonna happen? Your hens are gonna lay funny, your milk's gonna go sour, maybe one of your kids is gonna get a hare-lip or something like that — no big deal. You piss off a bard, and forget about putting a curse on you, he might put a satire on you. And if he was a skilful bard, he puts a satire on you, it destroys you in the eyes of your community, it shows you up as ridiculous, lame, pathetic, worthless, in the eyes of your community, in the eyes of your family, in the eyes of your children, in the eyes of yourself, and if it's a particularly good bard, and he's written a particularly good satire, then three hundred years after you're dead, people are still gonna be laughing, at what a twat you were. ↗
#artists-way #bard #irony #modernity-is-a-sickness #musicians
Lacan’s defenders (as well as those of the other authors discussed here) tend to respond to these criticisms by resorting to a strategy that we shall call “neither/nor”: these writings should be evaluated neither as science, nor as philosophy, nor as poetry, nor ... One is then faced with what could be called a “secular mysticism”: mysticism because the discourse aims at producing mental effects that are not purely aesthetic, but without addressing itself to reason; secular because the cultural references (Kant, Hegel, Marx, Freud, mathematics, contemporary literature ... ) have nothing to do with traditional religions and are attractive to the modern reader. ↗
Further, in the modern story, reality is that which is observable, measurable, and repeatable - the kinds of phenomena available, accessible, and verifiable to the five senses. Thus, reality comes to equal the scientific method. It should come as no surprise that in such a world the life of the spirit is ignored or marginalized (as well as a great many other nonmaterial things.) This view of life subsequently birthed in human beings a ravenous materialism as matters of the soul were ignored or reinterpreted within this tightly controlled version of reality. When the life of the spirit is ignored, people will seek to feed the hunger of a neglected soul with the only nourishment available: in our context, the consumptive acquisition of material goods. ↗
The question of the relation between modernity and postmodernity revolves around the issue of 'legitimation.' Modernity, then, appeals to science to legitimate its claim - and by 'science' we simply mean the notion of a universal, autonomous reason. Science, then, is opposed to narrative, which attempts not to prove its claims but rather to proclaim them within a story. ↗
We are living in a time when sensitivities are at the surface, often vented with cutting words. Philosophically, you can believe anything so as you do not claim it a better way. Religiously, you can hold to anything, so long as you do not bring Jesus Christ into it. If a spiritual idea is eastern, it is granted critical immunity; if western, it is thoroughly criticized. Thus, a journalist can walk into a church and mock its carryings on, but he or she dare not do the same if the ceremony is from eastern fold. Such is the mood at the end of the twentieth century. A mood can be a dangerous state of mind, because it can crush reason under the weight of feeling. But that is precisely what I believe postmodernism best represents - a mood. ↗
The contrast between the familiar and the exceptional was everywhere around me. A bullock cart was drawn up beside a modern sports car at a traffic signal. A man squatted to relieve himself behind the discreet shelter of a satellite dish. An electric forklift truck was being used to unload goods from an ancient wooden cart with wooden wheels. The impression was of a plodding indefatigable and distant past that had crashed intact through barriers of time into its own future. I liked it. ↗
