加载中…
个人资料
workshop
workshop
  • 博客等级:
  • 博客积分:0
  • 博客访问:44,507
  • 关注人气:17
  • 获赠金笔:0支
  • 赠出金笔:0支
  • 荣誉徽章:
相关博文
推荐博文
正文 字体大小:

嘎嘎

(2010-02-08 15:36:49)
标签:

读书

杂谈

分类: workshoptextdiary

午夜看《小崔说事》,任月莉说了两个至今未签唱片公司的理由。理由一,进了公司怕有很多限制,父母年事已高,身体不佳,万一有需要照顾的时候,怕没时间去陪,留下遗憾。理由二,怕自己说话什么的(停顿)会变。

 

崔永元接:肯定得变。

 

或变成天使如西单女孩,或变得赤裸裸如嘎嘎。Nobody knows who you are, but everybody wants to know.

 

Thesis,antithesis都是修辞手法,麦当娜多用了synthesis一招,但她们的共同之处不仅在于sparked commentary (and the fame),她们难道与乐评人Seth有什么本质的区别吗。

 

A star's ambivalence toward fame—both courting and criticizing it—is itself an old myth, and one with a storied pedigree, whether you're talking about John Lennon or Eddie Vedder.

 

不知Seth是否自视star或nonstar,难道普通人没有similarly ambivalent ambition吗?

 

就像尽管我会使用和Mrs. Walls不同的修辞手法,会与之辩驳,但我知道,我们内心其实一样,充满了ambivalence。

 

任月莉也不例外。

 

The Blah-Blah of Gaga

 

Seth Colter Walls

http://www.newsweek.com/id/223509

 

French intellectual Claude Lévi-Strauss died at the age of 100 last month, before he could comment on the latest single from Lady Gaga. If you think this an absurd notion, note that Lévi-Strauss's major project—discovering the common aspects of myths from different eras and continents—has influenced many pop scholars, including Greil Marcus. In our American Idol-ized culture, few myths loom larger than pop fame, which is why the philosopher and anthropologist might have had something to say about Top 40's self-professed conceptual artist of the moment. In a way, he still does.

 

Gaga herself invites such highfalutin scrutiny. In interviews, she alludes to Andy Warhol and the poet Rainer Maria Rilke, whose words she has tattooed on her arm. Pop's intelligentsia has largely gone along with Gaga, anointing her, like Madonna, a dance maven who has something to communicate aside from great grooves. So when Gaga sings, in the title track to her celebrated debut album The Fame, that "all we care about is runway models, Cadillacs, and liquor bottles," she's doing it (or so some critics insist) as a setup, a way to undercut that callow consumption in the chorus, during which she sighs: "We live for the fame ... Isn't it a shame?"

 

A star's ambivalence toward fame—both courting and criticizing it—is itself an old myth, and one with a storied pedigree, whether you're talking about John Lennon or Eddie Vedder. There's no shame in Gaga running with the idea. Lévi-Strauss took heart while tallying repetitions of cultural tropes in his "search for the invariant." Though his real interest, in Gaga or anyone plowing familiar mythic ground, would be to find what's revealed by the new telling. The problem with Gaga is that she refuses to add any concrete value, while also wanting us to think she has something to say. She's described her concept of "the fame" variably as an "inner sense of confidence" and something about how "nobody knows who you are, but everyone wants to know." When pressed to clarify by a reporter, she denied "trying to feel" anything at all: "I make soulless electronic pop," she said. Then last week at a benefit for Los Angeles's Museum of Contemporary Art, Gaga performed "Speechless," a song from her new EP, The Fame Monster, which she described as a heartfelt tribute to her father. (And she performed it on a piano painted by Damien Hirst.)

 

Gaga may want to have it both ways, but that doesn't mean we should let her. Inscribing Rilke's question—"must I write?"—on your arm and then hiding behind a nihilist's superficiality amounts to a pretentious form of bulls--t. As the 20th century drew to a close, and postmodern critics of Lévi-Strauss gained clout, the idea of whether we can "know" anything about artistic texts became its own cliché. But Lévi-Strauss's death gives us a chance to remember what it's like for a writer to bear the risk of intending to mean something. Gaga shows no appetite for this. Instead, she is content to give us thesis and antithesis, because the contrast sparks commentary (and, yes, her fame). She writes strong melodies and gives us great photos, but unlike Madonna—who was willing to tie provocation to a discernible purpose in "Like a Prayer"—Gaga offers no synthesis. Of course, bubblegum music can get a pass from needing to say anything if it's philosophically modest: rocking all night and partying every day. But with due respect to the swear-word police, pop also becomes offensive when it puts on airs it has no intention of earning.

 

highfalutin 自大的,骄傲的

intelligentsia 知识分子(总称)

anoint 施涂油礼

maven 行家

groove (唱片等的) 凹槽

title track 标题曲

callow 未成熟的

pedigree 血统

tally 记录

trope 比喻

clout 影响力

bubblegum 摇滚舞曲

swear-word 诅咒

0

阅读 评论 收藏 转载 喜欢 打印举报/Report
前一篇:欣赏
  • 评论加载中,请稍候...
发评论

    发评论

    以上网友发言只代表其个人观点,不代表新浪网的观点或立场。

    < 前一篇欣赏
      

    新浪BLOG意见反馈留言板 电话:4000520066 提示音后按1键(按当地市话标准计费) 欢迎批评指正

    新浪简介 | About Sina | 广告服务 | 联系我们 | 招聘信息 | 网站律师 | SINA English | 会员注册 | 产品答疑

    新浪公司 版权所有