Shock and Awe 2
successor to Shock and Awe whose feed no longer seems to be working properly - original blog + archive remains here: http://shockandawesimonreynolds.blogspot.com/ ^^^^^^^^^^^^^^^^ the blog of the Simon Reynolds book about glam and artpop of the 1970s and its aftershocks and reflections to this day
Wednesday, August 6, 2025
Tuesday, July 29, 2025
anti-theatricality and politics (a bit of a backblog)
All I know is that Donald Trump loves the drama and fighting and show.
He has nothing else in his life.
This fills him up until the next episode.
a commenter at New York Times
A second reading is to see Trump’s affinity for reposting fan art as Executive Cope. Here, the slop is a way for Trump to escape and imagine the world as he’d like it to be. In slop world, Trump is not embattled, getting screamed at by his supporters over what looks to them like a guilty cover-up on behalf of a pedophile. Instead, he’s arresting Obama. It’s pure fan fiction that depicts Trump having power in a moment when, perhaps, he feels somewhat powerless.
In this context, Trump’s Truth Social page is little more than a rapid-response account that illustrates a world that doesn’t actually exist: one in which POTUS looks like a comic-book hero, is universally beloved, and exerts his executive authority to jail or silence anyone who disagrees with him. This sort of revenge fantasy would be sad coming from anyone. That it is coming from the president of the United States, a man obsessed with retribution, who presides over a government that is enthusiastically arresting and jailing immigrants in makeshift camps, is terrifying.
.... The same explanation could be applied perfectly to Trump’s Truth Social posts over the weekend. Trump called for Senator Adam Schiff to be prosecuted. He appeared pathologically aggrieved—spending part of his Saturday night posting a detailed infographic intended to debunk the supposed “Russia hoax” from an election that happened almost nine years ago. (Propaganda experts say this is an attempt by Trump and his administration to rewrite history.) He posted a fake mug shot of Obama. And, on Sunday morning, he pecked out a 103-word message congratulating himself on his first six months in office. Rage, paranoia, pettiness, and desolating selfishness: Trump appears consumed more and more by an online world that offers him the chance to live out the fantasy of the unilateral power and adulation that he craves.
Talking about Trump and social media is complicated because, unlike most users, Trump can post ridiculous things, transform news cycles, and force the world to react to his posts. But lately, his posts are not having the desired effect. It’s possible that what observers witnessed this weekend is a tipping point of sorts. Trump’s posts, instead of influencing reality, suggest that the president is retreating from it entirely.
Charlie Warzel, The Atlantic
Attorney General Pam Bondi didn’t just go on Fox News in February to tease that Epstein’s client list was “on my desk” — she staged an elaborate piece of political theater in which right-wing influencers were handed binders at the White House that said “The Epstein Files: Part 1.” When the binders turned out to be a dud, an aggrieved Bondi sent an accusatory letter to Patel suggesting that evidence was being suppressed.
This month, the Justice Department and FBI officially determined that there is actually nothing more of significance to see. That makes their early behavior something of a puzzle. Who thought the administration would benefit from all the anticipatory playacting if it never had the goods?
Washington Post
Gavin Newsom laughing laughed at Trump’s social media post that seemed to criticize his own administration’s immigration raids on farm
“This is what he does: he creates a problem, and then he tries to be a hero in his own Marvel movie”, Newsom said. “He initiated those raids. He significantly increased the scale and scope of those raids. That’s why he wants the National Guard.”
“Even fans of the president’s theater can get sick of endless drama,”
- New York Post
Adam Curtis, talking up his new documix, Shifty
Because a new kind of politician rose up, bred in the swamp of distrust. They saw that playing bad in an over-the-top way would give you a great deal of power. Because in a world of disenchantment, where no one believed that politicians could be good, being bad meant you must be authentic. I give you Boris Johnson, Nigel Farage and Donald Trump: pantomime villains who are locked together with us in a feedback loop of shock-outrage-badness repeating endlessly
Outside this theatre, really bad people do really bad things – but we are distracted by the pantomime. Meanwhile, the classes that once made up society fractured. The liberals turned on those who voted for Brexit, using with one voice the word Amis had spat out 30 years before: “stupid”.
Jeff Sharlet thread on Bluesky I think
"The Right has theater. The left has critique." That's Avgi Saketopoulou, a radical psychoanalyst, scholar, & I think it concisely expresses so much of how we got here. The Right presents spectacle; the "left"--shorthand for a range--prides itself on seeing through it. 1/
It feels good sometimes to be smarter than the other guy, but remember high school? Being able to critique the cultural dynamics of football didn't make as many friends as being able to play football. We can deride spectacle, but the longing for "theater" is real. 2/
The Right has theater, the left has critique--scholars, takes, "strongly-worded statements." The Right has masked men w/ guns who look like a movie. We have condemnation. But what if we had theater? Better theater? 3/
One strand of though holds that "meet fire with fire"--aka tit-for-tat--is the spectacle the left needs to combat the Right's theater. They've got armored HYDRA operatives? No problem, we've got Bane from Batman on top of car. Touché! Or...
I'm not looking for a fight right now. If you feel certain that's the spectacle that's needed, godspeed. I don't feel any certainty about my view. But as a spectacle-critic--that's a lot of my work--that seems unpromising. If the "image" is "violence," the house--the state--always wins. 5/
Problem is, not much of the "left"--broadly speaking--engages with the the theater of the Right, so they don't know that while it's big move is violence, it's also heavy on sentimentalism. And that's where it's weakest. When people who hate vulnerability try to play vulnerable, it's shaky. 6/
For context, I'm thinking of Lionel Richie's "Hello" played at Trump rallies, Fox News' heavy investment in "human interest," the appropriation & weaponization of veterans' genuinely disproportionate suffering as, paradoxically, a rightwing truth.
That's the theater of the Right's version of tenderness. My uncertain argument: The left *at best* could meet the Right tit-for-tat in terms of spectacle of strength or "violence," but probably not even close. But when it comes to tenderness, we can make the better theater, because it's true.
It's the brilliant @jeanguerre.bsky.social's column on videos made by families of those abducted by ICE that helped me think thru this. If you haven't seen the videos she links to, please consider watching. Be prepared for watery eyes.
Maria Bustillos:
Oh but the left has theater, the best there is: Power to the People
The problem is every time the left takes the stage, the oligarchs close the theater.
Dream: Re-imagining Progressive Politics in an Age of Fantasy
by Stephen Duncombe
From an acclaimed, original observer of media and culture: how we can draw upon popular fantasies to create an alternative politics through imagination and spectacle - a twenty-first-century manifesto for the left.
What do Paris Hilton, Grand Theft Auto, Las Vegas, and a McDonald's commercial have in common with progressive politics? Not much. And, as Stephen Duncombe brilliantly argues, this is part of what's wrong with progressive politics. According to Duncombe, culture and popular fantasy can help us define and actualize a new political aesthetic: a kind of dreampolitik, created not simply to further existing progressive political agendas but help us imagine new ones.Dream makes the case for a political strategy that embraces a new set of tools. Although fantasy and spectacle have become the lingua franca of our time, Duncombe points out that liberals continue to depend upon sober reason to guide them. Instead, they need to learn how to communicate in today's spectacular vernacular. not merely as a tactic but as a new way of thinking about and acting out politics. Learning from Las Vegas, however, does not mean adopting its values, as Duncombe demonstrates in outlining plans for what he calls "ethical spectacle."
Tuesday, July 22, 2025
The Rolf Harris glam connection
As covered by Alice Cooper on Love It To Death
Here the connection is not a cover but a rip-off
Although Adam Ant adamantly insisted he never heard the Rolf Harris song and was inspired by the same Maori song that Rolf himself ripped off - "I've got a large collection of ethnic music"
Unfortunately the other glam connection with Rolf Harris is much more seedy and evil - something he shared with Gary Glitter and a lot of glam-era types regrettably.
After that, other songs by him take on weird undertones
Suggestive
Monday, July 14, 2025
In The R.Elms of the Senseless (the style press then and now)
Both magazines were done on a meagre budget yet managed to concoct this mirage of hip London that they transmitted all across the country and indeed internationally. (Joy bought both religiously).
If you look at an old issue now, especially early on, you can see how Face and iD were cobbled together in a last-minute dash just like the music papers. All kind of no-hope chancers getting featurettes, completely forgotten groups and motormouth types hawking something or other.
I remember Kodwo Eshun - I had no idea then who he was going to become! - came up to interview me (supposedly for the Oxford student mag Cherwell - I think he just wanted to meet). During a lively conversation at an outdoor table in Endell Street, he expressed disappointment that we hadn't gone straight from Monitor to The Face and iD. Like it hurt him to have to pick up a copy of Melody Maker every week, this broadsheet that left ink on your fingers.
But I rather liked the idea of operating from this supposedly clapped-out, obsolesced institution, going against the grain of times. (When the grain of the times was things like Absolute Beginners).
Besides, the format was in alignment with what we were pushing - a resurgent rock underground.
Also the music papers came out 51 times a year, whereas the style mags came out monthly. So there was just vastly more space for our verbosity to frolic in.
I should imagine it was very hard for a freelancer writing for a style magazine to make enough to live on, given you only have 12 paydays a year. And I seem to remember the iD word rate was modest, no better and possibly worse than the frightful word-rate at MM. At MM, if you were prolific and voluble, you could make a nice living as a freelancer, simply because there was so much space to fill.
The 51 issues (Xmas a double, lasted a fortnight) enabled you to construct more of an ongoing world.
That's what all these magazines were about - world creation, world maintenance.
I miss that. Is there any publication today, print or online that does that?
Well, No Bells does. They have meet-ups, events where people read music criticism aloud. It's a social space, not just a disembodied discourse space. The magazine is a locus of vibe.
Talking of style bibles, on a recent trip to New York, we went into a store that was choc-a-block with magazines into cutting edge fashion. Sort of modern day equivalents to iD and Face (both of those still going of course, as print entities - and bigger than ever in a literal sense - each issue is a monstrous paving stone of glossy fashion spreads, adverts, something you could injure yourself with if you picked it up without bending your knees properly, or injure someone else with, if wielded as weapon.)
I was staggered by how many of these style magazines there were - piled up everywhere, not an inch of space in this hipster newsagent I guess. From all over the world, with Steve McQueen-esque ugly-as-beauty images on the front.
Rather like with art books, I wondered what the financial and production logistics are when doing a magazine like this - quality paper stock, full gloss ultra-vivid images. The bottom line.
Do all the photographers and models and make-up and styling people just work for free in the hope of furthering their careers?
Advertising must bring in some money, from fashion and beauty products and trendy shit. But the cost of doing something so luxurious looking and feeling, and in presumably quite small print runs, must be enormous. And then the physical cost of distributing something so bulky. The shops must take a hefty mark-up given the amount of sheer volume each issue takes up.
Also rather like with art books, I wondered who actually buys these things,... They seemed to be retailing anywhere from $20 to $40 bucks each. I have a mental block with paying that for a magazine.
So I guess very rich people, or cutting edge fashion obsessives (same difference?).
And they doubtless function less as something to actually read and more like a coffee table book. Something to flick through desultorily or just have sitting there.
Still mystified by the title of this sports-as-style-microculture magazine
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Paul Oldfield fires a salvo at The Face on the occasion of its 100th isssue.
And also analyses Neville Brody's work.
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Wandering around NYC I was amazed how saturated everywhere was with fashion advertising. I mean, yes it's always been there, but it was really kind of total in places like SoHo. Enormous, glossy images. Everything hyper-real and supersaturated. Often on LED screens rather than just posters.
Was also startled by the fashionization of Dr. Martens
I remember in the 1980s having to going to a rather poky, plain shop next to Camden tube station to get DMs. The kind of place that would do shoe repairs and cut keys as well as sell shoes. (Actually I might be imagining that aspect but it certainly had nothing fashion boutiquey about it).
DMs were "cool" through the skin and punk connection, but they still had some kind of residual currency as practical footwear, the kind of thing someone who worked in a factory or on a building site might wear for protection against things falling on the foot.
I expect this chic-ification has been going on for a while and I hadn't noticed.
Our kid asked for a pair of DMs some years ago and only wore them once - I was furious. They cost about $130.
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"the treacherous Elms"
Carlyle had this type figured a century plus earlier
"First, touching Dandies, let us consider, with some scientific strictness, what a Dandy specially is. A Dandy is a Clothes-wearing Man, a Man whose trade, office, and existence consists in the wearing of Clothes. Every faculty of his soul, spirit, purse, and person is heroically consecrated to this one object, the wearing of Clothes wisely and well: so that as others dress to live, he lives to dress. The all-importance of Clothes, which a German Professor, of unequalled learning and acumen, writes his enormous Volume to demonstrate, has sprung up in the intellect of the Dandy without effort, like an instinct of genius; he is inspired with Cloth, a Poet of Cloth. What Teufelsdröckh would call a 'Divine Idea of Cloth' is born with him; and this, like other such Ideas, will express itself outwardly, or wring his heart asunder with unutterable throes."
Monday, June 23, 2025
Deaf Leper
I have a little riff on Def Leppard as glam fans and glam epigones in S+A's aftershocks section, mainly based on my great love of "Pour Some Sugar On Me".
Somehow I completely missed this video off Hysteria - "Rocket"
The whole thing is a citational fiesta of glam and glitter references - including images of Gary Glitter, Freddie Mercury, Bowie, Slade, The Sweet....
On the array of TV sets scattered around the sound stage, covers and features from the UK music press of that time are flashed up - some images I recognise from my own research archive of yellowing Melody Makers and NMEs of that time
And then there's the lyrics, which contain interpolations of titles like "satellite of love" and "jean genie"
It's as pomo referential as... well, The Jesus and Mary Chain, actually.
Or The Cult circa "Love Removal Machine"
Something in the air in those mid-to-late Eighties
But then again, Marc Bolan and Bowie and Roxy liked to quote riffs and interpolate lyrics from 1950s and early 60s songs.... rock 'n' roll and blues usually in Bolan's case... The Sweet and Bowie recycled the same riff (Nashville Teens? almost certainly sourced in something American) in "Blockbuster" and "The Jean Genie" at the exact same time, their rip-offs were jostling with each other in the higher reaches of the pop charts (The Sweet won the battle)
So maybe it isn't postmodern at all, it's just the magpie-eyed way pop works
And talking of repetition - I just realised that seven years ago I did a similar post on "Rockit", the start of which make some of the same points above!
Self-kleptomania, aka Ever Decreasing Circles.
Also Ever Deteriorating Memory.
Here's the remainder of it:
Beyond the overblown artifice and concocted excess of their sound - those shrill breath-blasts of oddly centreless vocals, the puff-pastry layering of guitar overdubs - another glammy thing about Leppard is a self-reflexive aspect. Not so much songs about being a rock star (although I daresay there's some, I haven't investigated that thoroughly to be honest). But more like a rocking-for-the-sake of rocking element. (Admittedly that's quite a metal thing too).
By the next album Adrenalize and lead single "Let's Get Rocked" , this thing of announcing their intention to rock the listener, of declaring that they're in the business of rocking - it was starting to feel a little threadbare.
You sense that the pure meta of The Darkness, and Andrew W.K., are not that far off.
Much later on - 2006 - Def Leppard explicitly return to the glam era with this really rather decent cover of Essex's "Rock On" (again, rock-about-rock).
Oh, well I never noticed that this was off an album - Yeah! - of cover tributes to favorite Leppard songs that with a few exceptions are all from the early Seventies - and that include such glam classics as "20th Century Boy", "Hell Raiser", "Street Life", "Drive-In Saturday", and "The Golden Age of Rock 'n' Roll", as well as the stompy proto-glitter John Kongos hit "He's Gonna Step on You Again."
Yeah!'s CD booklet has photos of Leppard each in a pose that recreates an iconic cover image from the glam-aligned early 70s: Rick Savage is Freddie Mercury from the album Queen II,
Vivian Campbell does Bolan off of T. Rex's Electric Warrior, Joe Elliott pretends to be Bowie from the back cover of The Rise and Fall of Ziggy Stardust and the Spiders from Mars, Rick Allen does Lou Reed off of Transformer, and Phil Collen poses ghastly a la Iggy on the front of Raw Power.
They also did one with the whole band imitating a Roxy inner gatefold
Oh, looky here - a recent thing in Rolling Stone where Joe Elliott talks about his favorite glam artists
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Flashback over...
Now what made me think of "Rocket" was this appreciation of Hysteria by Pitchfork's Ian Cohen for their Sunday Review reappraisal series
Disappointed to learn that Mutt Lange did not record each chord individually and then retune the instrument because of the infinitesmal drift out of tune caused by each strike of the plectrum!
That is a myth - but it seems he did record one specific chord string by separate string to get an absolutely crystal clear sound on each, that he then recombined on tape
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Despite Wiki-Fear and Wiki-Fizzle (one day I'll write that post), Wikipedia really is one of the great boons of the Internet era - how else would I be able to find all these wonderful little snippets about Mutt Lange, eh?
In 1978, Lange wrote and produced Ipswich Town's FA Cup Final single "Ipswich Get That Goal", his connection with the club due to their South Africa-born player Colin Viljoen. (MUTT'S FROM SOUTH AFRICA, YOU SEE]
Beginning production work in 1976, his first major hits came in October 1978 with the UK No. 1 single "Rat Trap" for the Boomtown Rats, followed in July 1979 with AC/DC's hard rock album Highway to Hell (No. 8 UK, No. 17 US). He produced a total of five albums for UK band City Boy from 1976 to 1979.
He produced two more albums with AC/DC, including Back in Black (1980) which is, as of 2019, the second-best-selling album of all time. [IS IT REALLY? I DO NOT THINK IT CAN BE]
After hearing Shania Twain's music, he got in touch with her and they spent many hours on the phone. They finally met six months after the initial contact and were married on 28 December 1993. Lange is a teetotaler and, as a result, they had non-alcoholic champagne at their wedding... [WHAT A SPOILSPORT! FINE IF MUTT DOESN'T WANT TO DRINK PROPER CHAMPAGNE, BUT WHY DENY IT TO YOUR GUESTS AND PALM THEM OFF WITH THE WRONG-TASTING BUZZ-LESS STUFF?]
On 15 May 2008, a spokesman for his employer Mercury Nashville announced that Twain and Lange were separating, after Lange had an affair with Twain's then-best friend and secretary Marie-Anne Thiébaud, with whom he reportedly continued the relationship and moved to Switzerland. Lange and Twain divorced in June 2010. On 1 January 2011, Twain married Frédéric Thiébaud, the former husband of Marie-Anne.... [I WANNA KNOW MORE! SURELY THEY ARE NOT GOING TO TAKE THESE SECRETS TO THE GRAVE WITH THEM...]
Lange is a strict vegetarian and a follower of the egalitarian teachings of Sant Mat. [????] He has not given an interview for decades and prefers to live a secluded life, primarily in La Tour-de-Peilz, Switzerland....
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That said, there is no explanation of how he got his off-putting nickname Mutt
Wednesday, May 28, 2025
Amazing Grace
Grace Jones on the Pee Wee Herman Christmas Special from 1988
Jones clip via the fascinating, poignant HBO documentary on Pee Wee Herman, which shows how much he came out of the whole Andy Warhol / Theatre of the Ridiculous / Angels of Light / John Waters lineage
A fellow traveler with Club 52, B-52s, Klaus Nomi (some image cross over there), Devo et al
An ancestor (in his collecting of kooky Americana) of World of Wonder
Paul Reubens was also an alumnus of Cal Arts, doing performance art and weird films and such... a trip to see shaky old super-8 footage of things performed in the corridors and halls that are now very familiar to me
filtered through this
Until the doc I never even heard of this big bump in the upward trajectory of his career
For reasons best known to himself he wanted to have the longest kiss in cinema history
Tuesday, May 20, 2025
pro-theatricality in pop (Act present Showtime)
Me on Act and ZTT in New Statesman
The full epic version
"The song is taken from the Leer-Brücken musical 'Name Dropping (songs from beyond the me-decade)'"
Minelli-laced version
Champagne dreams, caviar wishes
And watch them grow from rags to riches
Money to burn, money to give away
Lifestyles of the rich and famous
And look and them who can blame us
Lessons in the subject of decay
Come tomorrow, the dream might blow away
Guilt and sorrow, the price you have to pay
Snobbery and decay
Snobbery and decay
You’ve got yours, I’ve got mine
Obsession, just like Calvin Klein
Fantasy, ecstasy, designer dream, obscenity
Snobbery and decay
Snobbery and decay
Nothing to do, nothing to pay
Nothing but snobbery and decay
Land of the free
How can you tell?
The bigger they come the harder they sell
Here’s to you
Here’s to me
A future aristocracy
Property, poverty
An unstable economy
And decay
And decay
Snobbery and decay
Snobbery and decay
I am the repertoire
Snobbery and decay
The CD single version - nice visual pun there
The album Laughter, Tears and Rage wasn't on a par with the single, sadly.
Leer at his best - six years earlier
So many "Snobbery" mixes
A mix for Stephanie Beacham (as in Dynasty)
"Strong Poison", even
Now this is glamorous
Cut Rough / Rough Cut - is there a difference?
Glitter shards to cut your face to ribbons
Classical Curves was “a record about being repulsed and fascinated by the glossy surfaces of a certain 'high-end', hyper-capitalist consumer society”
e.g. “Her” with its robo chant and sounds like a battery of camera flashes "Work work work flash / Work work camera flash work / Work camera flash / Work work work flash". Poses being struck as blows struck to the eye...
Obliquely inspired by ballroom and vogueing I should imagine
Back to Propaganda...
Mr Brücken has a go at remixing
I should imagine it was Morley's idea to cover Josef K's "Sorry for Laughing", direct some money towards one of his favorite writers, Paul Haig
The Unapologetic Mix, haha
Everyone involved should apologize for that version
A live version
Later career is the definition of Wiki Fizzle (trust me, don't look)
but...
I was oh so prepared for this to be terrible but it's actually rather good
Claudia's got good taste - this is my favorite song by The Band and it's quite a sensitive treatment
The Band are about as anti-glam as it gets it, funnily enough.
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THE glam bassist. "Oddity" might be the first time I registered the existence of the bass as an instrument - for those strange d...
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Watching a bunch of Dame Edna Everage stuff - a doc, chat show appearances, those An Audience With Dame Edna specials done in front of an...
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Continuing from the previous post .... The title of Paul Stump 's excellent book on prog rock The Music's All That Matters captur...