"Better to burn-out than fade away..."

I could have written a piece for the twentieth year since Kurt Cobain killed himself. I have no time for the debate over whether or not Cobain did kill himself. I think it's much more important that we remember Cobain's work and not his death. Especially, as the man's suicide note stated "It's better to burn-out than fade away" and there may be something in that. In regards to mortality we shouldn't despair so much, finite lives make their mark and in the case of great artists they have their own piece of eternity. For the twentieth anniversary of Nevermind's release I posted an article (see extract below) drawing upon Fred Pfeil's observations of Kurt Cobain's swipes against repressive masculinity.

The example of choice is the music video of In Bloom in which the band are introduced on an Ed Sullivan-esque TV show as "three fine young men from Seattle" complete with combed hair and matching sports coats. The video is shot in grainy black-and-white to give it the feel of the early 60s, the days before there was such a thing as MTV, Heavy Metal or Punk Rock never mind Grunge.  The effect is a Brechtian distance, the verfremdungseffekt, the point of which was to encourage the audience to take a critical view of the events on stage. So the trio bob about cheerfully as the crowd of pubescent girls get all hysterical as the quiet opening line stands incongruous to the scene "Sell kids for food, weather changes moods". The immediate subject of mockery is the "one" who "knows all our pretty songs", who likes to sing along and shoot his gun but "knows not what it means"; later adding "We can have some more, nature is a whore". The position to be ridiculed is that to comprehend these lyrics is to "shoot a gun", e.g. to possess a phallus.

My anarchist buddy Ted says I should've brought up the fact that the songs Polly and Rape Me were really about highlighting atrocious violence towards women. Originally, the two tracks were to be paired together, played back-to-back, in memory of a teenage girl, who was kidnapped, raped, and tortured. Fortunately, the girl escaped and the rapist Gerald Friend was arrested and is currently rotting in prison. Far from being works celebrating violence against women, as they have been confused for in the past, the songs are very much anti-rape and ultimately life-affirmative.

Hipster Awareness.

I have to be honest. I had no idea what a 'Hipster' was four or five years ago. I was soon alerted to their existence by the Dickhead song of 2010 and since then I have been pretty conscious of Hipsterdom, or at least what we think it is. Ever since I have seen them everywhere and everyone has a disdainful remark to make regarding them. It's worth looking into the history of subcultures to really situate the hipster. Adam Curtis churned out an interesting article on his blog in time for the Mayoral election of 2012. He focused on Norman Mailer, who had been an early proponent and self-described 'Hipster' in the 1950s and 60s. He deemed it a culture of outsiders first pioneered by Black Americans in response to racial oppression, they were the original outsiders, only to overtaken by 'white negroes' as the outsider culture was co-opted. Curtis refers us to this section of Mailer's writing:

"In such places as Greenwich Village a menage-a-trois was completed - the bohemian and the 'juvenile delinquent' came face to face with the Negro, and the hipster was a fact in American life. If marijuana was the wedding ring, the child was the language of Hip for its argot gave expression to abstract states of feeling which all could share, at least all who were Hip. And in the wedding of the white and the black it was the Negro who brought the cultural dowry. 

So there was a new breed of adventurers, urban adventurers who drifted out at night looking for action with a black man's code to fit their facts. The hipster had absorbed the existentialist synapses of the Negro, and for practical purposes could be considered a white Negro." 

This seems a far cry from the blokes in Shoreditch somehow. You might want to read Rob Horning's piece if you want something more up to scratch. One suspects the Hipster has come a long way since then, and yet Curtis goes on to tell us:

Mailer also pointed out that this new breed of "psychic outlaw" could be equally a candidate for the most reactionary or the most radical of political movements. And in the film there is a fascinating scene where Mailer takes on the trades unions on one of the avenues in New York. He tells them that in the past they were a heroic movement - but that now they have become a repressive, stultifying force in society - in particular in the way they are refusing to allow blacks and hispanics to move up society. It is an odd moment because as you watch you realise that it was elements of this rebellious individualism that both Thatcher and Reagan would later harness. And that possibly, if the left had got hold of it earlier, then the history of the West might have been very different.

Last year I found another video from Mike Rugnetta on YouTube about Hipsterdom. What provokes hatred against the Hipsters is that they don't disavow what every other subculture do, e.g. that their scene is made up of performance Hipsters wear things for irony whereas Punks and Goths and even wannabe gangsters claim a certain dress code, slang, music and mindset to be authentic to their scene. Actually sticking drawing pins through your flesh or leaving the sticker on your cap is about as 'authentic' as Hipsters are in buying over-sized glasses and growing funny beards. Rugnetta suggests it's a matter of cultural capital, and people feel the flippant appropriation of features of fashions undermines the value of the trend. But that still seems incoherent. The reasons to undertake a certain action are inseparable from it to some extent, but not substantial enough to change the content of the action and its significance. The reasons people smoke are not significant enough to change smoking and its consequences.