When I was starting out on this writing lark, the current crop of hip young gunslingers in the music press were much in thrall to the cult of post-modernism that they claimed to have imbibed, like Beaujolais nouveau, from the work of Frenchmen Roland Barthes and Alain Robbe-Grillet.
When I was starting out on this writing lark, the current crop of hip young gunslingers in the music press were much in thrall to the cult of post-modernism that they claimed to have imbibed, like Beaujolais nouveau, from the work of Frenchmen Roland Barthes and Alain Robbe-Grillet.
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Keith Bruce
They took their critical ideas and applied them to the work of contemporary pop like Kid Creole And The Coconuts, finding levels of irony and social comment, not to mention geo-political analysis, in the narratives of the albums and witty wordplay of the chart hits. A little of this went a very long way. There is, in any case, a thin line between knowing repurposing of the past and shallow pastiche, or even "pistache" as jazz composer Mike Westbrook had entitled a big band tune a decade earlier. I used to joke that I hoped to live to see the end of post-modernism and, yes, the lack of originality in the crack was part of the gag.
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