NP - What rock star will be remembered? Compared to literary field.

[Kai Frederik Lorentzen]

> Yet  virtually all pop historiographers elevate the importance of the 
Pistols above that of the Bee Gees.

But no pop historiographer would ever elevate the importance of the 
Pistols above that of Chic!

https://www.youtube.com/watch?v=Xv744Ckqp5U

"I want your love, I need your love,
just like the birds the sky above"



On 30.05.2016 10:17, matthew cissell wrote:
> Hello all,
>
>    I came across this article about what rock musician/performer will 
> be remembered in the future:
>
> http://www.nytimes.com/2016/05/29/magazine/which-rock-star-will-historians-of-the-future-remember.html?action=click&pgtype=Homepage&version=Moth-Visible&moduleDetail=inside-nyt-region-5&module=inside-nyt-region&region=inside-nyt-region&WT.nav=inside-nyt-region&_r=0
>
> The author of the piece, Chuck Klosterman, starts off with John Philip 
> Sousa and marches. He speculates that if asked most people could not 
> name or could only name Sousa as a composer of marches. He then poses 
> the question of who will be remembered from rock. He quotes Ted Gioia: 
> “Over time, critics and historians will play a larger role in deciding 
> whose fame endures,”
> I think a good point is made when he compares Saturday Night Live and 
> Never Mind the Bollocks. "In 1977, the disco soundtrack to “Saturday 
> Night Fever” and the Sex Pistols’ “Never Mind the Bollocks, Here’s the 
> Sex Pistols” were both released. The soundtrack to “Saturday Night 
> Fever” has sold more than 15 million copies; it took “Never Mind the 
> Bollocks” 15 years to go platinum. Yet virtually all pop 
> historiographers elevate the importance of the Pistols above that of 
> the Bee Gees.
>
> Bourdieu might point out that the Bee Gees were clearly oriented 
> toward the pole of heteronomous production that provides greater 
> economic capital and that the Sex Pistols were oriented toward the 
> autonomous pole of production (though not in a dominant position, 
> rather a subversive avant garde one) that garners more symbolic 
> capital than economic. The two prodcucts have different life cycles 
> and thus age differently.
>
>     For me it is interesting to read this speculative study of the 
> future status of rock stars (agents in the field of musical 
> production) over and against the the literary field. What homologies 
> of structure or strategy might we find? For Klosterman, Sousa and 
> march are synonomous as (he suspects) might happen with Bob Marley and 
> reggae. And in literature?
>
> If you're a Deadhead you think people will recognize the grateness of 
> the Grateful Dead; if you're a Pynchon fan you likely think his 
> writing will stand out a hundred years hence or more. But is this just 
> our "ilusio" as Bourdeiu calls it? Vision fogged up by Fanboy 
> feelings? Is this all hollow speculation of no import? Though the 
> above is speculative in nature I do not think that the question is 
> doomed to mere speculation.
>
> ciao
> mc otis
>
>
>
>

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