Ghost stories

In The Adventures of Pinocchio, and the Disney cartoon based thereupon, our favourite puppet-lad is enticed away from schooling and upright behaviour to a place known as Toyland in the original (Pleasure Island in the film), where kids just bum around all day smoking big cigars, etc. And then they get turned into donkeys and are forced into slave labour.

It's a very interesting trope, that of children being warned of about the evil, substitute parent, who will promise them everything their little childlike hearts could desire... in return for enslavement and abuse. Yes, up to and including rape. And this trope is of course based on reality. Hey, remember that cute little song about "The Big Rock Candy Mountain"?

Originally the song described a child being recruited into hobo life by tales of the "big rock candy mountain". Such recruitment actually occurred, with hobos enchanting children with tales of adventure called ghost stories by other hobos. In proof of his authorship of the song, McClintock published the original words, the last verse of which was:

The punk rolled up his big blue eyes
And said to the jocker, "Sandy,
I've hiked and hiked and wandered too,
But I ain't seen any candy.
I've hiked and hiked till my feet are sore
And I'll be d--ned if I hike any more
To be buggered sore like a hobo's whore
In the Big Rock Candy Mountains.

And there's another, much less funny song called "The Appleknocker's Lament" which tells a brutal story of a young boy being enticed by these ghost stories into a life of sex slavery/regular slavery.

The healthy parent sets boundaries and thus enables the child to develop boundaries of their own. The abusive parent, the abusive partner, the authoritarian political or religious leader, does not allow boundaries; and in return gives the victim/follower permission to act out their darkest fantasies.

We've mentioned before that what authoritarian parenting/politics/religion provides is an excuse for bad behaviour. You see these scumbags coming out of the woodwork as out and proud Nazi racist misogynists now that the Orange Goblin squatting in the White House has given them the signal that that's okay? Remember that Futurama episode where Zapp Brannigan tells his crew that as long as they're "loyal", they can sit around drinking beer in their underpants? And then later they find out that "loyalty" means going on a suicide mission? Exactly the same thing. Hitler took an advanced civilised nation on a goddamn suicide mission with him, in return for 12 years getting to push Jews and Commies around and feeling that they were making Germany great again.

The sad thing is that Pinocchio didn't learn his lesson and later became a Fascist.

In other death news...

... so what do you think of the argument that "the price of genius is a tortured mind, and more often than not an early death"? I don't 100% buy it. It makes as much sense as arguing that being gay is unhealthy because it makes you want to kill yourself. No, homophobic culture makes you want to kill yourself, and I suggest we live in a creativity-phobic culture.

What is happening is we live in a culture where inspiration is either bullied out of you or commodified. They'll try to destroy you unless you become useful for their agenda, in which case they'll turn you into a brand and a cash cow, which will also destroy you, just with a higher budget. The article also lets off the hook the fact that the music industry has been known to actively encourage drug addiction among its artists because that's a very effect mechanism of control. It used to be quite common in the 80's for club owners in the USA to offer to pay musicians in cocaine.

Robert Fripp knows all about this because he's one of the few people who have been successful enough to be tempted by the Great Deceiver and lived to tell the tale. Of course, he also suggests that truly great artists are channeling a source of power which just burns their human personality away. Was Ms Winehouse a truly great artist? Even a pivotal figure for her generation like Courtney Love's husband? I don't know, never actually heard her work, perhaps you can fill me in in the comments.

The "Juice"

One of the insights that is the real beginning of wisdom is that rewards do not go to the deserving, in this world at least. The Hollywood megastar is quite possibly a shit actor, and of course the big bands are probably not nearly as good as, say, your own band. Once you realise that the universe does not work that way, you can stop gnashing your teeth about it.

But more pertinently, why do certain creatives get swept along on the path to fame and fortune? Marxist economics is superior to bourgeois economics because the former treats value as a real, tangible thing, intimately related to labour, rather than a totally subjective phenomenon which you can track with superstitious nonsense like "marginal utility functions". One of the basics of Chaos Marxism is that we want a real Marxist cultural/psychological/memetic science, not the obscurantism of po-mo cultural studies or the black alchemy of PR/advertising. So we need to discuss - is artistic value a real thing, like use-value and exchange value are?

Let's toss that "eye of the beholder" stuff out the window immediately. Of course, G. I. Gurdjieff also talked about the concept of "objective art", so that's a clue that we're onto something here. T. S. Eliot - whose stuff I love even though he was an awful reactionary - said that "all great art is impersonal". Let us put it into the language of Chaos Marxism this - "objective art", for us, is art which enables a real psychosocial/memetic current to reveal itself in the Real World of Horrible Jobs. This is totally distinct from "self-expression". Who the hell cares about whatever your emotions are? Unless your emotions are shared by everyone and you've just found a way to put it into words, sounds, images, whatever. Then you're cooking with gas, as they say.

That's not as mystical as it sounds. It's a commonplace that great art and great social movements go together. Beethoven's Fifth and Ninth sum up everything that was grand about the world in which the French Revolution could happen. Similarly, why do you think rock music reached perfection in 1975 (or 1969 if you're an awful hippie?) Because after the mid-70's the social current which it embodied - the radicalised middle-class youth of North America and Europe - ran out of steam, or got bought out. Same with US hip-hop in the early 90's.

It's time we got serious and precise about what we mean by "current". This isn't some kind of metaphor we're working with. It is essential to Chaos Marxism that a "current" in the Crowleyan sense corresponds to real social forces in the real world. And one current (at least) is the version which, if we grab hold on it, leads to the better world to come in which humanity fulfils its destiny and brings itself to an end properly, rather than killing everyone or just bumbling along doing the same crap forever. Humanity is a process that can either finish (when something is lost), conclude (in which nothing will be lost or won), or complete (which will mean a new beginning). Chaos Marxism wants to surf that last mentioned wave.

That triad of terms up there is, like a lot of stuff on this blog, swiped from Robert Fripp and Guitar Craft (aka the Fourth Way applied to the acoustic guitar). Fripp brought about GC because he felt it necessary to combine the Greater Work of evolving the individual personality with a Lesser Work of bringing music into the world. He has made the point repeatedly that, when a huge heavy Current like we've been talking about above hits the world, it will find people to express itself through, and if those people aren't ready for it, tough. They will get burnt the fuck out. Why did all those rock stars die or go massively crazy 1966-71? Fripp says, because their human personalities just couldn't handle it when something big started speaking through them. It is up to the reader to decide whether this is what happened to Aleister Crowley. (Something similar has of course always happened to poets and artists through history - especially the really good ones.)

So - Chaos Marxism's pretensions to a cultural science will be fulfilled when we learn to predict exactly where and when the Current of the Next Era will hit, in not only political but cultural, artistic and even sexual forms. Our Lesser Work is to be able to express it in this world and to help others to express it - our Greater Work is to prepare ourselves so it won't fuck us totally up. This is not idealism. "Currents" do not exist separately from actual physical human consciousness expressed in actions, words and cultural activity. But Marxists who talk about "reformism" (for example) as if it were an actual real thing that needs to have battle done against it should have no problem, in theory, with the concept that the post-capitalist future begins to reveal itself in embryo every time a crack in the system appears, and that we can begin to predict how it will take shape in not only political and economic but cultural form.

The big problem we have to fight against, sadly, is Marxist philistinism - the idea that art and music only matter when making agitprop for whatever the revolutionary cause of the day is. By those standards, Beethoven's Ninth sucked because you couldn't chant it while marching in the Napoleonic Wars.

Turn back, Sarah... before it's too late

Check out this intriguing article on the mystic resonances of David Bowie. While no-one can dispute that Bowie is cool - and, almost uniquely, still cool after 40 years - I would like to champion the case of another English musician who has deliberately used radical changes of image and disturbing lyrics about entities from an abnormal plane of existence to create an extremely unique form of cultural activism and a reasonably significant cult - namely Mr. Gary A. J. Webb. I would say that the difference between the two can be summed up that one was given powerful, culture-changing visions by heavy indulgence in magick and cocaine, while the other is an atheist who reads a lot of sci-fi and is a (self-diagnosed) Aspie.

Cool always equals "expensive". Funny, that.

Moffa is one of a crew of young dance producers who have dumped their neat little laptops for rooms full of hulking black boxes, scouring eBay and garage sales for vintage, amp-driven, analogue synthesisers.

Interesting. In the early 80's, when the cool people like Moffa were jumping on the digital bandwagon, it was crappy old analogues which were cheap and easy to acquire and people like Gary Numan and Depeche Mode used them to create the sound of their generation. Now, when software synthesizers have made weightless music - free and open source - possible for the first time in history, the cool people are trying to make bulky, hard-to-acquire, difficult-to-repair-store-and-carry technology fashionable again. The article above talks about

the genre's growth (or dilution, according to some)

Uh-huh. Because if more people can do something, it suddenly becomes worthless. There's the logic of not only capitalism but of all class societies in a nutshell.

It gets better:

"People are realising what's missing from the sounds they're getting out of software," Phil Moffa of production/DJ outfit Vinyl Life says. "They're conscious of how everything is sounding the same, and digital replication is the same every time."

But of course, when you sell it to them on a record, it will be the same every time. And you don't object to that because it's your precious intellectual property, which by its nature has to be infinitely reproducible to make you $$$.

"You try to do something, and they'll give you something back you didn't expect," Ford says of the old-school technology. "Also, because they're physical things, it's less cerebral; there's a humanism to it. We're not big fans of pushing blocks around screens."

Firstly - fuck humanism. I'm going transhuman as soon as it's feasible. Secondly - pushing blocks around screens is precisely what the majority of working people in rich countries do for a living all day. If you want escapism, fine - I'm looking for something which expresses real, concrete, nasty reality.

Oh, and the best bit is this:

"I hate really nostalgic records that are trying to sound like old records," Ford says. "But there's something familiar about (analogue), the way it shapes the sound and rounds out the edges and warms it up. It reminds you of the records you grew up with."

Ay-ay-ay. Warm, comforting, reminding you of your childhood... this is not the direction in which a future which avoids the Ghost Point lies.