Jump to content

The Atlantic: Prog Rock is the Whitest Music Ever


Recommended Posts

This is Dave Weigel

 

One picture is worth a thousand words

 

http://images.politico.com/global/click/100809_weigel_shinkle_522_regular.jpg

 

Now that dude's white.

...you know that movie, 'the 40 year old virgin'?...

 

edit: oh wait, my bad. that might have offended some TRF members... :outtahere:

Edited by HemiBeers
  • Like 2
Link to comment
Share on other sites

This is Dave Weigel

 

One picture is worth a thousand words

 

http://images.politico.com/global/click/100809_weigel_shinkle_522_regular.jpg

 

Now that dude's white.

...you know that movie, 'the 40 year old virgin'?...

 

edit: oh wait, my bad. that might have offended some TRF members... :outtahere:

 

His needs a new suit jacket. He appears to have outgrown the one he's wearing.

  • Like 1
Link to comment
Share on other sites

https://www.theatlan...tm_source=atlfb

 

The Show That Never Ends: The Rise and Fall of Prog Rock

By David Weigel

 

“We are the most uncool people in Miami.” So begins, promisingly enough, David Weigel’s The Show That Never Ends: The Rise and Fall of Prog Rock. Weigel, along with 3,000 fellow Yes-heads, Rush-oids, Tull freaks, and votaries of King Crimson—cultural underdogs all, twitching and grimacing with revenge-of-the-nerds excitement—is at the port of Miami, about to embark on a five-day progressive-rock-themed cruise: a floating orgy of some of the most despised music ever produced by long-haired white men.

 

Do you like prog rock, the extravagantly conceptual and wildly technical post-psychedelic subgenre that ruled the world for about 30 seconds in the early 1970s before being torn to pieces by the starving street dogs of punk rock? Do you like the proggers, with their terrible pampered proficiency, their priestly robes, and their air—once they get behind their instruments—of an inverted, almost abscessed Englishness? I don’t. At least, I think I don’t. I like Queen’s “Bohemian Rhapsody,” which is a kind of wonderful satirical compression of prog rock, a fast-forward operetta with goofy existentialist trappings and a heavy-metal blowout in the middle; I like the bit of Mike Oldfield’s Tubular Bells that became the theme music for The Exorcist. And there are contemporary bands I adore that have been grazed by prog: the moody, alchemical Tool, the obtuse and crushing Meshuggah. But for naked prog, the thing itself, I seem to lack the mettle. The trapped, eunuch ferocity of Geddy Lee’s voice, squealing inside the nonsense clockwork of Rush, disturbs me. And Yes’s Tales From Topographic Oceans is an experience to me unintelligible and close to unbearable, like being read aloud a lengthy passage of prose with no verbs in it.

 

Hated, dated, sonically superannuated … One could enjoy prog ironically, I suppose—listen to it with a drooping and decadent ear, getting off on the fabulous obsolescence, etc. But that’s not what Weigel is about. He loves prog, and his argument, his prog polemic, is that the glory of this music has been obscured from us by sneering decades of hipster rock criticism and prejudice against 20-minute songs:

 

Teams of highly trained visionaries paced themselves against their influences and their peers to write songs they were confident no one else would think of writing. They took the music far, far away from the basics, so that some later groups of jerks could take it “back to basics” and be praised for their genius. Every new artistic movement rebels against whatever came right before it. But the progressives’ rebellion was the weirdest and the best.

Put like that, it does sound rather tasty. Prog as a wild chamber of experimentation, a sci-fi trespass across the limits of popular music, driving clear of fashion and orbiting the Earth forever. Awesome. The problem comes, for me, when I actually listen to the stuff. Is it not a form of aesthetic dissipation to praise something for its ambition and its bold idiosyncrasy when that something is, objectively speaking, crap? I think it might be. Gentle Giant, in 1972, took a poem from Knots, a book by the great heretic psychiatrist R. D. Laing, and turned it into an intricate, multivoice chant: It hurts him to think that she is / hurting her by him being hurt to think / that she thinks he is hurt by making her / feel guilty at hurting him by her thinking / she wants him to want her. The idea is great on paper. But listen to the song, to its scurrying, fidgety instrumentation, its fussy avoidance of anything like a melody. It is not enjoyable. At all. Magma, the French prog band, invented not only its own L. Ron Hubbard–style cosmic origin story but its own language (Kobaïan, which reads like a sequence of Gothic expletives: Nebëhr gudahtt, Köhntarkösz). Again, very creative. But run, oh run, from the music.

 

The relative crudity of punk rock was simply a biological corrective—a healing, if you like.

If Weigel were David Foster Wallace, he would have written his entire book from inside that cruise ship, possibly never leaving his cabin, eavesdropping on snatches of music and chitchat and sending out his imagination in heavy spirals of paranoia and insight. But Weigel is a political reporter for The Washington Post, so he climbs off that wiggy, proggy boat and treads onto the dry land of chronology. “We’re a European group,” declared the lead singer of proto-proggers The Nice in 1969, “so we’re improvising on European structures … We’re not American Negros, so we can’t really improvise and feel the way they can.” Indeed. Thus did prog divorce itself from the blues, take flight into the neoclassical, and become the whitest music ever.

 

Procol Harum fiddled around with Bach’s Air on a G String and came up with “A Whiter Shade of Pale.” More vandalistically, the super-keyboardist Keith Emerson, of The Nice and then Emerson, Lake & Palmer, unleashed himself upon the works of Modest Mussorgsky (Pictures at an Exhibition), Alberto Ginastera (“Toccata”), and Aaron Copland (“Fanfare for the Common Man”). You’ve got to love Emerson. He would wrench, upend, and literally stab his instrument—rather in the manner in which Hunter S. Thompson used to shoot his typewriter—jamming down keys with daggers, the better to produce his trademark squelching stun-chords. Fiending for technology, vivid with turbulence, he went from the Hammond organ to the freshly developed Moog synthesizer. (The proper pronunciation of Moog, I recently discovered, is “Mogue,” like “vogue.” Perhaps prog should be pronounced “progue.”)

 

Money rained down upon the proggers. Bands went on tour with orchestras in tow; Emerson, Lake & Palmer’s Greg Lake stood onstage on his own private patch of Persian rug. But prog’s doom was built in. It had to die. As a breed, the proggers were hook-averse, earworm-allergic; they disdained the tune, which is the infinitely precious sound of the universe rhyming with one’s own brain. What’s more, they showed no reverence before the sacred mystery of repetition, before its power as what the music critic Ben Ratliff called “the expansion of an idea.” Instead, like mad professors, they threw everything in there: the ideas, the complexity, the guitars with two necks, the groove-bedeviling tempo shifts. To all this, the relative crudity of punk rock was simply a biological corrective—a healing, if you like. Also, economics intervened. In 1979, as Weigel explains, record sales declined 20 percent in Britain and 11 percent in the United States, and there was a corresponding crash in the inclination of labels to indulge their progged-out artistes. No more disappearing into the countryside for two years to make an album. Now you had to compete in the singles market.

 

Some startling adaptations did occur. King Crimson’s Robert Fripp achieved a furious pop relevance by, as he described it, “spraying burning guitar all over David Bowie’s album”—the album in question being 1980’s Scary Monsters (And Super Creeps). Yes hit big in 1983 with the genderless cocaine-frost of “Owner of a Lonely Heart.” And Genesis, having lost ultra-arty front man Peter Gabriel, turned out to have been incubating behind the drum kit an enormous pop star: the keening everyman Phil Collins.

 

These, though, were the exceptions. The labels wanted punk, or punky pop, or new wave—anything but prog. “None of those genres,” grumbled Greg Lake, retrospectively, “had any musical or cultural or intellectual foundation … They were invented by music magazines and record companies talking together.” Fake news! But the change was irreversible: The proggers were, at a stroke, outmoded. Which is how, to a remarkable degree, their music still sounds—noodling and time-bound, a failed mutation, an evolutionary red herring. (Bebop doesn’t sound like that. Speed metal doesn’t sound like that.)

 

I feel you out there, prog-lovers, burning at my glibness. And who knows? If the great texts of prog had inscribed themselves, like The Lord of the Rings, upon my frontal lobes when they were teenage and putty-soft, I might be writing a different column altogether. But they didn’t, and I’m not. The proggers got away with murder, artistically speaking. And then, like justice, came the Ramones.

 

So am I supposed to feel some sort of post-Wagnerian, epic polyphonic, form of white guilt? I happen to be white. So....

If you don't feel like he does, I'm sure he thinks of you as a flawed individual, and all around bad person.

  • Like 1
Link to comment
Share on other sites

Does this make Rush 'White Supremacists'? :7up:

They are according to the bizarre, illogical mental midgets at the NME.

  • Like 1
Link to comment
Share on other sites

I can think of a lot of musical genres that are white. So what?

 

He also seems to think prog (including all 40 years of Rush?) ended in the 70's. He doesn't know what he's talking about

 

 

Edited by IwillchooseFreeWill
  • Like 3
Link to comment
Share on other sites

What a wank. I could write a much more compelling piece fairly discrediting punk, but unlike this knob I don't suppose I'm going to enrage the masses with my pointless opinion. That was more a "knock the chip off my shoulder" piece than could ever be mistaken for thoughtfulness and earnestness.
  • Like 1
Link to comment
Share on other sites

I think of

as having some 'progressive elements' to their music despite being metal and funky.

 

Guitarist and songwriter Vernon Reid is into RUSH's music as he paid homage to the band when they were inducted into the 1994 Canadian Music Hall Of Fame

beginning at the 3:06 mark.

 

Also Vernon Reid and Geddy Lee did an interview together here during the 'Test For Echo' era.

 

Prog rock 'the whitest music ever'? I don't think so.

Edited by RushFanForever
  • Like 2
Link to comment
Share on other sites

I really don't care about what's 'white', or its degree of whiteness.

 

I like prog, and I also like Delta and Chicago blues...and jazz, and Motown, and Stax-era soul as well. And field hollers. And gypsy folk tunes from Eastern Europe. And...and...

 

I really don't care what anyone has to say about the ethnic or racial underpinnings of musical forms.

Edited by Blue J
  • Like 6
Link to comment
Share on other sites

I really don't care about what's 'white', or its degree of whiteness.

 

I like prog, and I also like Delta and Chicago blues...and jazz, and Motown, and Stax-era soul as well. And field hollers. And gypsy folk tunes from Eastern Europe. And...and...

 

I really don't care what anyone has to say about the ethnic or racial underpinnings of musical forms.

 

This. I found this article very misguided and actually a bit offensive. Idiot writer to put it nicely.

  • Like 4
Link to comment
Share on other sites

I really don't care about what's 'white', or its degree of whiteness.

 

I like prog, and I also like Delta and Chicago blues...and jazz, and Motown, and Stax-era soul as well. And field hollers. And gypsy folk tunes from Eastern Europe. And...and...

 

I really don't care what anyone has to say about the ethnic or racial underpinnings of musical forms.

 

This. I found this article very misguided and actually a bit offensive. Idiot writer to put it nicely.

 

I think the entire point was to offend fans of progressive rock, likely just the first idea that came to the writer's head to grab some cheap views of his article.

Link to comment
Share on other sites

I tend to agree that popular Prog is played by predominantly middle class white musicians for a middle class audience in Europe, Australia and North America.

However, that is to discount the thousands of Central and South American Prog bands, those in the Far East, Middle East and the rest of Asia.

  • Like 1
Link to comment
Share on other sites

I think of

as having some 'progressive elements' to their music despite being metal and funky.

 

Guitarist and songwriter Vernon Reid is into RUSH's music as he paid homage to the band when they were inducted into the 1994 Canadian Music Hall Of Fame

beginning at the 3:06 mark.

 

Also Vernon Reid and Geddy Lee did an interview together here during the 'Test For Echo' era.

 

Prog rock 'the whitest music ever'? I don't think so.

 

It probably is but so what?

 

Link to comment
Share on other sites

It's kind of like saying Hip Hop is the blackest music out there. Yea, well, what is wrong with that, firstly? And secondly, there are plenty of white fans. It's a non-point.

 

I don't know why I keep coming back to this - it got under my (white) skin I suppose... I guess the article worked. I should just shrug it off, but sometimes that stuff irks me.

  • Like 1
Link to comment
Share on other sites

It's kind of like saying Hip Hop is the blackest music out there. Yea, well, what is wrong with that, firstly? And secondly, there are plenty of white fans. It's a non-point.

 

I don't know why I keep coming back to this - it got under my (white) skin I suppose... I guess the article worked. I should just shrug it off, but sometimes that stuff irks me.

 

It's trash...but it's well written (performed) trash... I can't seem to forget it either.

  • Like 1
Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
 Share

  • Recently Browsing   0 members

    • No registered users viewing this page.
×
×
  • Create New...