Concert Fever and Musical Persona in a Quarantined Culture. Interview with Philip Auslander.
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(2) 08/09/2021. Rekto:Verso | Concert Fever and Musical Persona in a Quarantined Culture. Interview with Philip Auslander.. case studies, ranging from Beatlemania to Nicki Minaj, in order to show that music is what musicians do. The pandemic has made it clearer than ever that musical performance is way more than music-making. An audience who is only familiar with your argument within the performance ontology debate might wonder why you turn towards music in this book. What exactly is it that brought you to this theory of musical identity, the ‘musical persona’?. INFO. Cover image: Wikimedia Commons. SCHRIJF IN OP DE NIEUWSBRIEF. emailadres. R E AG E E R. ‘Why music? First of all, because I’ve been a music fan since I was about eight years old, which is when I Philip Auslander started collecting records. The second reason is a disciplinary issue. At a certain point, I realized that there was a lack of discussion in theatre and performance studies about musicians as performers and, equally, a lack of concern about performance in traditional musicology. I am not certain whether what I want to do is to construct a bridge between those two fields, or work around the borderline. But I feel like there is a need for bringing these two areas into a dialogue. Throughout my career, I have always been equally interested in big picture cultural theory and close reading of performances. My work on musical persona is where these interests come together.’ ‘Having used the notion ‘My fundamental of persona in different question was: if contexts, such as standmusicians are up comedy and performers, what performance art, I think kind are they?’ the term has broad applicability. My fundamental question was: if musicians are performers, what kind are they? Most of the time, music artists do not play fictional characters, so they aren’t actors. In my thinking, persona as a term means a performed entity that is somewhere between presenting yourself and presenting a fictional character. This led me to the theoretical framework of sociologist Erving Goffman; seeing music as a form of selfpresentation rather than as a variety of acting has been a fruitful approach for me.’ Rektoverso.be gebruikt cookies om de inhoud van de website af te stemmen op je behoeften en voorkeuren. Ik aanvaard de installatie van cookies. https://www.rektoverso.be/artikel/concert-fever-and-musical-persona-in-a-quarantined-culture-interview-with-philip-auslander. × 2/15.
(3) 08/09/2021. Rekto:Verso | Concert Fever and Musical Persona in a Quarantined Culture. Interview with Philip Auslander.. One of your most famous statements is that the ‘live’ can only exist in opposition to the ‘non-live’, the mediatised. With all music events cancelled and postponed, the latter is all there is left for the time being. Do you think this period will bring about a major shift in our understanding of what ‘live’ means? ‘I don’t think so. I originally proposed that ‘the live is formulated against the backdrop of mediatisation’. Liveness is always defined in contrast to its opposite. What I see happening now is a powerful nostalgia for live performance. In a way you could say the situation is still as I defined it, only in reverse: mediatisation is formulated against the backdrop of the live or, more precisely, its absence. Implicitly, we ‘Implicitly, we compare what we can compare what we have right now, which is can have right now, various kinds of recorded which is various or mediatized kinds of recorded or performance, to what we can no longer access and mediatized miss.’ ‘I don’t think the performance, to current situation is what we can no going to result in a longer access.’ fundamental reconception of live experiences. The perceived value of live performance in traditional terms is more powerful than it ever was now that we have been deprived of it. I don’t like to make predictions, but once live performance becomes possible again, I foresee a flood of eager audiences. During the first phase of the pandemic, I kept track of what was being said about liveness and the absence of concerts. Dave Grohl from Foo Fighters, for example, wrote an impassioned text about the wonderful thing that is a live concert. And that was still relatively early on. I pretty quickly got the sense that a nostalgia for the live was settling in, and it remains the dominant feeling.’ On several occasions you have emphasized how music is much more continuous with ordinary life than other performing arts. There are numerous occasions in which we Rektoverso.be gebruikt cookies om de inhoud van de website af te stemmen op je behoeften en voorkeuren. Ik aanvaard de installatie van cookies. https://www.rektoverso.be/artikel/concert-fever-and-musical-persona-in-a-quarantined-culture-interview-with-philip-auslander. × 3/15.
(4) 08/09/2021. Rekto:Verso | Concert Fever and Musical Persona in a Quarantined Culture. Interview with Philip Auslander.. experience music outside a concert setting. Is this why we are seeing an explosion of online music alternatives nowadays, compared to for example, dance and theatre? ‘The only people that I ‘The notion of an have come across that audience as a are not up for performing community is not at at all if it cannot happen all dependent on live are in theatre. This what it is that you might be because a satisfactory online are watching.’ equivalent seems to them to be impossible. In music, by contrast, the recorded form is a well-established and accepted version, whereas this is rarely the case for other performing arts. Watching theatre on television is still ‘not good enough’ in the minds of many theatre lovers, while listening to recorded music is, even though we understand that it does not provide the same experience as a live performance. Theatre and performance art have a deep, and I think irrational, suspicion of the recorded event, which I address in my book Reactivations: Essays on Performance and Its Documentation (2018). I happen to be working on a third version of Liveness right now, and I had to think about one particular situation. I recently watched the musical Hamilton in its televised version, and I was wondering, can I say that I have seen it?’ Maybe you have experienced it in one way or another, but you have not ‘seen’ it? ‘Well, I would say that I have seen it. (laughs) But I believe that many theatre lovers and scholars would say that I have not. This is what the debate is about, indeed.’. From my sofa to yours Online alternatives are either shows that were made on purpose for online viewing, or recorded versions of earlier music performance - with or without an audience. Do you see a parallel between your use of sociologist Erving Goffman’s framework for discussing jazz music – where audiences have to conform to a certain suspension of disbelief regarding whether or not musicians are actually improvising as the genre prescribes -, and audiences currently being more willing to act ‘as if’ attending a live show? ‘I think so. We may be willing to take these events as approximating performances we would otherwise physically attend. The key is being able to have a sense that you are part of an audience, that you are not alone. The Internet is Rektoverso.be gebruikt cookies om de inhoud van de website af te stemmen op je behoeften en voorkeuren. actually a one-to-one medium. It appears to be a broadcast Ik aanvaard de installatie van cookies.. https://www.rektoverso.be/artikel/concert-fever-and-musical-persona-in-a-quarantined-culture-interview-with-philip-auslander. ×. 4/15.
(5) 08/09/2021. Rekto:Verso | Concert Fever and Musical Persona in a Quarantined Culture. Interview with Philip Auslander.. medium, but it really isn’t. It does not send out signals that people can receive. Rather you send out a signal and establish an individual connection with a website or stream. So, on a technological basis, it is really one-to-one. But livestreams and watch parties can give you the feeling that you are watching together with others, especially when you can communicate with your fellow audience members through chat. Creating a sense of a collective audience is crucial to imbuing a live-streamed or recorded event with liveness.’ ‘A small theatre ‘Recorded or livecompany in Chicago, streamed events are Theater Wit, recorded a contextualized in show at the beginning of ways that make the pandemic and them seem to be treated it as an event: you bought a ticket to live.’ see a specific production of a play at a specific time, albeit online. What really caught my interest was that they limited the number of tickets they sold to 90. The actual theatre in Chicago has 90 seats, which they were replicating online. This way you get the sense of occasion even though the performance is recorded: you cannot watch it whenever you want. Assuming there was no chat function available, this too would reinforce the sense that you are participating in a traditional theatrical event by imposing conventional theatre etiquette on the audience. There is also the idea – and it is an idea – that only you and 89 other people are watching the event online. It creates a frame for a sense of participation in a specific event with a specific group at a specific time. This is why watch parties are proliferating during this pandemic. It goes back to something I said in the first edition of Liveness: the notion of an audience as a community is not at all dependent on what it is that you are watching. It has to do with the perceived liveness of the audience, not of the performance.’. That Show Was Epic: Phil Lesh & The Terrapin Family Band …. Rektoverso.be gebruikt cookies om de inhoud van de website af te stemmen op je behoeften en voorkeuren. Ik aanvaard de installatie van cookies. https://www.rektoverso.be/artikel/concert-fever-and-musical-persona-in-a-quarantined-culture-interview-with-philip-auslander. × 5/15.
(6) 08/09/2021. Rekto:Verso | Concert Fever and Musical Persona in a Quarantined Culture. Interview with Philip Auslander.. ‘Recorded or live-streamed events are contextualized in ways that make them seem to be live. The easiest way is to limit access, making a recorded concert available for only 48 hours for example, urging you to watch it immediately. The sense of ephemerality created this way emphasizes the realtime aspect and allows the viewer to feel like they are being part of a collective gathered for a specific event. The chat function also plays a fairly big role in all of this. It enables you to engage in conversation with others watching, even more so than you would be allowed to do in an actual concert.’ Have you watched any of the online alternatives yourself? And how do you experience them, both from the perspective of a performance studies scholar and as a music fan? ‘It is an occupational ‘A recorded concert hazard that it is almost can be reframed as impossible for me to an event that is watch anything without unfolding in the here analysing it! I stumbled and now, and of onto a concert on YouTube by Phil Lesh which you become a from the Grateful Dead part as a viewer.’ and his Terrapin Family Band. The concert had been filmed on March 16, 2018 at the Capitol Theatre in Port Chester, New York. It was streamed on Zoom on May 7, 2020 with live commentary from some of the musicians on the experience of doing the concert. During the song ‘Truckin’’, you could see people in their homes watching the streaming concert and dancing to the music. At one point, the singer was in the box in the middle of the Zoom frame surrounded by fans at home as if they were his audience, even though he was recorded and they were responding in real time. In the next moment, the Zoom grid was replaced entirely by a shot from the concert film showing the audience at the Capitol Theatre, juxtaposing two audiences responding to the same event at different times. And of course, the whole thing was recorded, including yet another layer of participation: chat from the audience that watched the stream in May 2020. The resulting artefact is multi-layered and complex, like a palimpsest. It is a sophisticated example of how a recorded concert can be reframed as an event that is unfolding in the here and now, and of which you become a part as a viewer, while simultaneously being in the past, as the presence of the musicians commenting on their own performances makes clear.’ ‘Andrea Bocelli’s YouTube livestream also really stuck with me. To see him singing in the empty Duomo in Milan, then Rektoverso.be gebruikt cookieswas om deboth inhoud moving van de website af te stemmen op je behoeften en voorkeuren. stepping out into the deserted piazza, and Ik aanvaard de installatie van cookies. × very reflective of the situation at the time, a reaction to the https://www.rektoverso.be/artikel/concert-fever-and-musical-persona-in-a-quarantined-culture-interview-with-philip-auslander. 6/15.
(7) 08/09/2021. Rekto:Verso | Concert Fever and Musical Persona in a Quarantined Culture. Interview with Philip Auslander.. reality of the moment. The livestream was not just about seeing Bocelli sing – his lone voice in the massive urban space spoke to how people were feeling. It was sort of therapeutic, but at the same time a powerful reflection on the feeling of isolation that people needed therapy for. I had a similar feeling when I watched the Kronos Quartet performing at Stanford University. It was shot in a concert hall without an audience, with cameras moving around the masked musicians and emphasizing the extra space between them due to social distancing, which strongly communicated a similar sense of isolation. These concerts were not just occasions to hear musicians perform; they really engaged with the situation under which the performance was taking place.’. Andrea Bocelli: Music For Hope - Live From Duomo di Milano. Pop artist Dua Lipa was praised for her livestream Studio 2054, an online alternative for the concert tour that would have accompanied her new album. One review of the event reported on how Dua Lipa acknowledges the difference between a live concert and a recording of it, which is why she approached it as a 40-minute-long music video instead. I found this remarkable: it resonates with my observation that music videos, and in line with that, social media, have been taking centre stage in the construction of a musical persona. Do you agree with this? ‘Generally, I do. These ‘Music video is the platforms liberate the perfect venue for artist from having to performing a musical play or sing. Ultimately persona per se.’ there is much greater control over the visual aspect of the presentation than you have in a live performance. So, in that sense, yes. Music video is the perfect venue for performing a musical persona per se, as a thing that is an entity unto itself. Some of the best examples of the performance of persona that I have come across come from music videos. I refer to Suzi Quatro in the book and to a music video by country musician Darius Rucker, which is a complicated negotiation of African-American identity in the Rektoverso.be gebruikt cookies om de inhoud van de website af te stemmen op je behoeften en voorkeuren. context of country music, a genre generally associated with Ik aanvaard de installatie van cookies.. https://www.rektoverso.be/artikel/concert-fever-and-musical-persona-in-a-quarantined-culture-interview-with-philip-auslander. ×. 7/15.
(8) 08/09/2021. Rekto:Verso | Concert Fever and Musical Persona in a Quarantined Culture. Interview with Philip Auslander.. whiteness. Although somewhat indirectly, the video addresses questions surrounding Rucker’s identity to a greater extent than a Darius Rucker concert ever would. Videos provide a different space where different questions can be dealt with. These questions might be implicit, not necessarily in the music itself, but certainly in the social context surrounding the artist, the performance, and the genre.’. Darius Rucker - Wagon Wheel (Official Video). Audience interaction is essential for an accomplished selfpresentation as a musician. Social media provide the possibility of simultaneously offering a form of intimacy and keeping distance to uphold a certain star image, which you explain with Goffman’s concept of ‘social distance’ from The Presentation of Self in Everyday Life (1956). Given the current circumstances, social distance has taken on a different meaning. Do you think it will affect the prevailing para-social activity between fans and artists? ‘I think the basic difference, which goes to the core of Goffman, is that the social distance we are currently experiencing is enforced. The normal social distance that performers maintain from their audiences is the result of a tacit agreement on both sides. I am not enough of a social media scholar to say whether or not the apparent intimacy between performers and their audiences that social media seems to offer has had the effect of making audiences think that they should now have even greater access to the performer.’ ‘Maintaining a public image is always a balancing act between seemingly revealing the intimate truth, or the backstage version of you, and maintaining distance from the audience. The little Christmas records the Beatles made for their fan clubs in the early 1960s were already creating the effect of revelation and intimacy on the part of the music artist whilst maintaining mystification and social distance. Those recordings gave a peek of the Beatles being informal and fooling around, which was, of course, entirely scripted. If you go back even further in time, Hollywood the 1930s Rektoverso.be gebruiktto cookies om de inhoudin van de website af te stemmen op je behoeften en voorkeuren. Ik aanvaard de installatie van cookies. https://www.rektoverso.be/artikel/concert-fever-and-musical-persona-in-a-quarantined-culture-interview-with-philip-auslander. × 8/15.
(9) 08/09/2021. Rekto:Verso | Concert Fever and Musical Persona in a Quarantined Culture. Interview with Philip Auslander.. and 40s, gossip magazines claimed to provide glimpses into the stars’ real lives. Social media continues this phenomenon, which takes different forms at different times.’ ‘What has become more ‘Maintaining a public prevalent, though, image is always a thanks to the pandemic, balancing act is the genre of the between seemingly informal ‘at home’ video, revealing the where you get to see the music artist performing intimate truth, or the in their living room. One backstage version of of my personal favourites you, and maintaining is a post Steve Winwood distance from the made of himself playing the piano in his living audience.’ room. It feels like he is opening his home to you. But this is not without precedent. You could place it next to a video fragment of Arthur Rubinstein from the 1950s, another of my favourites. Dressed in formal wear, he sits very erect at a piano in the incredibly elegant drawing room of his apartment while playing Chopin for three formally dressed couples. Another example is the Glenn Gould 1959 short documentary Off the Record, where you see him hanging out in his lakeside cottage. It is that era’s version of the intimate view of the music performer at home. So again, the highly constructed intimate domestic view of the performer is nothing new.’. Steve Winwood. All the world’s a music stage The basic premise of ‘performing an identity in a social realm as a musician’ has been extremely prominently present lately. Lana del Rey wore a controversial mesh facemask during a signing, but also Ariel Pink and John Maus Rektoverso.be gebruikt cookies om de inhoud van de website af te stemmen op je behoeften en voorkeuren. participated in the Trump rally at the Capitol, which van thecookies. × Ik aanvaardfor de installatie https://www.rektoverso.be/artikel/concert-fever-and-musical-persona-in-a-quarantined-culture-interview-with-philip-auslander. 9/15.
(10) 08/09/2021. Rekto:Verso | Concert Fever and Musical Persona in a Quarantined Culture. Interview with Philip Auslander.. former was dropped by his record label a few days later. You tend to emphasise how a star persona should at all times align with the musical persona of a music artist. Is this a case where the identity claim of an indie, lo-fi musician is not successfully negotiated in relation to the boundaries implied by genre conventions? ‘I think that is absolutely the case. Any given genre has a set of values, an ideology associated with it. You mention Ariel Pink, but as I said before, country music is a good example of how genre has always connected to certain demographics. In the early 00s, The (Dixie) Chicks proved to be too politically liberal for country music, so they were basically kicked out of the genre. In a similar context, travel writer Rick Steves recently brought up how country artist Garth Brooks put his career at risk by performing at President Biden’s inauguration this year. Value questions are very much part of an affiliation with a genre. If you cross an ideological line, you’ll take the heat for it, even to the degree of being rejected from the genre by the fans and the industry itself.’ Which, once again, shows how musicians do way more than make music indeed. They embody something else, which is connected to persona. Within musical persona, you identify three layers: the real person, the performance persona and fictional characters. An artist like Nicki Minaj moves from one fictional character to another, you say, which you then contrast with Lady Gaga’s musical persona, something that fluctuates itself. How is this different from a metapersona, a term you introduce for individual personae that emerge under different performative circumstances, but cannot be performed directly? ‘I originally developed ‘Lady Gaga is a the concept of musical different kind of metapersona for cases in metapersona, an which an artist performs umbrella under in different genres and which different therefore has different genre-specific personae. manifestations of These personae cannot identity take place.’ be performed simultaneously, but the audience’s awareness that David Amram, for instance, is both a classical composer and musician and a jazz player colors its perception of his persona in each context. It makes sense to extend the concept to the entity called Lady Gaga, which is a different kind of metapersona, an umbrella under which different manifestations of identity take place. Comparing Gaga and Minaj, it struck me that while Minaj is Rektoverso.be gebruiktguises, cookies om de inhoud van the de website clearly recognizable in her many this is not caseaf te stemmen op je behoeften en voorkeuren. Ik aanvaard de installatie van cookies. https://www.rektoverso.be/artikel/concert-fever-and-musical-persona-in-a-quarantined-culture-interview-with-philip-auslander. × 10/15.
(11) 08/09/2021. Rekto:Verso | Concert Fever and Musical Persona in a Quarantined Culture. Interview with Philip Auslander.. for Lady Gaga. Each of her personae looked like a different person at a time when it was not even clear what Stefani Germanotta (Lady Gaga’s birth name) actually looks like.’ One could argue that social media has obfuscated clear-cut distinctions between the different layers you define. But when you observe that the name ‘David Bowie’ not only belongs to a performance persona but has also merged with the real person in a pre-Internet era, it does not seem that different. ‘David Bowie is a key figure. He was not necessarily the first one to be self-conscious about persona; plenty of artists were already aware of the fact that what you see on stage is a construct. He was, however, one of the first ones to thematize this idea. He addressed it directly and worked with it. What I try to bring out in the book is that the lines between real persona, performance persona and character are never that clear. There is always a potential to blur those lines, intentionally or unintentionally. In the case of Bowie, I think he was doing it very intentionally; in other cases, it is not necessarily all that clear-cut.’ ‘It is sometimes hard to ‘Social media pinpoint what is coming enables music artists from which layer. to represent Goffman emphasizes themselves in that the different parts of different ways at the self-presentation need to be coherent, which made same time.’ me a little too insistent in the beginning on the monolithic quality of the persona. Musical persona is better understood as an entity that is itself made up of different layers, which are not necessarily always in harmony with one another. I bring in some examples of this, such as Jimi Hendrix’s seemingly becoming tired of performing his persona at a certain point and communicating that through his performances. There can be tensions within the persona and there can be different ways of performing the persona, which suggest different degrees of identification of the performer with the persona.’. Rektoverso.be gebruikt cookies om de inhoud van de website af te stemmen op je behoeften en voorkeuren. Ik aanvaard de installatie van cookies. https://www.rektoverso.be/artikel/concert-fever-and-musical-persona-in-a-quarantined-culture-interview-with-philip-auslander. × 11/15.
(12) 08/09/2021. Rekto:Verso | Concert Fever and Musical Persona in a Quarantined Culture. Interview with Philip Auslander.. Dua Lipa - Future Nostalgia Livestream - #StayHome #With… #With…. Before it might have been common that characters made their appearance in music videos or single songs, performance personae in interviews and public events, while the ‘real’ person stayed behind closed doors. Social media nowadays has brought everything onto one platform, it seems. ‘You have a point. There ‘Ostentatious is an ongoing argument disregard of the about spectacle audience is in itself overtaking pop music theatrical’ performance, which I often get asked about. What I find remarkable in the case of Lady Gaga is that if you need to be assured that Gaga has traditional musical skills, you can easily find old videos in which she plays the piano or fronts a rock band. Different phases of her career are all available, so if you are not particularly fond of Gaga the spectacular pop performer, well, there is also Gaga the singer-songwriter. If she weren’t happy about this aspect of herself being available online, I am pretty sure she could get it taken down. My guess is she is happy for this material to remain available precisely because it presents her in various ways that can potentially connect her with different types of audiences. It keeps her archive, her historical record, present. Social media enables music artists to represent themselves in different ways at the same time.’ You speak in terms of theatricality as a significant variable in the construction of musical personae. Why not performativity, as Gaga’s multiple presentations seem to hint at a strong performance in the other sense of the word? ‘When I use the word “performativity”, I try to use it in the sense language philosopher J. L. Austin introduced it, “doing things with words.” I use this term in contexts such as my discussions of performance documentation where I am concerned with what documentation does. I recognize the problem with the term ‘performative’: since there is no other adjectival form of the word performance indeEnglish, the term Rektoverso.be gebruikt cookies om inhoud van de website af te stemmen op je behoeften en voorkeuren. Ik aanvaard de installatie van cookies. https://www.rektoverso.be/artikel/concert-fever-and-musical-persona-in-a-quarantined-culture-interview-with-philip-auslander. × 12/15.
(13) 08/09/2021. Rekto:Verso | Concert Fever and Musical Persona in a Quarantined Culture. Interview with Philip Auslander.. performative seems to have been shifted away from its original linguistic context. It has suffered the same fate as a term such as deconstruction.’ ‘Theatricality is a ‘All musicians, by relative concept, definition, have a however. For example, persona. Performing modern jazz, after the a persona is what Second World War, they do.’ seemed anti-theatrical. Musicians were extremely reserved, completely self-absorbed, and unaware of the audience. However, ostentatious disregard of the audience is in itself theatrical, which means that antitheatricality can also be a form of theatricality. Antitheatricality can be so exaggerated that it becomes theatrical again.’ From jazz music to Lana del Rey is probably a bit of a brusque shift, but this ambiguous understanding of theatricality reminds me of her claiming, as an artist with a carefully curated theatrical image, that she ‘has never had a persona and will never need one’. ‘A statement like that is ‘Where, when, and absurd on its face, or from whom a presumably strategic. particular kind of She is trying to make a music comes, tells claim to some kind of us a lot. We cannot authenticity. All musicians, by definition, just throw all of that have a persona. away.’ Performing a persona is what they do. I don’t mean to be too glib about this, but obviously saying “I don’t have a persona” is in itself a performance of a persona. Even musicians in a pit orchestra have a persona, though the audience for that persona is not the one in the auditorium. The musical persona is a special case of self-presentation. From that perspective, it is not possible to say, “I don’t have a persona”. It is equivalent to saying, “I don’t have a self”. The actual question here is: what is she doing by saying this, and what kind of persona does she construct through this strategy?’ In the introduction of the book, you assess how Gen Z artists’ (Billie Eilish, Nas X) are being described as transcending the notion of genre altogether, which you find rather questionable. In one of the last essays, you visualize how different bands have approached the genre of original 1950s rock ‘n roll in the past, placing them on a continuum between Rektoverso.be gebruikt cookies om de inhoud van de website af te stemmen op je behoeften en voorkeuren. modernist authorship and postmodern pastiche, between Ik aanvaard de installatie van cookies. https://www.rektoverso.be/artikel/concert-fever-and-musical-persona-in-a-quarantined-culture-interview-with-philip-auslander. × 13/15.
(14) 08/09/2021. Rekto:Verso | Concert Fever and Musical Persona in a Quarantined Culture. Interview with Philip Auslander.. authenticity and inauthenticity. I would like to bring those two observations together for my final question: do you think we arrived in a post-authenticity era outside this continuum, where conventions, categories and frames have completely collapsed? Lana Del Rey. ‘People will make this claim, but there’s a difference between the claim and the reality. It becomes very difficult to talk about anything if we are post-genre. It means you cannot describe music at all, because describing it means using genre categories, at least in part. One of the reasons I object to doing away with genre categories is that the history of music, the social history, is embedded in these categories. You dismiss all of that when you claim that genres don’t matter. It’s about the history of the blues: where the blues came from, who the blues came from… I find it important to keep that in sight. Where, when, and from whom a particular kind of music comes, tells us a lot. We cannot just throw all of that away; we need those categories to think.’ ‘I am sure some people ‘If there is something believe we are postwe can call the genre, post-persona. postmodern era, I Again, these statements am not convinced become examples of the that it has ended.’ thing they are trying to refute or dismiss. I used to be quite happy to talk about postmodernism, and in some ways, I still am. I understand postmodernism as a cultural configuration that is identifiably different from what came before it. But I have to say I am not convinced that we have moved past postmodernity yet. I’ve flirted with the idea of hypermodernity, because it seems to have some utility with respect to artists like Lady Gaga. Nevertheless, if there is something we can call the postmodern era, I am not convinced that it has ended.’. Genoten van dit artikel? Help ons open online publiceren. Je vindt geen betaalmuur op onze website. Wij geloven in vrije en open journalistiek, beschikbaar voor iedereen. ST E U N O N S. R E AG E E R Rektoverso.be gebruikt cookies om de inhoud van de website af te stemmen op je behoeften en voorkeuren. Ik aanvaard de installatie van cookies. https://www.rektoverso.be/artikel/concert-fever-and-musical-persona-in-a-quarantined-culture-interview-with-philip-auslander. × 14/15.
(15) 08/09/2021. Rekto:Verso | Concert Fever and Musical Persona in a Quarantined Culture. Interview with Philip Auslander.. Rekto:Verso © 2021. Rektoverso.be gebruikt cookies om de inhoud van de website af te stemmen op je behoeften en voorkeuren. Ik aanvaard de installatie van cookies. https://www.rektoverso.be/artikel/concert-fever-and-musical-persona-in-a-quarantined-culture-interview-with-philip-auslander. × 15/15.
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