Paranoia Prose - on Adorno

Note: This post might be incomplete. I wanted to post it early so that those who choose to, may watch the videos with control of volume, duration, and repetition. I am trying to tell a story with these videos, but I will fill in the gaps later.

"The type of relationship suggested by the billboard, in which masses make a commodity recommended to them the object of their own action, is in fact found again as the pattern for the reception of light music." (Fetish Character, bottom of p.287)

Choice, with its democratic implications, free speech, independence, the individual of free will, moves into the language of the commodity. You are empowered, you have chosen this, you want this, and that choice and ability to choose is essential to your identity. In these new capitalistic structures, the social order transforms. Everyone is empowered. The employee is an associate, partner, representative, an embodiment of the corporation. S/he no longer sells a product, but a morality, in direct competition with universities, religions, and governments. The consumer buys the choice, an identity. This paradoxical system liberates and controls - it spreads a way of life, promoting the idea of individualism, but in turn standardizes, creates a unified structure of discipline through manipulation and predictability.

These powers are no longer visible, above and singular,but flattened and spread. They have become the authoritative lifestyle, the only way to work against them is within them. The self and the other become confused, you cannot even trust yourself and in turn must speak through/in different positions.

"Their music gives form to that anxiety, that terror, that insight into the catastrophic situation which others merely evade by regressing. They are called individualists, and yet their work is nothing but a single dialogue with the powers which destroy individuality - powers whose 'formless shadows' fall gigantically on their music." (Fetish Character, p.299)

Samuel Beckett - Not I

The play Not I (1972) consists almost solely of, in Beckett's words, "a moving mouth with the rest of the stage in darkness"... many of these later plays explore memory, often in the form of a forced recollection of haunting past events in a moment of stillness in the present. They also deal with the theme of the self confined and observed, with a voice that either comes from outside into the protagonist's head... (via Wikipedia on Beckett)

Nirvana - 'Verse Chorus Verse'

Verse:
Neither side is sacred
No one wants to win
Feeling so sedated
Think I'll just give in
Taking medication
Till my stomach's full
Neither side is sacred
Crawling in the hole

Chorus:
The grass is greener
Over here
You're the fog that
Keeps it clear
Re-inventing
What we knew
Taken time is
All but true
You're the reason
I feel pain
Feels so good to
Feel again
(x3)

This song was written/recorded after the release and commercial success of Nevermind, and before recording for In Utero, the followup to Nevermind and response to its success. In Utero was "engineered" by Steve Albini (who's worked with the Pixies and Sonic Youth). Albini's signature sound is distinctly different than the polished grunge of Nevermind. There is limited use of multi-track and no effects, mostly played live. All components share equal presentation. The voice, guitar, bass, and drums all seem to operate on a level field, without any partialism (or fetishism if you prefer). Of course, In Utero was a hit.

Nirvana - 'Milk It' (recorded by Steve Albini)

This whole album really plays on "rock star angst" (think 'Very Ape' or 'Radio Friendly Unit Shifter'), but this song was chosen because for me, it highlights Albini's work best.

Shellac - 'End of Radio'

This is Shellac, one of Albini's bands - for those in the punk persuasion, I would direct you towards Big Black and Rapeman.
Steve Albini (http://en.wikipedia.org/wiki/Steve_Albini)
Tube amps (http://en.wikipedia.org/wiki/Valve_amplifier)