I thought so at first too, that the pictures of the desert southwest were meta-ironic comments on the fact that “West” Virignia is not in the West. But then I realized that maybe it was being played straight and it represented an early part of a journey driving LA to West Virginia via backroads. Finally though I settled on terminal cluelessness and bad taste.
John Denver trivia: Sometime in the 70s a John Denver show sold out at Blossom Music Center (outdoor venue near Cleveland). Disappointed fans used phone poles used as “curbs” in the parking lot to batter down the gates. It was in many ways, quite a different time.
I think neil’s offering is postmodern in the sense that it is obviously an inadvertent commentary on the destruction of the local. A pre-modern sensibility would not have offered shots of Arizona, South Africa, Vermont and Wyoming as illustration of a song about the Appalachians, and a modern sensibility would have done so in the manner of exceptions to artificiality, as in the fashion of John Wayne movies that place the Tetons in Oklahoma as one shot in a film shot on backlots and soundstages. The relentless inauthenticity here, though, makes it a criticism of the inauthentic, and thus pomo.
Of course, the author may not have intended that reading. But we all know how that goes.
Hey Spyder - It’s even weirder when Bobby Weir sits in with Dark Star Orchestra: A member of the original garage/jug/cover band sits in with a band that covers the garage/jug/cover band’s songs, replacing his doppelgänger (Ron Eaton looks, sounds and acts almost exactly like Bob - now that’s scary) in performance that not only mimics, but seeks to exactly duplicate the original garage/jug/cover band’s performance from a particular night in the past. That’s so recursively ultra-cheesy-post-psychedelic-classical-modernistic I can’t begin to puzzle it out, and feel as if I must run screaming from the mental knots that are created by this PhilDickian scenario.
Just jokin’ Liz, extending Spyder’s meme a bit. Although Bob and his doppelgänger Ron are scarily alike. Plus, I wanted to use doppelgänger in a comment again.
Then I suppose that this is something else altogether. From Kenneth Goldsmith Sings Theory.
Nah, that’s just late modern. THIS is postmodern.
By the way, have you seen the adorable Japanese film Whisper of the Heart? It’s all about how much the Japanese love John Denver. It’s high modern.
Well. I can’t enter into the whole post-mod, mod, high mod debate, but I can say that I never thought that I would miss John Denver.
::whimper::
Nah, that’s just late modern. THIS is postmodern.
I thought so at first too, that the pictures of the desert southwest were meta-ironic comments on the fact that “West” Virignia is not in the West. But then I realized that maybe it was being played straight and it represented an early part of a journey driving LA to West Virginia via backroads. Finally though I settled on terminal cluelessness and bad taste.
John Denver trivia: Sometime in the 70s a John Denver show sold out at Blossom Music Center (outdoor venue near Cleveland). Disappointed fans used phone poles used as “curbs” in the parking lot to batter down the gates. It was in many ways, quite a different time.
I think neil’s offering is postmodern in the sense that it is obviously an inadvertent commentary on the destruction of the local. A pre-modern sensibility would not have offered shots of Arizona, South Africa, Vermont and Wyoming as illustration of a song about the Appalachians, and a modern sensibility would have done so in the manner of exceptions to artificiality, as in the fashion of John Wayne movies that place the Tetons in Oklahoma as one shot in a film shot on backlots and soundstages. The relentless inauthenticity here, though, makes it a criticism of the inauthentic, and thus pomo.
Of course, the author may not have intended that reading. But we all know how that goes.
Hey Spyder - It’s even weirder when Bobby Weir sits in with Dark Star Orchestra: A member of the original garage/jug/cover band sits in with a band that covers the garage/jug/cover band’s songs, replacing his doppelgänger (Ron Eaton looks, sounds and acts almost exactly like Bob - now that’s scary) in performance that not only mimics, but seeks to exactly duplicate
the original garage/jug/cover band’s performance from a particular night in the past. That’s so recursively ultra-cheesy-post-psychedelic-classical-modernistic I can’t begin to puzzle it out, and feel as if I must run screaming from the mental knots that are created by this PhilDickian scenario.
Jeez, all I see and hear is two musicians enjoying playing together.
Just jokin’ Liz, extending Spyder’s meme a bit. Although Bob and his doppelgänger Ron are scarily alike. Plus, I wanted to use doppelgänger in a comment again.