RIP Fredric Jameson

 The grand old man of Marxisty critique made it to 90.

Here below: a review of  Jameson's magnum opus Postmodernism, or, the Cultural Logic of Late Capitalism that the Observer let me do when I was barely more than a baby.

Postmodernism is a thick, dense slab of a book. My favorite Jamesons are the slimmer efforts: A Singular Modernity: Essay on the Ontology of the Present and Fables of Aggression: Wyndham Lewis, the Modernist As Fascist (literally light reading compared to Postmodernism and benefiting from its monographic focus on a single figure).  Archaeologies of The Future: The Desire Called Utopia and Other Science Fictions really ought to be right up my street but despite a couple of attempts I always come to a halt halfway through. It is amazing how widely and deeply read Jameson was in s.f.  - not just its New Wave or respectably literary exponents, but swathes of the hard-science and early 20th Century pulp stuff too. Evidence of a misspent youth?

FREDRIC JAMESON

Postmodernism, or, the Cultural Logic of Late Capitalism
The Observer, 1991

by Simon Reynolds

With this book Fredric Jameson sets himself a daunting task. His aim is to define the postmodern Zeitgeist - arguably a contradiction in terms, since one defining characteristic of the "postmodern condition" is its lack of a sense of itself as 'zeitgeist' or 'era'. Jameson manfully seizes these and other contradictions with both hands: his project is to root a rootless culture in its economic context, to systematise a condition that is hostile to systems, and to historicise a phenomenon whose main effect is the waning of historical consciousness. But then, as a Marxist, Jameson retains an oldfashioned commitment to lucidity and overview. "Closure" (coming to conclusions, actually saying something) holds no special terror for him.

What Jameson has to say is of an analytical rather than judgemental nature. He doesn't take sides because he doesn't see postmodernism as an option, a fad or genre to affirm or repudiate. Rather, it's the unavoidable condition of late Twentieth Century existence, the cultural air that we breathe. In Marxist terms, postmodernism is the "superstructure" generated by the economic base of "late capitalism," (multinational corporations, mass media, information technology). Modernism was the "emergent" culture of an age when modernisation was still incomplete, and there remained a backdrop of peasant simplicity and aristocratic decadence against which a cultural vanguard could dramatise itself, with its idea of the artist as prophet and the work of art as a monument to the future. Postmodernism arose when the modernisation process was complete, and nature was superceded by the media. The new no longer seems that new; a sort of nostalgia without anguish (inconceivable to modernism) becomes possible, as exemplified by the rapid turnover of period revivals in film, fashion and pop music.

For Jameson, postmodernism represents a seismic shift in our very concepts of space, time and self. Modernism was the expression of the bourgeois subject (the grand auteur, the angst-ridden individual). Postmodernism creates a new kind of decentered subject, "a mere switching center for all the networks of influence" (Baudrillard). The media's "endless barrage of immediacy" destroys perspective, invades our consciousness and erodes the individual's ability to formulate a point of view. In art, modernism's themes of authenticity and meaning give way to pastiche and a fascination for the surface image; emotional affect is superceded by freefloating euphoria and sublime vacancy. Van Gogh is replaced by Warhol.

Jameson's provocative argument is that this new decentered subjectivity is a kind of schizophrenia. Unencumbered by past memory or future projects, the schizo inhabits a perpetual present that is intensified to an unbearable degree. The experience of space and of the vivid materiality of the world is enhanced at the expense of temporal consciousness. This heightened sense of here-and-now has been long the goal of the mystic or drug fiend, but for those who can't return to focused, productive consciousness (the schizophrenic and, increasingly, postmodern man), the experience is one of ego-shattering disorientation.

But this postmodern "hyperspace" is, argues Jameson, precisely the emergent terrain of late capitalism, with its fax machines, cable TV, satellite link-ups and data networks. To apprehend our place in this new totality of global capitalism, we need to evolve a new kind of consciousness, which he likens to that of the alien in The Man Who Fell To Earth, who can watch 50 TV channels at once, or SF writer William Gibson's cyberpunks, who inhabit a computer-generated "virtual reality". Despite his guarded enthusiasm about much of postmodernism's cultural output (video installations with their flow of images that resist being reduced to a single meaning, buildings like Los Angeles' Westin Bonaventure hotel), Jameson sheds Marxist tears for some of the casualties of postmodern theory. In particular, he mourns the postmodern rejection of "totalizing" theories, and of the notion of a "lost totality" (the alienation-free existence which Utopian politics seeks to recover). Advocates of postmodernism claim that these concepts lead ineluctably to totalitarianism (the Gulag, Pol Pot, the hubris of social engineering). But Jameson clings to the conviction that without totalizing concepts, the individual cannot understand his relationship to the system of late capitalism, and thus loses any political agency.

Jameson's solutions are suggestive if somewhat sketchy. He deftly turns the TV addict's practice of "channel-switching" into a metaphor for what he calls "transcoding". A sort of postmodern version of the dialectic, this involves pick-n-mixing world views and combining their partial glimpses of the Big Picture. Jameson also calls for a new science of "cognitive mapping", whose task is to plot the disorientating globalism of late capitalism (financial speculation in Tokyo or London can wreak havoc on peasant life in Paraguay), and coordinate local struggles against it. In other words, before you can do anything, you must first get your bearings. Postmodernism might be a calamity for oldstyle revolutionary politics, but Jameson concludes that the globalisation of capitalism will spawn a new international proletariat with forms of resistance we can scarcely imagine.

This "light at the end of the tunnel" is tentative and hard-won. Throughout Postmodernism, Or, The Cultural Logic Of Late Capitalism, Jameson painstakingly follows every lead and takes on every conceivable objection to his ideas. He really works for the few glimmers of hope that he allows himself. Oscillating between the intoxication of the latest postmodern theories and the sobriety of the Marxist tradition, Jameson confirms my belief that the most lucid and productive analyses of postmodernism have come from those who are hostile or at least deeply ambivalent about its implications.

Test Dept - The Unacceptable Face of Freedom - Bishop's Bridge Railway Depot - Melody Maker April 5 1986

 

Drake

People tell me that Drake has had a bad year. 

Here's me having a go from eight years ago.

DRAKE – RAP’S MVP

The Guardian, April 28  2016

by Simon Reynolds

If there’s a single word that describes Drake, probably it would be diffuse.  It’s a catch-all that captures the way his tracks seep out the radio like glistening vapour and conveys also the slippery drift of his voice back-and-forth between rapping and singing.  “Diffuse” fits Drake’s indistinct aura too: half-black and half-Jewish, he’s the all-pervading master of an American street art who’ll nonetheless always be an outsider on account of his Canadian nationality and middle class upbringing.  Drake’s vagueness carries through to his unfixed lyrics: endless celebrations of his own success and stature that are almost always creased with unease and ambivalence, plus his patent brand of not-quite-love songs that combine suppurating sensitivity and emotional evasiveness.

Take his inescapable megahit of 2015 “Hotline Bling”, whose woozy lilt and hang-dog sensuality walked such a fine line (like everything Drake’s done) between addictive and annoying.  What would you even call the emotion in this song? Drake pines for a former sexual arrangement that seems to have been at best undefined; he expresses mild distress that the girl appears to be flourishing in his absence, or at least going out partying a lot.  As pop romance goes, it’s not exactly “Reach Out (I’ll Be There)”. It’s not even “One In A Million” by Aaliyah, the Nineties R&B princess whose minimalist R&B was such an influence on Drake and his principal producer Noah “40” Shebib.

As determined as he is indeterminate, Drake has diffused himself all across the rap ‘n’ R&B radioscape this past half-decade, maintaining ubiquity not just with the steady stream of his own hit singles but with innumerable “feat.” appearances in other people’s songs, ranging from superstars like Rihanna to rising MCs like ILoveMakonnen to the ghost of Aaliyah herself. Last year’s collaborations with Future - “Where Ya At” and “Jumpman” – have remained staples of US urban radio deep into 2016.

Drake’s success at spreading his sound and self far and wide owes much to his actor-ly adaptability and seeming desire to be everything to everybody. He’ll swagger baleful and paranoid on a moody, bare-bones track like “Energy”. He’ll quiet-storm it on moist ‘n’ misty ballads like “Marvin’s Room”. He’ll put out a boppy ditty not a million miles from Justin Bieber’s recent “tropical house” hits with his new single “One Dance”, which samples an old track by UK funky diva Kyla. 

But the diffusion of Drake also has something to do with the way he has defused hip hop, uncoupled it from the explosive content once at the core of the genre.  Raised primarily in an affluent Toronto suburb, a successful TV actor in his teens, Drake shrewdly avoids street realities like crime as song topics. (Whenever he’s got even close to this subject matter – referencing lawyers and the prison commissary on “Where Ya At,” claiming to have “Started From the Bottom” - it’s been jarring and unconvincing).  But nor is Drake a conscious rapper. As a mix-race Canadian, he probably feels it’s not his place to comment on American racial conflicts: Ferguson, Black Lives Matter, the sort of issues an MC like Kendrick Lamar can address and is driven to address.

Drake has plenty of company in rap when it comes to being resolutely apolitical. Still, even the most party-hard, commodity-fetishising gangsta rappers have still communicated some sense of the social backdrop that explains their feral drive for success and all its spoils. Jay-Z, DMX, Lil Wayne, 50 Cent, T.I., Future – always there’s been somewhere in the back of their music an idea of overcoming: the rap game was usually chosen as an alternative to destructive (to others and ultimately to yourself) outlaw ways of making money and making a name. That didn’t make the tyrannical postures and gruesome threats, the callous sexism and name-brands flaunting, any less ugly, or even justify it, exactly. But it at least provided a context. Gangsta rap wasn’t about The Struggle, but it had struggle in it. 

Drake’s innovation as a rapper is that the only adversity he’s ever really claimed to have faced is the adversity of fame itself. It is virtually his only subject. Even the not-really-love songs are part of this, since they stem from the fracturing of relationships that comes about when someone is constantly travelling and constantly tempted.  In “Doing It Wrong” Drake croons ruefully about how “we live in a generation of not being in love and not being together”. And apparently millennials do find the lyrics of Drake’s softer songs -  which have the pleading, needy tone ‘n’ texture of R&B ballads but are resolutely irresolute and emotionally non-committal - highly relatable.

Right from the start, with his 2009 breakthrough mix-tape So Far Gone, Drake was writing about the problems caused by celebrity.  Whether this was an act of imaginative anticipation, or because he been  pre-famed through playing disabled basketball star Jimmy Brooks in the popular teensoap Degrassi: The Next Generation, it’s hard to say. But on songs like “The Calm” Drake was already moaning about feeling over-stretched and cut-off:   “to keep everybody happy I think I would need a clone.... feeling so distant from everyone I’ve known....  all my first dates are interrupted by my fame”. 

Drake has repeated the same themes, the same mood (bi-polar oscillation between triumph and torment) across his subsequent albums Thank Me Later, Take Care, his masterwork Nothing Was the Same, and If You’re Reading This It’s Too Late. He will almost certainly return to those themes and that mood on his imminent Views From the 6.  Authenticity matters as much for Drake as for any rapper, and authenticity means writing about what you know. Fame is pretty much all Drake knows.

It’s a tribute to his powers of invention, his strange and grotesque genius, that Drake has so far managed to find so many compelling variations on such a restricted set of themes :  the dream that turns out not be not as dreamy as you’d expected;   feeling alone even in the midst of an entourage and a wild party; plaints, already fairly familiar in rap, about how money changes everything and creates mo’ problems than its absence. Haters and gold-diggers were long established in rap as inevitable accoutrements of fame about which you could whinge-boast (hip hop’s equivalent of the humble-brag).  But Drake went the next step and talked about the hollow-inside feeling that came with conquering the throne and acquiring all the trophies. As he croons in “All Me”, “Got everything, I got everything/ I cannot complain, I cannot” – but still, still, he complains: about feeing empty, feeling numb.  Picking up on pointers left by Kanye West on 808s & Heartbreak but pushing further ahead, Drake made having a spiritual void into rap’s new status symbol. Morose and maudlin became the mark of mega-stardom, not Maybach and Margiela.

From the Clipse to T.I., the trap was rap’s reigning metaphor during the first decade of the 21^st Century, a reference to the place where drugs are sold but also the idea of that life as a dead-end (along with the related idea of luring and enslaving the clientele, mostly members of the dealer’s own race, class, community). In Drake’s decade, the 2010’s, fame itself – the escape-route alternative to crime pursued by gangsta rappers – has become a trap of its own. The godfathers of gangsta, NWA talked about “reality rap”; Drake’s self-invented genre is unreality rap, or perhaps hyper-reality rap.  Both the mise-en-scene and the topics of his songs – penthouse suites, after-show parties , VIP rooms,  award shows, inter-celebrity dating, internet gossip, the proliferation of the public self as an image and a meme – are remote from the life-world most of us inhabit. We gawp at it from the outside.  Drake’s art is all about achieving access to this hyper-real world – a realm of front, rumour, bravado, optics, public relations – and then bemoaning how unreal it feels to live inside it.  As spun by 40 and Drake’s other producers like Boi-1da, the glittering insubstantiality of the music – which resembles Harold Budd, Aphex Twin, Radiohead circa Kid A as much as Timbaland, the Weeknd or DJ Mustard – is the perfect aural match for the mirrored maze of modern celebreality.  The airless sound evokes the sealed vacuum of loneliness-at-the-top.

Drake’s ascendance happened so instantly it felt effortless, achieved without struggle, almost to the point of seeming unearned.  In “Thank Me Now”, Drake rapped about how he “can relate to kids going straight to the league” - a reference to high-school players so talented they skip the stage of playing college basketball and go straight to the NBA. In the same song, Drake declares “damn, I swear sports and music are so synonymous.” 

Drake does love his sports analogies and allusions. “30 for 30 Freestyle,” from the Future collaboration What A Time To Be Alive, is named after a celebrated ESPN series of sports documentaries.  Drake even framed his feud with Philadelphia rapper Meek Mill using baseball and basketball references. He named “Back To Back,” the second of his counter-attack tracks, after the Toronto Blue Jays’s serial defeats of the Philadelphia Phillies in 1993, and namechecked the basketball consultant / power-broker William Wesley in the song’s second line.

The rise of Drake shows that rap has become a merit-based system that works just like sports. The old metrics of credibility and authority – based around where you came from, your experience, “the strength of street knowledge” as NWA put it, as well as around technique and chutzpah– no longer counted as much as sheer proficiency:  the skill with which an MC could manipulate the tropes of a genre that is codified almost to the point of having rules.  Like sports, rap has become a self-perpetuating and enclosed system in which star players and rival teams compete for the pole position and for superior stats. We follow rap like we follow sports: as excited onlookers thrilling vicariously to the clashes, the victories, the glory.  It’s got nothing to do with real life.