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By The Offspring

Очередная книга для любителей поиграть на нервах у родителей, для девочек во дворе, и так просто.. для себя...
Представлять вам группу The Offspring я не стану - нет смысла. У меня даже мысли в голову не пробираются о том, что кто-то может не знать этих музыкантов и тем более их альбом Americana, вышедший в 1998 году.
Альбом буквально за считаные мгновения стал супер-успешным. Кстати, он немного отличался (да и отличается теперь) от их остальных альбомов. Здесь они стебали уже не только хэви-метал, но и все музыкальные стили, которые им только удалось воспроизвести. В текстах появился какой-то юмор, но в большинстве своём они оставались такими же серьёзными и трагичными. Offspring'и производили впечатление весьма наивных провинциальных музыкантов, которые даже не понимают, насколько смешно они звучат. За это их и полюбило новое поколение реальных провинциальных подростков, звучавших так же смешно и мысливших столь же серьёзно.

Как и всегда партии голоса и гитары + табы...


1. have you
2. beginning on the sunlight
three. lovely fly
four. the youngsters are usually not all right
five. emotions
6. She's bought matters
7. Walla walla
eight. the top of the road
nine. No breaks
10. Why do not you get a job?
11. Americana
12. Pay the fellow

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Example text

It is this aspiration to wholeness – and the disabled person’s inability to achieve this wholeness they are taught to aspire to – that makes it difficult, both privately and publicly, for disabled people to accommodate the images by which Western culture defines bodies. ‘The disabled body causes’, as Davis says, ‘a kind of hallucination of the mirror phase gone wrong’ (1995: 139). The medical profession seeks to cure this maladaptation through surgeries, prostheses and exercises that help individuals adapt to their limitations, overcome their limitations, and even artificially create the illusion of bodily wholeness for themselves or for others.

Indeed, Cunningham, Lakmaier and Jones raise the stakes for spectators struggling to respond. In the installation space, the spectator becomes a performer, on the spot and in the spotlight as they act, interact and play out a relationship with a body becoming Other in full view of fellow spectators. They must literally move, speak, or summarize their response, in a situation where the right response is not clear. For some spectators, entering the relation to the Other that Lévinas (1991a; 1991b) calls ‘substitution’ – the relation in which they identify, identify with, yet ultimately fail to fully grasp an Other – is awkward, alienating or embarrassing.

They enter into a play of mixed timing, a slight delay instigated by temporal manipulation, shapes formed into a mesmerizing relief. Images of antiquity come to mind. The sound score is reverent to the composition. Is video James streamed live/delayed, with the image flipped for directional purposes? Or is it a pre-recorded James? These questions fall away as the dance resists its mediatisation to draw The Ethics of Embarrassed Laughter 43 me towards the bodies, one [real and the other] a mere virtual reproduction.

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