Music of the Dystopia

25 Wednesday Nov 2020

Posted by decollins1969 in 1, Academia, Boy @ The Window, earth, wind & fire, Eclectic, eclectic music, Mount Vernon High School, music, New York City, Politics, Pop Culture, race, Religion, Youth

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"Cry Freedom" (1997), "Fantasy" (1978), "Land Of Confusion" (1986), "Silent Running" (1985), "Welcome To The Terrordome" (1990), "Zombie" (1995), Afrofuturism, American Dream, Dave Matthews Band, Delusions, Dystopia, Dystopian, Genesis, Mike + The Mechanics, Narcissism, PE, Public Enemy, Self-Reflection, Silent Running (1972), Subversive Music, The Cranberries, The Matrix (1999)

Screen shot, Silent Running (1972) poster, November 24, 2020. (https://www.imdb.com/title/tt0067756/mediaviewer/rm3505217792/).

Music has nearly always been a dreamscape from which I could envision alternative histories, sense multiple futures, uncover possible presents, feel and find my best self.

It has also been a place for revealing the naked, uncomfortable truth of humanity’s existence in real life. If one were to take the music of the late 1960s and first half of the 1970s, the R&B that clearly outlined the combination of migration, poverty, heroin addiction, the Vietnam War, police brutality, unemployment, miserly government social welfare and urban living would be one way to go. If one were to take the eclectic British and Irish pop and rock of the 1980s, those folks illuminated the connections between rising conservatism, austerity meant to cut the social safety net, and the normalization of government oppression, corruption, and infiltration into the private lives of everyday people.

It all adds up to one simple yet very scary truth. Our world, the one in which my mother birthed me, the one in which I have grown up and grown older, has always been a dystopia. That’s it. All this talk of technological innovation, of moral and philosophical advancements, of a post-World War II, West-led democratized, globalized, capitalist meritocracy is simply The Real-Life Matrix pulling the dystopian world over our deluded, narcissistic eyes. And nearly everything in the world of mainstream news and journalism, in everyday national and international politics, in formal education systems, and in every single iota of American and global popular culture.

Except in the occasional and deliberate attempts made by artists and authors to expose the underworkings of this Matrix. I have written far too much about those authors of late, from Sarah Kendzior, Mona Eltahawy, and Leta Hong Fincher to Kiese Laymon, Ta-Nehisi Coates, and Derrick Bell. Truth is, I felt and sensed this truth in music even before I had read Aldous Huxley, George Orwell, or William Faulkner’s short stories about racist White men sleeping in beds for 20 years with the dead bones of their incestuous mothers. Marvin Gaye’s “Inner City Blues {Make Me Wanna Holler),” Stevie Wonder’s “Living For The City,” and Donny Hathaway’s “The Ghetto” brought the dystopian of Black life in the US to my attention long before I knew what the prefix dys- even meant. The contrast between this and the Afrofuturism of Earth, Wind & Fire’s “Fantasy” and “Boogie Wonderland” of the late-1970s wasn’t lost on me, even though it would be nearly 15 years between these songs and my reading of Octavia Butler’s Kindred.

But the 1980s hit me and my family as hard and fast as a government coup in Brazil or in Trump’s version of the US. It’s wasn’t just that it was our apocalypse. It revealed that the American Dream was a nightmare for so many people. It opened up my 100 billion neurons to the possibility that there could be no American Dream, no rise of the West, no Euro-American hegemony over the world without it being a dystopia for billions of people in the US, in Europe, and around the world.

It was also the decade of the Ethiopian famine of 1983-85, “We Are The World,” Bob Geldof and Live Aid, Farm Aid, and protests for South African divestment. So it seemed normal for groups of White guys in bands to write music, play instruments, and belt out lyrics like the ones below from Mike + The Mechanics’ “Silent Running” (1985).

Don’t believe the church and state
And everything they tell you
Believe in me, I’m with the high command

The post-apocalyptic movie of the same title from 1972 was apparently on Michael Rutherford (guitarist of Genesis), et al.’s minds when they decided to work on the lyrics for this song. The idea that someone from the future would communicate with their ancestors in the past to resist the forces of totalitarianism and propaganda in order to preserve the path to a better future? Boy does that sound like the stuff of Octavia Butler, Derrick Bell, Kiese Laymon, and Colson Whitehead (not to mention, Tomi Adeyemi in her Children of Blood and Bone), where ancestors and descendants can somehow have confabs in real life! All in an effort to swap ideas, to conjure up solutions before we understood the problems, to recognize that time is nonlinear, and so are we.

As a teenager who saw more than most that the Reagan Years were part of the dystopian present, and not a return to American greatness, “Silent Running” was refreshing, if also incredibly scary. I was like, if these White guys from the UK and Ireland get it, then why don’t folks in America get it? At least, the folks I saw at school and in running my errands every day.

But it wasn’t just Mike + The Mechanics. A lot of music from the 1980s and 1990s was subversive, including the more obvious Springsteen and the E Street Band’s “Born In The U.S.A.” and John Mellencamp’s “Pink Houses” to KRS-One and Boogie Down Productions, Alanis Morrisette, and The Cranberries. It was just that the less subtle, the Billboard Top 40 hits and the B-side non-hits stood out for their double-meanings. When I stripped away the male bravado, the love and the lust and the loneliness from the repertoire of rap, R&B, hip-hop, and ’80s pop I listened to, the subversive was the remainder.

In my family-level apocalypse and resistance against my stepfather, the subversive helped. In the disconnect between the normalcy of magnet-program-learning among a cabal of Benetton-commercial-wannabes, the undercurrent understanding that this fakery belied a world very much like the one in The Matrix. The lyrics, the synthesizers, the heavy guitar strums and the drum rolls meant something different to me than anyone I knew growing up could imagine.

It wasn’t just “Silent Running” for me, nor something that hit like a sledgehammer like Genesis’ “Land of Confusion” that hit the radio waves my senior year of high school. There were others. For more than a decade, there were others, including:

PE, “Welcome to the Terrordome“
Sting, “Love Is The Seventh Wave”
Dave Matthews Band, “Cry Freedom“
The Cranberries, “Zombie“
Peter Gabriel, “Biko” and “Shaking The Tree”
Des’ree, “Crazy Maze“
James Blake, “No Bravery”
Seal, “Future Love Paradise” and “People Asking Why”
U2, “Bullet The Blue Sky”
Arrested Development, “Tennessee”

In the years after I finished my doctorate, I didn’t forget these songs, and may have taken on some more obscure ones by Floetry, Coldplay, U2, Bryan Ferry, Pharcyde, The Fugees, among others, along the way. Popular music has become more vapid and craven and corporate as the leaders in our world have made their taste for a dystopia that advantages them more and more obvious. This position is probably why I can’t find a nod to the dystopian in Rihanna, Cardi B, Chance the Rapper, Rick Ross, Beyoncé, Gary Clark, Jr., or Chris Stapleton (although Solange’s and Missy’s music videos at least contain subversive and dystopian wisps).

This world is the dystopia that has always been. And those of us who talk to ourselves while speaking out at the same time have been trying to get everyone else to see it and sense it all along. I should know. I’ve been talking to myself since my week of homelessness at 18, and speaking out as the world has lurched itself toward calamity for nearly as long.

My Olivia of Our Future

11 Saturday Feb 2017

Posted by decollins1969 in 1, Academia, culture, Eclectic, High Rise Buildings, New York City, Politics, Pop Culture

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Allegory, Climate Change, Dystopia, End of Western Civilization, Fringe (2008-13), Future, Jasika Nicole, Narcissism, Olivia, Olivia Pope, Racism

Cropped front cover of Olivia Saves the Circus (1994), by Ian Falconer, February 11, 2017. (http://amazon.com).

I’m imagining that the year is 2347. My great-great-great-great granddaughter is Olivia Levy-Collins. She’s in her mid-thirties. After reading my only moderately successful manuscript on the history of American narcissism as a preteen, she becomes interested in the social sciences. A resident of Africa’s southern cone, Olivia does her undergrad at the University of Botswana, double majoring in Archaeology and Ecology. She goes off to the world-renown Universidade de São Paulo (University of São Paulo) in the Brazilian zone, where she earns her master’s degree in Western Civilization (with a focus on 20th and 21st-century American history), and a doctorate in cultural anthropology, with a focus on historical social psychology.

Olivia does her dissertation on the causes of the collapse of the Western world. This is not a new topic in the 24th-century world. Every one of the six billion people on the planet knows the broad story. How, after centuries of dominance, the economic and political structures of Western Europe and the United States underwent long-term decline in the midst of growing economic inequality, continued oppression of already vulnerable groups, undue influence of corporations on governance, and climate change beyond their abilities to comprehend. The proxy wars with terrorism and quasi-nation-states that later led to right-wing revolutions within Europe and the US. The full-blown civil wars and climate degradation that followed.

The US destroyed itself, as anarchists launched a cyberattack that took out the one-time superpower’s entire electrical grid. The groups once known as White supremacists retaliated, and used stolen nuclear weapons on six US cities, including the capital, Washington, DC, to take out the cyberterrorists, most of whom had been rumored to be Arab Muslim and Latina. The riots, famine, starvation, and consequences of climate change ensued, and ensured that the US would not be ever again. Europe also went through many of these convolutions. If it were not for the collective work of scientists in Brazil, India, China, Canada, and Southern Africa to remove the buildup of carbon dioxide and methane gases from the atmosphere and oceans, full-blown nuclear war may have occurred.

Kerry Washington as Olivia Pope from Scandal, a show about damage control, controlling the narrative, September 15, 2011. (http://scandal.wikia.com).

Olivia, though, like a new generation of her colleagues, wanted to understand what would cause people from the most powerful nations on the planet to collectively lose their minds. Why would they, after overwhelming success to subdue the earth, then turn on each other to kill the very things that gave them enormous power in the first place? My book from so many generations ago gave Olivia one possible clue. She found my book on the shelf of an ancient library in Walvis Bay, in the country that used to be Namibia. It was part of a school trip that Olivia was a part of while in primary school, to give students an appreciation for ancient attempts to preserve knowledge in depositories for books made of wood pulp, glue, and toner ink. She’d heard about the book from her great-grandmother, who had heard about it from her grandmother. The latter whom had read the book numerous times, as my son had moved his family from the US to South Africa as the occasional American unrests turned deadlier in the mid-21st century.

But, even after that field trip, even after getting her mother to get her a rare electronic copy of my book from the United Nations’ central archives in Aleppo, even after reading it, Olivia didn’t fully believe it. She couldn’t comprehend a culture that would waste vast quantities of natural resources, including human ones. She’s didn’t understand how a society in which everyone thought that becoming wealthy was their birthright could possibly function. She didn’t get how a nation as powerful as the US was always so fragile as an idea, not to mention in actuality.

Olivia’s dissertation work took her to the abandoned city of New York in 2347. With the exception of its crumbling skyscrapers, most of the city was covered by tens of meters of dirt (some of which remained radioactive). Other parts, like the area once known as Wall Street and Battery Park in Manhattan, or Park Slope in Brooklyn, were also partly underwater. She and her fellow group of two-dozen anthropologists, archaeologists, and other scientists, descended on the abandoned city, along with military commandos, all trained to expect the unexpected. In the case of the military, their training included scenarios for exploring exoplanets, which many saw as less dangerous than the exploration of a relatively recently dead civilization.

They went to two sites to conduct their studies. One, the New York Public Library on West 42nd Street and 5th Avenue. The other, two hundred meters away, was this recently excavated place in the old city, something the world once called Times Square. Olivia’s team explored the unearthed library, or at least, what was left of it. Fighting, flooding, dirt, and earth had left the main branch of one of the largest libraries in the Western world a shell of itself. It did have books and other collections still. Mostly self-help books, political memoirs, and recordings of one of the last US presidents, Donald J. Trump.

A partially buried car on Governor’s Island, NY, September 13, 2009. (http://scoutingny.com).

Olivia, though, unlike her younger counterparts, knew that as self-centered as the remaining collection appeared, it wasn’t the whole story. She knew from my book and from the other books of the 20th and 21st centuries that there were numerous intellectuals and writers who tried to warn the world that the facade of narcissism would lead billions to their deaths. That cannibalizing selfishness could even possibly destroy the world, certainly the Western world.

But she did find it interesting that after the fall of the West, in one of its greatest cities, only the most narcissistic of preserved materials remained. It told her one thing. The narcissism was real, that millions had fallen prey to it. That in an age in which the world didn’t have the technology to use energy-matter converters to replicate food, clothing, shelter, and medicine for 7.3 billion people, millions once lived as if there was no tomorrow, like life was one big party. To the point where these Westerners made significantly more copies of their homages to themselves than they did of anything else.

So Olivia took this knowledge, and the knowledge gained from the Times Square dig. She titled her dissertation, “How Western Civilization Cannibalized Itself: Reproduction, Capitalism, and Narcissism, 1750-2100.” That same year, Olivia turned it into a book, an interplanetary must-read, Runaway Narcissism and How the Sun Set on the Western World. It raised lots of questions about how humanity overcame its own narcissism, but at great cost. It would be one of the great books of the 24th century. That’s my Olivia!