p.p1 Sleaford Mods. This seems to bundle

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Sleaford Mods are a post punk duo with an avant garde touch consisting of Andrew Fearn who is the beats behind the music and Jason Williamson the writer of it. They rise from the East Midlands, a blatant characteristic of theirs after hearing just a clip of frontman Jason Williamson’s accent when performing. With an underlying political drive throughout their lyrics, the duo reflect on corrosive cliches of the working class in our current age of austerity. Sleaford Mods are insistent with virtually every track released to provide a soundtrack to the state of politics we are currently undergoing in Britain today. This approach is highlighted by the cultural theorist, Mark Fisher(ref), for example, in his book ‘Capitalist Realism’ which is a passionate insight into the absence of substance and validity that currently looms over culture and politics. Fisher wrote a review of the album ‘Divide and Exit'(date,ref) whereby he explained the lyrics to be “a relentless excremental flow, as if all the psychic and physical effluent objected by Cameron’s Britain can no longer be contained” a perfect analogy of the language used by Sleaford Mods. This seems to bundle up all the anger that sparked the Riots of 2011 and combine it with the frustration about our weak grasp on consumerism, capitalism and work place dynamic, that so often reminds us of our lack of individual power in ‘Democratic Britain’. As Franco “Bifo” Berardi’s(ref) comments: “maybe politics itself isn’t capable of political change so long as it’s beholden to the sort of myopic accountancy logic that defies neoliberalism”. BOURDIEU (in main intro)-‘Mark Fisher’ states that “it isn’t the role of political music to come up with solutions. But nothing could be more urgent than the questions that Sleaford Mods pose”. When asked about these apparently glum and mundane lyrics he elaborates “What’s interesting to me is the horribleness of everyday things, that ashtray on that table, the concrete on the floor, and I’ve been trying to hone in on that, thinking about what naturally comes out.” It seems that he beholds a view of peculiarity and importance in the banal, one that could be said to have distant reeks of ‘Jean Paul Sartre’ and his frightened encounter with a doorknob within ‘Nausea’ an existentialist classic. The mention of such a highly glamoured cultural figure in reference to Sleaford Mods may be of question, But when considered that such names were also in place of review during the 80s alongside names such as Bananarama. It perhaps seems a lot more of a fitting comparative. Sleaford Mods nevertheless certainly behold the ability to produce rants the comply with ‘Theory of the lyric’ by ‘Jonathon Culler’ who states “lyric is more than a construction of the moment” Their intelligently formed literature could easily be overlooked as nonsense ‘pub-chat’ yet they are certainly far from such conversation that could be considered completely unintelligent and lacking in any substance at all. They instead coincide with certain ‘Zizekian’ theories of ‘our obligation to enjoy’ by the upholding of “the main principle of punk: the pursuit of the ‘pleasure principle.'” Though this quest for pleasure may appear completely unachievable today and Sleaford Mods themselves certainly don’t hold back on their criticisms of particular perceptions of enjoyment. They do however enlighten this theory considering their intellectual examination of postmodernism, psychoanalysis and the establishment binding them to a blanket view of enjoyment. Williamson’s incensing rhetoric is often contingent in its delivery, with attacks on Capitalism ranging from The Daily Mail, who he accuses of revelling in “the abuse of human right for the lust of yachts in sights,” to famous models: “David Gandy, utter blue tits, right wing sex tips, ripped up Tory cunt.” Such openly politicised polemic marries well with Žižek, who believes there is an “urgent need for repolitisation,” and Sleaford Mods, in an unlikely manner, serve to not only uphold our Žižekian “obligation to enjoy” but to fill in the gaps of the Slovenian psychoanalyst’s discourse.The use of localised language is a major feature of the Sleaford Mods work.  Williamson stated in interview “Now I could probably reel off something that sounded like A Level Government Politics or whatever if I wanted to but you are wary of doing that because a) it’s really fucking patronising and b) it sounds shit as well. It’s better to talk about the sociological things you’ve experienced in a ‘feet on the ground’ sense rather than an academic sense.” This statement shows the importance of a particular style of language to the Sleaford Mods’ art, with the idea of using ‘feet on the ground’ wording to connect with their audience and communicate in an understanding manner which avoids being patronising.  This use of down to earth language is extremely important in today’s out-of-touch world similar to that described by Guy DeBord’s ‘The Society of the Spectacle’. The same form of language can be seen in other art be it the poetry of ‘John Cooper Clarke’ and ‘Toria Garbutt’ or the films and theatre of ‘Ken Loach’, ‘Shane Meadows’ and ‘Andrea Dunbar’ all films of which are set in a screenplay essence of ‘feet on the ground’, whereby they keep to the language of a given geographic area in Britain, not drifting from the particular phrasing or slang of the given place. Something Sleaford Mods speak out their detestation for in the song Liveable shit(ref) “the gnarly f******g a******s…mixed in with knowledge and no localism, just fake accents nicked from someone posh they might have met in shoreditch, a vegetarian vet, Lou f*****g Reed, GG f*****g Allin” clearly  approving of their disgust for such actions committed by the English bourgeoisie almost always complying to talking in the same manner and accent regardless of where they originate from. Insisting that retention of their local accent is an opposition to the structure of class subordination, simply a negation to be seen as any-what inferior. A theory developed by ‘Pierre Bourdieu’ that takes ‘from the fundamentally dynamic, practice based and “emic” approach to communication developed by the like of Goffman, Cicourel and Garfinkel; but he couches it into a broader historical frame, making it effectively Bakhtinian. and designs his analysis of language in society through the theoretical vocabulary developed in The Logic of Practice (1990) Thus, social interaction articulates socio-historically configured “positions” from whence people speak; these positions are defined by a “market” of symbolic capital in which resources are circulated and unevenly distributed, ensuring, for instance, that a “high” Parisian accent will be perceived as superior vis-à-vis a “low” upcountry accent. The play of different positions in social arenas is the play of symbolic violence, or “misrecognition” and “recognition” of linguistic-communicative resources not because of their “linguistic” features but of the sociohistorical load they carry within a given social field. Thus, in any social field, distinctions will emerge between “legitimate” language (the “norm”, one could say) and deviant forms of language. The target of Bourdieu’s critical efforts in Language and Symbolic Power is classical structuralism – Saussure, this time, with a polemical gesture towards Chomsky – and the instrument he uses for his critique is a blend of symbolic-interactionist ontology with his own unique historicizing methodology.’As opposed to Guy DeBord’s approach?This characteristic  SPECIFY  of the bourgeoisie is satirised in ‘Armando Ianucci’s’ TV series ‘The Thick of it’ and questionable gives a nod to his contempt of a person disguising their local language origins by making the character of ‘Malcom Tucker’, the party whip, who is perhaps the strongest protagonist in the show, the only one who keeps his regional accent. Ianucci displays his awareness of the prefabricated condition of politics in Britain today with a transparent approach to the fictional coverage of the MP being documented.Showing how statements and speeches undergo numerous checks and reedits and rarely have any input at all from the given MP themselves, just being an amalgamation of whips and advisors to fabricate the given words. Mocking the meticulous detail that occurs ‘behind the scenes’ in attempt to perfect the perfect image for the foreground figure. In opposition to the dialect used by any of the creatives previously mentioned, a quick glance at the language used displays a clear difference. This has impact on the accountability of these establishment figures suggesting there is a falseness and lack of truth speak in such pre-scripted responses and statements. ‘SHARED LANGUAGE’-Fisher below?Sleaford Mods have no shame in displaying their repugnance to Britains treatment of workers. “Buy a company, run it down, take the money, fuck the workers, it’s legal.” taken from their song ‘BHS’ a blatant comment on the recent collapse of BHS and prior by out by the billionaire businessman ‘Dominic Chappell’. A perfect example of the establishments apathy to the working class. Jason Williamson is obviously very aware to such apathy, as seen in the song ‘Wage don’t fit’ the title being a hint to such awareness: “Don’t ask me to carry that cage, Stay longs hours, it don’t fit the wage. Minimal work! it fits the arrangement. Sod extra sweat and out of town placements, small talk about nothing at all, while you got a sun-tan and I got what? A piss pot and we all get a free cream cake on a Friday.” A fierce addressing of the mundane common reality of work, and reminiscent of an old slogan of the ‘Situationist International’ of “Never work”  This anger relating to the monotonous view on the standard employee is rooted throughout Jason Williamson’s lyrics with another attack on such monotony in the song ‘Rollatruc’: “That’s the trouble with people like me and you, we get stressed out about pallets and fucking nothingness. ‘Cause that’s all we got”. A conscious reckoning/recognition of the dispirited mentality that is currently present in the working class. These quotes aptly summarise ‘Guy DeBord’s’ “Spectacle” where economic interest and profit is the dominant driving force. We no longer live. We aspire. We work to get richer. Paradoxically, we find ourselves working in order to have a “vacation.” We can’t seem to actually live without working. Capitalism has thus completely occupied social life. Our lives are now organized and dominated by the needs of the ruling economy. As ‘DeBord’ speculates in “The Society of The Spectacle”: “The more his life is now his product, the more he is separated from his life. – Thesis 33″Sleaford Mods’s resilient stance against the rich few is something they cleary don’t hold back on, but also occasionally share the same loathing for things, though certainly not for the same reasons. In the song ‘snout’ they refer to the working class royalists and racists in the lyrics: “Rubbing up to the crown and the flag and the notion of who we are, fuck off!”a mocking statement towards a common far right rhetoric of; loving the monarchy andBritain simply because it’s “who we are”. This argument for being a republican rose to the forefront of media in 1977 for the Queens Silver Jubilee, where there was a opposition to the 90% of Britain that celebrated it that year, that handed themselves over to ‘Tom Nairn’s’ theory: “The Glamour of Backwardness”. Where the 10% that opposed the majority were siding with the ‘Sex Pistols’ and the release that same year: “God Save the Queen” This resulted in being steamrollered by such a mass scale hype, by a view of Britain which had not the remotest bearing on their everyday experience. Though for all its offensive republicanism and the profane treatment of national icons in Jamie Reid’s accompanying artwork, “God Save the Queen” was not an act of, anti?nationalism or anti?patriotism. Rather, it was an attack on a particular version of English nationalism, the monarchical, belligerent, xenophobic sense of superiority, which, despite periods of nominally Socialist government, had been an important aspect of the post?war consensus. Allowing ‘Sleaford mods’ to develop a strong sense of value in these statements against the monarchy and xenophobia. Coinciding with the present rise of ‘Jeremy Corbyn’ and the current mass media attention and debate over the imminent royal wedding. Alongside later references in the song ‘Snout’: “Car crash into the void of the Magna Carta, But this time it’s Superdry and not fucking armour, how dare I slam the uniform of the working class. Condemn me please, you wanker, to life inside a working glass” addressing himself as the one in the wrong, something that parts of the working class are currently guilty of not doing when reflecting on one another, when the sorry truth is that, they’re are sharing the same sinking boat. Such similarities can be found in the work of the artist “Duane Hanson” with his works, demonstrating the invisibility and disregard that can be passed off to our local community, when concerning fellow members of the working class. (elaborate?image?)

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We are living in a completely out of touch society  and with the constant proliferation of images and desires, causing alienation among us, not only from ourselves, but from each other. This is becoming an extreme case when concerning social media, with the aid of advertising and screen technology advancing with meticulous detail everyday. These structures are explored and broken down in, ‘Noam Chomsky’s’ book, “Manufacturing Consent: The Political Economy of the Mass Media’ which challenges and exposes the subtle techniques implanted that these constitutions implant with great detail. “Guy Debord’ makes reference the phrase “lonely crowds,” a term coined by the American sociologist David Riesman, to describe our atomisation. “The Society of the Spectacle’s” first chapter is entitled “Separation Perfected,” a quality that Debord describes as the “alpha and omega of the spectacle.” Referring to the Marxist concept of false-consciousness, Debord describes how the spectacle conceals the “relations among men and classes.” The spectacle functions as a pacifier for the masses, a tool that reinforces the status quo and quells dissent. “The Spectacle presents itself as something enormously positive, indisputable and inaccessible. It says nothing more than ‘that which appears is good, that which is good appears,’