01
To what extent has Jungle Music advocated the ‘Death of the Author’?
Christos Kyriacou FdA Design for Graphic Communication VCT: Essay for Project 01 Wed 6th Feb - Wed 20th Feb
ID: KYR11325896 1
To what extent has Jungle Music advocated the ‘Death of the Author’?
At 160-180 beats per minute, jungle (otherwise known as drum and bass) is a fastpaced electronic dance genre, mainly characterized by its deeply exaggerated baseline, hip-hop break beats, reggae, techno, and ambient music samples. Jungle emerged from London’s rave scene during the early 1990s and as Congo Natty describes, is often considered the ‘ragamuffin’ (All Junglists; A London Som’ting Dis, 1993) to its predecessor, house music. Nevertheless, jungle is free in form, absent of any particular pattern or structure and therefore, may be influenced by all pre-existing musical forms, dependent on the individual ‘author’. In relation to common understanding, the basic conception of authorship may be defined as an ‘act, fact, or occupation of writing’ (The American Heritage® 2013, p.1.). In reference to both modernist and post-modernist theories however, authorship is a constantly challenged position of power and therefore, remains un-crystalized amongst skeptical intellectuals. More specifically, the dispute conveys varyied opinions on the author’s approach, the audience reception and the justification of ‘Source or origin,’ (The American Heritage® 2013, p.1.) and the approach. Throughout this essay, I will examine the sentiments of two conflicting publications on ‘authorship’, extracting theoretical quotes on parallel subjects from each text, in order to contextualize the contemporary evidence both for, and against the death of the author, in relation to jungle music. The first text, The Death and Return of the Author, examines a revitalized conception of authorship for the modern era (20th century) by re-defining originality and audience reception. Whilst the second, Hegel and the Arts, highlights the power of Hegel’s conservative viewpoint on ‘pure’ aesthetics.
Information is Beautiful: Dance Genre-ology 2
To what extent has Jungle Music advocated the ‘Death of the Author’?
The philosophy of electronic music conveys the producer as a mysterious figure, who remains vocally absent within the composition he/she produces. This symbolizes a ‘death’ of the ‘self-centered’ author, whilst giving birth to a faceless musical entity. In an interview for Dutch documentary LolaDaMusica (1996), eighties graffiti artist and nineties jungle pioneer Goldie, analogically elaborates on the philosophy of drum and bass: For me, this music became faceless so therefore, the nineties is about you know, you replace the central figure of the painting, it’s not necessarily the dog in the field, the man on the chair (LolaDaMusica,1996). Similarly, Poet Stephane Mallarmé elaborates on anti-authorial discourse in relation to poetic literature, from Burke (1998, p.8): The pure work implies the disappearance of the poet-speaker who yields the initiative to words (Burke, The Death and Return of the Author: Criticism and Subjectivity in Barthes, Foucault and Derrida, Burke, 1998, p.8). Compositional facelessness therefore evokes the audience’s imagination, in order to create unique individual thought and expressional movement. Furthermore, the birth of a parallel ‘dance void’ known as ‘rave’, welcomes all, regardless of age, gender, ethnic group, sexual preference or fashion taste. This opposes the commercial notion of mere spectatorship to the particular voice or image of another. Akin to its predeceasing electronic genres (acid house and techno), jungle creates a strong sense of openness and unity through rave assembly. This typifies the communal atmosphere of England, during the nineties.
Flyer Library-Dreamscape 3
To what extent has Jungle Music advocated the ‘Death of the Author’?
In stark contrast however, the radical complexity of this notion can simultaneously portray the artist as an ‘avant-garde author’. As a result, the genre only holds a limited underground appeal amongst few like-minded musicians and audiences. In an extract from Shapiro (2000, p.16), Rob Young refers to the establishment’s general view on electronic music: musicians who isolate themselves in a room of electronic toys are often mistrusted, derided, and accused of elitism (Modulations: A History of Electronic Music: Throbbing Words on Sound, 2000, p.16). Correspondingly, in Houlgate (2007, p.119), Hegel claims that an artist’s ‘retreat’ from literal ‘content’, results in a lack of power, relevance, and artistic meaning and in order for a composition to be successful, it must be about something: About the now so-called Classical Style music of its own time, Hegel remarks first that by retreating from the definite content it has “lost its power and over the whole inner life” and become something “for connoisseurs only” (Houlgate, Hegel and the Arts, 2007, p.119). The text therefore emphasizes the vocal author as an integral element when appealing to the wider audience, whilst equally discouraging the conceptuality of ‘avant-garde authorship’. Hegel’s perception is most likely held by the majority, as the ‘bedroom producer’ is portrayed as having a lack of social awareness within his immediate environment and therefore, only composes music reflecting his abstract innerthoughts. Alternatively however, one could argue that the popularization of music within capitalist society has formatted audio into a certain traditional structure of chorus and verse whereby, the face and voice of the ‘artist’ is the constant focus. In turn, most people have become too familiar with this ‘brand’ and dismiss any alternative approach to musical expression.
Squarepusher 4
To what extent has Jungle Music advocated the ‘Death of the Author’?
Conversely, death to the author is prominent when identifying the overarching notion of sampling. As a resourceful act, sampling utilizes electronic samplers (Roland TB-303) in order to reintroduce a blend of revitalized nostalgic sounds from past authorship. In jungle, this process often identifies with a somewhat ‘reminiscent’ audience. Documentary, All Junglists; A London Som’ting Dis (1993) interviews a regular listener, who displays an affinitive understanding of the producer’s intention in delivering a cocktail of recycled sounds: I think it’s bin the most forward music around that’s being made, simply because it’s taken Hip Hop beats and ground it with the Reggae culture and it’s a totally new music (All Junglists; A London Som’ting Dis, 1993). Similarly, from a historical perspective, poet Stephane Mallarmé clarifies the inspirational effect of poetic literature from one poet, to the next in Burke (1998, p.9): some symmetry, which will arise from the relation of lines within poems and poems within the volume, will reach out beyond the volume to other poets who will themselves inscribe (The Death and Return of the Author: Criticism and Subjectivity in Barthes, Foucault and Derrida Sean Burke, Introduction: A Prehistory of the Death of the Author, 1998, p.9). Contemporary culture therefore redefines originality, as the combination of two or more existing foundations becomes a validation for the birth of new meaning. Furthermore, sampling adds a new dimension to democracy by providing the working classes with relatively affordable forms of sophisticated technology, required to manifest an entire orchestra of sound.
Squarepusher – Roland TB-303 5
To what extent has Jungle Music advocated the ‘Death of the Author’?
Irrespective of sampling however, the producer acknowledges a particular ‘feeling’ of the unknown presence, which seems to inform his/her creative decisions. The author therefore, sees oneself as an omnipotent being. Jim Baker from drum and bass duo, Source Direct, expresses these instinctive emotions in an interview for Dutch documentary, LolaDaMusica (1996): It’s a feeling inside you man, that’s there, that comes out through the music, . . . it kind of takes you there . . . that’s your soul there, making the listener listen’ (LolaDaMusica, 1996). This notion strongly resembles Eduard Hanslick’s conservative perspective on generating music purely from ones inner being. In Houlgate (2007, p.121): The beauty of musical composition . . . is a specifically musical kind of beauty. By this we understand a beauty that is self-contained and in no need of content from outside itself (Houlgate, Hegel and the Arts, 2007, p.121). Romantic ideas depicting spontaneity arising from complete nothingness seem somewhat irrational, resulting in a false sense of ‘purity’. Alternatively, intuition can be rationally defined as a subconscious memory storage, whereby the author draws upon a lifetime of accumulated influences, in order to make preferred decisions.
The Essential…Source Direct 6
To what extent has Jungle Music advocated the ‘Death of the Author’?
Nevertheless, further evidence suggests that the current producer believes himself to be a minutely finite fragment within the puzzle of infinite composition. This indicates a rejection of solitary ownership, as he/she acknowledges the audience’s love for the music as the essential source for constant life. Goldie chillingly conveys this viewpoint by revealing the conceptual idea behind the Metalheadz logo design in Talkin’ Headz: The Metalheadz Documentary (1998): it always reminded me of this really strong icon because it was literally meaning that long after I’m dead and everybody else is dead, the music will still be here. Which is why it’s a skull with a pair of headphones on (Talkin’ Headz - The Metalheadz Documentary,1998). When exploring this idea in the wider musical context, Burke theoretically discusses Barthes’, Foucault’s and Darrida’s ideas on phenomenology, in Burke (1998, p.14): The death of the author must connect with the general death of man. At the limit therefore, between phenomenology and structuralism the discourse of the death of the author as we know it comes into its being. (The Death and Return of the Author: Criticism and Subjectivity in Barthes, Foucault and Derrida Sean Burke, 1998, p.14). In this particular setting, the physical ‘life’ of an electronic piece could not possibly prevail as rapidly and efficiently, exclusive of postmodern technological advancements. More precisely, digital audio workstations recorded sound, whilst tangible massproduced vinyl and cassettes delivered playback at will. This explosive combination alone, created a conveniently flexible medium for global distribution thus, keeping the music alive and accessible on a global scale.
Goldie-Metalheadz Logo 7
To what extent has Jungle Music advocated the ‘Death of the Author’?
Equally, from a live audience’s perspective, there is a particular aura surrounding the physical presence of the author, coupled with an authentic quality to the acoustic sound. As a result, certain musicians have adapted the jungle genre into a live space ultimately, re-introducing the identifiable author to the somewhat faceless entity. In Prohibited Beatz (2002), Swiss drummer Jo Jo Mayer from Prohibited Beatz, conveys himself as the author, by producing live improvised compositions, through the process of what he calls, ‘reverse engineering’: arrive at the same sound, but by not producing it electronically, you create a new syntax in music which literally has to lead to new forms of expressions . . . textures are structurally very open and open up that space where creative interaction on stage can happen, so people could actually start to identify again (Prohibited Beatz, 2002). In Houlgate (2007, p.123), theorist Edward T. Cone suggests that the performance of music involves taking up a role or persona which functions as a source of sound: “All music, like all literature, is dramatic; . . . every composition is an utterance depending on an act of impersonation which is the duty of the performer or the performers to make clear.” (Houlgate, Hegel and the Arts, 2007, p.123). This re-introduction expands jungle’s appeal to a new audience, whilst remaining truthful to its underground roots. Mayer can therefore be conceived as an innovator or expansive practitioner as opposed to a saboteur of the genre.
Jo Jo Mayer/Nerve-Live at Irving Plaza 8
To what extent has Jungle Music advocated the ‘Death of the Author’?
To conclude, I will expand on the initial leading argument as I believe that jungle successfully abdicates all ideas of commercial/conventional authorship ultimately, uniting segregated people through an alternatively, faceless philosophy. The tribal rhythm’s infectiously thumping vortex-like bass, spitfire drum arrangement and euphoric complimentary sounds relate to all cultures of an audience by speaking of our ancestral past, industrial present, and unpredictable future. In a Skiddle.com interview, veteran jungle DJ Kenny Ken spoke of the jungle’s current position within 21st century music: The Jungle scene is healthy everywhere I go all around the world (Skiddle.com 2012, p.1).
20 Years of Jungle Mania-Flyer 9
To what extent has Jungle Music advocated the ‘Death of the Author’?
Bibliography: Books: Burke, S. (1998) Sean Burke. In: Burke, S. The Death and Return of the Author: Criticism and Subjectivity in Barthes, Foucault and Derrida: A Prehistory of the Death of the Author. 4th ed. Edinburgh: Edinburgh University Press. Burke, S. (1998) Sean Burke. In: Burke, S. The Death and Return of the Author: Criticism and Subjectivity in Barthes, Foucault and Derrida: A Prehistory of the Death of the Author. 4th ed. Edinburgh: Edinburgh University Press. Cone, R.T. (2007) Edward Toner Cone In: Houlgate, S. Hegel and the Arts: Hegel on Music. 1st ed. Evanston Illionois: Northwestern University Press. Eldridge, R. (2007) Stephen Houlgate. In: Houlgate, S. Hegel and the Arts: Hegel on Music. 1st ed. Evanston Illionois: Northwestern University Press. Hanslick, E. (2007) Eduard Hanslick’s. In: Houlgate, S. Hegel and the Arts: Hegel on Music. 1st ed. Evanston Illionois: Northwestern University Press. Mallarmé, S. (1998) Stephane Mallarmé. In: Burke, S. The Death and Return of the Author: Criticism and Subjectivity in Barthes, Foucault and Derrida: A Prehistory of the Death of the Author. 4th ed. Edinburgh: Edinburgh University Press. Young, R. (2000) Rob Young. In: Shapiro, P. Modulations: A History of Electronic Music: Throbbing Words on Sound: Pioneers. 1st ed. New York: Caipirinha. McCandless, D, (2009) David McCandless. In: McCandless, D, Information is Beautiful: Dance Genreology. 1st ed. London: Collins.
Internet: Interviews/Articles: Ken, Kenny. (2012) “I’ll always be a junglist”: dj heavyweight kenny ken talks to skiddle, interview, Skiddle.com [Internet] 21 March 2012, London, p.1. Available at: http://www.skiddle.com/news/all/Ill-always-be-a-Junglist-DJ-heavyweight-Kenny-Ken-talks-toSkiddle/11954/ (Kenny Ken is a recognized veteran underground jungle disk jockey) Definitions: The American Heritage® (2013) The American Heritage®, Dictionary of the English Language, [Internet] 2013. p.1. Available at: http://www.thefreedictionary.com/authorship [Accessed 4 February 2013] Images: Rykman, K. 30 Mar (2012) Jo Jo Mayer/Nerve-Live at Irving Plaza [online image]. Available at: http:// www.rageitproper.com/2012/03/jojo-mayer-nerve-live-at-irving-plaza.html [Accessed1 February 2013] Desktopnexus.17 Oct (2012) Roaring Tiger Available at: http://1ms.net/roaring-tiger-249100.html [Accessed 1st February 2013] Ecclestone, R. 1 May (2011) Squarepusher. [online image]. Available at: http://www.soundonsound. com/sos/may11/articles/sqpshr.htm [Accessed1 February 2013]
10
To what extent has Jungle Music advocated the ‘Death of the Author’?
Ecclestone, R. 1 May (2011) Squarepusher – Roland TB-303. [online image]. Available at: http://www. soundonsound.com/sos/may11/articles/sqpshr.htm [Accessed1 February 2013] Fantazia. 6 Dec (1991) Flyer Library-Dreamscape [online image]. Available at: http://www.fantazia.org. uk/flyerlibrary/raveflyers_d.htm [Accessed1 February 2013] Kyriacou, C. 1 Feb (2013) Ray Keith-Chopper LP [online image]. Available at: http://pygmalion19. tumblr.com/image/42023218423 [Accessed 1st February 2013] Parker, J. 5 Oct (2012) The Essential…Source Direct [online image]. Available at: http://www.factmag. com/2012/10/05/the-essential-source-direct/ [Accessed1 February 2013] Suddendef. 30 Jan (2013) 20 Years of Jungle ManiaFlyer [online image]. Available at: http://forum. breakbeat.co.uk/tm.aspx?m=1975468718&mpage=1&key=&#1975468718 [Accessed1 February 2013] Zee, N. 2 Dec (2009) Goldie-Metalheadz Logo. [online image]. Available at: http://noizeehanoi. wordpress.com/goldie-bio/ [Accessed1 February 2013] Videos: All Black: Jungle Fever (BBC 2/Youtube,1994) http://www.youtube.com/watch?v=pboSETUoSko All Junglists; A London Som’ting Dis (YouTube,1993) http://www.youtube.com/watch?v=tJj0lyr5R6o All Junglists; A London Som’ting Dis (YouTube,1993) http://www.youtube.com/watch?v=tJj0lyr5R6o LolaDaMusica (YouTube, 1996) http://www.youtube.com/watch?v=tVnm5cdNcus LolaDaMusica (YouTube, 1996) http://www.youtube.com/watch?v=Ttoi1fOgVtA Prohibited Beatz (YouTube, 2002) http://www.youtube.com/watch?feature=player_ embedded&v=IALkXnv36ow Talkin’ Headz - The Metalheadz Documentary (BBC 2/YouTube,1998) http://www.youtube.com/watch?v=6jRTi8VtKM4
11