I broke up with a Girl over Limp Bizkit: Music. Status. Identity.

Note: I find myself beginning a chaotic and promising semester. I can’t say I won’t blog as much, but I can say that it won’t be as consistent. I can also promise that after two years of writing pretty heavily, we may re-post some oldies (but goodies?) on and off. Here is one of my favorite (because every horrible world is true). Yes, Bakhtin and Limp Bizkit. 

“There is neither a first nor a last word and there are no limits to the dialogic context (it extends into the boundless past and the boundless future). Even past meaning, that is, those born in the dialogue of past centuries, can never be stable (finalized, ended once and for all)—they will always change (be renewed) in the process of subsequent, future development of the dialogue…Nothing is absolutely dead.” –M. M. Bakhtin
“I did it all for the nookie / C’mon / The nookie / C’mon / So you can take that cookie / And stick it up your, yeah!!” –Fred Durst

I once broke up with a girl because of Limp Bizkit. Seriously. And this wasn’t some ephemeral or disposable relationship. We had been a couple on and off for over two years throughout high school—which is, in high school terms, practically being married. How did this happen? What does this say about me?

The mid-nineties were a heady time for music lovers, especially for adolescent malcontents. Before the debuts of Nirvana’s Nevermind and Pearl Jam’s Ten when alternative music went mainstream, college music stations, independent record stores and word-of-mouth were the primary avenues to “coolness” for those who were otherwise barred by ability, class or disposition from conventional approaches. Even more crazily, for a brief period the worlds collided—in the mid-nineties, nerd chic was all the rage. At my high school, football players new Weezer’s “Sweater Song” and cheerleaders wore Dinosaur Jr. Shirts. Which, of course, made isolating and securing the “cool” that much more difficult. Today, the internet, with its damnable democratizing power, can put anyone “in the know” within a few mouse clicks. Social networking disperses “cool” like fluoride in public water. Does this dispersal make it too diffuse? How do geeky adolescents gain the higher ground any more?

Even after Pearl Jam’s “Jeremy” won a VMA and bands like Butthole Surfers and Jane’s Addiction were in the day-to-day rotation on MTV, there were still subsections of alternative music that remained on the margins. Sometimes, late at night, you might catch a They Might Be Giants video; but seminal bands like the Pixies and real warriors like Fugazi were still part of the realm of the select few. During these years, what and who you listened to helped to define who you were; or, whom you chose to allow people to know you listened to was an important part of the creation of self-identity. To be lame was to listen to anything in the top forty.

My circle of friends was organized by the (1) aesthetics of the obscure and unknown (Red House Painters), (2) the almost-cool but turning mainstream (Green Day), (3) the ironic but still earnest obsession (Elvis), (4) the almost lame but sort-of acceptable mainstream (Dave Matthews, Blues Traveler), (5) ‘connoisseurship’ (Pre-1990 R.E.M.; U2’s Boy but not Joshua Tree and certainly not Achtung Baby), (6) the geeky but cool (Dead Kennedys), (7) the intentionally offensive (Gwar) and then me. I couldn’t commit to one pose long enough because of my fear that any purchase on ‘coolness’ was temporary. So, I decided to hate everything (or at least almost everything).

Wanted to be Frank Black, but was really Fred Durst

The girl in question in this story just loved music—she could listen without irony to Madonna and Michael Jackson in 1994 (which, for those of you who don’t remember those days, was an accomplishment). But she also espoused the insider’s pose of knowledge as she proudly claimed to have bought Live’s first album before they were cool or as she included Fremke and Smashing Pumpkin B-sides on mix-tapes. I guess in the end it was my own continual uncertainty and insecurity that did us in. If someone loved everything and showed no disdain when it came to music, how could her opinion on more important matters (read: me) have any significance?

In truth, the relationship had been heading south well before the Limp Bizkit incident—I was going to college and, in my own mind, had stayed with her primarily because of convenience. But, when on some weeknight at her house I sat at the kitchen table and saw the brand new Three Dollar Bill Y’all$ still in cellophane, I lost it. Now, this was one album before the world learned about what Fred Durst did for the “Nookie”; two years before violence and sexual assaults at the nearly apocalyptic  Woodstock ’99, but from even my tangential knowledge, I knew that Limp Bizkit was musically impoverished, tonally challenged, wannabe hardcore.

To wit, I have no problem with hardcore, but without an ethical and aesthetic center, it is nothing but noise. Again, great artists don’t necessarily need to be musically talented. But, in retrospect, a phenomenon like Limp Bizkit was the death knell for mainstream alternative rock (if that oxy-moron makes any sense), the only nostrum for which was the several years of boy-band pop hell that descended around the same time. To give Durst his due, he was a great showman and his cover of George Michael’s “Faith”, for the time period, was genius.

In all honesty, at the kitchen table on that evening, I knew very little about Limp Bizkit. I knew I didn’t like the name; I knew I didn’t like the cover art; and I had a vague idea that ‘posers’ and ‘losers’ liked them. I asked the girl about it, perhaps hoping that it was a lame gift for or from a friend. But, to my chagrin, she said she bought it and added that she was really excited about it. I said “what?” She told me that they were “cool”. I don’t have the best memory about what happened next, but it may have started with “we need to talk”.

Of course, none of this reflects on me too well. And it shouldn’t. If anything, she was being genuine in pursuing what she liked regardless of external associations (and, regardless of my standards of ‘taste’). I was judgmental, narrow-minded and an overall prick.  I broke up with a girl over Limp Bizkit; all I can say to console myself now is that at least I didn’t “do it all for the nookie”.

Case of the Mondays

Peter Gibbons: Let me ask you something. When you come in on Monday and you’re not feeling real well, does anyone ever say to you, “Sounds like someone has a case of the Mondays?”
Lawrence: No. No, man. Shit, no, man. I believe you’d get your ass kicked sayin’ something like that, man.

Office Space (1999)

Working in a school, I hear this phrase at least once a Monday, Ok, I’ll admit, sometimes I say it to people who look like they had too much fun on Sunday

What a rough two Mondays I’ve had. Breaking Bad ended, the Patriots played late and lost a game and I ate nachos with a mixture of two different salsas after eating an entire serving of four-star Pad Thai noodles with fried tofu. Cross-continental ethnic cuisine seems like a great idea, but in this case, things did not settle well and my morning kicked off with some serious gastrointestinal issues. Although I was happy I hadn’t washed it down with a gallon of beer as I would have in my younger and irresponsible years, it still was a sour way to begin my work week.

After the first weekend in about two months that my band didn’t play a show, I had a relaxing weekend filled with monotonous lawn care that served like a Zen mental retreat following so many busy Friday nights and Saturdays. My harmony was in serious jeopardy of being destroyed.

Continue reading

Music. Status. Identity.

Note: After the seriousness of the past week, we’re re-posting an earlier, lighter entry for the weekend. The following was originally published on January 9th 
“There is neither a first nor a last word and there are no limits to the dialogic context (it extends into the boundless past and the boundless future). Even past meaning, that is, those born in the dialogue of past centuries, can never be stable (finalized, ended once and for all)—they will always change (be renewed) in the process of subsequent, future development of the dialogue…Nothing is absolutely dead.” –M. M. Bakhtin
“I did it all for the nookie / C’mon / The nookie / C’mon / So you can take that cookie / And stick it up your, yeah!!” –Fred Durst

I once broke up with a girl because of Limp Bizkit. Seriously. And this wasn’t some ephemeral or disposable relationship. We had been a couple on and off for over two years throughout high school—which is, in high school terms, practically being married. How did this happen? What does this say about me?

The mid-nineties were a heady time for music lovers, especially for adolescent malcontents. Before the debuts of Nirvana’s Nevermind and Pearl Jam’s Ten when alternative music went mainstream, college music stations, independent record stores and word-of-mouth were the primary avenues to “coolness” for those who were otherwise barred by ability, class or disposition from conventional approaches. Even more crazily, for a brief period the worlds collided—in the mid-nineties, nerd chic was all the rage. At my high school, football players new Weezer’s “Sweater Song” and cheerleaders wore Dinosaur Jr. Shirts. Which, of course, made isolating and securing the “cool” that much more difficult. Today, the internet, with its damnable democratizing power, can put anyone “in the know” within a few mouse clicks. Social networking disperses “cool” like fluoride in public water. Does this dispersal make it too diffuse? How do geeky adolescents gain the higher ground any more?

Even after Pearl Jam’s Jeremy won a VMA and bands like Butthole Surfers and Jane’s Addiction were in the day-to-day rotation on MTV, there were still subsections of alternative music that remained on the margins. Sometimes, late at night, you might catch a They Might Be Giants video; but seminal bands like the Pixies and real warriors like Fugazi were still part of the realm of the select few. During these years, what and who you listened to helped to define who you were; or, whom you chose to allow people to know you listened to was an important part of the creation of self-identity. To be lame was to listen to anything in the top forty.

My circle of friends was organized by the (1) aesthetics of the obscure and unknown (Red House Painters), (2) the almost-cool but turning mainstream (Green Day), (3) the ironic but still earnest obsession (Elvis), (4) the almost lame but sort-of acceptable mainstream (Dave Matthews, Blues Traveler), (5) ‘connoisseurship’ (Pre-1990 R.E.M.; U2’s Boy but not Joshua Tree and certainly not Achtung Baby), (6) the geeky but cool (Dead Kennedys), (7) the intentionally offensive (Gwar) and then me. I couldn’t commit to one pose long enough because of my fear that any purchase on ‘coolness’ was temporary. So, I decided to hate everything (or at least almost everything).

Wanted to be Frank Black, but was really Fred Durst

The girl in question in this story just loved music—she could listen without irony to Madonna and Michael Jackson in 1994 (which, for those of you who don’t remember those days, was an accomplishment). But she also espoused the insider’s pose of knowledge as she proudly claimed to have bought Live’s first album before they were cool or as she included Fremke and Smashing Pumpkin B-sides on mix-tapes. I guess in the end it was my own continual uncertainty and insecurity that did us in. If someone loved everything and showed no disdain when it came to music, how could her opinion on more important matters (read: me) have any significance?

In truth, the relationship had been heading south well before the Limp Bizkit incident—I was going to college and, in my own mind, had stayed with her primarily because of convenience. But, when on some weeknight at her house I sat at the kitchen table and saw the brand new Three Dollar Bill Y’all$ still in cellophane, I lost it. Now, this was one album before the world learned about what Fred Durst did for the “Nookie”; two years before violence and sexual assaults at the nearly apocalyptic  Woodstock ’99, but from even my tangential knowledge, I knew that Limp Bizkit was musically impoverished, tonally challenged, wannabe hardcore.

To wit, I have no problem with hardcore, but without an ethical and aesthetic center, it is nothing but noise. Again, great artists don’t necessarily need to be musically talented. But, in retrospect, a phenomenon like Limp Bizkit was the death knell for mainstream alternative rock (if that oxy-moron makes any sense), the only nostrum for which was the several years of boy-band pop hell that descended around the same time. To give Durst his due, he was a great showman and his cover of George Michael’s “Faith”, for the time period, was genius.

In all honesty, at the kitchen table on that evening, I knew very little about Limp Bizkit. I knew I didn’t like the name; I knew I didn’t like the cover art; and I had a vague idea that ‘posers’ and ‘losers’ liked them. I asked the girl about it, perhaps hoping that it was a lame gift for or from a friend. But, to my chagrin, she said she bought it and added that she was really excited about it. I said “what?” She told me that they were “cool”. I don’t have the best memory about what happened next, but it may have started with “we need to talk”.

Of course, none of this reflects on me too well. And it shouldn’t. If anything, she was being genuine in pursuing what she liked regardless of external associations (and, regardless of my standards of ‘taste’). I was judgmental, narrow-minded and an overall prick.  I broke up with a girl over Limp Bizkit; all I can say to console myself now is that at least I didn’t “do it all for the nookie”.