I don't jive with memes. I remember back when people showed me the "I CAN HAZ CHEEZBURGER" memes a decade ago, but it took me quite a while to "get" them. For a while, I enjoyed them on Facebook or Twitter, but now when I see a meme-like image with a quote on it, I just scroll past it. They're not worth my time or mental investment.
However, my current English 11 class has confronted my habits and bias head-on: they are deeply involved and invested in meme-based thinking. Their quips and inside jokes are largely meme-ish. The class has pushed my mind into deeper thinking about how memes work and why I seem to sluff them off so much. I've found myself saying to the class, "Memes stop deeper thought," or "Memes end a nuanced conversation before we can get to the meat of it," or "Memes put down a flag before you've even reached the field," or "Memes make an in-out group mentality where it's not useful." I don't know if this sort of thinking really works, but it seems like my thoughts coalesce around "Memes stop thought."
While reading the print edition of The Globe and Mail last week, I saw an article that made reference to the following book, Memes and the Future of Pop Culture, by Marcel Danesi. It looks like it's gonna' be a good book.
The article from The Globe and Mail, "Malls, bowling alleys, and the places of our youth are disappearing. Where do we go for a nostalgic place?" by Odessa Paloma Parker, describes part of Danesi's book like this:
Danesi is the author of the recently published book Memes and the Future of Popular Culture, a work that explores how “meme culture” could bring about the end of pop culture – movie theatres, etc. – as we know it; he describes popular culture as “an experiment that may be coming to an end as we shift away from real spaces into virtual spaces.” If you think about what nostalgia means to a millennial, he’s on to something. Ferrao explains that the younger staff at Superflux have a twinge when it comes to older technology, much like she would catching a glimpse of shag carpeting or another symbol of a certain generation’s collective youth. Those even younger, under 20, might not even know how to ascribe a parallel set of emotions to a tangibly familiar place as to an evocative one, as Ferrao has done with the Barbican.
Hm. I wonder, perhaps, if my tendency to dismiss meme-thinking stems from my pop-culture stewardship. As I read the part of Danesi's book that's available through Google Books, I couldn't help but think "I get that," over and over again. But meme culture is something new, something that follows different rules, that exists in a temporal space different from my pop culture conditioning.
The thing is, I have no interest at all at playing with a culture that aims to score points by stopping conversation for a laugh, or for virtue-signalling points. So perhaps I don't belong in meme culture. I look forward to getting a copy of Danesi's book somehow.
And I have yet one more piece of data to support the following statement: I'm old.
I will be playing at the Valentine's Dinner at the Hot Springs Villa and Restaurant in Harrison Hot Springs on... wait for it... Valentine's Day. As a result, I need to learn how to play some proper love songs.
Here's "Take My Breath Away," a song I clearly remember enjoying as a kid, feeling like it was a good-quality song overall. As a kid, I couldn't hear just how dated the synthesizers were, how oddly repetitive the lyrics were, and just how weird the song was.
So I gave it a little bit of a bossa rhythm, which I consider... appropriate.
Here's the original. Berlin have re-recorded it a few times, so it's important to make sure you listen to this official video-version. I'm pretty sure they wouldn't overdub a different version of the song on the "official" video.
Didn't realize that Moroder was a co-writer until I printed it off. Cool, Here's the best Moroder thing:
The other night, while I took Rosita for a walk, Brandi Carlile's "The Story" began to play on my headphones.
"The Story" is one of my ex's songs. For years, she loved it and adored it and sang along with it whenever she could. I remember it was one of the songs she wanted me to teach her on the guitar. It's a gorgeous song fleshed with loads of common imagery and Carlile's performance meshes perfectly with the content.
But I don't think it was one of "our songs." It was her song. So of course it sent me deep into the dregs of nostalgic reverie.
We walked down the aisle, just over ten years ago, to Pierce Pettis' "You Move Me."
Our first "date," if you could call it that, was a Pierce Pettis basement show in Delta, BC, back in January or so of 2006. It was only appropriate that we'd walk down the aisle to the song.
And it was appropriate because she did move me for a long time. I'd like to think that our relationship lived up to the ideals that the song promoted. I mean, read it:
But now I'm back on the couch, taking the therapy, heart hanging out. And I guess I'll never get to listen to the song the same again.
Every once in a while, I come across a book from my childhood and I try to introduce it to my daughters. And I'm almost always disappointed at how they just don't seem impressed.
This is one such book:
From that book, I learned about Esperanto, Andorra, Alfred Nobel, and the history of candy. I read its articles over and over again and used it in school projects. This book and books like it were my bread and butter for learning and company at home.
There's a long tradition of books like this one:
And here are a few that I've bought for my classroom: my Grade 7s in particular choose them for silent reading time.
So why don't I read them very often anymore?
I blame the Internet.
Because these books were the Internet before the Internet. These books were a wealth of information that a person just might be looking for. There seemed to be so many times when I would wonder something, crack open one of these books, scour the Table of Contents and the Index, and actually find an article that addressed my curiosity. The writing was always edited carefully and written in a lively, interactive tone. They were perfect for knowledge-seekers like me,
Now I first go to the Internet and these books often lay dormant. I feel a little bit o' melancholy about it, as if something's been lost. But that's probably just me being a sucker for nostalgia.
Which isn't all bad. But I miss the careful editing. The Internet's slapdash chaos is useful for finding specifics, but nothing beats good editing and copy for getting big ideas across.
Noisey posted this documentary on December 1, 2016, I Saw The Light. I watched it today. It's a well-made little film about Christian evangelical culture's relationship with music.
I attended a few Christian festivals with my church youth group: Sonfest in Abbotsford and Jesus Northwest in Vancouver, Washington, both in the mid-90s. As a Christian teenager, I had a good time at those festivals. I admit that I enjoyed the concert elements far more than preaching or "worship," so perhaps I didn't get the full experience as described in the documentary. But I remember feeling really good and meeting lots of other Christians who introduced me to really great music. I still listen to some of that music, even 20 years later, even after my faith has long gone.
A few days ago, I was filling up a couple booklets with CDs for my car. Going through the old CDs—all on spools at this point—I was a little bit floored that I had such a significant Christian music collection: Larry Norman, Randy Stonehill, Daniel Amos, Starflyer 59, etc.. I'll probably keep those CDs forever; they're an essential part of my collection.
Funny thing is, I've had The Hold Steady's "Chillout Tent" running through my head for the last few days, which tells a very different music festival story. Enjoy:
Should I feel guilty about enjoying this lovely, melodic, narrative drug-trip song? The Ottawa School Board might think so.
Makes me wonder what the Shewens are up to these days.
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