{"id":110669,"date":"2017-05-09T09:31:06","date_gmt":"2017-05-09T13:31:06","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=110669"},"modified":"2017-05-09T10:51:29","modified_gmt":"2017-05-09T14:51:29","slug":"the-politics-of-the-mosh-pit-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/05\/09\/the-politics-of-the-mosh-pit-and-other-news\/","title":{"rendered":"The Politics of the Mosh Pit, and Other News"},"content":{"rendered":"<div id=\"attachment_110670\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/mosh-pit-at-endfest1.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-110670\" class=\"wp-image-110670\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/mosh-pit-at-endfest1.jpg\" width=\"1000\" height=\"670\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/mosh-pit-at-endfest1.jpg 2400w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/mosh-pit-at-endfest1-300x201.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/mosh-pit-at-endfest1-768x514.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/mosh-pit-at-endfest1-1024x686.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-110670\" class=\"wp-caption-text\">The mosh pit at Endfest, in Washington, D.C., 1991.<\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>The mosh pit is a great place to reach a state of pure being. It\u2019s also a great place to break your glasses, your jaw, or your spirit.\u00a0The pit has been construed alternately as a punk utopia and a Hobbesian state of nature. As the nation immerses itself in a debate about what constitutes a safe space, the politics of moshing\u2014with its questions about who gets to have fun, and at whose expense\u2014make it an ideal bellwether. As Hannah Ewens writes, newer punk bands tend to see the pit as an oppression: \u201c<a href=\"https:\/\/www.theguardian.com\/music\/2017\/may\/05\/dance-of-death-are-the-days-of-the-moshpit-numbered\" target=\"_blank\">In hardcore and metal scenes, a lively mosh pit is still the real indicator of a successful show<\/a>. But rock has been changing over the past couple of years\u2014notably by listening to women within its factions. Punk has long claimed to be about community while, at the same time, managing to marginalize minorities. Yet the scene does now seem to be actually changing. DIY punk groups such as PWR BTTM, Diet Cig, and Adult Mom have introduced safe spaces at their shows\u2014and mosh pits have often been the first casualties \u2026 The bands bringing in these changes most enthusiastically tend to be those with female and LGBT members. The biggest defenders of mosh pits are usually straight men. Most women I know who go to shows are either agnostic or hate them. Yet, the majority of rock bands want mosh pits to stay \u2026 Emotional responses are demonized and feared in modern culture. To the outside world, a mosh pit looks like the nonsensical activity of a Neanderthal\u2014which it is. It appeals to base instincts; a positive thing, surely, in a modern culture where gigs are Snapchatted and documented, and wrapped in self-awareness that takes audiences away from experiences.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Good news for people who love tall red boots: they\u2019re about to be everywhere. If the latest runway shows are accurate, no fewer than four dozen fashion labels will include red boots\u2014I mean <em>red <\/em>red, fire-engine red, <em>Crimson Tide<\/em> red, Communist red\u2014among their Fall 2017 offerings. Their sudden ubiquity suggests a nostalgia for post\u2013Cold War style, in which, as Natasha Stagg writes, clothing reflected an uneasy symbiosis between capitalism and communism: \u201c<a href=\"https:\/\/www.affidavit.art\/articles\/bellwether-boots\" target=\"_blank\">The Russians who embraced Capitalist ideals in the nineties\u2014if they could afford to\u2014faced antagonistic audiences<\/a>. New iterations of the specific style that emerged from this time period reference a disparity between ideal and real: Ideally, American styles were carefree, but in Russia, they were associated with pornography and prostitution. A tight, red, thigh-high stiletto boot worn under a one-size-fits-all dress easily captures this contradiction of American culture feeling dangerously ostentatious in the context of 1991 Russia \u2026 It works in the nineties fascination with the ugly and the beautiful, or the Baba Yaga and the sexy spy Natasha. A sort of undercutting of frumpiness and androgynous Party dressing, this is a styling choice more than it is a direction for the clothing \u2026 The choice is especially provocative at a time when Russia is constantly on the front page of the<em>\u00a0Washington Post<\/em>. The boots are as smooth and tall as the Red Army\u2019s, and as strangely sexy as jeans were when they were first worn by women.\u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>Rafe Bartholomew\u2019s father worked slinging beers at McSorley\u2019s, New York\u2019s oldest bar\u2014he always wanted to get out of the job and become a writer, but he could never quite turn his back on the place. Instead, his bartending came to inspire his poetry: \u201c<a href=\"http:\/\/hazlitt.net\/longreads\/mcsorley-poet\" target=\"_blank\">After he decided to junk the plot to become an English teacher, my father began work on\u00a0<em>The McSorley Poems<\/em><\/a>. During my last few years of high school, he was nocturnal. On Sunday, Monday, and Thursday nights, he\u2019d arrive home from McSorley\u2019s around two <small>A.M.<\/small>, take a shower, and then park in front of our family\u2019s massive desktop computer. His workstation was set up in a corner across from my bedroom, and I got used to waking up in the middle of the night and seeing the glow from his monitor creeping toward me through the crack at the bottom of my door. He put the finishing touches on the manuscript in 2000, my senior year of high school, and gave the book a title:\u00a0<em>The McSorley Poems: Voices from New York City\u2019s Oldest Pub<\/em>. Twenty-five years after he\u2019d earned his master\u2019s in creative writing, my father found his voice, and it happened to be in the bar where he drank on his first night in Manhattan, back in 1967.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Leopoldine Core on Qiu Miaojin\u2019s <em>Notes from a Crocodile<\/em>, a 1994 Taiwanese novel finally available in English, allowing Anglophone readers full access to its prescience about queer culture: \u201c<a href=\"https:\/\/www.nytimes.com\/2017\/05\/05\/books\/review\/notes-of-a-crocodile-qiu-miaojin.html?_r=0\" target=\"_blank\">Set in Taipei in the late 1980s, directly following the cessation of martial law, the novel follows a wry, soulful and somewhat miserable young woman nicknamed Lazi, who spends much of her time alone, reading, writing and decoding her obsessions deep into the night while somehow scraping by at one of Taiwan\u2019s most esteemed universities<\/a>. Lazi falls in love with her slightly older female classmate Shui Ling, a love she strains to resist and equates with a crime. The two embark on a tantric, mostly agonizing battle of wills, alternately courting and rejecting each other \u2026 First published in 1994, <em>Notes of a Crocodile<\/em> is in many ways a futuristic text, as it contains conversations about identity that are happening now\u2014and ones that have yet to. It is refreshing to read a novel that so frankly examines patriarchy, misogyny, homophobia, gender normativity and capitalism\u2014especially one that howls so freely with pain.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Ryan Ruby tells the story of Raymond Roussel, a forerunner of French experimental literature who remains neglected in literary history even as the writers he inspired have been vaunted to the forefront of the canon: \u201c<a href=\"http:\/\/www.laphamsquarterly.org\/roundtable\/accidental-avant-gardist\" target=\"_blank\">He remains known not just as a writer\u2019s writer but as an experimental writer\u2019s experimental writer\u2014or, in the words of one American publisher, a \u2018cult author extraordinaire.\u2019<\/a> He is still regarded by the French literary establishment as something of a curiosity \u2026 What probably sunk Roussel\u2019s career was that neither he nor his work fit naturally into the market for commercial art or into the putatively autonomous market of avant-garde art. The paradox of Roussel\u2019s career is that, after a series of early failures, he did not retreat from the field, reconvert his creative project to make common cause with the avant-garde, or embrace the conventions of the popular fiction he himself enjoyed. He aimed highly unconventional writing at a bourgeois public with the expectation that it would sell and was baffled when it didn\u2019t. His writing anticipated the imagery of surrealism; the affectless descriptions of the nouveau roman; and, through the\u00a0<em>proc\u00e9d\u00e9<\/em>, Oulipian constraints\u2014but he wanted the audience of Victor Hugo or\u00a0Jules Verne or at least that of his friend Edmond Rostand, author of\u00a0<em>Cyrano de Bergerac<\/em>. Roussel could have attempted to go the way of a popular writer like Rostand or of an avant-garde writer like Breton, but, both admirably and foolishly, he remained Roussel to the end.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s arts and culture news: the politics of the pit, the rise of tall red boots, reading Raymond Roussel, and more.<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[1803,12203,9950,538,15942,28738,28735,28736,28741,28274,28740,16965,28737,28154,232,28739],"class_list":["post-110669","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-bars","tag-clothes","tag-cold-war","tag-fashion","tag-french-literature","tag-mcsorleys","tag-mosh-pits","tag-moshing","tag-notes-from-a-crocodile","tag-punk-bands","tag-qui-miaojin","tag-raymond-roussel","tag-red-boots","tag-soviet-russia","tag-style","tag-the-mcsorley-poems"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>In the Mosh Pit, Who Gets to Have Fun, and at Whose Expense?<\/title>\n<meta name=\"description\" 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