Wednesday, July 14, 2004

Punk 9/11

Via Tim Blair, we get further confirmation that joining the ranks of punk rockers requires a full frontal lobotomy, as the bassist (aka in punk music: the guy who plays the same note for 3 minutes really fast and considers that his "chops") from Blur, a band whose name I've heard at one point or another reviews F-9/11:
The genius of this most American of films is that it has turned politics into a blockbuster subject. It's the first punk rock movie: it must have cost less to make than The Blair Witch Project, and yet he's managed to distil reality and come up with something more powerful.
I am perfectly willing to grant that F-9/11 is a "punk rock movie." That sits quite well with me. In fact, I think that should be its new surname: "Fahrenheit 9/11: A Punk Rock Movie."

This Alex James guy is really on to something here. Punk music is ignorant, angry in an intensely shallow and unthinking way, lacking in any artistic depth or skill and, most importantly, dependent for its success on the stupidity and cluelessness of its fans.

Ultimately, it's not even music. And note: I don't say that primarily as an insult, but rather as a descriptive assessment. "Punk," much more than a musical form, is just an attitude (a childish and reactive one at that), a pose that one takes, and the "music" is just a prop for that pose.

So, F-9/11 is the perfect movie counterpart to punk music. It, likewise, has no argumentative depth, only disconnected, facially contradictory assertions. It's tone is always one of fist-shaking outrage over... whatever you got, man. And only people so stupid that they aren't allowed to use adult scissors could come away hailing it as some kind of artistic or political masterpiece.

So, yeah. Peas in a pod, they are. In the end, they deserve each other.