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CROSS_OF_OAK
April 24, 2013
Consider the case of Phil Och's
"The Crucifixtion".
This a truly brilliant song, really
well crafted, with some great lines. The album version of it
shows some brilliant,
creative production as
In some respects it might be well-- but not the sort
better not to know anything of thing to endear one to
about the historical context of traditional folkies.
the song, however-- Ochs was
originally thinking about the
assassination of Kennedy, and It can also lead
in that light, the whole to some really
production can seem trite summaries: Ochs' phrasing
ridiculously overblown and "--but then the works better:
pretentious. haters come out."
"... beneath the
"God help the critic greatest love is a
of the dawn." hurricane of hate."
Was "Camelot" supposed
to be "the dawn"?
This example shoots down
many oversimplified
esthetic positions:
o Should you avoid overreaching
and never risk being
accused of pretentiousness?
If Och's had taken that to
heart-- and many have-- NEO-IRONY
this brilliant piece of
work would never have been NULL_HINGED
created.
o Is it important to
understand the artist's
intent, the historical
context of a creation?
Well not always.
Sometimes you should
just look at what's
there.
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