You never know what will happen.
Once a piece of art is out on the public, anything could
happen. People might love it, hate it,
or ignore it. It might cause excitement,
ridicule, opprobrium, or nothing.
There were riots at the premiere of Igor Stravinsky’s opera
‘Rite Of Spring’ in 1913.
On the other hand, I wrote a poem about that, and people
mostly didn’t care even a little bit.
And once art is in the public realm, it no longer belongs to
the artist:
My albums have still got my name on, but if a person
believes a song is about them, who am I to argue? It means different things to
different people, and the connections are often surprising.
I’ve been taken to task by people who have (I think)
misunderstood the meaning of certain songs, but I prefer not to say they’re
wrong and I’m right.
I’ve also been asked a lot about specific lyrics, and
whether they are flippant or sincere, literal or metaphorical, but I prefer not
to spell it out for anyone. Like this.
And anyway, I’m not always sure of my intention: Exhibit A.
Particularly in an age where any information can be easily
disseminated beyond borders and narrow groups, “audience” is far harder to
define.
I am by no means well known outside of my hometown, but I’ve
sold albums to several countries around the world, and to people not fluent in
English.
I reckon this makes it all the more attractive for lyricists
(and artist of any kind) to tend toward the lowest common denominator for fear
of being misunderstood.
Ian McKaye on his Minor Threat song, ‘Guilty Of Being
White’:
"To me, at the time and now, it seemed clear it's an
anti-racist song. Of course, it didn't occur to me at the time I wrote it that
anybody outside of my twenty or thirty friends who I was singing to would ever
have to actually ponder the lyrics or even consider them." (Wikipedia)
Should Jesus of Nazareth have worried about people
mis-representing him 2000 years after his death?
Could Nietschze have predicted the rise of the Nazis?
Could The Smiths have known that they would have spawned
thousands of cheap Indie-pop imitations, like Tommy Hilfinger boxer shorts on a
market stall?
Not likely, and if they were worried about those kinds of things,
they probably wouldn’t have created all that great music.
Unintended consequences:
We can’t blame Coldplay on Radiohead,
Just like we can’t blame Pink Floyd for Yes.
(That rhymes, and you know it does. Admit it.)
“Shine your light for the world to see”
Mos Def
(See also Luke 11:33
Or this.)
All this has given me a great song title:
I Like The Housemartins (But I Can’t Stand The Beautiful
South)
Publish and be damned.
Clayton Blizzard
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