Comparisons between Protomartyr and the Fall are so commonplace they’re almost trite. Almost, but not quite. Joe Casey inhabits a great many of the musico-poetic roles that listeners loved in Mark E. Smith: sarcastic ambivalence that could unexpectedly give way to sincerity, a talent for the vivid grotesque, the aura of a madman carnival barker harnessing the existential circus.
When we tear down statues, it is an attempt to alter the trajectory of history. Not history as just “what has happened,” which we can never change as much as reinterpret. No, this is history as a great unfolding, as something that is taking place and will take place on one route or another depending on what is done in this moment. You can hear it in the reactions of the right. In their barely contained apoplexy, their cries of “you can’t erase history,” they are, however unwittingly, announcing that there is consequence to how that history is experienced in the here and now.
Already the air is febrile, anxious, begging to move. It is easy to find the demonstration, with so many walking in the direction of the park. Everyone wears masks. Most wear black, many carry signs: “George Floyd did not deserve to die,” “ACAB,” “Fuck12,” “Defund police,” and, of course, “Black Lives Matter.” A police helicopter hums overhead, the first of at least five we will see over the next few hours.
Before RoboCop was released in theaters thirty years ago this month, it was given an X rating by the Motion Picture Association of America. Director Paul Verhoeven, knowing that this was guaranteed box office death, went back and scrubbed his film no fewer than eleven times trying to achieve its eventual R rating. He toned down at … Continue reading Detroit’s Exterminating Angel