PUBLIC ENEMYLAB (BY THE TIME I GET TO CYBELE’S REVERIE)
After my initial assessment of the project and testing different songs in my own mind, and through the sampler, I realized the true purpose of combining two very seemingly different musical styles. Even when just examining the final product on the surface, I found that beyond the style produced there was a real historical statement being made. Music, while defined mainly by geographical and ethnic boundaries, is universally a collective human enterprise. While the songs I chose were only produced a few years apart from each other, the same project could be executed with Johnny Cash and Bach, Tom Jones and Wu-Tang, or even Bruce Springsteen and Philip Glass. Again, on the surface a musical and stylistic statement is being made, but when examined under a microscope a true human argument is posed to challenge how geographical and ethnic boundaries separate how we classify human expression.
This same process could be applied to any number of comparative analyses. The surest method of learning about two perceived ideological opponents is to first combine them and catalog their similarities. For instance, when the process is applied to political competitors, such as in the recent Presidential Race, you could compare the rhetoric of Barack Obama and Mitt Romney in speeches and analyze just how similar on paper they may appear. While many will surely object to and immediately refute any minute possibility of their political enemy sharing ideals, you must first observe the situation from a birds-eye view, operate beyond your own bias. That is what this process truly achieves in teaching the observer, to drop your guard and construct an honest argument around the truth.
Although in the past I have often used this style and process to achieve what I wanted musically, I have found a deeper meaning in applying the method to all aspects of my life. Similarities lie in the most unexpected places, and the differences that once set people and ideas apart will ultimately bring them together.
First of all, win. You’ve achieved the rarest feat: a piece of historical analysis that you can dance to. Well done.
I’d love to see an essay accompanying what can be understood about PE and Stereolab from this mashup, exploring the lines of analysis you suggest above. You’re right on the mark when you note that doing this type of work — making art and in the process creating additional ways to look at and engage with a historical artifact — is merely the first step towards making historical knowledge. But it’s an oh so important step. That’s one of the things lies at the core of doing history: pursuing potential “truths” as far as we possibly can.
Thanks-