James Joyce

This is a site for ReJoycing. For all things Joycean.

Friday, May 27, 2016

Why We Should All Love Ted Milton And Mark E Smith

What I love about Ted is the fact that Dadaists are defiant. I love the fact that Ted continues to defy societal norms. He negates cultural hegemony and just does what he loves. Gramsci can just take a stroll. His confidence in his own art always shines through if you see him on stage or in performance. I’m truly in awe of people who carry on despite what people might think or say. For me, that only adds to his charm.

Not many performers make puppets out of the things you try to avoid under the sink. Not many people would weave this puppetry with the words of Daniil Kharms, absurdist author. His presence is tangible and he has incredible poise, like a dancer. He offsets this with the background wonder of Sam Britton and of course, his saxophone.

Great artists are often accused of being ‘aloof’ or for not being ‘accessible’ – think of Joyce, Burroughs, Beckett and Faulkner. However, there is always a sense of great humour in all of these artists that is often forgotten. Milton, at one point encourages an audience member (I recognise him as a drummer with Blurt, Dave Aylward – who also seems to be a relentlessly positive person) to tidy up the wires at his feet. Milton mischievously balances his microphone stand on Dave’s head as he bends down with a wry smile. Snide critics often mysteriously omit to mention these touches with artists such as Milton or say, Mark E Smith. It always adds a certain poignancy to their work. It’s very easy to mock someone who might have had an ‘accident’ on stage….I’d say it’s vulgar to laugh at someone like that. It’s just too easy to attack an artist and criticise physically and emotionally. That makes me sad. There’s always a real person at the other end. In fact, when I bumped into Milton in Lewisham, he seemed genuinely touched that someone had recognised him and my tiny daughter at the time started singing, ‘ A Fish Needs a Bike’ in her teeny voice.

Milton confronts himself with a self-awareness that Smith also has. He jumps from side to side, tormenting himself. ‘I’m an artist,’ then replying with a bombastic shout, ‘No, you’re a ******!’ He has passed through the kharm of the storm and is able to symbolically shout at his critics. Let’s get out of the eye! That’s what I say! I relish that kind of dry wit. When you’re able to mock yourself and also be very aware of the evil eye of the audience at the same time. Defiance, that’s what it’s all about. Even if you only have a small audience, you still give it your all.

Although there is an inherent humour in puppets and self-mockery, there’s a great power and seriousness to this as well. There’s an ‘I’m not going to hide – what are you going to do about that?’ stance going on. I admire artists who have worked for years, kicking that grindstone to the kerb. Pushing their faces up to the grit, I’d say. Perfect artefacts are produced – with Milton, he hand-creates covers for his art using lino prints and all sorts of interesting found items. Oh what a joy to own one of those! The quality of the performance is just sheer brilliance. With Smith, he just keeps churning them out. Say what you like, these people work hard and keep at it.

Kharms said, “I am interested only in "nonsense"; only in that which makes no practical sense. I am interested in life only in its absurd manifestations.” If only we could stop life and just focus on the absurd. It’s much more life-affirming and amusing.

0 Comments:

Post a Comment

<< Home