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FASCIST MUSIC

Bruce Springsteen - Lucky Town and Human Touch

1/20/2014

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What happens when the whimsical, sprite-like 1970s Bruce Springsteen becomes older, heavier, richer, and more into big-screen TVs? The Boss. Never was the Boss more fascist than March 31, 1992, when he released Lucky Town and Human Touch simultaneously. Well into his second decade of stardom, he divorced his wife, kicked his lovable misfit E Street Band to the curb, and moved from New Jersey to Los Angeles to hook up with some "ace session musicians" and record soulless, clinical, reverb-heavy rock. Look at those shades! On the albums, a sad-robot Boss clamors for "human touch" and captures a miserable, technology-centered lifestyle with the incantation "57 Channels and Nothing On."
As if all that wasn't fascist enough, he had to smother his name all over the 1992 charts with two separate albums of bloat. Let some other people have a chance, Boss!
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    What is fascist music?

    In Dave Marsh's 1979 review of Queen's Jazz, he wrote, "Indeed, Queen may be the first truly fascist rock band." No other word so neatly expresses supremacy of the powerful and devaluation of the individual.

    Music expresses desires. When artists are young and poor, it is credible that they could have yawning chasms of desires that are not being fulfilled. As they age, particularly if they are successful, they are increasingly performing from a position of wealth and power. So to hear them demand love, money, respect, or fame is dissonant. These guys won. At the pinnacle of their power, they are still greedy for more, boxing out desperate young strivers in the process. That's fascism.

    I rather enjoy fascist music. It'll be the soundtrack to our lives when the machines take over, so we might as well develop an appreciation now.

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