They join a grand tradition in their desire to portray themselves as brutes whose only interests are wanton destruction and casual albeit constant substance abuse. The roots of this tradition -- well, who knows how deep they go? Certainly Antonin Artaud spent much of his brief tenure among us ranting against his own intellectual proclivities, wishing that art were more directly violent, less coffeehouse-bound; the Grand Guignol and various other 19th-century French movements championed the public thirst for blood as a nobler artistic impulse than the smoking-room hunger for fine thoughts and mannered observations. Most importantly in the case at hand, there’s the Germs. |
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