The Swearing Lady isn’t too happy with Scottish chanteuse Sandi Thom, and I can’t say I’m too impressed either. Celtic fans may be interested to know that she’s the daughter of former Celtic star and German, Andreas Thom.*
Everyone knows by now how awful the song is, and how she’s ‘really’ a fake. The fact is, though, that even if she had been able to finance all those webcasts and virtual flyers and stuff herself, she’d still be a goddam fake. Or at least, she wouldn’t be any more ‘real’.
The difficulty I find every time I sit down to write about one of these scams, or about an advertisement for a product, or a film that’s in the middle of a promotion campaign, is that even the expression of a negative opinion serves to promote the product even further. That is, promotional campaigns are designed to incorporate the negative responses, and use them for their own ends. So if I protest that she’s a damn fake, I am automatically proposing that there really could be a genuine article, a piece of bona fide musical gold, out there waiting on the internet, for you and for me and all our friends. To RCA records, and the recording industry in general, such a response is welcome: keep tuning in for more authentic examples, and we’ll get there eventually.
The only means of getting around such a situation is to include an association so outrageous that it completely destroys the possibility that your own assessment could serve to promote the product in question even further. A drastic measure, to be sure, but hard to avoid.
Anyway, back to the song itself. Treat the content of the song as something that aspires to profundity, but fails miserably, and you hold out a hope that such a form could actually deliver something profound. In other words, nothing wrong with the form – it’s the content that gives cause for concern. This seems mistaken to me. I tried substituting some of the objects and cultural references in the chorus to see if it would make any difference. I think that the re-written chorus below demonstrates that the form is pretty bankrupt:
Oh I wish I was a Nazi with lacquer in my hair,
In 23 and 33 revolution was in the air,
I was born too late to a world that doesn’t care,
Oh I wish I was a Nazi with lacquer in my hair
The strange thing is that if, for some strange reason, you felt misplaced nostalgia for Nazism, you might not need to alter much of the rest of the song at all. That is, it would be quite consistent for a Nazi to yearn for a time when the head of state didn’t play guitar, when accountants didn’t have control, and the media couldn’t buy your soul [message: the media can buy your soul; or, your soul has already been bought] and, especially, when ignorance could still be bliss.
*Actually, no, she isn’t, I made that bit up.
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