One certainly identifies with Cui Jian’s lament about how kids today aren’t pulling their political weight, but we do also recognise that yaogun offers its share of exceptions to the rule—enough, one is quick to add, to fill at least one book. Herewith, one of the most recent exceptions.
Sub Jam, the “experimental art organization” headed up by poet, critic and musician Yan Jun, just put online an archive that is a treasure trove for fans seeking China’s outer-edge music history. Compiling over ten years’ worth of events, publications and photos, there is a lot to go through. But anyone interested in a window into how the edge of yaogun mapped itself out should head there and check it out.
Sub Jam’s, and Yan Jun’s, story is you might say, typical of yaogun in its atypicality…
Is it just me, or are we seeing, lately, a sudden increase in Rock and Roll with capital aarrrrrrrr!s? (UPDATE: Turns out, it’s not just me; it’s other folks, like, oh, the New York Times for example) Rock seems to be doing more – or, if not doing more, gaining attention for what it’s trying to do, and what it Stands For.
From Indonesia to Russia and Uzbekistan, rock and roll is making itself heard, and, though it’s meant hard times for those who rock, on another level it’s a great thing to see.