Mainstream rock festivals now function as necrophiliac museums of past forms

Evidence

But that’s the agenda, really, the secret purpose of this now unopposed embourgeoisement of rock culture UK. What’s positively sinister about Glastonbury now is that it’s not just accidentally crap, it’s systematically crap — the hidden message screams out: it’s all finished, roll up, roll up, for the necrophiliac spectacle, it’s all over. — Mark Fisher (edited by Darren Ambrose), K-Punk, 791

Categorization

• XREF: Connects to ch25’s claim that modernity has lost the art of inhabiting fictional playzones and that perfect archivisation kills cultural fertility — Glastonbury’s dead-forms museum is precisely museum-culture in ch35’s sense. — connects to: Museum-culture commemoration without new viewers is a cemetery — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 565; Monuments embody invented pasts that crack under present pressures — Khaled A. Beydoun, The New Crusades_ Islamophobia and the…, 1104
• ADDENDUM: Reinforces the ‘Grafting & Growth’ piece’s point about treating cultural forms as living versus museumified — the dead-forms image is the necropolis version of culture as infrastructure.

Broader Connections

• Monuments embody invented pasts that crack under present pressures #complicates (0.78) — Khaled A. Beydoun, The New Crusades_ Islamophobia and the…, 1104