Kim Gordon, of Sonic Youth, said you can never have a crush on art with the same intensity of the infatuation you have for a pop song.
Karaoke presents an analogue to the challenges of communication in our lives. There is a pressure to perform. A karaoke track without a voice is like a conversation with one participant. Karaoke is a participatory medium and is necessarily incomplete without the contribution of the singer. Karaoke's dream or promise is its affordance of a platform. To have a voice and be heard. To delight yourself and thereby delight others. To make a song your own and dispense it as a gift.
A community emerges as it listens.
The primary pleasure of karaoke is it's production of difference through the work of qualitatively “bad” singing. Qualifying the bad voice as a kind of noise affirming the right to a differential selfhood, he intones its release is a “necessary precondition for a new social ordering that can acknowledge such social differences.”
“not as content, not as form driven by any particular content, but as practice, as work, as a way of doing,” foregrounding the process-oriented value of amateur performance in and of itself.
Karaoke presents an analogue to the challenges of communication in our lives. There is a pressure to perform. A karaoke track without a voice is like a conversation with one participant. Karaoke is a participatory medium and is necessarily incomplete without the contribution of the singer. Karaoke's dream or promise is its affordance of a platform. To have a voice and be heard. To delight yourself and thereby delight others. To make a song your own and dispense it as a gift.
A community emerges as it listens.
The primary pleasure of karaoke is it's production of difference through the work of qualitatively “bad” singing. Qualifying the bad voice as a kind of noise affirming the right to a differential selfhood, he intones its release is a “necessary precondition for a new social ordering that can acknowledge such social differences.”
“not as content, not as form driven by any particular content, but as practice, as work, as a way of doing,” foregrounding the process-oriented value of amateur performance in and of itself.
