The Art Of Cassette Culture (Review)

Mix Tape: The Art of Cassette Culture explores the sound mixes and art we created in our bedrooms long before iTunes and Photoshop.' ―Michael Dougherty, Blackbook Magazine. Fall 2004

Mix Tape: The Art Of Cassette Culture is a visually heavy, coffee table book that was created a couple of years back by the one and only Thurston Moore, whose infamy as an artist and musician certainly precede him. More importantly to most he’s a founding member of the seminal art-rock unit known as Sonic Youth, and father to virtually everything that is hip amongst the “indie” world at large. Don’t let his resume or reputation steal the spotlight on this one though, as this book is entirely about the love and charisma of “the mix tape.”

Contained within the pages of this fine work is a collection from various contributors ranging anywhere from Dean Wareham of Galaxie 500 fame, to Glen E. Friedman (Photographer), or even John Zorn (Composer), amongst other like-minded friends. The submissions incorporated are an assortment of fine art expression, stories, essays, or even theories associated with the splendour of said phenomenon. Many other facets of this book specifically deal with the relation between emotion in creating or receiving a work of this medium and it’s cultural importance. One section of the book in particular irreverently details this significance, specifically in how they can truly be considered a valid and modern form of the “time capsule.”

There are some other classic moments contained within these pages, one in particular being Ahmet Zappa’s donation entitled “Sensitive Pussies Should Not Listen To This Awesome Set Of Ditties,” which is a collection of eighties hard-rock jams. Coverage of Christian Marclay’s “Moebius Loop” art installation is another treat, which was crafted entirely of zip ties and old cassettes measuring a monstrous 24 x 84 x 240 inches. Moore’s introduction even drops some science with the much toted “home taping is killing music” propaganda - used quite liberally by record companies of the past, documenting how much like the MP3 and CDR of today – they were once the primary target of concern. He even goes on to talk about the effect Hip-Hop had on this art form, and the advent of the “Boom Box.”

Another interesting rhetorical question raised in later a segment presents a debate that crafting a mix-tape with someone else in mind, or exclusively for them, always subconsciously results in some form of narcissism, as it’s really more about you than the other party. On the surface this text in a later segment even begins to touch on the Digital versus Analog argument presenting a theory on “ear heart listening.” Moore illustrates a comparison between definitive (digital), and non-definitive (analog) sound waves. Meaning, “with digital your brain hears the information in numeric perfection,” where as “analog has the mystery arc where cosmos exist, which digital has not reigned in.” He goes on to describe how repeated listens of an analog source present “a new sensation” each time, where as “digital offers one cold kiss.”

With the advent of technology (specifically the ipod) aside, I’ve personally never believed that the days of cassettes, or the ‘mix tape’ to be specific - were ever gone. The convenience associated with computers may have conquered how people commonly share music in recent years (playlists), and as the ‘tape deck’ may not be as prevalent in the average home or car stereo as in it’s “golden era,” I still cannot foresee, or entirely resign myself to such defeat. That could certainly spell out a bit of my stubbornness, or disassociation from “our troubled youth” however, which is also a bitter pill considering I’m not even much of an elder.

Anyway, if you’ve ever managed to scrounge up anything in reference to this book, especially reviews, most folks are quick to drop those two cents in their state of the union address, included along with a savvy description of the contents within of course. I didn’t realize that making mix tapes has become such an elitist, throwback, or luddite activity, but I suppose it’s fair to be a bit of a cultural-sceptic these days, and so the sentiments of “what was better before” march right along with the territory. I can’t say that I entirely discount those concerns or thoughts either mind you. There is an inherent nostalgia that will always remain apparent in creating these works now, but to allow such interference defeats the purpose, or original intent behind the practise to begin with. From this rant however, I must digress…

Outside the self-righteous hype or rhetoric surrounding this opus, it serves to be an excellent documentation of the true art and appeal surrounding the mix tape. It has its guilty moments, like any vehicle of ‘the past’ - but is humble and separates from simple over indulgence or a lack of substance. The only set back I felt when I finished thumbing through it was that it seemed a little short. That minor flaw is easily reduced however, due to the fact that it is completely brilliant to browse through, and has such an impressive layout, which captures the personal authenticity of a “mix tape,” almost like you’re holding the actual source material.

For further information feel free to browse, or buy it here.

“In the future, when social scientists study the mix tape phenomenon, they will conclude – in fancy language – that the mix tape was a form of “speech” particular to the late twentieth century, soon replaced by the “play list.” - Dean Wareham (Page 28)