In the Critics this week

Stuart Maconie on the Doors, Kate Williams on the gothic novel, Simon Blackburn on human nature and

In the Critics section of this week's New Statesman, Stuart Maconie reviews The Doors by leading American rock critic Greil Marcus. Even Marcus, a "magisterial and important writer", isn't able to persuade Maconie that the Doors aren't "the most overrated bands in the history of rock music". Doors frontman Jim Morrison embodied all the band's shortcomings, Maconie argues: "Watch the old footage of him, preening in his leather kecks, his self-satisfied, puppy-fat-frat-boy face pursed waxily as he declaims some sententious claptrap ..."

In the Books interview, Jonathan Derbyshire talks to American author Chad Harbach, whose first novel The Art of Fielding was published to great acclaim in the US in the autumn and has just been published in this country. The book is about a college baseball team, and Harbach says two of the principal influences on him when he was writing it were Don DeLillo and David Foster Wallace: "They are two of the only novelists who have really thought about the relation of sport to larger society" DeLillo's End Zone and Wallace's Infinite Jest were, he says, "models" for The Art of Fielding.

Also in Books: Simon Blackburn on Beyond Human Nature by Jesse Prinz; Simon Kuper on Sport Italia: the Italian Lover Affair With Sport by Simon Martin; Helen Lewis-Hasteley on The Brain Is Wider Than the Sky by Bryan Appleyard and How Is the Internet Changing the Way You Think? By John Brockman; and Leo Robson on Masscult and Midcult by Dwight Macdonald.

This week's Critic at large is historian and novelist Kate Williams, who examines the enduring appeal of the gothic novel: "Gothic fascinations," Williams writes, "tend to increase with recessions. [Mary Shelley's] Frankenstein was perfectly fitted to the economic slump that followed the end of the [Napoleonic] wars. ... Recession ... makes us desperate for distraction - the more monstrous the better."

Also in the Critics: Ryan Gilbey on Shame and Margin Call; Rachel Cooke on ITV's Eternal Law; Alex Preston reports from a British Council-sponsored event in Athens; Antonia Quirke on a radio history of the obituary; Will Self on the suburban way of death; and "Endowments" by Terry Jones, the winner of first prize in the Bridport Prize, 2011.

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Katy Perry’s new song is not so much Chained to the Rhythm as Chained to a Black Mirror episode

The video for “Chained to the Rhythm” is overwhelmingly pastel and batshit crazy. Watch out, this satire is sharp!

If you’ve tuned into the radio in the last month, you might have heard Katy Perry’s new song, “Chained to the Rhythm”, a blandly hypnotic single that’s quietly, creepingly irresistible.

If you’re a really attuned listener, you might have noticed that the lyrics of this song explore that very same atmosphere. “Are we crazy?” Perry sings, “Living our lives through a lens?”

Trapped in our white picket fence
Like ornaments
So comfortable, we’re living in a bubble, bubble
So comfortable, we cannot see the trouble, trouble
Aren’t you lonely?
Up there in utopia
Where nothing will ever be enough
Happily numb

The chorus muses that we all “think we’re free” but are, in fact, “stumbling around like a wasted zombie, yeah.” It’s a swipe (hehe) at social media, Instagram culture, online dating, whatever. As we all know, modern technology is Bad, people who take photos aren’t enjoying the moment, and glimpses other people’s Perfect Lives leave us lonely and empty. Kids these days just don’t feel anything any more!!!

The video for this new song was released today, and it’s set in a (get this) METAPHORICAL AMUSEMENT PARK. Not since Banky’s Dismaland have we seen such cutting satire of modern life. Walk with me, through Katy Perry’s OBLIVIA.

Yes, the park is literally called Oblivia. Get it? It sounds fun but it’s about oblivion, the state of being unaware or unconscious, i.e. the state we’re all living in, all the time, because phones. (I also personally hope it’s a nod to Staffordshire’s own Oblivion, but cannot confirm if Katy Perry has ever been on the Alton Towers classic steel roller coaster.)

The symbol of the park is a spaced-out gerbil thing, because, aren’t we all caged little hairy beings in our own hamster wheels?! Can’t someone get us off this never-ending rat race?!

We follow Katy as she explores the park – her wide eyes take in every ride, while her peers are unable to look past the giant iPads pressed against their noses.


You, a mindless drone: *takes selfies with an iPad*
Katy Perry, a smart, engaged person: *looks around with actual human eyes, stops to smell the roses*

She walks past rides, and stops to smell the roses – and the pastel-perfect world is injected with a dose of bright red reality when she pricks her finger on a thorn. Cause that’s what life really is, kids! Risk! At least she FEELS SOMETHING.


More like the not-so-great American Dream, am I right?!

So Katy (wait, “Rose”, apparently) takes her seat on her first ride – the LOVE ME ride. Heteronormative couples take their seats against either a blue heart or a pink one, before being whizzed through a tunnel of Facebook reaction icons.

Is this a comment on social media sexism, or a hint that Rose is just too damn human for your validation station? Who knows! All we can say for sure is that Katy Perry has definitely seen the Black Mirror episode “Nosedive”:

Now, we see a whole bunch of other rides.


Wait time: um, forever, because the human condition is now one of permanent stasis and unsatisfied desires, duh.

No Place Like Home is decorated with travel stamps and catapults two of the only black people in the video out of the park. A searing comment on anti-immigrant rhetoric/racism? Uh, maybe?

Meanwhile, Bombs Away shoots you around like you’re in a nuclear missile.


War: also bad.

Then everyone goes and takes a long drink of fire water (?!?!) at Inferno H2O (?!?!) which is also a gas station. Is this about polluted water or petrol companies or… drugs? Or are we just so commercialised even fire and water are paid-for privileges? I literally don’t know.

Anyway, Now it’s time for the NUCLEAR FAMILY SHOW, in 3D, no less. Rose is last to put her glasses on because, guess what? She’s not a robot. The show includes your typical 1950s family ironing and shit, while hamsters on wheels run on the TV. Then we see people in the rest of theme park running on similar wheels. Watch out! That satire is sharp.

Skip Marley appears on the TV with his message of “break down the walls to connect, inspire”, but no one seems to notice accept Rose, and soon becomes trapped in their dance of distraction.


Rose despairs amidst the choreography of compliance.

Wow, if that didn’t make you think, are you even human? Truly?

In many ways – this is the Platonic ideal of Katy Perry videos: overwhelmingly pastel, batshit crazy, the campest of camp, yet somehow walking the fine line between self-ridicule and terrifying sincerity. It might be totally stupid, but it’s somehow still irresistible.

But then I would say that. I’m a mindless drone, stumbling around like a wasted zombie, injecting pop culture like a prescription sedative.

I’m chained…………. to the rhythm.

Anna Leszkiewicz is a pop culture writer at the New Statesman.