Live 8 -- Moan

Did any one catch Live 8? There was a superb addition to the Prime Suspect series on SEVEN which fortunately clashed with Geldoff-Stock --and I was glad it did.
We kept switching over nonetheless to the Live 8 coverage and staid as long as we could stomach the patronising drivel (yes I think "drivel" is the right word). It was nauseating.
What with Madonna partying with a repatriated ex Kwashiakor baby and Brian Wilson singing off key -- even the TV coverage realised that another shot of the backing screen with a pack of imperialist dogs in constant montage(the "8" homo sapiens who mattered much more than anyone one else on this planet)with pics of so many starvin Marvins was too much to impose on an unsuspecting public.
Regardless of the fronting artist my partner kept burying her head in her hands and screaming: "Turn it off! Turn it off!"
Fortunately the massive mobe in Edinburgh was given excellent coverage in the media in the lead up to the 8.30pm start so the pro-imperialist of Geldoff-Stock was challenged by a window into the real world.
Of course in effect, "a" concert is better than none in terms of promoting the bare bones of a hostile viewpoint. But that didn't make watching the thing any more palatable.
I don't hold anything against all those thousands who attended these music events-- good on 'em-- but there is something in the phrase from some song that rings true: "Music unites the bourgeoisie and the rebel"
IF you accept that rock music is 40-50 years old you also need to note that in its lifetime it has moved from rebellion -- not just to the main stream but to a position of class comfort where it sits at the right hand of the new imperial empires.
If you go back in time to the Concert for Bangla Desh and the first Live Aid there is this relentles trend to integrate rock music with ruling class suitablility and this most recent event registers a major new level in that regard.
What's interesting is that this present alliance in vitro was generated under Red Wedge ( Blairism PLUS rock musoes) during the Thatcher years and it's even a bit silly to suggest that accommodation was involved as what I see on stage now are consenting partners--super-rich egoes playing at emotionalism.
There's no rebel yell left.
It makes you look upon Bruce Springstein in a new light as if his music was pure nostalgia.
No one's asking rock music to deliver a message but as a vehicle for outrage it had/has its uses.
Live 8 was a great backdrop to the G8 blockade but also served as a sharp contrast to the rock and roll on the streets of Glasgow.
The other aspect worth noting is that despite the many lyrics that may move us --and be ever so political in their own right -- it isn't the words but the deeds that matter.
The crude irony of Live 8 was that that wasn't part of the show either as far as I could see/hear. This wasn't Woodstock. This was theatrical fluff that opened with a set piece built around Sgt Peppers Lonely Hearts Club Band
What does that tell us about world poverty?
Nothing whatsoever.