brown thesis - ohio state university
TRANSCRIPT
VirtualBand,ActualRealityTheActualizationoftheVirtualbytheGorillaz
ResearchThesis
PresentedinPartialFulfilmentoftheRequirementsforgradation
“withResearchDistinctioninComparativeStudies”intheundergraduatecollegesofTheOhioStateUniversity.
By
IsabelleBrown
TheOhioStateUniversitySpring2018
ProjectAdvisor:ProfessorBarryShank,DepartmentofComparativeStudies
2
Meet Stuart Pot: On May 23, 1978, a baby boy was born in
Hertfordshire, England. His name was Stuart Pot and he had
blue eyes and brown hair. Stuart, or Stu-Pot, grew up to be a
little boy who was not so bright. In fact, many considered him
to be “mentally deficient.” However, he was kind, and he loved music. Parents David
and Rachel often could find ten-year-old Stuart listening to his favorite bands in his
room and bobbing about. At eleven years old Stuart was climbing a tree, as most kids
do, when he fell to the ground. The impact caused all his hair to fall out, and when it
eventually came back it grew out a rich blue tone. Stuart attended St. Wilfred’s
boarding school in Crawly, England. After graduation Stuart got a part time job at
Uncle Norm’s Organ Emporium. He was working on August 15, 1997 when a “Satanist
hoodlum” ran his Vauxhall Astra into the building during an attempted raid, hitting
Stuart. Stuart’s head was fractured in the accident which left him in a catatonic state.
The left side of Stuart’s head was permanently fractured and his left eye turned black as
a result. He did not stay in a coma for long, however. A year later Stuart, still in a
comatose state, was riding in the passenger seat of a car when it suddenly veered into a
360 degree spin and Stuart was thrown out the windshield. He landed face first on the
curb, permanently injuring the right side of his head which resulted in his right eye
turning black. Nevertheless, Stuart was awake.1
1“2-D.”GorillazWiki,gorillaz.wikia.com/wiki/2-D
PicturefromGorillazWiki
3
TheMuseumofVirtualMedia2beginswithanexhibitinstorytelling,whichfollowedby
oneaboutgraphics,thensculpture.Themuseumwindsaround,displayingtoolsandrituals
bothunrecognizableandblaringlyfamiliartomoderndayvisitors;“historyteachesusthatold
medianeverdie—andtheydon'tevennecessarilyfadeaway.Whatdiesaresimplythetoolswe
usetoaccessmediacontent.”3Itendswiththecomputerandtheinternet,toolsthathave
becomealmostintegraltothehumanexperiencedespitebeingsonew.Intheshorttimesince
itsconception,thesetoolshaveinitiatedarenaissanceofcultureinthedigitalrealmforcross-
worldcommunicationandtheproductionandreleaseofart.Theinternethassignificant
potentialtoinfluencesocietalthought;HenryJenkinsindicatesthatmediaworkontwo
differentlevelsinsociety“onthefirst,amediumisatechnologythatenablescommunication;
onthesecond,amediumisasetofassociatedprotocolsorsocialandculturalpracticesthat
havegrownuparoundthattechnology.”4JimBlascovichandJeremyBailensonimaginedthe
MuseumofVirtualMediaasadisplayoftheproximitythevirtualhashadtoactualityforallof
history,andofthemethodsbywhichthevirtualattemptstobeactualized.Thispaperexplores
thewaysinwhichmanyofthesemediaconvergeandactualizeonevirtualrealityintandem;by
theenditappearstheconvergenceofmediaisbothamoreeffectiveandmorefairmethodof
spreadinginformationsincemediumfacesitsownlimits.Asthesearesophisticatedquestions
regardingvirtuality,actualityandconvergence,itseemsalmosthumorousthatthesubjectof
thispapershouldbeagroupoffictional,humanoidbeasts.However,theGorillaz,avirtualband
2JimBlascovichandJeremyBailsenson.2011."AMuseumofVirtualMedia."NaturalHistory.119(8).3HenryJenkins.2006.ConvergenceCulture:WhereOldandNewMediaCollide.NewYork:NewYorkUniversityPress.13.4Jenkins.ConvergenceCulture.14.
4
activesincetheturnofthecentury,representsmasteryofthevirtualandisauniquecasein
boththemusicanddigitalworld.
Asawhole,thebandhasbeenclassifiedasalternativerock,hip-hop,electronica,indie,
andmore.ChristianHoarddescribesitssoundas“aplayful,slightlysurrealmishmashofhip-
hopbeats,popmelodiesanddelicateelectronictouches.”5Aswithmanyotherbands,myfirst
impressionoftheGorillazwasbyapopularsingle,inthiscase“FeelGood,Inc,”fromthe
Gorillaz’ssophomorealbum,DemonDays.Thesongissungby2-Dandquestionstheauthority
andauthenticityofthemusicindustry.
Theverseisperformedinadistortedandfilteredvoice,immediatelysignalingalossof(vocal)immediacythatgoesalongwithanoverallsenseofdisillusionment.Thisistosomeextentsupportedbyalaconicthrustoftheoverallmusicalsoundscape–inthetune’ssignaturebass-line,performingacircular,mirror-imagemovementemphaticallybeginningandendinginthesamenote,andinthethin,twonoteguitarsupportlaconicallyandmonotonouslydescendingafairlysimplethree-stepminor-chordprogression.Butitisespeciallythemelodicprogressionofthevocals,flippantlydescending(‘city’sbreakingdown’)toanalmostdoggedlyrepeatednote(‘onacamel’sback’)towhichtheyemphaticallyreturnin‘don’tknowwhack’,whichsupportsasenseofexhaustionandfrustration.6
AccordingtoEckstein,“’FeelGood,Inc.’self-consciously(andironically)playsoutamodernist
discourseofalienationanddespairagainstaromanticistvisionofwholenessandintegrity,both
facingathirddiscourseof‘capitalistrealism.’”7Hisreadingofthesongvariesgreatlyfrommine
whenIfirstheardit.Iwasyoungandthoughtofthesingleas“thatlaughingsong,”thanksto
themaniccacklethatbeginsandendsthetrack.ItwasawhilebeforeIencounteredtheband
again,andthistimeIwasmoreawareofthecomplexitiesEcksteinisreferencing.However,
eveniflistenersarenotawareofanunderlyingmessageofsubversionofthemainstreammusic
5ChristianHoard.2006."Gorillaz.(Concertreview)".RollingStone.(999).6LarsEckstein."Torpedoingtheauthorshipofpopularmusic:areadingofGorillaz'‘FeelGoodInc.”.2009.PopularMusic.28(2):2477Eckstein.“TorpedoingAuthorship.”245
5
industry,mostwillappreciatetheplayfulapproachtosoundandmusicalitythatgivesthissong
andmanyothersbytheGorillazanunrivaledplaceinthemusicindustry.Bothwidelypalatable
anduneasilydefined,theGorillaz’soundhasanextensiverange,anditisforthisreasonthatit
ishardtofititexactlyinasinglegenre.
TheoddityoftheGorillazcontinuesandperhapsintensifiesintheconcertexperience.
Concertsaretheopportunityforfanstowitnessabandphysicallycreatemusic,something
whichisimpossiblefortheGorillazsincethemembersdonotpossessphysicality.Furthermore,
itwouldbeinauthenticforAlbarntoassumethestageandperformthemusicashisown(even
thoughitarguablyis.)Especiallyintheirearlydays,Albarn’sevasionofthespotlighthelped
distinguishthebandasitsownentity.Bytakingthestage,Albarnwouldultimatelydisappoint
fansbyunderminingthevalidityofthevirtualband.Sothen,whatdoesitlooklikewhena
cartoonbandperformsliveinconcert?In2006,1,500fanspayedseventydollarseachto
discoverjustthat,oneofwhombeingRollingStone’sChristianHoard.Theshowfeatureda
“sprawlingcastofcharactersandopen-armedgoodvibes,”thestarsofwhichwere“the
animatedhipsterchimps…poppingupinpuppetformonabalconyforabanteringintroduction
andappearingindreamlikevideosthatplayedthroughouttheshow.”8Accompanyingthe
animatedchimpsonstagewasacollectionofguestmusicianslikeDennisHopper,IkeTurner.
DeLaSoul,anorchestraandtwochoirs.Thehumanguests“wereamixofrefinementand
good-naturedeccentricity,withAlbarnplayingpianoandsinginginaboyishcroonattheback
ofthestage,allowingtheguestperformerstograbthespotlight.”9Anearlierperformanceat
8Hoard.“ConcertReview.”9Hoard.“ConcertReview.”
6
the2002BritAwardsinLondonwassignificantlymoredigitallydependent.TheGorillazopened
theshow,withjustfourloomingscreensforaset.Theshowbeganwhen“thesilhouetted
imageof2-D,theaptlynamedanimatedfrontmanof‘‘virtualband’’Gorillaz,emergedoutof
theprimalmatteroftelevisionstaticinamannerresemblingakeysceneintheclassicsuspense
filmPoltergeist.Threeadditionalfiguresmaterializedonseparatescreens.”10JohnRichardson
wasintheaudiencefortheeventandwroteaboutitlaterinrelationtotheconstructionofthe
virtual.Inthisperformance,“Thebandthemselveswerephysicallyabsent(unlikeKylie,Dido,
Sting,andothers),replacedbyanimatedcaricaturesofthe‘realmusicians.’"Richardsonargues
“thepoorqualityof‘live’soundinthevenue,frequentdisjunctionsinnarrativeflow…allserved
toundermineanysenseofauthenticorunmediatedcommunionbetweenartistsand
audience,”11However,thisearlyshowforeshadowsacommunitythatisundeterredby
unconventionalityofadigitalbandandrather,likeAlbarn,seetheunifyingandcollaborative
potentialofthedigital.
Thebandiscomprisedoffourmembers:frontman2-D,satanicbad-buyMurdoc,
AmericandrummerRusselandcoolgirlNoodle.Thesecharactersperformduringtheirconcerts
andmusicvideos,andhavesocialpresencesonline.Albarnhasbeenquotedsayinghecreated
thecharactersasa“completereactiontowhatisgoingoninthechartsatthemoment…
Everythingissomanufacturedthesedays…Gorillazaredifferent.Theymayonlyappearin
cartoonformbut,believeme,theyarelargerthanlife.”12JamieHewlett’soriginalanimation
10JohnRichardson.2005."“TheDigitalWon'tLetMeGo”:ConstructionsoftheVirtualandtheRealinGorillaz'“ClintEastwood”¹".JournalofPopularMusicStudies.17(1):1-29.11Richardson.“TheDigitalWon’tLetMeGo.”2.12QuotedbyRichardson.“TheDigitalWon’tLetMeGo.”2.
7
styleandthestructureoftheband’snarrativearereminiscentofJapanesemanga,asourceof
inspirationforthecreators.Mangaarecomicswithinstallmentsthatarereleasedoverthespan
ofmultipleyears.Witheachinstallmentreadersstrengthenanddeepentheirperceptionof
characters.Likemanga,theGorillazdevelopasenseofpersonalitiesthroughagradual
revelationofthesecharacters,onlythisisdonethroughdigitalmediasuchasvideos,online
socialprofilesandchatforums.Eachpostonlineisanopportunitytoestablishcharactertraits
andbackstoriesforeachofthemembers.IntricatedetailslikethestoryofhowStuartPotgot
hislastname,orthestoryofMurdocburningdowntheirhomein2005beforemovingtoPlastic
beach,ortheoneofRusselgainingthepowertoinvokethesoulsofdeadrappers,13arestories
thatcannotbetoldthroughmusicvideo,butmattertothesolidifyingofthesecharacters.
Additionally,theyareunlikeotherfictionalcharactersbecausethemembersageinrealtime.
Whenshewasfirstintroduced,Noodlewasachild.Sixteenyearslaterandherfeednow
belongstoayoungadult,herstorydocumentedonInstagramcreatingapermanentdigital
timeline.Whenweasactualbeingsinteractwiththevirtual,itisusuallyanimmersive
experienceforus.TheGorillazareimmersedinourworld.Thebandmembersexistinamiddle
groundofbeingfictionalcharactersbuthavingapresenceinourlivesthatresembleourown.
13“2-D.”GorillazWiki,gorillaz.wikia.com/wiki/
PicturefromGorillazWiki
8
Meet Murdoc Niccals: Although no one is certain, it is said
that Murdoc Niccals was born at a halfway house for “the sick,
the needy and the incredibly bored” on June 6, 1966. Murdoc
grew up with an abusive father, harsh teachers, and cruel
peers. However, Murdoc is not completely innocent. He
“gained a reputation for his truancy, pranks, ugliness, poor personal hygiene and bad
behavior,” He would “lurk” around Sodsworth Comprehensive School while he was
attending, distracting students by quacking at them or causing some other sort of
disturbance. In one instance, Murdoc was insulting a rather thuggish bully Tony
Choppers, and in return received a punch to the face and a broken nose. Despite all this,
Murdoc demonstrated an undeniable charisma and a propensity for convincing people
to take his side.
After school, Murdoc would often perform, at his dad’s will, at a local pub.
Although he resented the way his father forced him to perform, Murdoc found a calling
on the stage. He vowed that as a musician he would not take direction from anybody.
However, he was not opposed to help. In fact, Murdoc enlisted the help of a very
powerful entity to become famous. Murdoc started making deals with the devil, the
ultimate being the exchange of Murdoc’s soul for rock greatness. So, Murdoc became a
Satanist for the sake of becoming a rock god, perks of which include a brand-new bass
PicturefromGorillazWiki
9
named “El Diablo,” a gift from the devil himself, as well as a new middle name,
“Faust.”
Murdoc was in a few bands during the 1990’s, although none of them was very
popular. In 1994, his band, Murdoc’s Burning Sensations, broke up and Murdoc started
hanging around criminals. A few years later, Murdoc and the gang went on a crime
spree, first stealing a Vauxhall Astra, then heading to Uncle Norm’s Organ Emporium
where certain synthesizer equipment had caught Murdoc’s eye. However, he
miscalculated and drove the stolen car into the building, hitting one worker with deep
azure hair directly in the face. Murdoc was arrested, sentenced to 30,000 hours of
community service and an additional 10 hours a week caring for Stuart Pot, the
employee he had sent into a coma. A year into his sentence, Murdoc was driving
accompanied by Stuart’s comatose body when he spotted a group of women. In an
effort to impress, Murdoc launched into a 360-degree spin, sending Stuart flying out the
windshield and hitting the sidewalk. Stuart woke up, now with a pair of black eyes and
twin dents in his skull. Murdoc nicknamed him 2-D and recruited his post-comatose
friend to join his band.14
14“MurdocNiccals.”GorillazWiki.Gorillaz.wikia.com/wiki/Murdoc_Niccals
10
TheGorillazmaintainsitsmusicalandculturalpresenceonavarietyofdifferentdigital
mediainadditiontothetypicalwayslistenersengagewithmusicians.Theirmembers’online
profilesconvergetocreateonewholeandmulti-dimensionaldigitalidentity.Despiteits
significanceasavirtualband,theGorillazdoesnotrepresenteverymodelofconvergence
culturenordigitalcommunication.Therefore,itwillbehelpfulexamineotherdigitalformsof
convergenceculturetocontextualizethemechanicstheGorillazisimplementing.Herewemay
againrefertoHenryJenkinsandhisexperiencewithanonlinefangroup.Inhisbook,
ConvergenceCulture,Jenkinsstudiesvariousformsofdigitaltechnologyanditstendencyto
converge.Jenkinsacknowledgesashiftfromconverginghardware(forexample,theuniversal
remote)toconvergingcontent.15Hedefinesconvergenceas“theflowofcontentacross
multiplemediaplatforms,thecooperationbetweenmultiplemediaindustries,andthe
migratorybehaviorofmediaaudienceswhowillgoalmostanywhereinsearchofthekindsof
entertainmentexperiencestheywant.”16TherelationshipsandcommunicationsJenkins
observesarefacilitatedbytechnology,whetheritbearealtytelevisionshow,anonlinechat
room,oravideogame.Theboomintechnologyisaboominmethodsofcommunication.
However,Jenkinsremindsusthatconvergencecultureis“morethansimplyatechnological
shift.”17insteadithasthepowertoalterthewaysindividualsandengagewithindustries,
technologies,markets,andeachother.Thephenomenonpresentedinthebookisonetobe
praised,asitencouragescommunication,collaborationandparticipationfrommanypeople
overagreatdistance.TheGorillazfitsintoJenkins’modelofconvergencecultureintwo
15Jenkins.ConvergenceCulture.15.16Jenkins.ConvergenceCulture.2.17Jenkins.ConvergenceCulture.15.
11
variations:theGorillazrepresentsacollectiveofinformationspreadacrossavarietyofmedia
and,simultaneously,apointofconversationandareasonforpeopletocometogether.Ontwo
differentlevelsthebandoffersavirtual,digitalpointofconvergence.
AlthoughJenkinsbynomeansassumesallmediatobedigital,themediahechoosesto
engagewithare.TheculturesJenkinsexploresaremostlyfandomsfortelevisionorfilm,butfor
manyofthesefandomstheshowisonlyapartoftheculture.Additionally,aparticipatory
publicinteractswitheachamongstitselfandstudiesthetelevisionshowbydigitalmeans.For
example,asafanofSurvivor,Jenkinsspendsalotoftimewithacommunityof“spoilers,”or
fanswhodedicatetheirtimetodiscoveringtheoutcomesoftheshowbeforetheproducers
themselvesrevealit.OtherfandomslikeStarWarshaveintroducedgames,bothactualand
virtual,thatnotonlyencourageconsumerparticipationbutrequireit.TheGorillaz,initsown
way,requiresparticipationfromitsaudience.Thankstoitsuniquestatusasavirtualband,the
Gorillazplayswithidentityandcelebrityinamannerothermusicianscannot,anditchoseto
constructtheseelementsdigitally.Whileitisnotunusualformusiciansandcelebritiestohave
socialprofilesondigitalsocialnetworks,theprofilesofourbandmembersareuniquebecause
theywerecreatedastheirownentities,independentofaphysicalembodiment.TheGorillaz
canalsoapproachesthehumanbodywithwhimsyandimagination,consideringtheband
membersdonotneedtoexistwithinlimitationsofourphysicalworld.Thechoicetobindthese
fictionalidentitiestofourdigitalbodiesalludestoagreaterdiscussionregardingthevirtual
body,andthereforethevirtualworld,muchofwhichcanbefoundinscholarshipaboutvideo
games.BecausetheGorillazissuchauniquecase,athoroughexaminationofthedigital
12
mechanicstheGorillazismanipulatingpromptsustoexplorevirtualspacesbeyondthosethe
Gorillazisoccupying.
ThereisverylittleaboutsocialmediaplatformssuchasInstagramorFacebookin
Jenkins’book-unsurprisingconsideringitwaspublishedonlythreeyearsaftertheconceptionof
MySpaceandtwoyearsaftertheintroductionofFacebook.However,inthisbookJenkinsstill
believes“weshouldbetalkingaboutcommunalmedia—mediathatbecomepartofourlivesas
membersofcommunities.”18Jenkinsobservesthesecommunitiestobecreatedaroundmedia
suchastelevisionshowsorbooks.Asbothafanandascholar,Jenkinsbelievesintheunifying
poweroftelevision.Hearguesthattelevisionshowsaretheidealsubjectfor“watercooler
conversations,”19conversationswhichhehasacknowledgedhavemovedintothedigitalrealm.
InthepreviouslymentionedSurvivorspoilingcommunity,thesewatercoolerconversations
wereofcourseinspiredbythenarrativeoftheshow,butalsothewaysinwhichmembers
themselvesuncoverthesesecrets.OneofthemembersofthiscommunityisChillOne,alurker
whonotonlytheorizesaboutunrevealedSurvivoroutcomes,butalsoretellsthespoilersonthe
internetforfellowinvestigators.Jenkinsis“lessinterested,ultimately,inwhoChillOneisor
whethertheirinformationwasaccuratethan[heis]withhowthecommunityrespondedto,
evaluated,debated,critiqued,andcametogripswiththekindsofknowledgehebroughtto
them.”20Well,thecommunityrespondsbylaunchingthemintointernetfame.ChillOne’s
formulaforcreatingcontentwassimple:findoutSurvivorspoilersandbeatproducersattheir
owngamebybeatingthemtothepunchline.Theirpostswerearguablymoreeffectiveinstory
18Jenkins.ConvergenceCulture.245.19Jenkins.ConvergenceCulture.25.20Jenkins.ConvergenceCulture.26.
13
tellingthantheshowitself,consideringtheycaptivatedanentiredigitalcommunity,andthey
didsobystrategicallyrevealingorwithholdinginformation.Somewherealongthelinethe
focusofthecommunityshiftedfromtheshowtowhatChillOnehadtosayabouttheshow.
Theiridentitybecameatopicofdiscussion.Membersofthespoilercommunitytheorizethat
ChillOneisacoverforsomeonealreadyinthecommunityorthattheyhadintelfromthe
productioncompany,oreventhattheyaremakingeverythingup.21Intheend,Jenkinsclaims
“ChillOne’sinterventionnodoubtshortenedthelifeoftheSurvivorspoilingcommunity,yet
theymerelyspedupwhatwasgoingtobeaninevitabledeclineofinterest.”22Andinthe
meanwhile,ChillOnevirtually,digitallybecamethepointofinterest.Whatthisgivesusandthis
paperisamodel.SimilartoChillOne,theGorillazisthevirtualcreationofanactualhumanand
servesasapointofconvergenceindigitalmedia.Only,unlikethespoilercommunity,the
Gorillazhassofarbeenabletogrowwithandadapttotheever-changingdigitalmediafield.
Jenkinssays,“SurvivoristelevisionfortheInternetage—designedtobediscussed,
dissected,debated,predicted,andcritiqued.”23IbelievethatwhileSurvivormaybeagreat
example,itisbynomeanstheonlyonlinecommunityofitstype.Infact,Iwouldarguethat
Jenkins’sSurvivorspoilersaretheprecursorstoanewonlinecommunity,thetheorists,whodo
notdiscriminateintheirmusings,andinfactconsidermanynarratives(fromfilm,television,
videogamesandmore)atoncewhenbuildingtheirtheories.“Transmediastorytellingistheart
21Jenkins.ConvergenceCulture.43.22Jenkins.ConvergenceCulture.57.23Jenkins.ConvergenceCulture.25.
14
ofworldmaking,”24andthedigitalespeciallyencouragesthecreationofstories,ideas,and
theoriesacrossplatforms.
AplatformthatseesalotoftheorizingwouldbeRedditthankstoitsmanyuser-
createdboardscalledsubreddits,whicharetheme-basedchatforumswiththeirowntopic,
socialrules,andparticipants.Thisformatallowsformanyandvaryingpointsofconvergence
thatreflectawidevarietyofinterests,whetheritbeHarryPotterorDIYprojectsforthehome,
orcutepicturesofanimals.Itcomesasnosurprisethatmorethanafewsubredditsareinspired
bytheGorillaz.TheofficialGorillazsubredditisfulloffanart,musicreviews,andofcourse
theories.Thesubreddit,likeothersubredditswithintersectinginterestssuchasr/music,has
alsohostedAMAswithabandmemberortwo,ifnotallfourmembersatonce.AnAMA,or
ask-me-anything,isaformatoftenusedonsubredditstoconnectReddituserswithapersonor
groupofinterest.Recently,topromoteitsmostrecentalbumHumanz,thebandparticipatedin
anAMAonr/music.Alsowithinthelastyear,2-DhostedhisownAMAontheofficialGorillaz
24Jenkins.ConvergenceCulture.21.
Fanartbyu/cerrvine,postedtor/gorillaz
PicturefromInstagram
15
subreddit.Iwentoverthequestionsaskedbyfansandthewaysthebandansweredinthese
twoAMAs25anddiscoveredafewthings:fanfavoritebandmembersappeartobeMurdocand
Noodle,sincetheywereaskedforbynamethemost.However,Murdocand2-Darebyfarthe
mostvocal,withoneortheotherofthemansweringmostquestionsnotdirectedtoany
particularmember,andevensomeofthoseaddressingNoodleorRussel.Asforthetopicofthe
question,abouthalfofthequestionsansweredbythebandaddressedmorepracticalmatters–
mattersthatcouldbeaskedofmostbands,regardlessofvirtuality.
Howwouldyouexplainthebandtosomeonewho'sneverheardofyoubefore?
Ifyoucoulddescribeeachofyouralbumsinjustafewwords(say,5?),includingthenewone,whatwouldyousayaboutthem?Whatwouldyousaytothepeoplewhothinkthenewalbumhas"toomuchrapinit"?
Othermemberssimplywantedtoexpresstheiradmiration.
Whyonearthdidyoumakeuswait6yearsforthisgloriousalbum?eitherwaythankyouforreleasingit!
Differentstill,andwhatmakestheGorillazdifferentfromanyotherbandarethequestions
engagingwiththeband’sdigitalandfictionalnature.Thesearethequestionsthatdiscusslore
andengagewiththenarrativeaspectoftheband.
25“AMAWeAreTheGorillazAskUsAnything.”www.reddit.com/r/Music.“HelloWorld2DHereAskMeAnything.”www.reddit.com/r/gorillaz.
16
2D: howdidyoupassthetimewhileinsidethatwhale’sstomach?
I'msurewifiisn'tverygoodinthere.
HasNoodleevermetCyborgNoodle?Ifso,howdidthatmeetinggo?
WhathappenedtoPlasticBeach?
ThesequestionsgivetheGorillaztheopportunitytorevealcharactertraitsandnarrativepoints
andtoestablishtherulesoftheirownworld.Totheuserwhoinquiredabouthistimeinside
thewhale,2-Dresponded,“Thankyouforyourquestion.Ihadtroublefindingawifisignal.So
atfirstIfeltquitelonely.ButIstartedtoenjoyabitofme-timeintheend.Evenwroteafew
songsusingtheribcageasaxilophone.HaveIspeltxlyophoneright?Xylofone.Hangon...”2-D
respondstothequestionandthensome,revealingheissocial,optimistic,andabadspellerin
themeanwhile.Nexttherearethequestionsthataremoreabstract,eitherinsubjectorform.
WhothefuckisthisDamienAlbranfellaandwhyisheconstantlytakingcreditforyourmusic?
Whatdidyouhaveforbreakfast?
Doyoufeelveryblahblahwhenyoublahblahblahblahblah?
Althoughobscureand,frankly,strange,thesequestionsinspiresomeofthebestanswersand
thereforestory-telling.TheGorillazissuccessfulasavirtualbandbecauseitusesevery
interactiononlinewithfansasanopportunitytocultivateitsvirtualworld.Thesimplequestion-
answerformatoftheAMAcouldbeseenaslimiting,buttheGorillazinjectspersonalityand
solidifiestherulesofitsworldineveryanswer.Sincethereislittleleadgiveninstrangeor
17
mundanequestions,thegroupcanreallyflexitsimaginationintheseresponses.Thereis
opportunityalsoforfanstocontributetotheworldbuildingeverytimetheyaskaquestion,
andeveryanswerreceivedisverification.MurdocanswerstheuseraskingaboutDamien
Albarn:“Wedon'tknow,whothefuckisDamienAllbran?Soundslikehe'dmakeagreat
breakfast.”Thisresponseservesagreaterpurposethanjustasamediocrepun.Whilenot
denyingtheconnection,itreinforcestheGorillazasitsownidentityseparatefromAlbarn.The
formatreliesonboththefanstoprovidequestionsandthebandtoelevatethequestionswith
itsanswers.TogetherthefansandthebandcreateandrevealtheintricaciesoftheGorillaz’
world.Theseriesofsmallrevelationscreateasenseofauthenticityasitmirrorslearninginreal
life.MoreimportantforJenkins,however,wouldbetheconvergenceofuserstofurther
developavirtualworldforthesakeofbothbandandfans.JustlikeJenkins’sgroupofspoilers,
thecommunityandtheculturewouldnotexistwithoutthecollectiveeffortofindividual
members.“Thiscirculationofmediacontent—acrossdifferentmediasystems,competing
mediaeconomies,andnationalborders—dependsheavilyonconsumers’active
participation,”26andtheyareduesomeofthecreditforthecultivationofconvergence.The
Gorillazvirtualworldissustainedbyconvergencecultureintwoways:aconvergingoffansand
creatorstowritethenarrativeandaconvergingofmediawithwhichthenarrativeisbeing
written.Asplainasitmightseem,asimplequestionlike“Whatdidyouhaveforbreakfast”isa
brickinacolossalvirtualstructure.Andasyouwonderingwhatthebandhadforbreakfast,
eachbandmemberenjoyedafullservingofnutritiousDamienAllbran.
26Jenkins.ConvergenceCulture.3.
18
Meet Russel Hobbs: Russel is the only American in the group. He
was born in Brooklyn, New York on June 3, 1975. Although a
bright and polite child, he suffered a rough childhood. He was
expelled from a prestigious school for demonic possession and after enrolled at
Brooklyn High School. There he befriended many hip hop artists and musicians. One
day he and his friends were victims of a drive-by shooting incident. Russel, the sole
survivor, became an unwilling vessel of his friends’ spirits which continue to appear.
After the incident, Russel moved to the United Kingdom and found a job at Big
Rick Black’s Record Shack in London’s Soho. One day while he was working a customer
came in and asked to see an obscure 50s record. Russel turned from the customer and
immediately the customer slipped a bag over his head and kidnapped him. The
customer, who was later revealed to be Murdoc, brought Russel to his recently acquired
property, Kong Studios. He and his automotive-accident-victim-turned-friend 2-D
showed Russel the music they were working on. Russel was impressed and decided to
join the band as a drummer. As 2-D’s girlfriend, Paula Cracker, also joined the band he
was the fourth and final member. That was, until, Russel caught Paula Cracker and
Murdoc hooking up in the toilets. Paula Cracker left the band after that and Murdoc
received five more punches to the nose, this time by Russel’s fist. And the band was left
without a guitarist. 27
27RusselHobbs.”GorillazWiki,gorillaz.wikia.com/wiki/Russel_Hobbs
PicturefromGorillazWiki
19
Inthepresentday,manyofouronlinecommunitiesgatherviasocialnetworkssuchas
InstagramandFacebook.However,communitiesarenottheonlyculturalphenomenontobe
foundonsocialnetworks.Anotherwouldbethecreationandpreservationofdigital,social
identities.Understandingthecreationofthedigitalidentityandhowitrelatestothereal
identityismoreeasilyseenwhenfocusingonsignificantandheavily-followedidentitiesonline,
suchastheprofilesofcelebrities,athletesandmusicians.Theycultivateonlineidentitiesas
anotherbranchoftheirselves,perhapsthankstotheeasycommodificationofadigitalidentity.
Inphotosand140characters,withthehelpofmakeupartistsandphotoeditors,celebrities
projectaversionoftheirselfintothedigital,typicallyanidealizedversion.Inasense,weall
formcaricaturesorelseidealizedversionsofourselvesonsocialmediaorinpublicspaces.We
presentthepartsofourselvesthatconstructanimageofusthatwewantotherpeopletohave.
ThemembersoftheGorillazarealsoconstructionsofonlineprofiles.They,however,donot
havetheadditionofphysicalbodiesthatmanycelebritiesdo.Still,theymakeupforalackof
bodybyexpandingthemethodsbywhichcelebritiesandfansdigitallyinteract.Afterall,social
mediaplatformsarenottheonlywaysbywhichwecreatedigitalidentities.
Anelementofthevirtualidentitythatisnotoftenimplementedonsocialmedia
platformsistheavatar,avirtuallyphysicalembodimentofanidentityinanonlineworld.Very
often,avirtualbodycomesintheformofanavatar,andveryoftentheseavatarsare
mechanicsinwhatTiziannaManciniandFedericaSibillacallmassivelymultiplayeronlinerole-
playinggames,orMMORPGs.28ManciniandSibillainvestigatedthewaysinwhichplayers
28TizianaManciniandFedericaSibilla.2017."Offlinepersonalityandavatarcustomisation.DiscrepancyprofilesandavataridentificationinasampleofMMORPGplayers".ComputersinHumanBehavior.69:275-283.
20
engagewiththeiravatarsinahandfuloftheseMMOORPGs.Theyfoundthatusersengagewith
theiravatarstovarietyofdegrees,sometimesusingtheirofflineselvesasaninspirationforan
onlinecharacterbutnotalways.Whenitcomestothecreationoftheavatar,“Avatarsmaybe
closertoeithertheplayer'sactualofflineself(actualization)orhisorheridealofflineself
(idealization).”However,“theplayer’sofflinepersonalityisnotalwaysthestartingpointfor
avatarcustomization;sometimesanavatarembodiesthesociallydesirablecharacteristicsthat
theplayerwouldliketohave,sometimesitembodiessociallyundesirablecharacteristics.”29
Onemightsayourbandmemberspossessafewsociallyundesirablecharacteristicsaswell.So,
despitethefactthatthemembersoftheGorillazaremanufacturedatthehandsofanartist
andmusician,andrememberingthatsomeofAlbarnandanimatorJamieHewlett’spersonality
probablyservedasinspirationfortheband,thecharactersthemselvesstilloperateasunique
personalitieswiththeirownsetofcharacteristics.Buthowdoesanavatarexistinasocial
space?ManciniandSibillafoundthatusersconstructtheidentityoftheavatarnotwith
“individualpersonalityfactorsbutatthelevelofoverallsocialdesirability,i.e.,ratherthan
settingouttoconstructanavatarwhichismore(orless)extrovertthanhisorheractual(or
ideal)self,aplayerfocusesontheoverallpersonalityoftheavatar,”30implyingself-
discrepancy.AlthoughtheydonotexistinanMMOORGP,theGorillazstillexhibitstraitsfound
inthedigitalself-discrepancymodel.Armedwiththistextwecanseethepurposeofthe
Gorillazisnotasrepresentationforthecreatorsbutassocialcreaturesmeantforthe
consumptionoffans.FansarenotdevelopingrelationshipswithAlbarnwheninteractingwith
29ManciniandSibilla.“OfflinePersonalityandAvatarCustomisation.”281.30ManciniandSibilla.“OfflinePersonalityandAvatarCustomisation.”282.
21
themembersoftheband.Albarnisnotthemanbehindthemaskbutratherathirdpartyall
together;heisnotapuppetmasterbutratheraninsidejokeamongthebandandtheirfriends
(fans).
Iseetwoimmediatecounterstomyargumenthere.Thefirstwouldbetheobjection
thatbecausetheGorillaziscomposedofdigitalfictionalcharacterscreatedbyAlbarn,they
themselvesarenotabletofoster“realrelationships.”AndIwouldsaythatistruebutonlytoa
certainextent.ItistruethattheGorillazarenotcreatureswithindependentagency,asthey
arebeingcontrolledbyAlbarn.However,itisalsotruethatthesebandmemberscanform
pseudorelationships,oratleast,fanscanfosterrelationshipswithbandmembers.These
pseudorelationshipsarecalledparasocial,andfiguresrangingfromcelebritiestocharactersin
booksarepotentialsubjects.Theyareoriginatedandsustainedbythefan,andthefansofthe
Gorillazaregoodattheirjob.ThesecondobjectionIanticipatewouldbethethattheGorillaz
arenotavatarswalkingaroundanMMOORGPworld,sotheemphasisontheimportanceof
theirbodiesisreduced.Iwouldagaincounterthatthechoicetocreatebodieshelpsboth
visuallegibilityandmattersofidentificationamongmusiciansandfans.AlbarnandHewlett’s
particularchoicesofbandmembersindicateanassumptionaboutthewayscertainbodies
engagewithmusic.However,withquestionsofappropriationafoot,thistopicisbestleftto
anotherpaper.
22
Meet Noodle: Noodle is the youngest of the group by 15 years. She
was born on October 31, 1990 in Osaka, Japan. She and 22 other
children were subjects of a classified project. The children were
training with the purpose of becoming super soldiers. However, the
project was eventually found to be unethical, and the destruction of
the grounds as well as subjects was ordered. Mr. Kyuzo was the head scientist for the
project, and killed 22 children by order of the government. When he came upon the last
child, an eight year old girl, Mr. Kyuzo was unable to follow through. He had grown
emotionally attached to the girl and could not stand to see her harmed. Instead, he
arranged to hide the child from the Japanese government. To ensure her safety, Mr.
Kyuzo gave the girl amnesia. Before the girl could begin to relearn her memories, Mr.
Kyuzo shipped her off to an address he copied from an advertisement placed in a
British newspaper soliciting guitarists to audition for a band. The girl arrived by a
FedEx freight container brandishing a Gibson Les Paul. She was brought into the
haunted studio, surprising the three boys there when she jumped out of the box and
launched into the “riff to end all riffs.” She ended her performance with a karate kick.
Although she spoke quick Japanese, she could say one English word: Noodle. And so
that became her name. With Noodle to fill the position of lead guitarist, they had a
complete band.31
31“Noodle.”GorillazWiki,gorillaz.wikia.com/wiki/Noodle
PicturefromGorillazWiki
23
WhenIfirstbeganworkingonthisproject,therewasonequestionIneverseemedable
toanswer:whatdoesabandgainbygoingvirtual?Howdoesitmatter?Pastiterationsofthis
projecteithergaveanswersbutprovidedlittlesupport,orelsejustignoredthequestion
entirely.Ratherfaralongintheproject,however,Istumbleduponanarticlethatbroughtthis
discussionfullcircle.WilliamEchard’sworkontheDeleuziantheoryofvirtualityisthemissing
puzzlepiecethatbringsthevirtualtothemusicalandtiesuplooseends.32Althoughnever
displayedintheMuseumofVirtualMedia,Echardprovesthatmusicisamediumjustlikestory-
tellingandthecomputer,amediumthathasthepotentialtoactualizethevirtual.Echarduses
GillesDeleuze’sphilosophyofvirtualityandactualitytodescribemusic’srelationtoboth
instrumentsandthebody.Theideatoapproachmusicasaportaltothevirtualisbynomeans
radical.Musicrevealsthevirtualovertime,whetheritbeathree-minute-longpopsongora
two-houropera.Itbuildsastory,butrequiresanaudiencetohearit,evenifit’sthemaker
themselves.Additionally,musiccreatestheopportunityforconvergence.Thesoundsofvarious
instrumentsconvergeinasong,anddanceaddsanelementofphysicality.Sincemediaarejust
methodsbywhichtoactualizethevirtual,“eachofusconstructsourownpersonalmythology
frombitsandfragmentsofinformationextractedfromthemediaflowandtransformedinto
resourcesthroughwhichwemakesenseofoureverydaylives,”33meaningconvergenceculture
seeksoutmultiplemethodsofactualizingthevirtual.ItiswithEchard’stheorywecannow
reexamineourdefinitionofthevirtualandinvestigatefurtherthemany-layeredrelationship
betweentheself,thedigital,andconvergencecommunities.
32WilliamEchard.2006."Sensiblevirtualselves:Bodies,instrumentsandthebecoming-concreteofMusic".ContemporaryMusicReview.25(1-2):7-16.33Jenkins.ConvergenceCulture.3.
24
IconsideredmanydifferenttheoriesforthisessaybeforereadingEchard’sworkon
musicalityandvirtually,butitwasonlyuponreadinghimthatmyownargumentcame
together.UsingEchard’sworkallowsmetounpackfurthertheterm“thevirtualself”while
alwaysgroundingtheargumentwithinthecontextofmusic.WhatIfindaccordingtoDeluezian
thoughtisthattheterm“virtualself”issomewhatredundantbecausetheselfisinnately
virtual.Echardspendsmuchofhistimedebatingthethreecomponentsoftheactualizationof
thevirtual,alwaysconsideringthelimitationsheldbywhatEchardcallsthemusicalsubjects
performingtheactualization.Ibelievedigitalmechanismslikeanavatarorasocialmedia
platformcanfulfillthesameroleasEchard’smusicalsubjectsbyactualizingthevirtualself,
muchlikeourownbodiesareanactualizationofourselves.Deleuze’svirtualrequiresthe
actual,whichbegsthequestion,whatistheactualinthecaseoftheGorillaz?
Beforemovingon,letustakethetimenowtobreakdownDeleuze’sconceptof
virtualityasusedbyEchard.Deleuze’svirtualencompassesallthatisrealbutnotactual.
Deleuze’svirtualisalsoideal,buthereiswheretheparallelswithourdigitalvirtualityend.As
evidentfromthemembers’backstories,creatorsinthedigitalareinterestedinexploring
identitiesthatarenotnecessarilyself-reflectiveandnotnecessarilyideal.However,idealor
not,thevirtualrequiresacounterpart:theactual.Actualityisnotlessormorerealthan
virtuality,butitpossessesaphysicalitythatvirtualitylacksand,moreimportantly,itisalways
present.Deleuze’svirtualexistsontheedgeoftheactual,alwaysaccessiblebutsimultaneously
fleeting.Thevirtualandtheactualaregreaterthansimpleopposites;theypossessacomplex
andmany-layeredrelationshipinwhichtheactualhasthepowertophysicallyvalidatethe
virtual.“Deleuzeframeseveryhumanactivity(e.g.,philosophy,artandscience)asattemptsto
25
giveconsistencyandactualitytothevirtual,”34andcertainlymusicisnodifferent.Byframing
musicasanattempttogiveactualitytothevirtual,thepossibilityofthevirtualbecomes
apparent.Echardimagines“amusician’shandsandallthepossiblepositionstheycanassume.
Theseconfigurationsareneverallpresenttogether,buttheyarearealpartofthehands.”35In
thevirtual,alltheconfigurationsexistsimultaneously,whileintheactualtheymayonlyexist
onceatatime.Thevirtualisadvantageousinthisway.Althoughmusicalsubjectsgivea
physical,actualpresencetovirtualconcepts,thesubjectsarenotequippedtorepresentthe
conceptinitsvirtualentirety.TheGorillazspecificallycombatthelimitationsofasinglemedium
byusingconvergence.Beyondjustthequestionofpossibility,thereisalsothematterofthe
physicallimitationsofasubjectitself;sheetmusicisunabletoactualizemusicthewayan
instrumentcanandviceversa.Likewise,differentsocialmediaplatformsfacilitatedifferent
sortsofinteractionsbasedontheirmechanisms(evenFacebookandTwitter,platformsthat
prefertexts,fostervastlydifferentwritingstyles).Hereiswhereconvergencecultureis
especiallyhandy.TheGorillazusesamultitudeofmediatoactualizeitsmusicandtheband.By
expandingtherangeofsubjectsperformingactualization,theGorillazbroadensits
representationintheactualworld,theworldofitsfans.
Echarddefinesthreepillarsinhisarticle:theinstrument,theperformingbody,and
music,andproceedstoexplorethepeculiaritiesoftherelationshipsamongthethree:
Abodycanbesubjecttoinstrumentsandtomusic:transformedoverlongyearsofpracticetoastateofproficientcompliance.Or,aninstrumentcanbesubjecttomusicandtobodies:designed,refinedandproducedtosatisfyaestheticandbiomechanicalspecifications.Or,bothcanbesubjecttomusic,andviceversa.36
34Echard,William."SensibleVirtualSelves.”935Echard,William."SensibleVirtualSelves.”836Echard,William."SensibleVirtualSelves.”7.
26
WhileEcharddiscussesthisinmusicalterms,theseconvolutedrelationshipsarealsopresentin
thedigitalactualizationofthevirtual.Amongthese,thethreepillarsIwouldconsiderthereto
bethevirtualwhichneedsactualizing,theinstigatoroftheactualization(orrathertheactual
recipient/observer),andlastlyatooloramodeforactualization.Thedigital,too,dependsupon
thesethreepillarsasitoffersmanymediawithwhichtoactualizethevirtual.TheGorillazand
itsworldarevirtual,butitisbeingactualizedbythevisualembodimentofthecharacters,by
themusicthatAlbarnwrites,andbytheconvergenceofconsumers.So,thequestionisnot
reallywhatdoesthebandgainbygoingvirtual,becausemusichasalwaysbeenamediumfor
virtualawaitingactualization.However,bypairingitsointimatelywithanotherpowerfulform
ofactualizationlikedigitalmedia,theGorillazisexecutingconvergencecultureinamethod
unseenelsewhereineitherindustry.
ThepotentialinfluenceofconvergencecultureisevidentintheGoriilaz’implementation
ofmultipledigitalmeanstoactualizetheirvirtualselves.Convergencecultureisbeneficial
becauseitallowsforamorefair,moreefficient,more“ideal”37collectionofknowledge.Online
communitieslikeSurvivorspoilersareevidenceofconvergencecultureastheyaresustainedby
constantcontributionfromavarietyofsources.Asavirtualband,theGorillaz’approachto
onlineidentityisuniquefrommanyotherartistsoutthere,partiallyduetotheGorillaz’own
dependenceonconvergenceculture.TheGorillazsustainsitspresenceandpositionindigital
culturethankstofaninteractionthroughmedialikesocialmedia,andreddit.Theuseofdigital
bodiesbytheGorillazaidslegibilityandtiestheprojecttothehumanbody,somethingmusic
37Jenkins.ConvergenceCulture.247.
27
requiresbuttheinternetlacks.Thesedigitalmediaareofcoursesupplementarytothemedium
ofmusic,afterallwearetalkingaboutaband.However,itisnothardnowtoseehowthese
digitalmediaarejustanotherevolutionofmoretraditionalmedialikemusic.Aswrittenby
DeleuzeandthenEchard,mediaaremethodsofactualization,andhumanzhavebeen
attemptingtoactualizethevirtualsincetheybegantocreatemusic.Theadditionofdigital
mediabytheGorillazonlyhelptheband’scase.
PicturefromGorillazWiki
28
Bibliography
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