#resist is a summary of Kony 2012’s blunders. It comes from a sincere place in the heart, that these aphorisms and bold statements mean something to the overall anti-Trump/conservatism/capitalism debate. Yet the object itself is hollow and toxic to its historical significance as it emphasizes a meaninglessness of the word: it is now an electronic utterance, to be tacked on to faceless statements and forgettable social media posts. Also tragic is the misconstruing of a social network tagging feature (#) as a tool of rhetoric and change. “#resist” has been converted into category and quietly filed away on servers, like the rolled up poster of a raised fist waiting in an Amazon warehouse.
There is nothing more inoffensive than the state of the art of electronic dance music. The Adana Twins seem less made to move someone than to be incorporated into an example track on a future Korg iPad synth. Clap. Beat. Clap. Beat. Clap. Beat. Clap. Beat. etc. Don’t forget about the half-way build up to the sound of the beginning. Any movement to this music is an exercise in masochism: it is withholding, turning “fun” into a reward rather than as a dynamic element in the track. The music culture revolves around the DJ taking away rather than giving, like a God for the physical music consumer.