Firstly, great tip off on the Dryhurst essay @replica. I have mixed feelings about some of his writings, but in general, my interactions with him online have been very supportive and kind and it was a blast to read a piece not written by Thomas Cox where I was just nodding my head the whole time.
-Firstly, to echo @criminiminal’s sentiment that this thread went on for so long without acknowledging such a crucial structuring element of musical reality, since Twitter keeps giving me notifications about shit that doesn’t involve me, it does actually help me see tweets I wouldn’t otherwise see because I can’t really spend time on that platform…it’s always just felt genuinely unhealthy to me (but hey, I post on it cuz other people aren’t gonna talk about me, I gotta remind people I exist as much as I hate it). Anyhoo, I was quite happy to log on and see Zola Jesus make this following post:
I literally was writing a show review last night that was Ploy, Piezo, Batu, and Forest Drive West along with three local DJ’s and the second I walked into the abandoned Manhattan office building in which the party was being held, it was just like, oh, obbbbbbviously whoever throws this party has money and connections I could never dream of…the tix were $50 (I got listed by one of the DJs, thank dog) and the organizers had the gall to call for volunteer help (though it was the first proper sound system I’ve seen at a NYC party in some time but still, quite a luxury).
To go back to @criminiminal:
“I’ve been hesitant to use terms like “trustfunders” because 1) I don’t want to come off as bitter (which I am) but mostly 2) I’m honestly just happy that there are people out there using their wealth to create art/communities instead of buying Porsches.”
Yes, this is the mature and healthy attitude (though trust bruv, they are also definitely buying nice cars as well that cost more than our homes/year of rent). But really, I’m done tolerating this shit…should someone be shamed for having money and wanting to “contribute” to the culture? No! But when it’s ONE class of people doing it who often shared the same east coast private boarding schools and liberal arts colleges, it’s not good for anyone. And it’s not always trustfunders…I’ve known some savvy label heads who just knew how to secure eccentric investors and I’m a bit more forgiving to that latter strategy as that’s my only hope for ever getting my own shit off the ground as I refuse to work with corporations. But still, it’s important to see where the money is coming from and who it’s ultimately benefitting (probably more ego than artisty). I’m truly not trying to strike a kill the rich stance here, but while I feel this is something I talk about daily with my close music friends, it’s not a discussion that’s as ubiquitous as it should be…though I also have a hard time seeing anything changing as a result of it.
What’s important in my mind is to just always keep an eye towards capital and how our love for art and music can actually lead us to catering to and allowing the bourgeoisie to continue to set the cultural agenda, as they have for the whole of modernity and post-modernity (any exception tends to prove the rule in my book).
OK, apologies for the rant…depression makes me a shittier writer;) Also, is anyone familiar with Mark Fisher’s writings on mental health and capitalism? That’s an idea that always appealed to me just because I personally have felt that connection in many ways.