I’ve been wondering about the way that I choose what music to write about, what the reasons for those choices are, and what the consequences of them might be. I feel I’ve been fairly rigorous in examining the way I think and write about specific pieces of music in detail, and I’ve gone to the effort of engaging with (relatively) current schools of thought in critical theory in order to inform my thinking. But this basic question, related both to my personal tastes and to the utility of my blogging, has remained something of a black box. I decided to have a poke around and see what I could break…
The more I write about different things, musical aesthetics, the music business, music industry politics, culture and all the rest of it, the less I feel like I’m writing about different things. It’s only when I take a step back that I can see how abstruse and theoretical some of the things I say about aesthetics, for example, must appear, because for me there is nothing less political about a topic like that than there is about any overtly social subject. Everything is political, everything is aesthetic, everything is emotional, everything is spiritual and everything is subject to fruitful theoretical examination …
There’s a music scene in your local town or borough. People obsessive or foolhardy enough to make the effort are inventing noises, and making them at other people. The chances are (particularly with small town scenes) that there’s a fair diversity of styles and genres involved, and you’ll probably find pub gigs where sludge metal bands share the bill with indie rock outfits, or punk bands with funk acts. This is the beauty of geographically specific scenes, because it’s always good, for musicians and audiences both, to make connections between musics: that’s where exciting new sounds come from.
Two deaths loom large this week. The first is of a seminal figure in the history of the acoustic steel string guitar, folk innovator Bert Jansch. First coming to widespread attention as a part of folk/ jazz fusion pioneers Pentangle, his playing was influential on more than one generation of guitarists, starting with his contemporaries such as Jimmy Page. Here’s his obit in the Guardian: http://www.guardian.co.uk/music/2011/oct/05/bert-jansch and here’s one from The Quietus: http://thequietus.com/articles/07121-bert-jansch-obituary
Previously on Saturday Summary, Carmen is becoming suspicious of Raoul’s friendship with Anneka, while Jackson is paranoid that The Beast suspects him of involvement in Algernon’s disappearance… And also, I didn’t post any how-tos or regular bloggery, because I just got carried away with all the exciting Facebook news (yawn). So here’s a more balanced selection of links in the absence of any Major Events.
This week your intrepid investigative correspondent has conducted a great deal of painstaking and potentially dangerous research, to discover that the main story around the new music industries is the f8 Facebook conference. Frankly I find the whole thing rather tedious, as my personal interest is in the varied, individuated, customized and hackable, rather than the monolithic and conventional, but it’s moderately likely that the announcements have some real implications for people’s listening and sharing habits in the near to middling distance.
As far as I’m concerned, extending the copyright in sound recordings to seventy years is a depressingly retrograde step. The argument usually advanced is that royalties on recordings represent an important income source for aging session musicians who failed to make any provision for their old age. Well, I also have failed to make any provision for my old age, but when I’m old I won’t be asking anyone to carry on paying me for work I did in my 20s and 30s.