Does sending a copy of your release to be reviewed by magazines/online magazines who deal with "difficult" music matter anymore?
I think gatekeepers still in delusional trip (remnant of a bygone era) because there are no more gates to keep in the internet era.
I think this is a really interesting but extremely complex question. (I preface ALL what follows with IMO).
For want of a better description we live in a culture which is, or attempts to be 'dynamic'. And with this culture there appears two opposing drives. The need to be an individual, to matter, and the tendency to be (want to be?) identified as part of a group. This is typical it seems of an industrial / capitalist system. There are other cultures where this doesn't happen, where there exists a steady state and maybe we will enter into such at some time. This would represent the 'bygone era' idea. Though I think maybe not yet. The various shades of Metal. PE and Noise, HN HNW represent 'nodes' (as do identity to even more specific 'artists') to which individuals – as above – can identify. Central to the post-modern schizophrenia is the identity/individual paradox. Here – in SI “"difficult" music” creates, or is used as these 'nodes'. Others include such things as the Hipster phenomena, XR, and notably LBGT, which shows this process is not static, as it's now morphed into LGBTQ+ .
So the scare quotes around 'artists', if we say take “Dominick Fernow is an American experimental musician, poet and multimedia artist” as an example. Recognised here as such by some maybe, but generally I have doubts. Any more than Masami Akita is or Sam McKinlay. They are significant figures in a fairly small genre. From a 'High Art' perspective they are (it could be contentiously argued) no more significant than someone like Taylor Swift (or whoever now is located within that genre). The terms ' experimental musician, poet and multimedia artist' were borrowed to elevate a musician to a higher status.
For want of -TLDR the Bill Drummond case and the stuckists are evidence enough. Drummond made millions with the pop group KLF but wanted High Art Status, which he sort in the K foundation, challenging the High Art scene, which culminated in his burning a million pounds. He is still attempting though to break into the High Art world. “Stuckism is an international art movement founded in 1999 by Billy Childish and Charles Thomson to promote figurative painting as opposed to conceptual art. “
Well Childish was/is the dumped partner of Tracey Emin who made it big with the YBAs back in the 90s. He also formed a band using antique guitars and amps and even tried his hand at gardening.
So what of the original question, gatekeepers are needed, they still exist in High Art, they function to create these 'genres' by exclusion, inclusion, but also represent something to react against. i.e. Bennett thinks noise just a coffee table fashion.
Conclusion.
So while there is a thing called 'Art' in which concerns are internal to that, there is the other 'popular art' forms giving individual identities. And Gate keeping provides both negative and positive constraints on these activities.
'Popular' in that the music is 'liked' but also used as a means of identity. As for 'difficult', well again High Art has been there n.b. Warhol's Empire, Duchamp & Cage... etc.
P.S.
“there are no more gates to keep in the internet era.”
Well maybe, but the internet is really only yet another means of mass communication, like printing, books, newspapers, the railways, motor cars, air travel, photography / film, sound recording, radio and TV. More a proliferation of ever changing gates, which might result in a (ever faster) circular rather than 'progressive' movement.
And all these made huge impacts on society, obviously including music. And i'd say printing was probably the biggest to date, ended over a millennia of fairly static culture?
[/quote
Does sending a copy of your release to be reviewed by magazines/online magazines who deal with "difficult" music matter anymore?
I think gatekeepers still in delusional trip (remnant of a bygone era) because there are no more gates to keep in the internet era.
I think this is a really interesting but extremely complex question. (I preface ALL what follows with IMO).
For want of a better description we live in a culture which is, or attempts to be 'dynamic'. And with this culture there appears two opposing drives. The need to be an individual, to matter, and the tendency to be (want to be?) identified as part of a group. This is typical it seems of an industrial / capitalist system. There are other cultures where this doesn't happen, where there exists a steady state and maybe we will enter into such at some time. This would represent the 'bygone era' idea. Though I think maybe not yet. The various shades of Metal. PE and Noise, HN HNW represent 'nodes' (as do identity to even more specific 'artists') to which individuals – as above – can identify. Central to the post-modern schizophrenia is the identity/individual paradox. Here – in SI “"difficult" music” creates, or is used as these 'nodes'. Others include such things as the Hipster phenomena, XR, and notably LBGT, which shows this process is not static, as it's now morphed into LGBTQ+ .
So the scare quotes around 'artists', if we say take “Dominick Fernow is an American experimental musician, poet and multimedia artist” as an example. Recognised here as such by some maybe, but generally I have doubts. Any more than Masami Akita is or Sam McKinlay. They are significant figures in a fairly small genre. From a 'High Art' perspective they are (it could be contentiously argued) no more significant than someone like Taylor Swift (or whoever now is located within that genre). The terms ' experimental musician, poet and multimedia artist' were borrowed to elevate a musician to a higher status.
For want of -TLDR the Bill Drummond case and the stuckists are evidence enough. Drummond made millions with the pop group KLF but wanted High Art Status, which he sort in the K foundation, challenging the High Art scene, which culminated in his burning a million pounds. He is still attempting though to break into the High Art world. “Stuckism is an international art movement founded in 1999 by Billy Childish and Charles Thomson to promote figurative painting as opposed to conceptual art. “
Well Childish was/is the dumped partner of Tracey Emin who made it big with the YBAs back in the 90s. He also formed a band using antique guitars and amps and even tried his hand at gardening.
So what of the original question, gatekeepers are needed, they still exist in High Art, they function to create these 'genres' by exclusion, inclusion, but also represent something to react against. i.e. Bennett thinks noise just a coffee table fashion.
Conclusion.
So while there is a thing called 'Art' in which concerns are internal to that, there is the other 'popular art' forms giving individual identities. And Gate keeping provides both negative and positive constraints on these activities.
'Popular' in that the music is 'liked' but also used as a means of identity. As for 'difficult', well again High Art has been there n.b. Warhol's Empire, Duchamp & Cage... etc.
P.S.
“there are no more gates to keep in the internet era.”
Well maybe, but the internet is really only yet another means of mass communication, like printing, books, newspapers, the railways, motor cars, air travel, photography / film, sound recording, radio and TV. More a proliferation of ever changing gates, which might result in a (ever faster) circular rather than 'progressive' movement.
And all these made huge impacts on society, obviously including music. And i'd say printing was probably the biggest to date, ended over a millennia of fairly static culture?
Yes we do live within an "age". I shit you not to deny this.
But having read and understood the qu
Does sending a copy of your release to be reviewed by magazines/online magazines who deal with "difficult" music matter anymore?
I think gatekeepers still in delusional trip (remnant of a bygone era) because there are no more gates to keep in the internet era.
I think this is a really interesting but extremely complex question. (I preface ALL what follows with IMO).
For want of a better description we live in a culture which is, or attempts to be 'dynamic'. And with this culture there appears two opposing drives. The need to be an individual, to matter, and the tendency to be (want to be?) identified as part of a group. This is typical it seems of an industrial / capitalist system. There are other cultures where this doesn't happen, where there exists a steady state and maybe we will enter into such at some time. This would represent the 'bygone era' idea. Though I think maybe not yet. The various shades of Metal. PE and Noise, HN HNW represent 'nodes' (as do identity to even more specific 'artists') to which individuals – as above – can identify. Central to the post-modern schizophrenia is the identity/individual paradox. Here – in SI “"difficult" music” creates, or is used as these 'nodes'. Others include such things as the Hipster phenomena, XR, and notably LBGT, which shows this process is not static, as it's now morphed into LGBTQ+ .
So the scare quotes around 'artists', if we say take “Dominick Fernow is an American experimental musician, poet and multimedia artist” as an example. Recognised here as such by some maybe, but generally I have doubts. Any more than Masami Akita is or Sam McKinlay. They are significant figures in a fairly small genre. From a 'High Art' perspective they are (it could be contentiously argued) no more significant than someone like Taylor Swift (or whoever now is located within that genre). The terms ' experimental musician, poet and multimedia artist' were borrowed to elevate a musician to a higher status.
For want of -TLDR the Bill Drummond case and the stuckists are evidence enough. Drummond made millions with the pop group KLF but wanted High Art Status, which he sort in the K foundation, challenging the High Art scene, which culminated in his burning a million pounds. He is still attempting though to break into the High Art world. “Stuckism is an international art movement founded in 1999 by Billy Childish and Charles Thomson to promote figurative painting as opposed to conceptual art. “
Well Childish was/is the dumped partner of Tracey Emin who made it big with the YBAs back in the 90s. He also formed a band using antique guitars and amps and even tried his hand at gardening.
So what of the original question, gatekeepers are needed, they still exist in High Art, they function to create these 'genres' by exclusion, inclusion, but also represent something to react against. i.e. Bennett thinks noise just a coffee table fashion.
Conclusion.
So while there is a thing called 'Art' in which concerns are internal to that, there is the other 'popular art' forms giving individual identities. And Gate keeping provides both negative and positive constraints on these activities.
'Popular' in that the music is 'liked' but also used as a means of identity. As for 'difficult', well again High Art has been there n.b. Warhol's Empire, Duchamp & Cage... etc.
P.S.
“there are no more gates to keep in the internet era.”
Well maybe, but the internet is really only yet another means of mass communication, like printing, books, newspapers, the railways, motor cars, air travel, photography / film, sound recording, radio and TV. More a proliferation of ever changing gates, which might result in a (ever faster) circular rather than 'progressive' movement.
And all these made huge impacts on society, obviously including music. And i'd say printing was probably the biggest to date, ended over a millennia of fairly static culture?
I do believe that this topic regards the value of sending paid for copies of a release to a person for their opinion.
I read & understood your response, but feel you failed you address the question asked..
I got a lot from you said besides that.
Thanks
