The consequence of deconstruction

First off, this year I will blog a lot more as I want to use the blog as forum for my thinking on many social issues. I've been reading a lot about the punk movement lately, and thinking on how it relates to present day attitudes in the business of music.

Now we are all aware of how little this business pays compared to days of yore when money, women, coke, limos flew around like water for the successful few. Or at least if  we did a little reading we would be. Or if we lived those days as I did. But for the few who are unaware, believe me, it was a different world. A world of aspirations to riches and the household fame. It was a fast train. Full of hype and glitz, and all that punk sought to demolish (god bless 'em). Punk created the antihero/kid-next-door/ no talent/anyone can do this upstart that shook the music world and left an indelible mark. But if there are no riches (nobody actually BUYS music anymore! Christ, Third International ended 2013 at #28 on the national Indie charts courtesy of our DVD, Ides, and we still can't even cover the cost of production!). And gigs are largely either anonymous melees of 100 bands in three days, or small intimate club dates. Either way the road to widespread familiarity with the public is worn out, or at least muddy and pitted.

So I ask myself this: If a young musician is just starting out, why would he bother unless he was possessed, in a demonic sense, with his own need to just GET IT OUT! Expunge it from his soul. He is not going to get rich 'n famous!

I have been at this a long time and so the realization, logistics, expectations, finances are really all fully comprehended here, but for the new and uninitiated, I say; Is it really that important? And what are you rebelling against? There is no big corporate machine that is grinding you into pulp, there are no glamour kings to rail against. There must be more to it . There must be more bourgeois release.

The deconstruction of the industry, the devolution into the cottage industry we know now, the DIY, direct market, know-your-fans present, is a wonderful thing. It brings us closer together, gives the artist the opportunity of doing more exciting, intimate gigs, and allows freer artistic control, but it is a reality that will pinch some, as the nature of stardom disappears behind the charade of network TV competitions and disposable tabloid weeklies.

Welcome one, welcome all.