the quote closet

Welcome to where I keep quotations and images of interest for my own edification and yours if you like. My website is here. Enjoy!

“There’s something odd about telling people, artists, that they need to work for free to be pure while you’re sitting there getting a salary that ultimately is paid by a generation of young people going deeply into debt for their education.”

—   

Someday I will tell you all stories about theater school that will make you cry. Or scream. This quote from Astra Taylor reflects one of them.

(ON THE OTHER HAND we must break down that many faculty members don’t get “salaries” per se because they’re adjuncts, and others do get a salary but it’s very small, and the whole “work for free” culture may also derive in part from that.)

(HT: The Billfold, again. I should just requote all their stuff.)

(Source: hello-the-future)

Beyoncé releases an album – within a week it's as if it had never happened

THIS: “Don’t trust yourself so much.” Yep. Do the work. Be humble.

tomewing:

This is almost total horseshit -  a lot of third-hand observations about social media, some of which are sometimes true about some things, wrapped around a really TERRIBLE example, a record that was the subject of passionate, sustained conversation among its main audience, with major ripples beyond. And maybe - just maybe - a 50something British white guy isn’t part of that audience, isn’t the best placed to judge how much “impact” the record had or how “important” it was to people. (Though simply by virtue of being on Tumblr this 40something BWG managed to twig that SOMETHING was up.)

No, the problem here - and I’m not even talking about Hepworth here, bad as the article is it’s a symptom, a symptom of something I suffer from too. An open letter to me, then.

The problem is that you hit a certain age and you stop doing the work. You assume that if conversation’s not happening amongst your ossifying set of professional contacts, it’s not happening anywhere. You imagine that your contributions are such that you will know what’s up by right, by licking a finger and sticking it into the air and sitting back down on your arse and re-typing something you once read about the internet.

Though, OK, “The revolution happened in distribution”, that’s a fair starting point. You can work from there. You can think about what that means for how stars present themselves, for how people become stars, for whether “singles and albums” are the best way of thinking about what a pop star does, about the art, the presence, “the content”. Though in this record’s case, there is content to spare. Maybe get specific and talk about how Beyoncé in particular is a really fascinating figure in this shift, coming up in the CD boom heyday and adapting (unlike almost any of her peers) partly by trying new things out.

What does it mean - just looking at the simplest, most public facts - that musicians dominate Facebook and Twitter fan scorecards, that music is so enormous on YouTube? You could take the analytic route - try and work out what the half-life of a song, or a video, is these days. Or you could take the journalistic route, find the people who Beyoncé means something to - something bad, something wonderful - and bloody ask them.

It’s not just lazy. It’s fine to get lazy. I can’t keep up any more, that’s just a fact. You don’t stop being useful - I hope! - you become more of a historian, turning your eye on the past a little more. Maybe use your experience as a scalpel on the times you lived through, not as a weapon against the present? No, fine, you don’t have to do that at all, if the present sucks people should say so. But not so ahistorically. When distribution shifts, exciting things happen. We can look at the history of radio, Dansette record players, sheet music, MTV, as evidence for that. Look for what’s changing. People aren’t mugs, or no more than they ever were. Look at why they care. Don’t trust yourself so much.

Just warming ip the mandonoodler. #mandolin #mandodoxy (at Austin-Hudgins Arts Collective and Book Nook)

#occupycomps  (at Austin-Hudgins Arts Collective and Book Nook)
Thinking about music, multi-culturalism, and who decides  (at Pacific School of Religion)
The chapel is dressed for Eastertide. Homiletics begins at 2:10.  (at Church Divinity School of the Pacific)

“And on and on this goes. We can sing “great cloud of witnesses” until we’re as blue in the face as the cover of our hymnals, but the truth is that the words don’t always meet the nostalgic yen. Still, we try. We play songs. We offer prayers. We appropriate the cultures of the past retooling them for our own nostalgic proclivities.”

I want to start with a statement: Hip-hop has taken over black music. At some level, this is a complex argument, with many outer rings, but it has a simple, indisputable core. Look at the music charts, or think of as many pop artists as you can, and see how many of the black ones aren’t part of hip-hop. There aren’t many hip-hop performers at the top of the charts lately: You have perennial winners like Jay Z, Kanye West, and Drake, along with newcomers like Kendrick Lamar, and that’s about it. Among women, it’s a little bit more complicated, but only a little bit. The two biggest stars, Beyoncé and Rihanna, are considered pop (or is that pop-soul), but what does that mean anymore? In their case, it means that they’re offering a variation on hip-hop that’s reinforced by their associations with the genre’s biggest stars: Beyoncé with Jay Z, of course, and Rihanna with everyone from Drake to A$AP Rocky to Eminem. (via Questlove on How Hip-Hop Failed Black America — Vulture)
Liturgical marketplace? Anyone? 

 (via Liturgical Nostalgimania | Anglobaptist.org)