I’m enough of a nerd that I just might buy this “album”

According to Pitchfork, Fiery Furnaces’ new album won’t be an “album” at all, in the way we’re used to thinking about albums.  As opposed to releasing a sound recording, they’re releasing

instruction, conventional music notation, graphic music notation, reports and illustrations of previous hypothetical performances, reports and illustrations of hypothetical performances previous to the formation of their hypotheses, guidelines for the fabrication of semi-automatic machine rock, memoranda to the nonexistent Central Committee of the Fiery-Furnaces-in-exile concerning the non-creation of situations, Relevant to Progessive Rock Division, conceptual constellations on a so-to-speak black cloth firmament, and other items that have nothing to do with the price of eggs, or milk, or whatever the proverbial expression ceased to be.

Try reading that all in one breath.

Grandiose and hipsterish as this may be, it’s kind of a cool idea.  It’s intended to be avantgardesque (yeah, only “-esque”) but ironically (perhaps that’s the point) is throwing us back about 100-150 years to the heyday of American sheet music publishing–an era when many homes had a piano, guitar, banjo, fiddle or accordion (etc. etc.) and several people who could play and/or sing, and who consumed their pop music by buying broadsheets, or inexpensive simplified sheet music arrangements, then performing for friends and family.

Pitchfork kind of hates on this as a liquid-courage-inspired, lazy-musician’s-way out.  That might be true, but I like the fact that it forces audience participation in a way that we haven’t seen explicitly required since the advent of recording technology.  I also like the fact that listening to this “album”–just like in the days before everyone could afford a phonograph–requires a group of people to get together.  I like the fact that, though visual representations of sound have their own limiting effects, the ambiguity of the “album” (yes, I will persist in using scare quotes) allows for a diversity of representations without worrying about intellectual-property tussles.  I really dislike the potential for music snobbery and clique-iness that is inherent in this project, but that’s an occupational hazard of indie/prog rock anyway.

More to come if/when I get my hands on this.

Quick and dirty addition

My friend Zachary Levine, the swashbuckling sports journalist, proposed an addition to the quick and dirty guide to cultural snobbery that I thought was apt:

9) Subscribe to the New Yorker even if you understand every third word and every fourth cartoon. This is good because it doesn’t require too much effort to impress your friends–leave it lying around on your coffee table (better yet, your bedside table or desk) and they’ll think you’re great.  Don’t feel obligated to actually read it most of the time; after all, that’s what online media is for: to disguise your lowbrow reading habits.  Just read the occasional Malcolm Gladwell or Alex Ross article to keep up cocktail-party impressions.

Disclaimer: If you subscribe to the New Yorker, I think you–wanting to avoid cultural snobbery in favor of being cultured–should read it (and I think Mr. Levine would agree with me).  I’m not advocating using it as a weapon of highbrow superiority.

Quick and dirty guide to cultural snobbery in the digital age

James Wolcott explored the ramifications of digital media on our ability to be cultural snobs in next month’s Vanity Fair (it’s so weird that I can use the past tense to refer to next month’s issue, but you know how magazine print schedules work)–essentially saying that, as our collections of music, film, books, etc. are digitized, we will have fewer and fewer tangible objects to show off to our friends (and potential, uh, romantic partners, as his anecdote about the early Playboy empire shows).  However are we to show our exquisite good taste if we don’t have a collection for our friends to inspect at house parties?

Wolcott suggests that “we’ll just stock up on other possessions, which will be arrayed and arranged to show off not our personal aesthetics or expensive whims but our ethics–our progressive virtues.”  Maybe we’ll do that too, but I think people will always find a way to express their superior aesthetic sensibilities.

Here’s how, at least for music (not in any particular order):

1) Curating the perfect playlist for group listening. What better way to show off your collection than by having your friends listen to it when they come over?  Instead of throwing on the typical party-type songs (if you’re the frat across the street from me, this means an endless rotation of Journey, crunk and Lady Gaga…knock it off already) certain kinds of people will be obsessive about creating mixes that not only set the right mood but also show their superiorly obscure, cutting-edge, and eclectic tastes.  This could be good (maybe the jerks across the street would play something different?) or bad (do you really want to listen to that one friend–we all have at least one of these–blathering for hours about his/her efforts?).

2) Merch. Expect an increase in the number of band t-shirts, posters and other stuff bought and ostentatiously worn/used/displayed by culture snobs.  This tendency may very well extend to strange obsessions such as not washing a concert t-shirt worn in the (tangential) presence of the artist or keeping posters in their original packaging and other weird collector-type behaviors.

3) Increased concert attendance. What better way to show you like an artist than to shell out a lot of money to listen to them live more frequently?  This is clearly not a bad thing in itself, in fact concerts are usually a lot of fun and are much more economically beneficial to the artist than buying their album, so it’s a win-win situation.  Expect the culture snob to talk a lot about each show though and frame or display tickets and/or set lists.

4) A rise in music-subculture-influenced fashion. This is clearly not a new idea, but I think absent other tangible indicators of taste in music people will want to wear it on their bodies if they want to show off what scene they belong to (or, you know, have lined up in their iTunes if nothing else–what’s up, suburban teenagers).  Perhaps styles characteristic of a particular artist or group will be more widely copied or individuals will more strictly adhere to music-genre-based dress codes.

5) Making one’s opinions publicly known via other forms of media. This will certainly include blogging (I won’t snark on this, because I’m uh, writing this on a music-oriented blog) and for the pluckier sorts could even include a column in a newspaper or magazine, or hosting a radio or TV show, including (video) podcasting.

6) Talking about one’s good/diverse/obscure/etc. taste all the time. Yikes.

7) Going old-school and buying tangible media products. Note that vinyl is the fastest-growing category of music sales.  People will do the bulk of their listening on digital, but true culture snobs will have a secondary collection of archaic but better-sounding music technology in order to impress others and hopefully heighten their personal enjoyment.

8 ) Playing music oneself. There’s no better way to appear to know things about music than to be a decently skilled musician.  Even better if you are better than decent.  Get practicing!  This is my favorite option, no sarcasm.  I think it is the best way to inculcate actual knowledge with a minimum of cultural snobbery.

Books are a whole other story.  I wouldn’t be surprised if things like reference books stopped being published in hard copy, but I’m inclined to think there will always be a market for certain types of books (fiction, interesting non-fiction), because people enjoy relaxing with something that looks good, feels nice and has something interesting between the covers, or because certain situations just call for paper books (i.e. cookbooks).

In all though, I think the digitization of media is generally a good thing.  It’s cheaper and easier to produce, faster and more efficient to transport, relatively easy on the environment, and doesn’t take up too much space.  There are clearly drawbacks, as anyone who’s ever lost all their music after a hard drive crash can attest–and more sinisterly, the fact that Amazon remotely deleted books from Kindles this past week after it realized it had mistakenly sold books it didn’t have the proper licensing for.  The technology can be good–but people have to use it the right way.

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