Notes from the Road – The Age of Entitlement
When I’m off the road and working at home on new material, recording, rehearsing, etc., I spend some time trying to work through piles of stuff that I collect at conferences and other places, reading what seems useful and tossing out what isn’t. In a pile of material from past Folk Alliance conferences past I came across the May/June 2009 Issue of Elmore Magazine. I took a few minutes to scan the pages and let me tell you, this is a rag worth taking a look at! Check them out at www.ElmoreMagazine.com.
A couple of articles particularly caught my attention as they dealt with subjects that fall into my “pet peeves” or “personal soapbox” categories. First was the regular column of Carl Gustafson, “Kickin’ in Your Stall” titled “the unwarping of entitlement.” The theme of the piece is a rant about what we as a culture now expect from life, i.e., what we think life at a minimum owes us in today’s world. He points out that in our modern society we enjoy unparalleled comforts and conveniences (the crummiest jalopy sure beats a horse; there is no such thing as wearing hand-me-downs these days; etc.). In his words: “Our culture is a fireworks display of opulence and arrogance that would retro-stun the imagination of every two-legged creature back to Adam or amoeba, depending on your beliefs.”
Gustafson doesn’t feel much sympathy for folks in general in this economic climate. In his view, the average musician has always been and always will be an expert at surviving in lean times (a constant condition for them) by managing expectations. “I hear radio interviews where some poor bastard is crying that he has to take a job beneath his education level in order to get by. Of course to him get by means not having to sell his boat, second car, lake cabin and having his kids actually work to get through college. It may, God forbid, mean 13-year-old Suzy-Q has to keep the gap in her teeth until she’s old enough to get her own job and doesn’t get that boob-job that’s been the fashion these days for a graduation present.” Tough words, but there’s a whole lot of truth in them. I’m constantly shocked at the number of kids driving new expensive cars in high school and college that their parents obviously bought for them, setting a standard of living for them that the economy may not support in coming years. And, people that I know don’t have the cash resources are living in houses, driving cars, dining at restaurants and taking trips that I know has to be going on plastic or some other form of “maybe someday I can pay for it, but right now I want it” currency.
There was a time when a good life was having the opportunity, with hard work, to support a family with food on the table and a roof over head (even if it was only one or two rooms) that didn’t leak. Everything else was a plus. Now it’s iPods, iPads, iPhones, HDTV connected to a vast array of cable or satellite gathered channels, stylish new cars (financed or leased), large houses (even the smallest hovel is grand compared to what was the norm 75 years ago), foreign vacations, Starbucks coffee, smoothies and name brand clothes. Anything less is considered abject poverty and cause for serious depression / shame / anger / blame.
This sense of entitlement is revealed in our general tendency to avoid responsibility and look to others, principally the government, to extract us from the mess we, at least in some significant part, created for ourselves and to blame others, principally the government and anyone financially successful, for whatever financial distress we experience. We borrowed 120% of the value of the house we were buying when any idiot with a command of third grade math could tell that when the payments reached their peak we would not be able to make them based on our income. But when that day came it was, of course, the bank’s fault for lending us too much money. We make choices and are largely unwilling to pay the price of those choices. We are Enititled. Our own government, both parties, tells us that the solution to our current recession (I think it’s a depression, but what do I know) is freeing up credit so we can borrow more and buy more. Maybe I’m just an idiot, but isn’t that how we got here in the first place?
I’m as guilty as the next – I’ve clung far too much to material things over the years and I’m trying mightily to cure myself. Fortunately I kicked the debt addiction in the last economic malaise we weathered and don’t have that monkey riding my back this time around. Now I’m in the process of shearing down my burden of accumulated stuff, most of which I never needed in the first place – extra music gear, hobby gear (fishing rods by the bundle, etc.) and other assorted “driftwood” I’ve picked up along the way. I’m trying to simplify, economize and focus on those things which are truly important and preserve those things which I truly value.
The second article in Elmore dovetails with the first and actually ties into my recent musings on the treatment of original or unfamiliar music by today’s society. In “I Me Mine – The Economic Incentive Plan,” Alex Lyras berates the digital phenomena of “free music” as one of the symptoms of our “Entitlement culture.” He argues that the immediate gratification of digital music available for theft through file sharing platforms and simple copying has devalued music as an art form. While I see many benefits of the digital age of music in terms of the ability of artists to have their music heard without the backing of the commercial music industry, Lyras strikes a chord with me on the “ripping and burning” phenomena that impacts independent artists on an even greater scale than it does the monied music mainstream which has taken legal action to try to stop it. I hope we all know better than to file share artists’ music on the internet or burn copies of their CDs for friends, family and neighbors.
Where Lyras connects with my prior musings on society’s trend to be indifferent towards music that hasn’t been played ad nauseum on commercial radio is when he quotes some philosophers that before now had escaped my attention. Adorno and Horkheimer, key members of the Frankfurt School, coined the term “culture industry” in their book Dialectic of Enlightenment, 'The Culture Industry: Enlightenment as Mass Deception' in 1944. Lyras explains their theory “. . . that popular culture was manufacturing standardized entertainment to manipulate the hoi poloi (us!) into complacency; the easier it is to consume these popular pleasures, the more docile and content we all become. They admonished that mass produced products posed a direct threat to the higher arts by manufacturing false desires (“creating demand”) that mass produced, standardized products could then satisfy. The toxic side effect is an atrophied sense of quality.” WOW! Now THAT says a mouthful to me and, to a large extent, provides an attractive, though tragic, answer to my question posed at the outset of my ponderings on original music - What is it that makes original music less instead of more? DISCLAIMER: this is still NOT intended to apply to those exceptional classic songs and traditional folk songs we all know and love. To the extent they arose out of the “Culture Industry,” let’s just say that even a blind pig finds an acorn now and then!
Lyras drives his point home with a quote from Chrissie Hynde, the leader of the rock / new wave band The Pretenders. “Rock used to be a secret between the artist and the audience. Now, it’s turned into a sport. Musicians are hitting gyms because image is more important than content.” I think we’ve all seen that happening in many, many phases of the arts – and in society in general. We have become a very image, appearance conscious crowd as a whole. That’s one thing I admire about nudists – they accept each other as they are without hiding behind adornments, disguises and facades.
In any event, Elmore Magazine is definitely recommended reading. It covers the art of music across all genres (except, perhaps classical, opera, etc.) and is bi-monthly (six issues for $18). Another new music magazine, available only on line, is Driftwood Magazine (http://driftwoodmagazine.com). This comes from the former editors of Dirty Linen, a great print magazine which seems to have gone down the tubes. Driftwood is heavy on music reviews in folk, world, roots, alternative, rock, and indie music. I’ve just gotten my first weekly digest edition which features an article on Cheryl Wheeler and reviews of releases by Audrey Auld, Grant-Lee Phillips, Peter Case, The String Cheese Incident and Tom Fisch. Subscription is (at this point) free so check it out.
Doug
"It's not how far you've come, it's what you've done with the miles"
"It's not how far you've come, it's what you've done with the miles"
Doug Spears
36 Interlaken Road
Orlando, Florida 32804
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INTERESTING FLORIDA FACTS:
· There are 882 islands or “keys” in the Florida Keys which are large enough to be recorded on the maps of the U.S. Coast and Geodetic Survey.
· The total recorded length of all streams in the Sunshine State is 10,550miles.
· The St. Johns River is the longest river in Florida. Its length is recorded variously as 273 miles long (U.S. Geological Survey) to 318 miles long (State Board of Conservation). The reason for this confusion is that the river’s headwaters are so ill-defined that it is impossible to determine with any certainty the river’s point of origin.
· Florida has 4,510 islands ten acres or larger in size, which is the second highest total in the United States. Only Alaska has more islands.








