I’m a pretty begrudging late adopter of the music blogosphere; someone deeply skeptical about its grandiose claims of revolutionary potential. At this point, it appears little more than an en masse, passive, bitchy decimation of one particular group’s intellectual property rights. The technological ease of the theft has made the debate all the more quaint, because technology often demands moral imperatives where there clearly is none. The disembodiment of the internet makes the debate all that much more surreal. If I could find the technical means to steal a bunch of Cindy Sherman’s original photographs, few people would hail me as somehow changing the paradigm of a consumerist society, robbing all those evil corporate, um, artists. Just as the internet gives all fat people “swimmer’s builds” (i.e. floats in water), it also provides a home to philosophical fantasy and ugly displays of id. No insult is too impolitic, no opinion to stupid to utter, no thoughtlessness too thoughtless. The MP3 is not an actual CD in your hand and the person you’re calling an asshole is not sitting in front of you bearing your brunt.
Which is why I find the morphology of Perez Hilton to be a fetching snapshot of the music stealing revolution. On the one hand, I can totally appreciate a good scam. I love televangelists and Ryan Phillippe. And, if I’d thought of Hilton’s signature photoshopped jizz on celebrity photographs first, I would have done him one better and used the real deal and scored an NEA grant with heralded works like “Money Shot Hasselback”. But if all these prominent bloggers really want is better paying jobs in the industries they’re economically undermining, what revolutionary content is left in the act of releasing an album early or parlaying your cum stain photography into a Hot Topic line of John Hughes casual wear? Worse still, is Hilton’s idea for his own record label. Don’t we remember how evil those people are? They never gave artists enough money anyway, which is why it’s so much better to give them absolutely nothing by stealing. Hilton’s project is itself designed on the most regressive corporatist model. His unpaid minions send him music, he does the hard work of clicking through the stuff he didn’t find and then gets to brand himself a tastemaker. That makes sharecropping look like Whole Foods.
And what of his discoveries? Mika? He forgets that the excesses of the blogosphere have created an environment where the consumption cycle is accelerated to the point of instant incineration. How exactly will he be able to shepherd these dubious “discoveries” through the old label system and make them profitable before they are irrelevant? Perhaps I’m picking low hanging fruit in knocking Perez. He has never seemed more than a nakedly honest opportunist trying his hand at the celebrity alchemy of making something from nothing. But his example makes me doubt much of the talk about the unprecedented and new world created by online file sharing and its curiously concurrent revival of vinyl sales. As Tricky once said, “Brand new, you’re retro.” And all of this talk of revolution makes me think that there are a lot of dislocated liberal arts majors like myself looking for an angle in a movement with no collective, a revolution in resume padding.
// Sound Affects
"On the elusive yet clearly existential sadness that adds layers and textures to music.READ the article