it's a music term

my level of extra: going on a cinematic adventure for a recipe video

  • HAMILTON: Aaron, I want to do things the Burr way.
  • BURR: Wonderful. First rule: no conversation lasts longer than 100 total words. You have used 9. I have used 20. Continue.

coloured in yesterday’s jezebel! shes an electric lady

anonymous asked:

Hey, I'm sorry those anons are pestering you. Honestly, EXO and BTS are so different in terms of musical style, it's petty and senseless to compare them like everyone is trying to right now.

It’s alright anon it’s not your fault, trolls will always be on the internet whether we like them or not but I just thought maybe if I said something one more time maybe I wouldn’t get much of it again. But yeah nah their music styles are completely different, same goes with any group. Comparing groups is like comparing different breeds of cats. They all have their differences but in the end they’re all wonderful in their own way and it’s hard to pick one.

@taylorswift Tayter, this tour can you please PLEASE do two nights in Salt Lake City Utah? We love you here and I promise we will sell out both nights. We’re so neglected by musicians ‘round these parts. :’( Every band I like either doesn’t come here, or the tickets sell out in 10 minutes. I don’t know if it’s the mormons or just that we aren’t a major state but you’re incredibly popular here… Please!! We love you!!! 

get to know me

for the 2nd time because my laptop conked out halfway through typing out the first one

tagged by @ruinsrebuilt (thank you so much aaa!<3)

Rules: Tag nine people you want to get to know better

Relationship Status: in a v nice & wholesome relationship (but also married to Tommy Shelby on the side)

Favorite Color: this is pretentious af, but when the sky goes all pastel-y on summer evenings, those are my favourites

Lipstick or Chapstick: lipstick!! good god i love lipstick. if it wasnt for the bfs unfathomable rationality i would literally spend every penny i ever acquired on lipsticks

Last Song I Listened To: im only partially ashamed to admit that it was avril lavigne’s complicated  

Last Movie I Watched: free fire!! which is fucking awesome. i wanna write a BoB crossover for it someday soon but i have other things to crack on with first. im also gonna go see kong for the 2nd time later on which im buzzing for because i love the big monkey with all of my heart

Top 3 Fictional Characters: since the BoB guys were real, then; Tommy Shelby (who was also technically real but i cannot specify enough how much i mean the fictionalised version and not the real deal), Gendry Waters (i mean it’d be rude not to include him honestly), and probably Samwise Gamgee

Top 3 Ships: For BoB only, then; Baberoe, Webgott, and Luztoye (i fkn love luztoye okay)

Books I’m Reading: i have been reading the hobbit for like 2 years now i keep putting it down and picking it back up and repeating the cycle. im also dipping in and out of the handmaid’s tale and wuthering heights for english lit purposes (not keen on the first, indifferent about the second)

im shy as heck but im gonna tag @luzlicious, @aces-low, @spoondragon, and @starwarz96 (sorry if any of you have already been tagged btw!!) and anyone else who wants to do it! x

watching a vid of reggie watts wearing a shirt w “CHAOTIC GOOD” on and I gotta say that’s like the most spot on self assessment i’ve ever seen anyone make in my whole life

something about EDM

WARNING: no hate comments, only intellectual debates allowed 

As a teenager living in the 21st century that is obsessed with ‘dance music’, I do not understand Electronic Dance Music (a.k.a EDM) like others do. This is usually what a normal conversation between me and a normal teenager who loves EDM goes. 

Me: I don’t like this EDM song
Friend: what? why? but it’s so cool and chill. 
Me *in my head*: Technically cool and chill cannot describe a piece of music but alright 
Me: It’s just so boring and repetitive 
Friend: *gasp* 

Wow, ain’t it surprising that there is a 17 year old who doesn’t like EDM and want to go to clubs? It’s surprising how many teenagers actually thinks this is new and ‘hip’. HAH do you think in the 1700s people don’t dance to music as well? Well, the term ‘dance music’ is used very loosely nowadays because to be honest (music majors, back me up on this),  dance music has existed way before Zedd or Calvin Harris has made it famous with their beats. 

In the Baroque era, there are balls and in balls, people dance. Of course to be fair, their dance music is different because of the limitations of technology and instruments that are presented at that time. Still, dance music existed in a form of Suites in its technical term which consists of different dances such as gavottes and minuets. 

Okay now let’s talk the existence of ELECTRONIC DANCE MUSIC. First came the Father of electronic music who is amazing and deserves more recognition - Mr Arnold Schoenberg. This was the guy who basically made all of EDM possible. This man created serialism which was using a twelve tone technique to make music and incorporating it with maths. WITH MATHS. His pieces aren’t my favourite but he took his discovery to a whole new level that changed the way we do music today with serialism and with our computers. 

Originally posted by authorjordanlink

So you teenagers out there who thinks they’re ‘hip’ because they like this new thing called ‘dance music’ well I’m sorry to tell you but the European aristocrats in the 1700s are way ahead of you and they have WAY better movements than your grinding movements in the club. Anyways, I don’t hate ALL EDM music, some I tolerate like the new Chainsmoker song but I don’t get how people nowadays like such simple music, I think our taste in music has declined since the ages have gone by. What happened to the quality of dance music that were in the Jazz Age in the Cotton Club in Harlem accompanied by the beautiful voices of Ella Fitzgerald or Bessie Smith? How have civilization come to this point of music history in which all we need is a ‘bass drop’? Isn’t that just a tad bit disappointing? 

Originally posted by hennyproud

I agree that our ears have been accustomed to pattern and familiarity, the 4/4 in the ‘bass drop’ and the fist pumps in the air are exciting and repetitive that you start to forget what the music is about. You don’t care what the lyrics are anymore, you just want the hear the good ‘bass’ and to see where the ‘bass drop’ is. I’m not saying that creating EDM is easy because I know it’s not but can’t it be a bit more challenging to the artists? There is no unique sound anymore, everything starts to blend in together and the only thing these DJs can do is change which instrument or add some weird sound effect/noise that has not been heart before (Justin Bieber’s Sorry has a weird dolphin noise going on). Also as a musician, you can clearly tell which DJs know music to a deeper level or not just by the quality of how the music sounds and written to. 

All I’m saying is that EDM is boring and that’s what I dislike about it. It’s supposed to bring you joy and bring you to dance and excitement but all it’s doing to me is a repetitive fist pumps and wishing the song would just end because it’s going nowhere. Isn’t it bad enough that you have to get drunk to listen to the music and to enjoy it? Because when you’re sober and not in teh right place in the right time, it doesn’t make sense? Then EDM isn’t timeless. We need more timeless music, not repetitive beats while anxiously waiting for a bass drop. 

Originally posted by minionnation

fightmeandmy100fandoms  asked:

What exactly is straightedge

A straightedge is a person who does not drink alcohol or do drugs. The term has its roots in punk music culture. The “X” (straightedge symbol) originally came from bouncers marking the hands of underage people who came to bars for punk shows.

Fraymotif Name Ideas

Just figured I should post this because I Love™ Names and Naming Things.

Basically I’ve decided to name all of the unnamed fraymotifs shown in that battle update, and the person who drew/created them likes the names I gave them so I’m super happy they are liked!!

Keep reading

Aw my friend offered to give me dj lessons and I’m really excited. They’re such a lovely person and so erudite in the way they articulate the problems with the dance music scene here in terms of its inclusivity and accessibility and the way the two feed into each other (e.g. the way the marginalisation of digital mixing prevents poorer, more disenfranchised people from being able to afford to dj at most events and thus are prevented from accessing and changing the scene for the better), as well as the way the politics of the origins of dance music in a broader sense have been obscured and undermined by gentrification and the commercialisation of dance music. just really respect how actively they try to counter those tendencies, cultivate safe and accessible spaces and support non-white, women and other trans djs here.

HTTYD Theme 3: Astrid's Theme
John Powell
HTTYD Theme 3: Astrid's Theme

The third musical theme I have singled out from the HTTYD soundtracks (listen also to themes 1 and 2) is one with which many are pretty familiar since it takes the forefront in “Romantic Flight.”

However, while the music is associated with the relationship between Hiccup and Astrid, and indeed can be interpreted that way given the first movie’s score alone, I feel like this melody is somewhat better analyzed as Astrid’s Theme. It occurs in a number of other circumstances when Hiccup is nowhere even close, instead pinning the music on Astrid’s character alone.

Within the first movie, Astrid’s theme occurs four prominent times, and all played in a relatively similar manner – with strings in the forefront, twice using a solo violin, expressing either awe or tenderness. The music is played when Astrid is introduced during the dragon raid, when she flies with Hiccup on Toothless, and in the end when she kisses Hiccup. It also takes on an extension of the “Romantic Flight” wonder for a non-Astrid related moment when Hiccup first steps out of doors and sees dragons coexisting peacefully with Vikings. This is still overall pretty restricted usage and variation, though. It is in the second movie the music takes on much greater musical flexibility in terms of its style, emotion, and instrumentation, and is used to express much more of Astrid’s character.

Just like the dramatic time Astrid is first introduced in HTTYD 1 with this theme, so there is a correlating moment and musical theme in HTTYD 2. This is during the dragon race when Astrid jumps off Stormfly and grabs the black sheep from the Thorston twins. The music is all about her. And again, when Astrid drops Eret from the skies, her theme is playing in the background – though for the first time, we hear the brass solely play it rather than the strings. Then of course there are those instances where Astrid and Hiccup interact, and thus her theme plays in the background on the cliff side at the start of the film and when they kiss at the end. The music for their final kiss even has the same solo violin and flute as the time they kissed at the end of HTTYD 1 – so not only is there a plot parallel there, but an enormous musical one as well. This part of the score is, in fact, so similar it almost feels like it belongs on the CD for the first film’s soundtrack.

Furthermore, Astrid’s theme, because it is so closely associated with “Romantic Flight”, also becomes extended to Ruffnut in HTTYD 2. The music then mocks the romantic moment in the skies we remember between Hiccup and Astrid in HTTYD 1. And so we compare this magical moment of Astrid’s with Ruffnut’s humorous, satirical moment of seeing Eret’s glorious biceps for the first time. Where Astrid sees wonder in the skies riding on a dragon, Ruffnut riding on a dragon sees wonders in Eret’s muscular arms. Note, however, we can distinctly hear the musical difference between when the melody applies mockingly to Ruffnut as versus when it seriously applies to Astrid. Astrid’s music is very frequently a solo – sometimes violin, sometimes harp, sometimes clarinet and flute. It is often centered in the strings, and when it is “loud”, it is played by the full orchestra. This hugely contrasts with the pure, angelic choir vocals sung whenever Ruffnut hits a key romantic moment - that is, when she says “Oh myyy,” and then when she is rescued by Snotlout and Fishlegs during the Battle of the Bewilderbeast.

Astrid’s theme thus is a lot more interesting, variable, and expressively versatile than “Romantic Flight” alone. While it is soaring, gorgeous, and heart-tugging at that sequence, elsewhere we also hear great adventure, drama, and even satire.

This should be all major instances of the theme, though it is of course possible I missed something. The music clips are taken from This is Berk (HTTYD), Romantic Flight (HTTYD), Coming Back Around (HTTYD), Dragon Racing (HTTYD 2), Hiccup the Chief (HTTYD 2), Me Likey (HTTYD 2 expanded), I Grew Facial Hair for You (HTTYD 2 expanded), Battle of the Bewilderbeast (HTTYD 2), and Two New Alphas (HTTYD 2)

People trying to diss Beyoncé for Lemonade's “low” albums sales fail to take multiple things into account

I mean she really doesn’t need any defense from me but still:

🔘Surprise release: Just like with BEYONCÉ it once again was a surprise digital drop with basically zero promotion or lead single outside of “Formation” (that she gave out for free) and the announcement of an upcoming tour so there was no room for pre order sales

🔘TIDAL: The album streaming exclusively on Tidal (something very few people want or can afford to have) for the first 2ish days made it only available to current subscribers and anyone willing to signup leading it to be HEAVILY pirated by basically anyone (casual fans & hardcore Beyhive members alike) who didn’t want to go through Tidal. So the real sales will never truly be known

🔘Physical: It didnt come out on physical copy until 2 WEEKS after its digital release so the numbers will continue to climb now that its officially out

🔘Anti-Blackness/Misogynoir: Dating back to the release of Formation people were trying to find ANY reason to criticize not the songs but the imagery she used to depict them. She used almost exclusively imagery of joys and trials of Black life & culture and more specifically Black womanhood and for some reason people have always seen any celebrations of Blackness intimating and “controversial”. Anytime someone (specifically a public figure) addresses issues affecting Black people they’re “suddenly getting political” or just “pandering” or just being “racist”. People are terrified of Black unity and any form positive  representation so naturally (racist) people will be turned off from the album. Even though the content of the album itself is about the trials of love, infidelity and personal growth not anything “political” (outside of maybe ‘Freedom’) but because of the visuals a lot of people have just bitterly written it off as an album exclusively for black people. Now I’m in no way saying that her visuals were a bad thing when its quite the opposite. Its just that it’s an unfortunate reality that when Black people aren’t represented in white spaces its ok and the norm but the few times when white people aren’t represented in Black spaces its seen as racist and exclusive and should be condemned. Now she made matters worse by having it directed towards Black women. As Malcolm X said: “The most disrespected person in America is the Black woman.The most unprotected person in America is the Black woman.The most neglected person in America is the Black woman”. The truth is that Black women can barely find consistent love and support from their fellow Black men let alone the rest of  society itself. People want to think of Beyoncé as just Beyoncé not Beyoncé the black woman. The complex Black woman who feels love & pain and still despite all the fame has to deal with and see others deal with the struggles of sexism, racism and general oppression directed towards Black women.

     Moral to the story is that yes this most likely won’t be her best selling album but that has nothing to do with its quality or her success and honestly that wasnt what the album was even for. She could’ve easily just had less “political” videos to go with each song that would’ve surely been amazing but didn’t have deeper meanings about her heritage & culture (a culture that is vastly underrepresented) but she chose not to. She chose to use this album as a statement and to reach out to a big part of her fan base that doesn’t get to see people like them represented in such a positive and cultural light. Now instead of almost solely seeing representation dancing in videos (no shade to those ladies tho) they have these visuals to look upon and hopefully get empowerment from. Beyoncé didn’t have to do this. She knows that her choices for this album will “hurt” her sales but she doesn’t care. This album was an act of self expression and empowerment and you can either get with it or get off it because Lemonade was some of her best music in terms of its content & musical complexity and possibly one of the greatest visual masterpieces in music history.
So if you’re dissing these album sales (which are still high for nowadays even without these factors) and comparing them to these artists whose views on what makes a dynamic album never change and churn out the same music and whose impact in both the music industry and public media can’t even compare to her’s, then you need to collect yourself and have several seats. I’m sure she’s crying about her “low” sales on 6th consecutive #1 album while away on her sold out world tour following up her second superbowl appearance and release of her second clothing line; and that’s just this year.

Bach’s music is fundamentally abstract: not abstract in the theoretical sense, but in that its existence and endurance is based on its fundamental musical terms, rather than that of a confined period or instrumental style—as for instance Couperin’s is, or Chopin’s. Therefore Bach’s music can be performed on all instruments worthy of this honour, provided the scholarship and artistry brought to performance are equal to the high level of his art.
—  Rosalyn Tureck
The end is near


The days of calling a weekend a festival and it being an automatic success are over.
Hellfest, Krazy Fest, Positive Numbers, The Rumble, and plenty of others have fallen to the wayside over the past 10 years. A lot of different reasons but we will see a decline in the most popular festivals in the next couple years as every new promoter and agent love to get in bed with each other to create these new “fests” that fall short in all the categories, and yet as they fall their collective drop brings the weight down on the big names like This Is Hardcore, Black n Blue Bowl, United Blood etc.

What is going on? Why could this ever happen?

The simple answer : Over saturation.
Too many bands, too many shows, too many fests.
Nothing is special, nothing is a one time thing.
Kids today live in a world where a show is like a bus, there is always going to be another one.
There are many kids that would drive 5 hours or more out of their hometown to see a band somewhere they don’t live but won’t put effort into coming into the city they live closest to on a weeknight.
The bands today are coming out so fast, they aren’t even taking the time to write songs that may not have been written before, let alone bothering to Google around to see if their new band name was used by a hardcore/punk/metal core band before.
Its a rush to get 3 songs on a bandcamp, 2 shirts on a merchdirect site and a 10 day tour supporting 2 other bands that can’t draw 100 people in their own home town but want $250 plus each to play yours for the first time.

There are too many people using numbers for their own advantage with a wanton disregard for the way it effects the scene as a whole.
Promoters aren’t off the hook here, as many young, green promoters get their first shot at a band or tour by offering 50% more then the band is worth in the area to a greedy agent who will take the bigger money over the better show for the band.
I could write a book on the bands that play for the bigger money and the agents who validate this mentality. But instead I’d rather laugh as they spend more money in gas playing further drives then they would if they went to the right people in the first place and would walk home with some more of the money the putting all through their gas tank- but that’s another tale.
When you have something like the hardcore scene, you’re dealing with an finite number of people interested in spending time, energy and money.
Lets look at it as a pizza.
Every time there is something called a fest that pops up, the whole pizza is sliced again and every piece gets thinner.
In a communist pizza, all slices would be equal and the pizza wouldn’t be bought, it would distributed based on the work etc, but that’s not my point here.
The ideology of the “big fests” not being hurt is a fallacy and it is being proven in the last 2 years as fests have seen smaller presales and lower walkups.
I would stress to say this isn’t hearsay, this is real numbers and facts.

We could bicker and argue that hardcore is dying and that isn’t what it was in the 90s etc. But if we look at it, its better then it ever has been, its just being sliced up so thin, that its becoming something that isn’t worth what it used to and yet somehow is costing more money each year for the end user (the ticket purchaser)

Gas goes up, hotel rates go up, Insurance goes up.
Wages aren’t going up, yet door prices at shows are going up. Merch is going up.
Everyone is taking a little bit more money each time it goes around.
A show should be safe to book with about 50% to 60% of the room filled.
If you are booking a room that holds 500, that means around 250-275 the bills and guarantees should be covered.
Only now it’s more likely that the show will need to have 400 paid in a 500 person room to breakeven.
More kids needed, more money needs to be charged and it pushes smaller promoters in small scenes to constant breaking points and makes every show a bitter contest of not what is best/fair/smart but what makes the most money for the band and agent and in the case of the promoter – how do I figure out how to lose as little money as possible?

All of this falls down on the kids. They are overstimulated, over immersed on new, new, new every single day.
New bands, new tours, new tshirts, new tapes.
Its no wonder old and reunions seem interesting- its at least established music that had some kind of impact somewhere.

The term hard work is dead. Its been misused for years now.
Hard work, is when what you are doing is difficult or tasking over time and yet you persevere.
A band whose members have no responsibilities who can tour 6 months a year aren’t 100% hard workers.
They get told where to go, they get told what they are getting paid and they often have little to no real idea as to what they are doing because as long as the ride is going on- they will do whatever they think or here is best for the band’s career.

A hardcore band who probably didn’t Google their name.
Definitely didn’t design their cool logo. Stole some riffs, re-worked some lyrics into songs.
Got the cool ripoff merch Got an agent 2 weeks after they dropped their demo on bandcamp.

Hard work.

These are words put together by people who profit from having a stable of bands just like this in every single sub-cultured genre you can think of from pop punk to death synth core.

They showed up after their own band’s failed at making a splash and took all the business savvy thinking and turned their tour dreams into pseudo punk styling office life.
Often have no regard out of sheer ignorance for who they are dealing with on either end (band or promoter) they live for numbers. Bigger or better.
They can’t get on a telephone because they stutter like a 12 year old boy staring at his first real bare breasts.
Yet on the email they are cut throat bastards who play hardball and drain the last cent out of everything because at the end of the day – each show they only receive 10-15% for a good hour’s worth of emails.
A tour to them is 10 to 20 to 30 times that 10%. That’s it. Towns, drive times, scenes mean little to them.
Get the biggest money, act like the biggest dickhead and think that the world will always cater to you because you book the greediest bastards out on the road.

I’d derail this further by describing the atypical early 30s scene celeb turned manager, but suffice to say, there are a few thousand words I have for them, but none of them are nice or worth posting.
I’ve got 3 friends that are legit smart, good people that come from the management world of things and they probably quiver the most at the thought of their contemporaries and their cantankerous ways.

As a dumb kid, I wrote letters to bands and labels. With my own hand in pen. I mailed letters and received mail.
I spoke via payphones and dialers, house phones and prepaid calling cards to adults who probably didn’t realize I was 16 years old.
I wrote easily over 200 letters, probably got only 50 in return. The names live on, many are great friends, some have gone onto being the leaders of our scene and I’m happy to have said that I wrote a letter to them now in the day and age of smart phones, snapchats and emails.

As a young adult I was schooled by Sean Agnew of r5 productions and others in the R5 camp on how to be punk but professional. What I hold so dear to these lessons is the ability to know when what you are after is not financially smart or worth it.
There is a breaking point in a negotiating period where what you want is out of the question and what you need to stay interested is gone and its just sitting around being insulted. You don’t want to leave on a bad note, because the weight of the agent’s stable and relationship may hold you from booking other things, but at the heart of it is a contempt for the business side of the thing you do because you love it.
There is a pain that comes with learning your favorite band is a painter at heart. He loves the band, but its his job and he does it because he can live off of it but aside from that its far from this fantasy lifeblood we envision our heroes to hold their music and our scene in their hearts.
Thankfully for each one of these bands, is the band who is battered and beaten down by crooked agents, bad label deals, shitty promoters in the times before the internet when only scoundrels in rock clubs paid poorly to the band.
I love them, but they have a scene of scorn and distrust until the end of the night when the show is over and the money is in their hand. They gave their heart and soul and feel like they’re still owed more then what could ever be put on the table today for them.
I have sympathy, empathy and apathy for them at various times, but I just try to work for them as hard as I can because they remember what it was like to play a show and go to a town and see physical fliers for the show in the venue when they pull up.
Not today. Not in a world of admats, .jpegs, fliers made for instagram and kids telling me that they don’t collect fliers.

So much disdain and open apathy to things that were so sacred. The flier- its design was to stand out, its use was to spread word, invoke fear and terror and surprise and bring the mystery of the underground to the forefront of the mind upon first glance.
Now we have the admat. Where many dick face agents place their whole tour upon.
The next agent who tells me not to use my own flier and to stick to the admat is going to get a bill demanding 0.05% of all profits from all the dates of the tour for my co-promotion of the other dates on the tour.

There is much to gripe about, much to write obsessively about and wait for the likes and comments to roll in.
What I wanted out of this piece was to explain that things are great, really just amazing and just as equally boring, sad and just kind of too repetitive all at the same time.
Too many kids want the fame of being a band on tour at the cost of going through the bumps and bruises of learning how to book a weekend for themselves, not just jump onto something already in the works.
Too many kids want to play 3000 miles away before playing their own hometown for 6 months straight.
There is too many good intentions going on with enough people working specifically with maximizing profit potential for this to continue to be prosperous for too much longer.
Door prices are climbing to $20 yet the guarantees aren’t much higher, we are just seeing 4 to 5 band tour packages as a must. Please refer to the part where the agent makes 10% off of each show, so more money per show means more money in his pocket, regardless if it draws. In his mind, the guarantee will be paid even at the cost of putting an up and comer out of shows for awhile, or being the straw that broke the camel’s back for an old vet who wants to stay in the game but can’t make his small scene come to 20 shows a month like in the old days.

There is a lot of really positive stuff and I plan to talk about it now.
There is instantaneous ways to be able to enjoy 30 plus years of punk rock for free at our finger tips anywhere we are at.
Yet kids in hardcore today prefer radio music, nu metal from the 2000s and death metal over learning about the bands that influenced the bands that got their favorite bands into hardcore in the first place.
There is more kids into hardcore then when I was young. Younger, brighter, less violent and more apt to make friends then I’d ever imagine.
They take trains, buses, airplanes. They sleep on floors and outside shows, They pay in quarters and they hang with strangers just to see bands come together across a weekend of shows, sometimes they even do this a few times a year.
These are the kids I write for. These are the kids I book shows for.
Not the perennial guest list hoppers. The plus 1ers.
The kids who never like anything from 2 years or more behind them but always onto some new shit.
The ones who got money for anything else besides door fees, merch or even food at shows. They stand on stage, drink their own sorta friends in the bands water and spend the whole time texting a girl in the back of the show.
I’m tired of the smart phone. I’m tired of the insta moment. I’m tired of the need to put it in the air and capture it to say you were there.
Moments worth documenting find you in the frame of someone else’s camera, not in the palm of yours to say you took the picture of 2,000 kids going off. You should be jumping to be number 2,001.

How does all this go back to affecting the fests???
Why does this rant never end?

The more your favorite band tours with 2 or 3 bands that you just heard of or haven’t seen but 20 kids on twitter called them amazing, the less excited you will be to come to one city for 3 days to just catch them.
Its proven because I’ve seen better festival lineups in the past 2 years then I’ve seen in the 5 years before that and its sad to see despite the enthusiasm, online talk, the hype so to speak, the money isn’t there.
Not because you’re broke, but you already drove 5 hours to see band x in a small town and you ended up standing outside talking to friends and missed most of the lineup anyway.
Or you wanted to go and were saving money til you heard they might be playing a smaller fest closer that you could drive to instead of flying.
I can’t fault you, but I can say that the powers that be to make these things great and continue to happen can’t create money out of thin air to make the bands that are over saturated with an exhausting tour schedule want to come and play for less then what they were told by greedy agent A through C thinks the fest might bring in if its at 80% capacity.

I personally hate feeling like the bands don’t get paid enough. They are my friends. They are either in their 40s and when they were 20 and had the 6 months to tour there was no scene, no tour routing or agents to make the shady people pay whats fair. I also remember being young and hungry. In a van with no real plates, no insurance driving on stolen gas to shows. We couldn’t suck more but our friend’s booked us. My own agent friends nicely told us no but we didn’t care. We booked it ourselves and rode every miserable mile to the end just to get home and regret every leaving “tour”.For them I want to feed them and place them in front of everyone I can so they may reap the rewards of the growth of this thing we call hardcore punk.
I want them to experience 2000 plus people surrounding the stage in a fury, smartphone less, in a manic rush to exert all the energy they have for 20 -40 minutes.
These are the moments that drive me to come home from pouring concrete and give hours up to conversation, debate and negotiations. I have few real life friends that I see more then 2 days a week. I have failed in every relationship because my priorities have been the emails, the phone calls, the struggle to bring things to light that need time and energy.
I feel happy when I succeed, and I nearly jumped off a bridge when I failed. I can’t do this forever, and before I throw in the towel, I want everyone to know that this thing we have and hold is dear and sacred and worth fighting for and living for.
There are amazing agents that are better managers then they are agents to the bands they’ve worked for almost free for years. There are bands that have no desire for financial success if it means they can just break even and get to come home happy because of great shows.
There is so much good in all of this that when we all work together for something good – its so pure and excellent that no one walks away unhappy and it lives on forever.
The last few years have been happy and good times, but the politics, policies and problems that I’ve written about just now can weigh this thing of ours down and sink it to the bottom of the sea .