monarch way

some sort of code - a playlist for pearl and her mystery girl

like a star mike krol || adult diversion alvvays || cloud 69 lowell || girls beatrice eli || girls just wanna have fun starfucker || lgbt lowell || got me goin paperwhite || my old ways future monarchs || youth like tigers ever we fall || she smiles the gods of macho || fifteen minutes mike krol

i love that patreon exists

no for real, i do.

it’s such a heart-lifter to see people, whose work would go unsupported in any other decade, suddenly have the support of a crowd that enjoys and endorses their work, without having to go through a corporate or publishing middleman

before the internet, artistic publication (as in, big, widespread, for-profit publication) required the money / support / endorsement of people and businesses who were already powerful. and by that logic, if they didn’t approve of your artistic work for whatever reason, you weren’t getting published. regardless of how many people might have loved it, they weren’t seeing it, short of a real dedicated expense on your part, and at that point you’d defeat the purpose of publishing to make money. a fairly monarchical way of doing business, really.

with the internet, but before social media, self-publication became instant and relatively cheap. you needn’t even make physical copies, sometimes - if you ran a webcomic or online video series, you could make decent money advertising, and maybe even start a company of your own with the returns - but this, too, was monarchical in a way. although self-publishing was a viable option now, real revenue depended on the cooperation of marketers (still does, to a large degree - look at youtube partnership). marketers, after all, are the ones in control of where and how the news of a creative work is shared. it became much easier to get your creative work published, but still hard to make it profitable. someone could self-publish a work for years, but without marketing, it would be a penniless labor of love.

crowdfunding (patreon, kickstarter, etc) eliminates the need to subject a work to the scrutiny of marketers. these sites obviously push their own intermediary concerns - they need to avoid carrying creations that are dangerous/illegal, for example - but the onus of marketing is entirely on the creator. 

and that, i think, is the keystone of the Patreon Economy. no one is there to tell a creator “this won’t sell,” “this doesn’t fit our demo,” “this is so last year.” no one has a finger on the creator’s financial stopswitch. patrons are free to pledge/unpledge as they see fit. the act of publishing, once monarchical, has become democratic. “success” used to mean getting in with preexisting power and money, playing market games, and making artistic compromises. today, success has become democratized, populist. the artist doesn’t need to change a work because an ad exec told them to. they don’t need to push for more toyetic designs or cut back on the gay stuff to avoid nasty letters from concerned parents. people will either support them, or not. no single person in a corner office has the final, arbitrary say on whether they get to keep eating.

furry pornography? huge market
documentary series on the history of cartoons? fuck yeah
fine-grained critical analysis of pro wrestling? you got it
televisions for cats? sure, why the hell not

i love the new economy. there’s no one in a suit and tie to tell you No.

Wake Me Up When April Ends

Ruler: Master of the Mask

Fight My Way

Midnight Runners



MAY 2017… 

(the only month that matters AOTM)

“Extracts from The Book Called Henry. As a child, a young man, praised for the sweetness of his nature and his golden looks, Henry grew up believing that all the world was his friend and everybody wanted him to be happy. So any pain, any delay, frustration or stroke of ill-luck seems to him an anomaly, an outrage.He doesn’t want people who say, ‘No, but …’ He wants people who say, ‘Yes, and …”

    - Bringing Up The Bodies, Hillary Mantel