Someone close to me is a folk musician who’s done surprisingly well, at least getting by as a full-time performer. Much of what people are paying for when they get tickets to see her is the feeling of proximity to non-artificial, unalienated human culture. It’s traditional (lots of the tunes are hundreds of years old, passed down mostly orally), but it’s a living tradition. Extraordinary. Take my money.
The coming slopnami may well be the end for many artists, but for her and others already trading in an unfakeable way on the idea of authenticity, it might be a blessing in disguise.
I've paid to see writers speak many times over the years. There's some kind of business model there, though I haven't tried to analyze the sustainability.
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Someone close to me is a folk musician who’s done surprisingly well, at least getting by as a full-time performer. Much of what people are paying for when they get tickets to see her is the feeling of proximity to non-artificial, unalienated human culture. It’s traditional (lots of the tunes are hundreds of years old, passed down mostly orally), but it’s a living tradition. Extraordinary. Take my money.
The coming slopnami may well be the end for many artists, but for her and others already trading in an unfakeable way on the idea of authenticity, it might be a blessing in disguise.
Slopnami. I am going to borrow that one ...
(I had seen "slopocalipse" - tsunami feels more material.-
that works for musicians who can continue to get paid for live performances; harder for writers
I've paid to see writers speak many times over the years. There's some kind of business model there, though I haven't tried to analyze the sustainability.
Indeed. It’s a real tragedy.