DECONOMICS RECORDS

And how do some of these assume a role of musician in different capacities? I feel a deficiency of knowledge to answer this, although not because no one has tried. On the contrary many have tried–and there I feel a deficiency in my knowledge too. How have current theories come to care about structurations and struggles of social systems and the role genres of music play in the performance of daily life and historical struggle–symbolic, cultural, economic, and whatever other big category you want to dump into the dead marshes of hegemony, identity, and social change–ahem, that is politics in all its embodied manifests. Why do I care? (Why) Do you care? Need we really bother?

But beyond the solipsisms ever to be had in the more dimly lit and lonely of the rooms of academia, my ambitions with this question on the context of a running BLOG is personal–but by “personal” I do not intend it the more dimly lit way. Rather, how and why is it that different musician personalities compose their selves as they do? When producing not only music, but their selves as composers or producers of music in relation to professions, “personal lives”, rerelationships with signs, fans, audiences…how are they made and making-up their role within the many layerd stratifications of the field of cultural production? And from where in the hell come all these new genres, figures, and types, in which broader cultural or historical motions of force do they make a habitat of musician discipleship and forms do all these many habitats take? How did the continent of music become so genorously huge, and what kinds of people endeavor to live there?

This can involve many more focused questions. How did the figure called Rihanna become Rihanna, why do some people worship at this figure while others go and worship other figures, or worship Rihanna in a pardoic, ironic way? Or, maybe better, since I cannot at the moment claim to speak of the process of this woman’s discipline into a kind of performing artist, I can speak of mine. And even better, I can try to make a kind of story of mine in such a way that it encourages others to share their stories of becoming forms of music discipleship. Moreover, I can actually take the time to make of this a case study of the making-up of musical authority–the disciplines of music–musician discipleship.

Base (Why did I write “Base” here and then forget about both it and why?”)

So this is my proposal. And I will leave it as a proposal to begin because of three reasons mainly. First of all, and least of which, the time commitment I can reasonably devote to this more interesting, and hopefully in the long-run more participatory line, is no more than 3-5 paragraphs a week. Second, blog posts ought not be much longer than that anyway most of the time. Text fatigue? But mainly, as it stands with these four paragraphs, it opens a space of time for the off-chance others might like to begin this story-sharing conversation of music and the constitution of selves, economies, and cultures of bodies political and their signs. I myself will be back by July after my honeymoon to begin to share mine. When you do music what do you do? Why?