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The Shut-In Revolution: How Lo-Fi Culture is Changing How We Listen to Music
By Sarah Elizabeth Feldman
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I'm looking at how the role of grassroots movements in popular music is changing with changing technologies. Proponents of internet distribution and home recording technologies claim that these new developments are "democratizing" the industry, making it so that previously marginal voices can now be heard, but do the facts bear this out? And is a model based so heavily on the individual - on technologies that allow a single musician to produce and distribute an album without even leaving his or her house - even desireable?
I'm looking at how the role of grassroots movements in popular music is changing with changing technologies. Proponents of internet distribution and home recording technologies claim that these new developments are "democratizing" the industry, making it so that previously marginal voices can now be heard, but do the facts bear this out? And is a model based so heavily on the individual - on technologies that allow a single musician to produce and distribute an album without even leaving his or her house - even desireable? What does it mean for the traditional individual-community dynamic so central to the development of artistic movements? What does this upsurge of interest in the individual artist's voice, isolated against the world at large, say about a culture's interests and priorities? How did the nineties myth of the garage band, cutting raucous, drunken tracks at their local basement studio, become that of the solitary singer-songwriter crooning into his home computer?
Back to Sarah Elizabeth Feldman's portfolio
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East Village Idol
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