ProÅ¡le godine zbavih neki pdf fajl koji sam bio zanemario dosta dugo,iskreno,neam pojma zaÅ¡to ga nisam proÄitao iako je bio zanimljivog naslova..Nju Jork hardkor 1986-1993.
i nedavno se latim Å¡tiva,ko je uzgred reÄeno napisao izvjesni Dejvid Knig,koji je redovno pohodio dogaÄ‘aje u tom periodu,te se na poslijetku i družio sa bendovima,bio poznanik kojekavim "facama",a Äini se takoÄ‘e da je bio baÅ¡ upućen u NYHC tih godina.
uglavnom da ne dužim,u njegovom radu jedan znaÄajan dio zauzima organizovana rasprava na WNYU radiju izmeÄ‘u Älanova bendova Born Against i SOIA a Äija je tema bila potpisivanje ugovora SOIA sa etiketom In Effect koja je u stvari bila "velika" etiketa u to doba iliti ga "major" kako bi to mnogi nazvali.
znaÄi ljudi su organizovali jebeni tok Å¡ou da rasprave da li je SOIA izdao hardkor ili nije.
(vratiću se na ovo)
prije nekih 4-5 godina kada smo mi poÄinjali (hobsons Äojs),sjećam se taÄno jedan dan kad smo se vraćali sa probe da je pukla jeebena rasprava izmeÄ‘u rulea (bubnjara) i mene o tim etiketama.sad mi smo tu neÅ¡to viÅ¡e maÅ¡tarili nego Å¡to je bilo Å¡ta viÅ¡e od hipotetiÄkih misli bilo ostvarivo,ali rule je zastupao miÅ¡ljenje kako bi on sutra odma potpisao ugovor sa nekom većom izdavaÄkom kućom,a ja sam zastupao miÅ¡ljenje da ja to nikada ne bih uradio,jer jbg,odrastao sam sluÅ¡ajući muziku u kojoj je bilo dosta bendova na nezavisnim etiketama,bilo je dosta njih koji su sami izdavali svoje albume,i naravno bilo je onih koji su izdavali za neke veće etikete,ali opet i tako mislim i dan danas,velikim parama nema mjesta ni u hardkoru niti u panku.
uglavnom ne složismo se mi na kraju,ama baÅ¡ nikako,umal se ne posvaÄ‘asmo.sve to da bi ja danas rekapitulirao ono Å¡to smo mi priÄali tad nekad i skonto sljedece stvari.
iskreno,mislim da svaki bend treba individualno da odluÄi za sebe da li želi da potpiÅ¡e ugovor sa nekom većom etiketom,Å¡ta želi sa tim da postigne i kojoj publici se obraća.ono Å¡to se mene tiÄe je da taj bend koji volim,a koji se odluÄi na takav korak ne mjenja poruku,ideju i muziku,tj. da nastavi u istom fazonu.bilo bi mi Äak drago da meni neki drag bend dospije do nekog ko u stvari do tada nije imao priliku da Äuje takvu muziku,jer npr živi u nekoj zabiti (mada danas je sve to mnogo lakÅ¡e sa internetom/daunloudom i ova priÄa baÅ¡ i nije možda viÅ¡e ni bitna koliko je nekada bila kada su etikete/distribucija bile jedan od naÄina da doÄ‘eÅ¡ do nekog benda).
men se takoÄ‘e Äini da ova priÄa može i da bude bitna,jer se,opet po meni,stvari nekako nesvjesno vraćaju na poÄetnu fazu u kojoj samo oni koji su u svemu ovome iskreno,SAMI rade svoj materiijal,bio on bukiranje,disk,majica,dizajn plakata,flajera i sl. te na taj naÄin žele da daju poruku djeci kako im je stalo,i kako su tu zbog poruke a ne zbog novca.
da se vratim na debatu SOIA i Born Agensta,izvukao sam par komentara pojedinaca koji su sluÅ¡ali ovu radio emisiju te davne Äini mi se 1989.godine:
Chris Zusi iz Floorpunch-a je rekao:
Quote:
As a musician I would never sign with a major label. I did bands for the love of playing hardcore, but it was never a “career†for me. Hardcore for me is 150 people packed in a hall or small club. You go on tour and you play shows and have fun. It’s not a job. But, I know people that have been basically playing shows and touring since they were 17 years old. What do they do? If you dropped out of high school or never went to college and have no job history what do you do at age 30? What about at age 40? Are you going to go into Microsoft for a job and
put on your resume that you’ve been a punk rock musician for the past 15 years? No,
you’re going to try to keep playing as long as you can and make enough money to get by.
Brendan Rafferty iz,Äini mi se,SFA je rekao:
Quote:
First, there's
an important question that needs to be asked... what is a sell out? Let me give you my
definition, as it applied to hardcore bands of that era. If you changed your music or
compromised the integrity of your music or lyrics for the purpose of making yourselves
more successful, then you were a sellout. Examples would be making your album sound
more metal to reach a broader audience or rewriting lyrics to be more radio friendly. But
if you can reach a broader audience and get played on the radio without changing a thing,
are you a sell out? I don't think so. Sick of it All was a prime example. Nice guys, but
their range was kind of dopey and color by numbers generic, though they were good at it.
They signed to In Effect Records. In Effect Records was a subsidiary of Relativity, which
was later purchased by Sony. In Effect dissolved and they wound up on Sony by default
when Sony inherited them. Did Sick of it All change for Sony? Nope... not a bit. The
hardcore band won. The working class kids from Queens got to go on making music
without having to change their style, instead of getting civil service jobs... while the
wealthy singer of Born Against, living on his inheritance, could preach at them for selling
out because they were doing evil things like releasing hardcore records on CDs. That's the
meat of my problem right there. I was reading an interview with Sam from Born Against
in some zine and I was reading about him complaining about how all these people on the
scene, myself included, were sell outs for putting out CDs and not doing enough selfless
things for the scene. He went on to brag how other zines were sellouts for taking ads,
when his zine was ad free. Of course, he failed to mention that he was sitting on a pile of
money he inherited so he didn't have to work and could afford to put out his zine for no
profit. I knew too many people, myself included, who were working their asses off just to
make a living, and could barely afford rehearsals. Fuck him. How dare he act all high and
mighty? It's easy to spend all your time running a nonprofit zine or label when you're
sitting on a pile of money. He reminds me of Cher... I know... odd comparison... bare
with me. Do you remember years ago Cher, with her multiple body surgeries and staff of
personal trainers and dieticians, had a series of TV commercials endorsing some fitness
club like Jack Lalane. The commercial showed her, in soft lighting, working out on a
machine and she turns to the cameras, addressing the women at home, and goes on about
how since she's a working mom with a busy schedule who still manages to find time to
get to the gym, then working mothers across America should follow her example. She
goes on to say there's no excuse "if I can do it, you can too." I'm sure real working moms
across America, without dieticians and trainers, all cursed her through their TVs. That, to
me, is Sam. As to selling out, here's a nugget of wisdom I'll never forget. A booking agent
in Europe once said something to me when I was arguing hardcore ethics (i.e. playing for
little money) with him. He said, "Hardcore bands need to stop feeling guilty about making
money." He said that the clubs are making money. The labels are making money.
Promoters are stuffing their pockets and the bands are getting nothing. Too often, if a
band makes good money playing a show, they're made to feel like crap by their peers.
Why? Making money off your music isn't greedy. It's fair. If 300 people pay five dollars
each to see you play, demanding your fair cut of that isn't greedy. However, asking 300
people to pay twenty dollars each to see you is. As to what constitutes a sell out... The
Clash put out their first album on a major label. It was (and is) one of the most influential
rock albums ever made. Being on a major label helped them reach the world. They didn't
sell out when they made that album. However, I personally think they did sell out when
they released "Combat Rock" with that horrible disco song. Reaching a wider audience
does not make you a sell out. What we do is not secret
Howie Abrams,jedan od osnivaÄa In Effect etikete je rekao:
Quote:
This whole issue is near and not so dear to me. I helped create In-Effect
Records and for some reason, a lot of kids thought we were some big bad major label
trying to cash in on hardcore. First of all, we weren't a major label, not that it should have
mattered. Steve Martin and I were basically guys from the scene, who were sick and tired
of watching great bands getting shafted or worse, overlooked. It wasn't about money, it
was about exposure. Why shouldn't kids outside of NYC be able to not only see a band
like Sick of it All, but also find their records easily? There were kids who actually
complained that SOIA albums were available in mall stores. If you lived in a small town
somewhere, where do you think you would go to buy records? Their version of Some
Records or Bleecker Bobs? It wasn't that sophisticated everywhere. Was there some sort
of rule that you had to buy a hardcore band's album through the mail. Fuck that! We,
along with the bands, wanted to reach everyone who wanted to be reached - plain and
simple. If you didn't like our approach, fine, steer clear of us and our bands.
As for the NYU debate and particularly the idea that records were censored, that's
retarded! Listen to SOIA's Blood, Sweat & No Tears and tell me that was a safe thing to
sell into record stores. In NY, maybe. One complaint from one parent and we were all
done. However, we pulled it off. We exposed hardcore to kids who would have only
been exposed to crap otherwise and no one got hurt...except maybe the feelings and egos
of some pompous, holier-than-thou kids who were busy looking in other peoples pockets.
ja se na kraju ipak,slažem sa svom trojicom.
Å¡ta vi mislite?
koja su vaša iskustva (mislim da ovdje niko nije potpisivao za sony:)
Å¡ta mislite da li neko ko danas svira pod nekom velikom etiketom zgrće pare na raÄun budala koji im kupuju mrÄ (:) i dolaze na koncerte?
da li su revelejšn,detviš,bridž9,trastkil i sl. lopovi?
Å¡ta mislite o dischord-u?
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