By Lindsey Rhoades
By Chaz Kangas
By Ben Westhoff and Sarah Purkrabek
By Jena Ardell
By Jesse Sendejas Jr.
By Katherine Turman
By Steve Weinstein
By Araceli Cruz
On September 12, everybody said the world would never be the same. Since then, many have tried to take that back. One movie mogul went so far as to explain to the Times that anything anyone said that week couldn't be taken literally, we were all too wrought up, and that therefore he'd be releasing his regularly scheduled violent piffle. Even the urgings of our elected leaders that Americans get back to living their lives can fall into this category. Sometimes such advisories seem like plain good sense; other times they seem like feel-good rah-rah. I'm not sure what it's like in the rest of the country, although I suspect the trauma's a little more abstract there. But here in New York most people I know feel torn both ways. Parties where acquaintances haven't seen each other for a while only break out of where-were-you-when mode after the second round of drinks. A journalist who has just spent a focused hour sharing her long professional experience with college students interrupts some postpanel gossip about the hip hop wars: "I really only want to think about Afghanistan." A bandleader who hasn't said or sung a word as he negotiates his difficult guitar pieces tells the sparse crowd, "Let's hear it for New York," and after the yells and whistles announces, "This one's called 'Just Plain Scared.'"
This is called contradiction, and Americans have never had much taste for it. But there it is. We know that if we don't get back somehow, those who conspired to take the lives of so many of our fellow humans on September 11 have achieved their larger goalwhich is taking part of each of our lives as well. But we also know that the world those lives occur in isn't the place we thought it was. The most drastic change, once again experienced most intensely in New York, is that for the first time since 1814 or at best 1865 each American knows he or she is vulnerable to acts of war, so that sometimes we're just plain scared. But for most Americans who think as much as the people in this roomwhich is to say, not all that much maybe, but somethere's also the uncomfortable sense that national policies we never much liked are suddenly impinging all too fucking directly on our lives. Even if we'd never heard of the Revolutionary Association of Women in Afghanistan, for instance, we knew the Taliban were bad guys. Remember the Buddhist statues they blew up? But we figured, Well, what can we do about it? Now that question is our question. And in a more general way, scenarios of poverty and oppression in the Middle East and elsewhere, actions and policies that we may well have deplored in principle, are now running up to bite us in the ass whether we deplored them or not.
So then. As our panel topic asks, what is the role of entertainment in times of national tragedy? Or as I prefer to think of it, what happens to music after the fall? We're obviously not going to answer that question here today. But before our panelists tell you about their concrete plans and share their ideas and their hopes and fears, I'd like to try to break it down a little, into three subtopics: the economic, the political, and the artistic.
Economically, there's an overwhelming specific. At every level, the music industry depends on transportationnot just of goods, but of people. This CMJ wasn't smaller just because it was scheduled to begin September 12, making it one of thousands of New York businesses done serious damage by the WTC attack. It was also smaller because people are reluctant to flyin part because they're nervous about hijacking, but perhaps more importantly, and more lastingly, because air travel has suddenly become far less efficient. It just takes longer, and maybe those extra two or three hours render specific trips cost-ineffective. For the vanning bands this may not matter much, although when I saw the Handsome Family a few weeks ago they'd just spent three hours on the other side of the Lincoln Tunnel. But for acts successful enough to afford to leapfrog a little, touring is going to become more problematic, straining the national club network that has meant so much to the grassroots development of independent music. And for acts from outside America, it will be even worse, just at a time when internationalization is crucial.
On top of that, of course, there's the question of how this particular war effort, in which home security will impose new distractions and demand new cautions, is going to impact an economy that wasn't exactly thriving before it began. Not positively, most agree. At the major labels, where the cost-cutters are always waiting with their red ink, a new round of downsizing seems quite possible. And the midlevel where so much of the artistic action has moved, and where most of those who attend this conference set their sights, has always lived on the margins and in the intersticesalways kept itself going on the discretionary income of the young. What happens if that dries up a little? What happens if fewer clubgoers can afford the fare, fewer indie shops make their nut?