{"id":932,"date":"2022-02-06T00:08:01","date_gmt":"2022-02-06T00:08:01","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2022-2-5-ghent-and-the-promise-of-culture\/"},"modified":"2022-02-06T00:08:01","modified_gmt":"2022-02-06T00:08:01","slug":"2022-2-5-ghent-and-the-promise-of-culture","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2022-2-5-ghent-and-the-promise-of-culture\/","title":{"rendered":"Ghent and the Promise of Culture"},"content":{"rendered":"
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By Maxwell Reid<\/strong><\/p>\n

It\u2019s 4:17 PM, I\u2019m sitting in my cramped hostel room in Ghent, Belgium, clinging on to any bit of wifi I can. In two hours the pubs open. In six hours the pubs close. In seven hundred thirty thousand and one hours, the clubs may open. In seven hundred thirty thousand and one hours hours I\u2019ll be in a different town. I can\u2019t wait for COVID restrictions to change, they can\u2019t open up for me; I\u2019m at a crossroads. In seven hours, I\u2019ll be back in this cramped room. All I can hope now is to hear the steel stringed bass twang as I sway home on cobblestone streets. I throw a euro at every busker I see, its clank bringing a percussive element to the Belgian folk blues being played in this lonely city street. They\u2019re the only humans in Europe giving us live music, the only humans in Europe contributing to a physical scene culture.<\/p>\n

This isn\u2019t the first time I\u2019ve felt like this, won\u2019t be the last time I feel like this. With it comes tinges of anger, of selfishness, tinges of pain and of guilt. I\u2019ve come to know these emotions very well in the past two years, but this time the emotions feel brand new. Maybe it was foolish of me to think that I could escape this by going to a different continent. I often ask myself what I\u2019m even doing here, am I unwittingly bringing the bug over from infected shores? Who am I to deserve music from these people, I\u2019ve made their problems worse, I\u2019m the reason why most of them are still inside. <\/p>\n

Another show was canceled today. Drain Gang in Cologne, Germany. I\u2019m not a drainer. Bladee underwhelms me, Thaiboy Digital annoys me, Yung Lean bores me, only Ecco2k gives me hope, but I was incredibly excited for that show. I\u2019ve always wanted to be there for the cultural zeitgeist, the mythic befores, the \u201chumble beginnings\u201d that every biographer talks about: dancing to \u201cPsycho Killer\u201d on a congested CBGB\u2019s night, swaying to \u201cAbout A Girl\u201d in a humid Seattle basement, crowd surfing to \u201cOur Lady of Sorrows\u201d at Maxwell\u2019s in Hoboken, moshing to the electricity of \u201cwokeuplikethis*\u201d only hours after it dropped. These songs we hold as sacred in popular music canon are made even more special by the environments they originated in, the specific zeitgeists they captured of a place on the verge of cultural domination. <\/p>\n

Northern Europe was that place. Now it isn\u2019t. Now, nowhere is. <\/p>\n

Talking Heads, Nirvana, My Chemical Romance, Playboi Carti, all of these acts had scenes to fall back on. A small and confined geographic locale where they could test out their sounds, relate to their audiences, and cultivate something entirely new. Sure, some acts had the aid of the internet to create an audience and get inspirations, but that doesn\u2019t change the fact that at one point in the early tens, Carti and Young Thug were peers within the same music scene of Atlanta, hearing each other\u2019s music and creating a new sound that would dominate everything the mass music audience would consume today. New acts can\u2019t play shows now. Drain Gang can\u2019t showcase evolutions of their sound to their most diehard and personal audience like every other act of the past was able to. Without a scene, how is culture supposed to grow? How is the bug of popular music supposed to spread? History promised us a place in the cultural zeitgeist, as music hungry college students we were promised to be \u201cpart of it\u201d, we were promised the \u201cI was there\u201d that our grandparents got for psychedelia and our parents got for Grunge. History didn\u2019t keep its promise. <\/p>\n

Today I walked past Kinky Star, the local music club in Ghent where dozens of local Belgian artists had gotten their start. Its windows were boarded. It took me back to Boston, where I\u2019d walk past House of Blues or the Royale on a cold January night and it too would be completely shut and locked. In America shows have been back for a bit, and as a traveler I\u2019m ignorant as to if they\u2019re still going on now, but it is the constant threat of cancellation that is always terrifying. Many drunken conversations I had with Belgian students went along the lines of me asking if there was a show, them saying that there might be a show, followed by the notification that there was no longer a show. We were forced into crowded pubs, where the usual radio was changed to half hearted house sets, middle aged white men with dreadlocks off molly, cocaine, lsd and speed attempting to grab the kids like me who were simply just in there trying to drink and listen to music and have a good time. The restriction has locked all of us incompatible music lovers within the confines of a shit smelling bar, it was all homogenized to an umixable degree to the point that absolutely nobody was having a good time. All I could hear was the apologies of my new Belgian friends: \u201cSorry, it\u2019s not always like this. They just have nowhere else to go\u201d.<\/p>\n

Lockdowns are frustrating but ultimately necessary in order to combat a lethal virus. This may all sound like complaining, and as a serial complainer, it surely is, but I don\u2019t want my time in Ghent to fill me with this cultural despair. But I think that may be a fool\u2019s errand. ICU beds are completely taken up, the vulnerable are dying. It’s ridiculous and almost selfish of me to yearn for a type of \u201cfun\u201d that could infect and kill more. At the worst, like everything else, the culture around music will be entirely digitized (just as this article is) but at the very best, and the outcome I am most certain is true, we are simply living in an era of forced cultural hiatus, a dark spot, a black hole within the forward momentum of the culture. This isn\u2019t the first black hole, the Renaissance being built off the freedom from the end of the Black Plague, the boom of literary genius of Fitzgerald and Hemingway coming out of the horrors of World War One. Once that black hole ends, and it will end, all of us young music lovers will be thrust into terminal velocity, explosions of creativity, the ultimate heyday of making up for lost time. Masterpieces have already come out of pandemic torture, \u201cFatigue\u201d by L\u2019rain, \u201cLP!\u201d by JPEGMAFIA. \u201cCall Me If You Get Lost\u201d by Tyler, The Creator was ultimately an ode to a perceived end of the bug. <\/p>\n

We can\u2019t see an end in sight, we just need to hope it will end. As I remain in this black hole of culture, I\u2019m going to continue to travel, continue to consume different art, different literature, different films, and different music, even if it is all digitized. Once that black hole ends, I\u2019ll be ready. <\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

As I remain in this black hole of culture, I\u2019m going to continue to travel, continue to consume different art, different literature, different films, and different music, even if it is all digitized. 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