The Publicist Manifesto

1. Post modernism has attempted to erase human nature, and with it our need for communal catharsis, sexuality, and ecstasy, in the moment, in the real.
2. In the past, in pre classical Greek times, drama was a shared experience of dance and song, with no distinction between performer and spectator. The orchestra was the area where this communal experience took place, there was no stage.
3. This tradition of a collective bacchanalia has survived through the ages in carnivals and juke joints.
4. With the arrival of a modern capitalist music industry the participant had been turned into a consumer and thence into a spectator. The stage, a holdover from the bourgeois enlightenment separation of musician and public, cemented this dissolution.
5. Our era of machine fetishism and of physical cowardice has also robbed us of the human body as the creator of musical expression, it has robbed us of the communal celebratory potential of sweat and muscles.
6. The role of the public as a passive spectator has been so ingrained that only when music is reproduced by machines alone (e.g. turntables, playlists) does the public feel free enough to participate.
7. Returning purely to muscle power alone as the driving force for a shared musical experience is not enough, as this would be a conservative, retrograde attitude robbing us of the beauty and efficiency of machines.

There are only two solutions

1. There must be a synthesis of man and machine to have a truly contemporary musical experience. There must be muscles and sinews and sweat, not just fingers pressing “play”, and also true music machines, not the laptops of the office, repeating in perfect rhythm the efficient and beautiful sounds. The instrument that cannot exist without muscles and sweat is the drum. We must turn to the drum and to the sequenced music machine.
2. There must be no artificial barrier between performer and spectator. There must be no more stages.


Thus, we have Publicist

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