Earlier this week, I heard one of my personal heroes, Ian Mackaye, deliver a Q+A session at the UCSD campus.

Ian, for the uninitiated, is a pioneering figure in independent music — founding member and singer of seminal punk bands Minor Threat and Fugazi, as well as current singer of The Evens, and one of the co-owners of Dischord Records.

I have never heard Ian in this particular setting, but I knew he was sharp from the in between song banter I’ve heard from him during past Fugazi concerts — for example, urging crowd surfers to do something truly radical and, instead of crushing the fans up in the front, to try getting passed to the back of the audience instead.

On this particular evening, Ian showed up without an agenda — he opened up the floor to any and all questions the audience had.  Questions ranged from the silly (“Who would win in a potato sack race between you and Henry Rollins?” — which, by the way, Rollins would probably win; clearly, the man does many push-ups) to the political (e.g., the current election, war, etc.) and, of course, the musical (in case you’re wondering, Ian has been listening to Eddy Current Suppression Ring lately).

Ian is an extremely quotable person, quick on his feet.  I love what he said about the significance of music:

Music is the currency of community

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… one of many thought-provoking quotes from Cornel West in Call+Response.

[Seriously, every phrase the professor utters in this film is fully loaded with meaning — I was still trying to catch up three or four sentences later every time he spoke.  His exposition on the idea of “funk” as it relates to the muck, mire and beauty of humanity is particularly compelling.]

Call+Response is a musical documentary film about modern-day slavery and human trafficking featuring artists such as Cold War Kids, Imogen Heap and Moby (more on the music below) alongside notable figures such as the aforementioned Cornel West, Madeleine Albright and Ashley Judd.

The raw stats, if we care to come at them in any realistic way, are sickening and overwhelming:

  • 27 million people enslaved today — more than at any other point in human history
  • Human trafficking as an “industry” earns more annually than Google, Nike and Starbucks combined (in the neighborhood of $32 billion)

The film’s title is a play on the antiphonal music — the call and response — created by American slaves which gave rise to spirituals, then to the blues and, eventually, to rock music.  Music made by an enslaved people to reclaim their dignity.

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…you just know that this story is going to be used as an illustration in some sermon somewhere in this country as “proof” that God is sovereign.

Sigh.

I don’t mean to be presumptuous, but I’m pretty sure God wasn’t losing any sleep over this one.

Am I even qualified to make such a statement?  And, given the relatively short history of blogging, can there really be an “age-old” dilemma in the blogosphere?  Well, preamble aside…

From time to time, blogs I read will ask the question, “Why do I blog?” or its close cousin, “Why should I blog if no one reads it?” — which itself might be a philosophical relative of “If a tree falls in the forest…”

In any case, I’m not questioning why I blog.  Bruce Reyes-Chow and Eugene Cho have some great summaries about why they blog and, as for me, “Yes, what they said!”  Seriously, I’m grateful that anyone reads at all and I have no pipe dreams of achieving blogospheric greatness.

I think my dilemma relates to the fact that every day — every day — the search term that lands the most people (by far!) here at headsparks is:

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I still haven’t shaken my bad habit of including snarky tracks in my mixtapes.  For example, a killer Poison hit might provide a smirking counterpoint to a bone crushing Coalesce track, or the theme to the A-Team could lighten the mood after some Slint mathiness.

I was just thinking of updating my Muxtape page (finally) and how great it would be to include You’re the Best Around from the OG Karate Kid (by the way, check out this karate monkey — this song is such a versatile soundtrack!).

Unfortunately, when I tried to login to my Muxtape page, this is what I found.

Muxtape’s strengths were its simplicity — both in its aesthetics and its ease of use. However, what I enjoyed most was strolling through the diverse array of music its community hosted. Muxtape acted as a sort of cassette mixtape 2.0:

A physical cassette tape in your hands has such an insistent aesthetic; just holding one makes you want to find a tape player to fulfill its destiny. My goal with Muxtape’s design was to translate some of that tactility into the digital world, to build a context around the music that gave it a little extra spark of life and made the holder anxious to listen.

After lengthy talks with the RIAA and major record labels Muxtape — in its original incarnation — no longer exists.  Apparently, they’re reorganizing with a focus on bands, but it kind of seems like this ship has sailed.

Sigh.

So long, Muxtape — we hardly got to know each other.