There were so many new and shiny ways to share our inner monologue in 2007. In honor the information acceleration that marked the year, let’s take a deeper look at just a few mile markers.
A chair is a terrible thing to waste, and in 2006 any and all vacancies were weighing heavily on our minds. Venue was a central variable in the new equations, but long-term solutions meant more than just locating a cooler landlord with a liquor license.
If 2004 had a genre-busting vibe, by 2005 we were embracing friends old and new as barriers cleared. The questions at the intersection of music and digital delivery, however, were getting much more complex as the novelty of what we could do careened into what music was worth and how we were going to pay for it.
With all the serious reflection that’s been going on around here of late, it seemed like it was time to pop some popcorn and re-watch a few of the mini artist documentaries NewMusicBox has produced.
Sure, Mark Zuckerberg and pals launched Facebook in 2004, but NewMusicBox was already cruising into its 5th anniversary by that point. For the traditionalists in the house, the appropriate gift is wood, which we needed because the year was rife with arguments over genre fence lines.
In terms of world affairs, 2003 was probably one of the most turbulent years. So did that play out in the music? It depends on how you want to think about it.
What music most appropriately captures the zeitgeist of 2002? Steve Reich’s Daniel Variations (created in response to the shocking February 2002 murder of Wall Street Journal’s South Asia Bureau Chief Daniel Pearl) was not composed until 2006, but another Reich work, his apocalyptic Three Tales (created in collaboration with Beryl Korot) immediately stands out in my mind.
When looking back at 2001 for its musical significance, all I can say is that music is ultimately what kept us going when the events of September 11 unfolded in New York City.
If you don’t know what Y2K is, be thankful, even though it inspired some interesting music.
One thing that hasn’t changed in all these years has been our goal to always be inclusive of the broadest range of music that could be considered “new” American music whether it was notated, improvised in a club, assembled in a studio, or found sound.