Tag: Ethics

  • Fugazi – 5 Dollar Shows, 10 Dollar Albums And 1,000,000 Dollar Passion

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    Few bands in recent years have enjoyed the critical acclaim that this influential rock band has received. Formed in 1987 by the remnants of crucial hardcore bands Embrace and Rites of Spring, this band has reached the title of underground legends. This reputation is not the result of their evolution of hardcore punk and their experimentation with several other musical genres but of their ethics and ideals. This essay’s purpose is to expose one of the best bands of the American underground. Fugazi is composed of vocalist and guitarist Ian Mackaye, vocalist and guitarist Guy Picciotto, bassist Joe Lally, and drummer Brendan Canty.

    To start to chronicle Fugazi’s history, one must first look at their hardcore roots. Ian Mackaye was the vocalist of the iconic and often called “definitive” hardcore punk band Minor Threat formed in 1980. Minor Threat has a legendary status in the punk scene because of their music, their ideas and their approach. After Minor Threat disbanded in 1983, Mackaye went to form Embrace in 1985. Meanwhile, Guy Picciotto was part of Rites of Spring, often called the “first and definitive emocore band,” formed in 1984. These two influential bands were part of the movement known as “Revolution Summer,” an attempt to change the punk scene to more melodic music and introspective lyrics; several hardcore bands from the 80’s had attracted a lot of violence and intolerance because of their aggressive music and raging lyrics. The two bands were short-lived, and their members joined other groups. Ian Mackaye then formed a trio with Joe Lally and Colin Sears, who left and was replaced by Brendan Canty. Fugazi is a Vietnam acronym for bad combat scenarios that stands for F*cked Up, Got Ambushed, Zipped In. After a few shows they decided to add Picciotto into the mix and continued playing for several years.

    Fugazi are very difficult to classify and labeling them into a single genre is nearly impossible and, in some ways, insulting. Their music integrates elements of punk, hardcore, noise rock, and even soul, with innovative rhythms influenced by funk, jazz, reggae and dub. In fact, they have been categorized as post punk and post hardcore by many critics because their music is an evolution, progression and reaction to hardcore punk. This band is also notable because of the interlocking guitars of Picciotto and Mackaye, which stay in a balance as equals, unlike most bands that have a leading guitar and a rhythm guitar. Also, the contrast in both guitarists singing styles is fascinating. Mackaye’s hardcore roots make his singing be way more straightforward and anthem-like while Picciotto prefers a more abstract way of singing. Their experimental sounds have influenced many bands, like At the Drive-In and are regarded as one of the best bands of the last twenty years.

    Just as famous as their groundbreaking music are their ethics and ideals. They’re one of those hard-to-find bands that, while keeping their DIY punk ethics, still achieved mainstream success. They normally charged form $5 to $10 per show and insisted that their shows be open for everybody, age notwithstanding. They don’t sell merchandise like posters, pins, patches or t-shirts because they thought that having a person managing merchandise involved more costs and they wanted to keep the prices of their albums and shows at a minimum. At their shows, Fugazi encouraged the underage fans to wear black exes on their hands to stop them from consuming alcohol, particularly, a tradition created by Mackaye during his days at Teen Idles, a band older than Minor Threat. Much of Fugazi’s reputation comes from word of mouth. They had the reputation of powerful, cathartic shows and an eagerness to play anywhere. Another famous characteristic of Fugazi is that they, unlike most bands from their time, discouraged slam dancing, fist fights, and moshpits during their shows and are ready to stop playing and ask the problematic people to step out with their money back so they can continue their show.

    Fugazi have proved to be one of the most revered bands in the American Indie and Punk scenes because of their contribution to music. Just the fact that they never sold out when they had a myriad chances proves how valuable their music was for them, an admirable quality. In this conformist and corporative world where sounds are synthesized and copied to manipulate the masses, those underdogs that rebel against the mainstream and seek to achieve musical pleasure are the ones that are worth listening to. Many bands have taken Fugazi’s example but no band will ever compare to the greatness that was Fugazi, the band that could.

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    Source by Juan Diego Alvarado

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  • Business Ethics for the Mindful Dance Professional

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    Once upon a time, a dance teacher opened her own studio down the road from her former employer’s school, taking advantage of her former teaching position to start her own studio. Sound familiar? This is an all too common story in the dance studio business and unfortunately, this is no fairy-tale.

    We have all heard a version of this story or perhaps experienced it first-hand. Poaching students–direct or indirect solicitation of another’s students–is a practice that mindlessly fragments and divides the dance community. In addition to poaching students, other subtle, but just as divisive, practices include: making negative remarks about other teachers/schools, misrepresentation of the self by making false, exaggerated, or ambiguous claims, and making disparaging comparisons or references about others.

    What drives otherwise enterprising individuals to engage in business practices that burn bridges, sow the seeds of deceit, and model mindless behavior?

    Darwin. You heard me–Darwin is to blame. Well, not really Darwin himself, but the misinterpretation of his theories into a business context is at the root of this dilemma. When the business world adopted the neo-Darwinian philosophy of “survival of the fittest”, they unleashed a ready-made excuse for unethical action.

    As a culture that witnessed the “cola wars” first hand, we picked up the idea that anything goes when it comes to business and marketing. Ethics and morals need not apply. “That’s business” they say while defending their actions. They fail to see the big picture: to look mindfully at the situation. They unknowingly hurt the larger dance profession and therefore themselves. It is a case of one’s right hand shooting one’s left and thinking this is good.

    What makes one feel justified in approaching the business of dance studios in this mindless manner?

    At the root of the neo-Darwinian business approach is a sense of isolation and scarcity. These teachers believe that it is “them against the world”–or, more directly, “them against the other local studios/teachers.” Add to this sense of isolation a sense of scarcity–that there are not enough students to go around–and you start to understand how one begins to rationalize why stealing students is necessary for survival. However, these twin concepts–isolation and scarcity–are illusions in the dance world.

    Studios fighting over the same group of students create a negative atmosphere in the community. Parents sense this negativity and choose alternative activities for their children because they seem more wholesome: the potential young dancer takes up soccer. However, in a community where more than one dance school thrives without negativity, a greater number of students enjoy dance as an activity. This greater number of students translates down the road into a greater number of future dancers, dance teachers, and, most importantly, audience members. If dance studios stopped seeing each other so much as competitors and more as colleagues, the entire dance profession would benefit.

    The solution starts as simply as making replacements: replacing mindless competition with mindful collegiality, mindless isolation with mindful interconnectedness, and mindless scarcity with mindful abundance. We must realize that the dance profession, from the smallest recreational dance class to the largest professional company, is interconnected. The entire web of the dance world is vitally linked.

    For example, the dance community is rather small in comparison with the larger world of sports. There are many more children participating in sports than the arts. Rather than interpreting this as a reason to fight for resources, we should embrace a sense of abundance. There are more than enough potential students out there to sustain every school if we focus on bringing more students into dance rather than fighting over those already there. It is to the benefit of the dance profession at every level to include more of the non-dance world inside our walls rather than put up walls within our own.

    So, how can we begin to break down the twin illusions of isolation and scarcity in the dance studio world and open our eyes to interconnectedness and abundance?

    We need to base our actions and practices on ideals that reflect the dance world as a healthy and vibrant community rather than a dire and hopeless one that lends itself to mindless behavior. Adopting a code of ethics that reinforces a mindful and wholesome outlook will not just serve as guidelines, but also help promote a positive environment for those whom they effect.

    Going forward, we all need to embrace a code of ethics that addresses these issues. The following list is nowhere near complete, but it is a place to start.

    Business Ethics for the Mindful Dance Professional

    In all professional and business relations, the dance professional shall exhibit respect, honesty, and integrity for themselves, clients, and colleagues.

    A. Respect

    A dance professional shall refrain from making negative remarks that may discredit, malign, or in any way cast reflection on the professional standing of another school/studio or teacher.

    A dance professional shall refrain from making any disparaging references to, or disparaging comparisons with, the services of others

    A dance professional shall refrain from publishing, or causing to be published, any notice, newspaper advertisement, or any other matter likely to damage or depreciate the reputation of any colleague.

    B. Honesty

    A dance professional shall accurately portray his or her qualifications or affiliations to the public especially in advertising material and avoid any ambiguity or exaggeration.

    A dance professional shall refrain from portraying his or her qualifications or affiliations to the public in a way intended to deceive the uninitiated. For example: having danced a child role in the Nutcracker with a professional company and listing it as to portray having danced professionally with the company.

    C. Integrity

    A dance professional shall refrain from directly soliciting business from another teacher or studio by approaching, in any manner the pupil, pupils or employees of another teacher and, for any reason at all, to try to induce them to join his/her school.

    A dance professional shall refrain from indirectly soliciting business from another teacher or studio by making adverse criticism against other teachers’ methods, by offering free coaching, by citing the advantages to be gained by the pupil from the change (e.g. offering roles/parts), or other similar methods.

    With each of us taking responsibility for our own actions by embracing a mindful ethical base, we can co-create a healthier, connected, and abundant environment in the business of dance schools. Moreover, with all we have in common, we might just discover we make better friends than enemies.

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    Source by James Robey

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