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The Amanda Palmer Kickstarter Scandal : The New Yorker
"The outrage over this incident is, however, more complicated than it might at first appear. It’s entangled with the current debate about wealth inequality that has animated both the Occupy movement and the Presidential campaigns: the sense that even newly minted haves, like Amanda Palmer, really need to treat have-nots, such as local musicians, a whole lot better. Thus a long-standing music-biz scam (Chuck Berry’s ill use of local musicians is the stuff of industry legend) suddenly takes on the aspect of plutocrat and prole in a contemporary drama. It only adds piquancy that Palmer adopted the posture of the moustache-twirling boss. As she told the New York Times, 'If my fans are happy and my audience is happy and the musicians on stage are happy, where’s the problem?'"
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"In general, there is a boom in such practices that seems tied to the digital era; you can't spell Internet without intern."
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"As a society, we’re supposedly committed to the principle that workers, the poor, those struggling to get by, deserve a share of the wealth for practicing their craft. But we also believe that investors and owners deserve returns on their equity. What we gloss over is the irresolvable contradiction between those two things. In general, the Amanda Palmer investor will in fact be in favor of paying the musician in hugs, since that would maximize their own return: intensified exploitation of the string section should lead to more hand-knitted cassette tapes showing up in the mailboxes of the twenty-four thousand eight hundred and eighty-three backers who ponied up."
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october 2012 by cluebucket

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