Now, at this cusp of autumn, the point at which we prepare our fortitudes for relative seclusion, we feel compelled to ask whether fakeness is an insular tendency. Does work that cannot be disseminated, that puts nothing before something, create or address a public? Does nothing, as Lear admonished, come from nothing? We are heartened by the British Musicians’ Union, whose work argues otherwise (though we are wary of promoting any ideological bent that may appear in our research—we see fit to add: fakeness in music has no more of a mission than does music itself).

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