Myths of Ability

In the last couple of years, I worked on re-issuing a book published in 2014, an (updated) biography of late musician, Bryn Jones alias Muslimgauze. This involves a lot of work with little compensation. Actually, negative compensation. More resources go to research and writing than ever come out, an exercise in debt cultivation. On a weekly basis, I get requests for a copy of the book. Usually, from a younger music enthusiast, not even born until well after Jones passed away in 1999, and who just discovered Muslimgauze. Said younger enthusiast often cannot not afford the first edition, priced well out of reach. That in itself is a problem. Some suggest, 'just post a PDF'. If you care about a topic you spent years on, you want to update, correct, and refine.

The ongoing requests couple with the continuing genocide in Gaza (and the West Bank) and attendant wars as of this writing and starting in 2023 helped inspire the idea to re-issue and updated version of the book. Not many are on board with the idea. I often hear, "there will only ever be one Muslimgauze book, no more is needed" but consistent enquiry for copies suggest otherwise. Muslimgauze is such an iceberg topic, both musically and topically that demands an update. If you care about research at all, you know it rarely ever stops.

Resources were limited in writing the first edition, to say the least. More care went into the item as a 'product' than editing content. But I am also proud of what I was able to achieve with next to no resources but lots of cooperation. Since initial publication, new things are learned and new details gathered to make the update more comprehensive with clarity and cohesion. You may ask, what sorts of things?

Let us take audio production. Many Muslimgauze fans want to know how Bryn Jones made the sounds he did. While I spoke with audio engineers and labels between 2003 to 2014, much of what they said I did not fully understand. Perhaps I still do not. But since 2014, I went back to school for multimedia production, conferred with a lot of audio engineers, visited quite a few studios, learned and worked with audio and can say I know more now then I did then. That translates to being able to explain Jones' methodologies and craft in music making perhaps better.

Okay, big deal, you can now better explain how Jones made his music and lay down production theory. What else? Let us take the politics that informed Muslimgauze, because I get asked that a lot. Why did Jones care so much about the conflicts in the so-called Muslim world with emphasis on Palestine / Israel? Did he even know what he was talking about? My grasp of conflicts was good in the first edition, but this time try to put more structure and clear references, so the reader can follow source citations herself. Sort of a university course in foreign policy and (often) Western resource appropriation masked as 'spreading democracy'. But Jones was never there, so how can he speak about a place he never was in? Jones knew a surprising amount and was better informed than most, even today. I am often aghast at the poorly informed opines posted through the internet accusing Jones of antisemitism for championing Palestine or any place that wishes to determine their own fate instead of bowing to corporate interests of the wealth class. These people do not bother to read or visit libraries and are often content to be stenographers to power and / or echo propaganda. A strong chain of scholarship follows Bryn Jones whereas propaganda and fear tends to follow the other side.

Another significant change are the campus protests for Palestine of 2024. I went to these protests and met many from places Bryn made music about. Some were even aware of Muslimgauze music. Bryn maintained that Muslimgauze is for occidentals. Palestinians, for example, do not need to be told by an occidental that they are living under a jackboot. Said students would tell me of late night study sessions and music by an artist, Muslimgauze, plays on Youtube. They are (pleasantly) perplexed, who is this artist? Even more perplexed to learn he championed their struggles from before their birth.

Okay, so the music and politics is explained a bit better. What else?The first round I did not track everyone, some who knew Bryn and worked with him. I interviewed a lot in the first edition and tried to digest that. I look to enhance by tracking other collaborators and co-producers. I seem to be the only one who cares about this. Some, like certain gatekeepers, just yawn.

Well, what else? In the early 2000's, let us say that graphics were not so good. Album covers and art works were not scanned at their best so details are often overlooked. Not so this time around, that can be fixed. Consequently, we now understand more because we can actually see details overlooked in the past. Bryn designed his own album covers from 1982 to about 1990, thereafter, the labels took over with maybe three exceptions. Prior to 1990, it is mostly Jones' art work. He was an accomplished graphic artist for his time. To better know the artist, look closely at his art from that era. Labels took over the art after and Bryn sometimes did not even like the covers, but was too busy working on the next album to really care. As someone on a limited budget, I cannot afford to examine these collectors' records and depend on others to scan and send. This is an example where collaboration is essential for research.

Further, in the first edition, despite having a copy editor and proof readers, some errors did slip through. It happens, even with the best writers. That is why we normally have updated editions where we catch mistakes made with first print, and correct in the next. While rewriting, I caught a few. It is amazing what time and perspective provides. I can also clarify points made in the first edition. Bryn's views, however, remain intact.

Yes...and...? I also managed to re-interview some from the first edition and get details missed the first go. Memory is a funny thing. When you first ask, you get one set of answers. Ask again, new details emerged that are overlooked the first go. Also, when you write, you may overlook connections that only become evident later on. Further, you (hopefully) change and develop as a writer and are not the same when you started.

An editor was brought on board, a veteran music writer and fellow biographer, well-versed in both the politics that inform Muslimgauze and parsing data into prose. A Brit with a better grasp of the local culture. From my end, I worked on releasing an updated, corrected, improved softcover edition at perhaps half the price, but no less cool. In today's era, politically hostile to anything that champions Palestine, no small feat. Resistance goes with the topic.

Little did I expect resistance to come from supposed allies, but that is naive of me. Frustratingly, this topic and book re-issue is left to the discretion of certain gatekeepers. Gatekeepers who want things kept exclusive, to a small cabal of those who can afford. A "cult of obscurity" as one aptly put it. The effort to track down and interview those who worked with Bryn Jones and his family and friends and associates happened because I care about the topic and the gatekeepers cooperated. Let alone sifting through the massive discography and deciphering references. The gatekeepers now, for many reasons (they have a treasure, so why should others?), do not. That would threaten their exclusivity and niche. To them, it is not about documenting Bryn Jones, doing our best, and putting something worthwhile in the hands of enthusiasts, but to keep limited treasures to gloat over. If this writer spent time and resources rewriting chapters and looking to build on prior work, what of it? Moreover, gatekeepers--in line with legacy media--are often in opposition to what Jones believed in, the topics that inform Muslimgauze. These gatekeepers do not want an updated edition. Beware the gatekeepers who hoard.

I wish I could get my two years back. Sourcing editors for months and having weeks long conversations. Sourcing book designers for even longer. Looking for someone who will not approach design as a template, but do justice to the topic. Speaking with many, many, many printers. This is just the tip of it.

A new, different book, less expensive, more information, new or improved interviews, better graphics, more source citations that informed the music of the time, more production theory, an editor to refine the final work, a new design and disc to go with it. That will piss off the gatekeepers. So who cares? Is it not better to keep things exclusive to a few and shut the rest out? Especially the young enthusiasts who ask about these details missed in the first edition? Well, you tell me. But for now, it looks like the gatekeepers will have their way.

NOTE: Above images used from Simon Crab blog entry on first edition.