Chords for Ian MacKaye on the Fugazi Archives
Tempo:
117.65 bpm
Chords used:
F
C
E
F#m
D#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
If all music is free, only free, then people who are engaging this music will have to just
settle for the past.
Because you can't actually make music for free.
And the only music that is free now is music that's already been recorded.
And I think that in itself is a very, that's a serious problem that people should be thinking about.
So I encourage all people to accept the mantle as a patron of the arts.
To pay some money, help artists make things.
Doesn't have to be a lot of money.
And our experience with this, you know, most people just pay five bucks.
We have a few people who just, you know, they buy tons and tons of shows at a dollar each.
[C] And they always, you know, they always write, you [F] know, I'm going to buy a lot of shows.
That's fine.
And we've had a few people say, you know, this show was, you know, I met my wife at this show.
I'm going to give you 20 bucks.
So that [E] people's shows, or whatever, you know, whatever, you know.
So [F] it doesn't really make a difference.
You know, we [F#m] don't, I think there's [D#] a very good chance we'll never break even on it.
[Em]
But I don't [F] care.
It seemed crazy to have a box of boxes and boxes and boxes of recordings that no one
would ever hear.
What was the point?
Why do we make those tapes?
Is it not for posterity?
And if it was for posterity, how will posterity hear them if they're in boxes?
So I think that once the technology, once the technology developed in a way, namely
the internet, in which you could have something as a simple single source that had infinite
copies available, then it became a possibility to do this.
So we're working on it.
We're still, we still have 700 shows to go.
It's a lot of work.
I mean, it's insane how [N] much work it is.
settle for the past.
Because you can't actually make music for free.
And the only music that is free now is music that's already been recorded.
And I think that in itself is a very, that's a serious problem that people should be thinking about.
So I encourage all people to accept the mantle as a patron of the arts.
To pay some money, help artists make things.
Doesn't have to be a lot of money.
And our experience with this, you know, most people just pay five bucks.
We have a few people who just, you know, they buy tons and tons of shows at a dollar each.
[C] And they always, you know, they always write, you [F] know, I'm going to buy a lot of shows.
That's fine.
And we've had a few people say, you know, this show was, you know, I met my wife at this show.
I'm going to give you 20 bucks.
So that [E] people's shows, or whatever, you know, whatever, you know.
So [F] it doesn't really make a difference.
You know, we [F#m] don't, I think there's [D#] a very good chance we'll never break even on it.
[Em]
But I don't [F] care.
It seemed crazy to have a box of boxes and boxes and boxes of recordings that no one
would ever hear.
What was the point?
Why do we make those tapes?
Is it not for posterity?
And if it was for posterity, how will posterity hear them if they're in boxes?
So I think that once the technology, once the technology developed in a way, namely
the internet, in which you could have something as a simple single source that had infinite
copies available, then it became a possibility to do this.
So we're working on it.
We're still, we still have 700 shows to go.
It's a lot of work.
I mean, it's insane how [N] much work it is.
Key:
F
C
E
F#m
D#
F
C
E
_ _ _ _ _ _ _
If all music is free, only free, then people who are engaging this music will have to just
settle for the past.
Because you can't actually make music for free.
_ And the only music that is free now is music that's already been recorded.
_ _ _ And I think that in itself is a very, that's a serious problem that people should be thinking about.
So I encourage all people to _ _ _ _ _ _ accept the mantle as a patron of the arts.
_ To pay some money, help artists make things.
Doesn't have to be a lot of money.
And our experience with this, you know, most people just pay five bucks. _
We have a few people who just, you know, they buy tons and tons of shows at a dollar each.
[C] And they always, you know, they always write, you [F] know, I'm going to buy a lot of shows.
That's fine.
And we've had a few people say, you know, this show was, you know, I met my wife at this show.
I'm going to give you 20 bucks.
So that [E] _ _ people's shows, or whatever, you know, whatever, you know.
So _ [F] it doesn't really make a difference.
_ You know, we [F#m] don't, I think there's [D#] a very good chance we'll never break even on it.
[Em] _
But I don't [F] care.
_ _ It seemed crazy to have _ a box of _ boxes and boxes and boxes of recordings that no one
would ever hear.
What was the point?
Why do we make those tapes?
Is _ it not for posterity?
And if it was for posterity, how will posterity hear them if they're in boxes?
_ So I think that once the technology, _ _ once the technology developed in a way, namely
the internet, in which you could have something as a simple single source that had infinite
copies _ available, _ then it became a possibility to do this.
So we're working on it.
We're still, we still have 700 shows to go.
It's a lot of work.
I mean, it's insane how [N] much work it is.
If all music is free, only free, then people who are engaging this music will have to just
settle for the past.
Because you can't actually make music for free.
_ And the only music that is free now is music that's already been recorded.
_ _ _ And I think that in itself is a very, that's a serious problem that people should be thinking about.
So I encourage all people to _ _ _ _ _ _ accept the mantle as a patron of the arts.
_ To pay some money, help artists make things.
Doesn't have to be a lot of money.
And our experience with this, you know, most people just pay five bucks. _
We have a few people who just, you know, they buy tons and tons of shows at a dollar each.
[C] And they always, you know, they always write, you [F] know, I'm going to buy a lot of shows.
That's fine.
And we've had a few people say, you know, this show was, you know, I met my wife at this show.
I'm going to give you 20 bucks.
So that [E] _ _ people's shows, or whatever, you know, whatever, you know.
So _ [F] it doesn't really make a difference.
_ You know, we [F#m] don't, I think there's [D#] a very good chance we'll never break even on it.
[Em] _
But I don't [F] care.
_ _ It seemed crazy to have _ a box of _ boxes and boxes and boxes of recordings that no one
would ever hear.
What was the point?
Why do we make those tapes?
Is _ it not for posterity?
And if it was for posterity, how will posterity hear them if they're in boxes?
_ So I think that once the technology, _ _ once the technology developed in a way, namely
the internet, in which you could have something as a simple single source that had infinite
copies _ available, _ then it became a possibility to do this.
So we're working on it.
We're still, we still have 700 shows to go.
It's a lot of work.
I mean, it's insane how [N] much work it is.