College students and luxury are often at ends. For everything wanted, there is something else needed.
As much as many of us consider music a need, some aspects of it unfortunately fall into the wide umbrella of want. And the best case to illustrate this problem is the internal debate of buying vinyl.
Undoubtedly, vinyl records have a certain charm and charisma attached to them. Hearing sound created when an intricate needle falls into their ridges not only looks cool, but will also give you credibility to guests who will “ooh” and “ahh” over the rare and magical sight.
But despite the spectacle, vinyl is inedible and will not propel a car to go forward nor pay the landlord. Coupled with the relative cost of records worth buying, people that have not started careers yet and find themselves weighed down by schoolwork rather than paid work hardly have the spare $20 for a new record.
Of course, with the possibility of used records, which nearly every record store carries, bargains come into play. A $3 Yes record might be plucked from the dusty back shelves with money left to buy accompanying beverages for the first spin on the turntable.
At the same time, bargains for well-known used albums usually trend in the opposite price direction. To buy a $60 press of Blonde on Blonde, Led Zeppelin’s IV or any post-1964 Beatles record is such a reckless indulgence on a college budget that a Spotify subscription almost seems like an objective responsibility. It’s cheaper, but not the same.
With the modern availability of music, any vinyl purchase over even $5 feels like an indulgence, an undeserving luxury that can be bypassed through other, more frugal methods.
Yet, like many material things, the authentic atmosphere that vinyl albums exude cannot be quantified in a given dollar amounts. The true nucleus of vinyl records’ likeability comes in the element of interactivity.
Clicking play on a computer is now such a mindless act with little significance, but taking a record out of its artistic gatefold, checking it for any scratches, adjusting the volume levels of speakers and watching the black, intelligent disc spin ad infinitum is something that can only be experienced firsthand. Not to mention, the carefully engineered and signal-processed bass reproduction sounds warm and feels unmatched in hearing it on anything else.
When buying vinyl, you don’t pay simply for the music like in the 1970s, you now pay for the process of exclusive enjoyment. Sometimes hearing the bleeps and bloops of Kraftwerk’s Autobahn is worth shelling out $30 on impulse. It all depends on where a limited amount of money means the most.
At some point in post-college financial stability, vinyl will most likely stop feeling like a luxury and more like a casual trip to the record shop. That day will both be welcomed and dreaded because it means the end of a certain sacred regard I hold for something that’s as simple as a grooved circle in a cardboard sleeve.
Luxury might become standard, but I suppose it’s all matter of perspective.