ANDY
Andy got hurt. Badly.
It was the last run, but it's always the last run when you get hurt, right?
We were skiing Spar Gulch, which once upon a time was literally a "V," but they flattened it out a few decades back and there was a bunch of sun and I'm skiing along and I start to hear yelling and I stop and turn around and see Andy face down in the snow. I thought he was dead. Truly.
Then he suddenly rolled over once, and then played dead again.
I was scared.
So I climbed up and Amy skied down and Andy's glasses were broken and he wasn't fully coherent, but he said he'd just had the wind knocked out of him and he'd be fine to ski down.
But then the ski patrol came along and Andy couldn't sit up straight and he started moaning and groaning and they gave him oxygen and took him down to the ambulance...
He has a partially collapsed lung. A fractured scapula. Five broken ribs. And some brain trauma, i.e. a concussion.
His spirits are good, he's cracking jokes, and they said he'd be back on snow in 8-10 weeks, but what freaked me out most, other than the injury itself, was how you can be completely normal one moment and in an instant disaster strikes and you're not.
It appears that he was fearful of colliding with Amy. So he either skied over the back of her skis or he didn't. Either he crossed his tips or he didn't. There's a huge gash in his K2, down to the core, but no one knows exactly what happened. A bystander said Andy fell on his head. Andy said he did not.
Life is risky. Live it to the fullest.
And I only hope when my time comes I can be as upbeat as Andy Somers.
PETER MENSCH
A tour-de-force. Put a dime in the jukebox and Peter Mensch tells mind-boggling stories, whether it be showing up in Paris with AC/DC's per diem not knowing that he'd already been fired or talking about A&R'ing the Stones' "Steel Wheels" album. And having Keith tell him to tell Mick...
The music business is comprised of iconoclasts. People who are passionate about tunes and couldn't make it anywhere else. Those who go to college and have more records than anyone else in the dorm. Who went to shows alone because no one else would.
That's Peter Mensch's story.
And that's mine too.
And there was so much more. I was riveted by the tales of his growing up. Having no friends. Being traumatized by switching schools at an impressionable age. Having his sister kidnapped. Getting out of the draft after sitting on the Group W bench.
You know "Alice's Restaurant," don't you?
Of course we talked the modern music business.
But even more interesting was how Peter got to where he is. Starting as a tour accountant. Sidling up to AC/DC, who were opening for Aerosmith, being told he couldn't manage the Scorpions because he had no experience and then having their U.S. lawyer relent. Signing Def Leppard. Mutt Lange coming to his flat in London every night with just one syllable of "Pho-to-graph."
Peter said too many one act managers don't know touring, and therefore make all-over deals with Live Nation or AEG, he thinks you can make more on your own.
Peter said that an album has to be great. Literally. Ten or twelve solid tracks. Good is not good enough. He's working with Matt Bellamy on the Muse album as we speak, Peter flew into Aspen from London.
And it's all about having enough good songs that when the consumer hears the ad on the radio and snippets are played, they're desirous of going. Put up 15-16 great tracks and you've truly made it and have the road business to show for it.
And radio is key, Q Prime has its own department. They oftentimes get stuff started on Sirius and then cross it over to terrestrial. It's about hard work and...
Once upon a time everybody knew Q Prime. But today the youngsters get all the press. Should you seek out Cliff and Peter and benefit from their experience?
Yes.
SETH GOLDSTEIN
Seth used to work for Fred Wilson. The dean of New York VCs.
Then he started turntable.fm.
Now he's got a deejay app, DJZ: http://www.djz.com/about/
And to hear Seth talk about Silicon Valley, the venture capital world, is to hear what got Peter Mensch and me excited about music all those decades back.
Tech is where it's at. But investors don't want to touch anything that requires music licenses. But if you can build it on the back of something without licenses, they're interested.
I was excited and riveted in a way that music rarely gets me anymore.
But there's a nexus.
TOURING
Where all the action and all the money is. The labels get the glory. The promoters get the money.
I could listen to Rick Mueller analyze the business all day long. Don Strasburg too.
Live is burgeoning. Everybody shows up at the promoter's door, that's where the money is.
And the show is where it's at. People may not want to pay much for music, but they'll overpay for a ticket to the show.
It's very exciting.
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Saturday 13 December 2014
Friday 12 December 2014
Rhinofy-Clapton Guest Appearances
"Dirty City"
Steve Winwood
Steve can shred quite nicely thank you, as anyone who's seen him tear apart "Dear Mr. Fantasy" recently is aware. But despite killing it live, despite putting out one of my favorite albums of the twenty first century, "About Time," independently, doing everything right, the man was fading in impact. So, he signed with Columbia and put out the mainstream album "Nine Lives" to almost no effect in 2008. That's right, rather than stretching out and testing limits Winwood did it their way and few cared. However, there are two killers on "Nine Lives," the opening cut "I'm Not Drowning" and this, where Clapton positively wails.
Get ready to have your mind blown.
I'm including the long version, all 7:46 of it, be sure to stay to the very end. This is music as you remember it, everything you're yearning for. You'll be stunned this isn't a well-known classic.
"They Dance Alone"
Sting
Sure, he's made some tone-deaf statements, about tantric sex and such, but the truth is Gordon Sumner is immensely talented and "They Dance Alone" is one of the best tracks on his best solo album, "...Nothing Like The Sun." It features not only Eric, but Mark Knopfler and Fareed Haque. You probably know it, but it sounds so good, enjoy it, you can never burn out on it.
"Go Back Home"
Stephen Stills
Of course, Jimi Hendrix was on Stills's solo debut too. Upon release the album was castigated for its unending guest contributions, but at this distance the album is astounding. "Love The One You're With" was the hit, but "Go Back Home" is one of the stellar moments. And Eric was on it!
"Alacatraz"
Leon Russell And The Shelter People
Leon's initial solo, with "Delta Lady" and "Roll Away The Stone," was his best, but this uneven LP was the one that cemented his legend, when he began his victory lap after "Mad Dogs & Englishmen." "Alcatraz" was one of the best cuts, it finished side one.
"Beware Of Darkness"
Leon Russell And The Shelter People
Yes, from the same album. And, stunningly, Clapton appears on the original, from "All Things Must Pass."
"Prince Of Peace"
Leon Russell
From that legendary initial solo LP referenced above. Almost completely forgotten, "Prince Of Peace" will put a smile on your face if you know it.
"Romance In Durango"
Bob Dylan
The album AFTER "Blood On The Tracks." It got very positive reviews and a lot of ink regarding controversial tracks "Hurricane" and "Joey." The cuts you remember are "Isis," "Mozambique" and "One More Cup Of Coffee." But this, with Eric, is on the album too.
"Save It For A Rainy Day"
Stephen Bishop
From before "Tootsie," before "Animal House." The hit was "On and On," but this got airplay, hell, it made it all the way to #22! How Eric ended up appearing on it I don't know! But I do know being able to sing and write used to be important. Bishop rode these skills to the top, however briefly. Technology has put them in the backseat, unfortunately.
"If Leaving Me Is Easy"
Phil Collins
From his blockbuster solo debut. Phil returned the favor by producing "Behind The Sun," a return to form by Clapton, with the stellar "She's Waiting" and "Forever Man."
"The Challenge"
Christine McVie
The connection is Russ Titelman, who produced both of these artists.
"Deep In Your Heart"
Paul Brady
Legendary songwriter who never broke through big on his own. This is from Brady's 1985 album "Back To The Centre." Start with the Gary Katz produced "Trick Or Treat" if you want to investigate further.
"Willpower"
Jack Bruce
With his old Cream-mate. A trifle, but the elements resonate.
"Early In The Morning"
Buddy Guy
Two guitar sensations working it out.
"Runaway Train"
Elton John
From Elton's 1992 album "The One." This is good, but if you're interested in comeback albums, check out Elton's 2001 LP "Songs From The West Coast," where he recaptured the magic and not enough people cared.
"It's Probably Me"
Sting
The big hit off the monstrous "Ten Summoners Tales" was "If I Ever Lose My Faith In You," when Sting seemed to be able to throw off radio-ready ditties at will. The album is near-perfect, and Eric plays on this track.
"Gonna Be Some Changes Made"
Bruce Hornsby
Not Hornsby's best work, but "Halcyon Days" is a return to form after "Big Swing Face" and Clapton plays on its two best tracks, this, the opening cut and...
"Candy Mountain Run"
Bruce Hornsby
Infectious, great groove, it's the best cut on "Halcyon Days" and Clapton is featured.
"Every Time I Sing The Blues"
Buddy Guy
From Guy's 2008 album "Skin Deep." This resonates. Check it out. You'll dig it.
"Roll On"
J.J. Cale
Where the maestro repays the debt he owes to the man who wrote so many of his famous tracks.
Of course Clapton played on the Beatles' "While My Guitar Gently Weeps," but he also played on the lost Jon Astley classic, "Jane's Getting Serious." The above is only the tip of the iceberg when it comes to Clapton's work, but it illustrates that not all of his playing was done on his own behalf.
Spotify playlist: http://spoti.fi/1yuGBdF
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Steve Winwood
Steve can shred quite nicely thank you, as anyone who's seen him tear apart "Dear Mr. Fantasy" recently is aware. But despite killing it live, despite putting out one of my favorite albums of the twenty first century, "About Time," independently, doing everything right, the man was fading in impact. So, he signed with Columbia and put out the mainstream album "Nine Lives" to almost no effect in 2008. That's right, rather than stretching out and testing limits Winwood did it their way and few cared. However, there are two killers on "Nine Lives," the opening cut "I'm Not Drowning" and this, where Clapton positively wails.
Get ready to have your mind blown.
I'm including the long version, all 7:46 of it, be sure to stay to the very end. This is music as you remember it, everything you're yearning for. You'll be stunned this isn't a well-known classic.
"They Dance Alone"
Sting
Sure, he's made some tone-deaf statements, about tantric sex and such, but the truth is Gordon Sumner is immensely talented and "They Dance Alone" is one of the best tracks on his best solo album, "...Nothing Like The Sun." It features not only Eric, but Mark Knopfler and Fareed Haque. You probably know it, but it sounds so good, enjoy it, you can never burn out on it.
"Go Back Home"
Stephen Stills
Of course, Jimi Hendrix was on Stills's solo debut too. Upon release the album was castigated for its unending guest contributions, but at this distance the album is astounding. "Love The One You're With" was the hit, but "Go Back Home" is one of the stellar moments. And Eric was on it!
"Alacatraz"
Leon Russell And The Shelter People
Leon's initial solo, with "Delta Lady" and "Roll Away The Stone," was his best, but this uneven LP was the one that cemented his legend, when he began his victory lap after "Mad Dogs & Englishmen." "Alcatraz" was one of the best cuts, it finished side one.
"Beware Of Darkness"
Leon Russell And The Shelter People
Yes, from the same album. And, stunningly, Clapton appears on the original, from "All Things Must Pass."
"Prince Of Peace"
Leon Russell
From that legendary initial solo LP referenced above. Almost completely forgotten, "Prince Of Peace" will put a smile on your face if you know it.
"Romance In Durango"
Bob Dylan
The album AFTER "Blood On The Tracks." It got very positive reviews and a lot of ink regarding controversial tracks "Hurricane" and "Joey." The cuts you remember are "Isis," "Mozambique" and "One More Cup Of Coffee." But this, with Eric, is on the album too.
"Save It For A Rainy Day"
Stephen Bishop
From before "Tootsie," before "Animal House." The hit was "On and On," but this got airplay, hell, it made it all the way to #22! How Eric ended up appearing on it I don't know! But I do know being able to sing and write used to be important. Bishop rode these skills to the top, however briefly. Technology has put them in the backseat, unfortunately.
"If Leaving Me Is Easy"
Phil Collins
From his blockbuster solo debut. Phil returned the favor by producing "Behind The Sun," a return to form by Clapton, with the stellar "She's Waiting" and "Forever Man."
"The Challenge"
Christine McVie
The connection is Russ Titelman, who produced both of these artists.
"Deep In Your Heart"
Paul Brady
Legendary songwriter who never broke through big on his own. This is from Brady's 1985 album "Back To The Centre." Start with the Gary Katz produced "Trick Or Treat" if you want to investigate further.
"Willpower"
Jack Bruce
With his old Cream-mate. A trifle, but the elements resonate.
"Early In The Morning"
Buddy Guy
Two guitar sensations working it out.
"Runaway Train"
Elton John
From Elton's 1992 album "The One." This is good, but if you're interested in comeback albums, check out Elton's 2001 LP "Songs From The West Coast," where he recaptured the magic and not enough people cared.
"It's Probably Me"
Sting
The big hit off the monstrous "Ten Summoners Tales" was "If I Ever Lose My Faith In You," when Sting seemed to be able to throw off radio-ready ditties at will. The album is near-perfect, and Eric plays on this track.
"Gonna Be Some Changes Made"
Bruce Hornsby
Not Hornsby's best work, but "Halcyon Days" is a return to form after "Big Swing Face" and Clapton plays on its two best tracks, this, the opening cut and...
"Candy Mountain Run"
Bruce Hornsby
Infectious, great groove, it's the best cut on "Halcyon Days" and Clapton is featured.
"Every Time I Sing The Blues"
Buddy Guy
From Guy's 2008 album "Skin Deep." This resonates. Check it out. You'll dig it.
"Roll On"
J.J. Cale
Where the maestro repays the debt he owes to the man who wrote so many of his famous tracks.
Of course Clapton played on the Beatles' "While My Guitar Gently Weeps," but he also played on the lost Jon Astley classic, "Jane's Getting Serious." The above is only the tip of the iceberg when it comes to Clapton's work, but it illustrates that not all of his playing was done on his own behalf.
Spotify playlist: http://spoti.fi/1yuGBdF
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Thursday 11 December 2014
What We Learned This Year
Steve Barnett is a hero. He took Capitol from zero to the top of the heap. Shows what an individual can do.
Sound may be lame on recordings, but it's living large at the Forum, where a dedicated music space has touring acts and SoCal fans smiling. Talk about virality.
Festivals are king. It's still shaking out how many we need, but there will be more.
Warner Music is an enigma.
Publicity is everything. Taylor Swift proved it.
Max Martin is the biggest star in music.
"The Voice" helps the career of the coaches, but does nothing for the acts competing.
You can't get a good ticket unless you know someone, have a credit card which is sponsoring the gig and has a presale or you pay a scalper. Income inequality lives large in the live space.
Electronic music still did not break through. The Electric Daisy Carnival in Vegas was the biggest festival in the U.S. but it got a fraction of the press of Coachella and Lollapalooza. Then again, the Sahara Tent at Coachella dominates.
All the money is in the ticketing.
Streaming won, you can tell by the debate. Just like with Napster, when everybody starts talking about it, the new era is here.
YouTube may not dominate. That's the story of the month. How competitors are trying to lock up talent. Once again, it's all about the acts, the acts have all the power. And he who pays most wins. Google's deals suck. Just check their ad shares. No, that's right, you'd rather bitch about Spotify, which pays so much more.
Pop, country and everything else. That's the landscape.
A great record transcends genres. Sam Smith sounds nothing like anything else on the radio, yet it triumphed. The public is hungry for new and different, if it's great.
Samsung was a fad, in phones. Tim Cook knew it was all about profitability, he gets props for that. Furthermore, the iPhone 6 is a gargantuan surprise/success.
Mark Zuckerberg is more than Facebook. He's a force to contend with. His purchase of WhatsApp and Instagram illustrate that he not busy born is busy dying.
Jeff Bezos has revolutionized the "Washington Post," it shows what money can do. It was the "Post" that broke the UVA/"Rolling Stone"/Jackie snafu. Proving once again that well-paid professionals with experience trump amateurs every day. You can have an opinion, but without facts you're irrelevant. Which is why TV news is dying and all the online only news outlets have high valuations but don't move the needle.
Data is everything. Nate Silver ushered in the era. But never forget, in art data is irrelevant, it's all about inspiration.
In an era with no credibility, the one hit wonder is king.
We live in an on demand culture. People want everything at their fingertips instantly. Which is why we're going to day and date in movies and the concept of windowing in music is fallacious. If you won't sell it to me right away, I'll steal it, never forget that. Your business model is not sacred, just ask television outlets.
We live in a mobile world. Everyone's wired and connected. Sell to the handset.
Price matters. Otherwise, everybody would not be leaving AT&T and Verizon for the inferior T-Mobile. I love John Legere, but anybody with T-Mobile is just cheap. Because you want a high speed connection everywhere, and T-Mobile does not deliver this.
Usability is everything. Instagram just trumped Twitter because it's comprehensible. We want instant news, but we want it in a format we can understand.
It's so hard to break through in music, that when you do you and your record last.
Art is just a pawn in the game. As illustrated by the Amazon/Hachette war. It's the writers who suffered. However, this was a corporate battle fought in secret. We never learned what the deal points were, it's hard to side with the old institutions that say they support the artist but really are out for themselves.
Money. Either you have it or you're envious of those who do.
Lucian Grainge is God.
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Sound may be lame on recordings, but it's living large at the Forum, where a dedicated music space has touring acts and SoCal fans smiling. Talk about virality.
Festivals are king. It's still shaking out how many we need, but there will be more.
Warner Music is an enigma.
Publicity is everything. Taylor Swift proved it.
Max Martin is the biggest star in music.
"The Voice" helps the career of the coaches, but does nothing for the acts competing.
You can't get a good ticket unless you know someone, have a credit card which is sponsoring the gig and has a presale or you pay a scalper. Income inequality lives large in the live space.
Electronic music still did not break through. The Electric Daisy Carnival in Vegas was the biggest festival in the U.S. but it got a fraction of the press of Coachella and Lollapalooza. Then again, the Sahara Tent at Coachella dominates.
All the money is in the ticketing.
Streaming won, you can tell by the debate. Just like with Napster, when everybody starts talking about it, the new era is here.
YouTube may not dominate. That's the story of the month. How competitors are trying to lock up talent. Once again, it's all about the acts, the acts have all the power. And he who pays most wins. Google's deals suck. Just check their ad shares. No, that's right, you'd rather bitch about Spotify, which pays so much more.
Pop, country and everything else. That's the landscape.
A great record transcends genres. Sam Smith sounds nothing like anything else on the radio, yet it triumphed. The public is hungry for new and different, if it's great.
Samsung was a fad, in phones. Tim Cook knew it was all about profitability, he gets props for that. Furthermore, the iPhone 6 is a gargantuan surprise/success.
Mark Zuckerberg is more than Facebook. He's a force to contend with. His purchase of WhatsApp and Instagram illustrate that he not busy born is busy dying.
Jeff Bezos has revolutionized the "Washington Post," it shows what money can do. It was the "Post" that broke the UVA/"Rolling Stone"/Jackie snafu. Proving once again that well-paid professionals with experience trump amateurs every day. You can have an opinion, but without facts you're irrelevant. Which is why TV news is dying and all the online only news outlets have high valuations but don't move the needle.
Data is everything. Nate Silver ushered in the era. But never forget, in art data is irrelevant, it's all about inspiration.
In an era with no credibility, the one hit wonder is king.
We live in an on demand culture. People want everything at their fingertips instantly. Which is why we're going to day and date in movies and the concept of windowing in music is fallacious. If you won't sell it to me right away, I'll steal it, never forget that. Your business model is not sacred, just ask television outlets.
We live in a mobile world. Everyone's wired and connected. Sell to the handset.
Price matters. Otherwise, everybody would not be leaving AT&T and Verizon for the inferior T-Mobile. I love John Legere, but anybody with T-Mobile is just cheap. Because you want a high speed connection everywhere, and T-Mobile does not deliver this.
Usability is everything. Instagram just trumped Twitter because it's comprehensible. We want instant news, but we want it in a format we can understand.
It's so hard to break through in music, that when you do you and your record last.
Art is just a pawn in the game. As illustrated by the Amazon/Hachette war. It's the writers who suffered. However, this was a corporate battle fought in secret. We never learned what the deal points were, it's hard to side with the old institutions that say they support the artist but really are out for themselves.
Money. Either you have it or you're envious of those who do.
Lucian Grainge is God.
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Wednesday 10 December 2014
Today's Viral Video
"Cody Townsend's Line Of The Year": http://bit.ly/1savRiR
Greetings from Aspen, Colorado, where we're in attendance for the 19th annual AspenLive conference, wherein old buddies reconnect and we discuss the music business on the slopes because we're incapable of talking about anything else and we cement bonds that last a lifetime.
Truly. Almost my entire social life is based upon AspenLive people.
And what do you do in Aspen?
SKI!
At least I'm hoping to. I've had a resurgence of ankle pain as I've tried to get in shape for the season. Who knew that twisting it on Labor Day weekend would continue to be a factor as the months have ensued. And I live to ski, it's the most important thing to me. (Other than Felice!) And as the years pass and I get older and it takes longer to heal I figure I'd better get my days in. I got 48 last year, 46 the year before. That's right, with a laptop and an iPhone I can be ANYWHERE!
And there is a nexus between being in Aspen and the subject of this missive. You see a ski video is going viral as we speak. You need to watch it, even if you don't ski, it'll thrill you.
I saw it yesterday. I haunt the ski sites. I was stunned that Cody Townsend could hold it together. That's right, it's not the speed that gets you, it's the anxiety.
I figured no one would care but me. But today the clip is blowing up. It's all over social media.
So, the perpetrators of this stunt won.
And you will never forget it.
And I wonder why we no longer have viral tracks in music.
Well, we have them, but they're so few in number. The last one I remember is Avicii's "Wake Me Up." You forwarded it to somebody and they couldn't help but send it on themselves after being infected by the music in one listen.
Then there was that CeeLo novelty track before that.
And Gnarls Barkley's "Crazy" before that.
That's right, Taylor Swift may own the news cycle, but "Shake It Off" never went viral. You didn't have to tell anybody about it. It was decent, right up the middle, a hit. I expect nothing less from Max Martin, but that's the point, it was what I expected, not a surprise.
And PSY's track was not a surprise, the video was. It's easier to create great video than great music.
But the first time we heard the Beatles... Either you know what it was like hearing "I Want To Hold Your Hand" emanating from the tiny speaker or you were not alive and I pity you.
The labels try to manipulate virality. But it's all in the service of money. We don't have enough one listen tracks, stuff that makes our heads blow off, that we can't forget.
Need another example?
"Sexual Healing."
And it may have taken you a listen or two to embrace it, but you knew "Smells Like Teen Spirit" was different and important as soon as you heard it.
Today everybody puts money first and tells you to listen to their endless opus multiple times to get it.
I want you to hit me with your best shot. I want you to surprise me. I want you to illustrate that life is not boring, that music is not me-too, that testing limits pays dividends.
PLEASE!
P.S. Ignore the YouTube counter, this clip is on multiple sites.
P.P.S. Technology is good, without it we wouldn't have the POV video.
P.P.P.S. Stay until the very end to hear Cody whoop and exclaim. That's what being alive is all about. That's what going to the show should be all about. We've got to get ourselves back to the garden.
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Greetings from Aspen, Colorado, where we're in attendance for the 19th annual AspenLive conference, wherein old buddies reconnect and we discuss the music business on the slopes because we're incapable of talking about anything else and we cement bonds that last a lifetime.
Truly. Almost my entire social life is based upon AspenLive people.
And what do you do in Aspen?
SKI!
At least I'm hoping to. I've had a resurgence of ankle pain as I've tried to get in shape for the season. Who knew that twisting it on Labor Day weekend would continue to be a factor as the months have ensued. And I live to ski, it's the most important thing to me. (Other than Felice!) And as the years pass and I get older and it takes longer to heal I figure I'd better get my days in. I got 48 last year, 46 the year before. That's right, with a laptop and an iPhone I can be ANYWHERE!
And there is a nexus between being in Aspen and the subject of this missive. You see a ski video is going viral as we speak. You need to watch it, even if you don't ski, it'll thrill you.
I saw it yesterday. I haunt the ski sites. I was stunned that Cody Townsend could hold it together. That's right, it's not the speed that gets you, it's the anxiety.
I figured no one would care but me. But today the clip is blowing up. It's all over social media.
So, the perpetrators of this stunt won.
And you will never forget it.
And I wonder why we no longer have viral tracks in music.
Well, we have them, but they're so few in number. The last one I remember is Avicii's "Wake Me Up." You forwarded it to somebody and they couldn't help but send it on themselves after being infected by the music in one listen.
Then there was that CeeLo novelty track before that.
And Gnarls Barkley's "Crazy" before that.
That's right, Taylor Swift may own the news cycle, but "Shake It Off" never went viral. You didn't have to tell anybody about it. It was decent, right up the middle, a hit. I expect nothing less from Max Martin, but that's the point, it was what I expected, not a surprise.
And PSY's track was not a surprise, the video was. It's easier to create great video than great music.
But the first time we heard the Beatles... Either you know what it was like hearing "I Want To Hold Your Hand" emanating from the tiny speaker or you were not alive and I pity you.
The labels try to manipulate virality. But it's all in the service of money. We don't have enough one listen tracks, stuff that makes our heads blow off, that we can't forget.
Need another example?
"Sexual Healing."
And it may have taken you a listen or two to embrace it, but you knew "Smells Like Teen Spirit" was different and important as soon as you heard it.
Today everybody puts money first and tells you to listen to their endless opus multiple times to get it.
I want you to hit me with your best shot. I want you to surprise me. I want you to illustrate that life is not boring, that music is not me-too, that testing limits pays dividends.
PLEASE!
P.S. Ignore the YouTube counter, this clip is on multiple sites.
P.P.S. Technology is good, without it we wouldn't have the POV video.
P.P.P.S. Stay until the very end to hear Cody whoop and exclaim. That's what being alive is all about. That's what going to the show should be all about. We've got to get ourselves back to the garden.
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Tuesday 9 December 2014
Ferguson/Chokehold/Torture
This is how the sixties started.
We've been told to trust Big Brother, that the government and the corporations know more. That the rich are smart. That we should be thankful we've got flat screens.
Hogwash.
They've scared you. Frightened you into believing your life is at risk from external forces only they can protect you from. If the government doesn't scan your phone calls and your e-mails, doesn't break every law in the Constitution, our whole nation will go under and you with it. The truth is it has. We've lost our country and we've got to take it back.
There's a fiction that musicians will lead the way. But they're usually last. It's the abused, those unjustly affected by the system, who revolt first. That's right, the sixties began with civil rights demonstrations. Which is why high-paid NFL players protest the chokehold but no musician with millions of Twitter followers has written a song about it. Oh, you wannabes, don't forward me your Ferguson song. You're doing it for you, to get noticed. That's what's wrong with this nation, all the individuality, we're only powerful when we come together.
Like with unions. Imperfect organizations, sure. But now the corporations have scared workers to the point where they refuse to organize. They're just gonna move the plant elsewhere. To some state that will bend over backwards with tax incentives.
And I don't want to hear any of this right wing Republican b.s. about downsizing the government, it was under your watch, under Bush and Cheney, that this torture took place. You'll pay zillions for "safety," for military equipment that ends up in your hometown, all the while bitching that somehow the government must be stopped from providing a safety net, I mean which way do you want it?
As for how long it's taken...
One can argue strongly the sixties didn't begin until 1966, when the antiwar movement took hold. It's six years after the recession. How's your job? How's your lifestyle? Things improving for you?
And I'm gonna get tons of hate e-mail. But this too is no different from the sixties. When those drinking the kool-aid just couldn't believe we were involved in an unwinnable war, that state governments were institutionalizing racism. Those who scream loudest wake up last, never forget that.
Artists have been marginalized in an economy that's all about money. But those in Ferguson had no money, they were protesting based on what they felt, what they perceived. Why is it that only those with nothing to lose will stand up for what's right?
Something is happening here and it's sure not exactly clear.
But the truth is we haven't seen protests like this since the sixties. Police abuse in Ferguson and NYC is emblematic of a police state wherein there's a camera on every corner and you're guilty until proven innocent. Just ask a black man, he'll tell you.
And you'll tell the black man that he's not working hard enough, that he doesn't have family values. But you're clueless as to his plight.
As is the Supreme Court, which dismantles voting rights laws saying racism is dead. Rings a bit hollow now, doesn't it?
As for Snowden... Someone's got to break the law. Because sometimes the law protects the guilty. Because life is gray and when the institutions trump emotions you're screwed.
So we're fighting around the world to bring our lifestyle to them. It's time we look in the mirror.
Oh wait. We are!
Just not anybody with a dime.
And the sixties taught us you're either part of the problem or part of the solution. If your wealth is based on shipping jobs overseas, you're part of the problem.
Right now the internet is driving the generation gap. Oldsters are all on Facebook when their progeny have moved on to Snapchat. As it always was. They were listening to Perry Como while we were listening to the Four Seasons.
And then the Four Seasons were trumped, overnight, by the Beatles.
And then the San Francisco bands raised money for causes as opposed to putting it in their coffers. Believing what's right is most important. Knowing that music comes before money. And that personal expression is everything.
So while you're sitting there in your cubicle, or at home dreaming up your app, ask yourself, what are you doing to improve our country, what are you doing to help your brother, what are you doing to make tomorrow better than today?
We asked those questions every day in the sixties.
People are starting to ask them now.
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We've been told to trust Big Brother, that the government and the corporations know more. That the rich are smart. That we should be thankful we've got flat screens.
Hogwash.
They've scared you. Frightened you into believing your life is at risk from external forces only they can protect you from. If the government doesn't scan your phone calls and your e-mails, doesn't break every law in the Constitution, our whole nation will go under and you with it. The truth is it has. We've lost our country and we've got to take it back.
There's a fiction that musicians will lead the way. But they're usually last. It's the abused, those unjustly affected by the system, who revolt first. That's right, the sixties began with civil rights demonstrations. Which is why high-paid NFL players protest the chokehold but no musician with millions of Twitter followers has written a song about it. Oh, you wannabes, don't forward me your Ferguson song. You're doing it for you, to get noticed. That's what's wrong with this nation, all the individuality, we're only powerful when we come together.
Like with unions. Imperfect organizations, sure. But now the corporations have scared workers to the point where they refuse to organize. They're just gonna move the plant elsewhere. To some state that will bend over backwards with tax incentives.
And I don't want to hear any of this right wing Republican b.s. about downsizing the government, it was under your watch, under Bush and Cheney, that this torture took place. You'll pay zillions for "safety," for military equipment that ends up in your hometown, all the while bitching that somehow the government must be stopped from providing a safety net, I mean which way do you want it?
As for how long it's taken...
One can argue strongly the sixties didn't begin until 1966, when the antiwar movement took hold. It's six years after the recession. How's your job? How's your lifestyle? Things improving for you?
And I'm gonna get tons of hate e-mail. But this too is no different from the sixties. When those drinking the kool-aid just couldn't believe we were involved in an unwinnable war, that state governments were institutionalizing racism. Those who scream loudest wake up last, never forget that.
Artists have been marginalized in an economy that's all about money. But those in Ferguson had no money, they were protesting based on what they felt, what they perceived. Why is it that only those with nothing to lose will stand up for what's right?
Something is happening here and it's sure not exactly clear.
But the truth is we haven't seen protests like this since the sixties. Police abuse in Ferguson and NYC is emblematic of a police state wherein there's a camera on every corner and you're guilty until proven innocent. Just ask a black man, he'll tell you.
And you'll tell the black man that he's not working hard enough, that he doesn't have family values. But you're clueless as to his plight.
As is the Supreme Court, which dismantles voting rights laws saying racism is dead. Rings a bit hollow now, doesn't it?
As for Snowden... Someone's got to break the law. Because sometimes the law protects the guilty. Because life is gray and when the institutions trump emotions you're screwed.
So we're fighting around the world to bring our lifestyle to them. It's time we look in the mirror.
Oh wait. We are!
Just not anybody with a dime.
And the sixties taught us you're either part of the problem or part of the solution. If your wealth is based on shipping jobs overseas, you're part of the problem.
Right now the internet is driving the generation gap. Oldsters are all on Facebook when their progeny have moved on to Snapchat. As it always was. They were listening to Perry Como while we were listening to the Four Seasons.
And then the Four Seasons were trumped, overnight, by the Beatles.
And then the San Francisco bands raised money for causes as opposed to putting it in their coffers. Believing what's right is most important. Knowing that music comes before money. And that personal expression is everything.
So while you're sitting there in your cubicle, or at home dreaming up your app, ask yourself, what are you doing to improve our country, what are you doing to help your brother, what are you doing to make tomorrow better than today?
We asked those questions every day in the sixties.
People are starting to ask them now.
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Sunday 7 December 2014
Our Country
If it's just about money, why bother being an artist?
We have two worlds, the educated and the uneducated. Those willing to do the hard work and those who like to take it easy.
And in today's world, artists like to take it easy.
Or else they're all about the money. Witness Jeff Koons. Are his balloon animals really forever or are they just well-marketed objects the rich can trade while the lower classes argue over celebrities?
There is a story in today's "New York Times" that is so horrifying and eye-opening that if everybody read it and understood it there'd be riots in the street.
Actually, there are riots in the street, at least protests, and I view this as a good thing. When have you heard of white kids being accidentally shot by the police? (Thanks to Chris Rock for this reference, read his interview with Frank Rich in "New York" magazine, it's the best thing I've read all weekend) Under the pretense of keeping ourselves safe, as if the terrorists are going to go to Missouri or Oklahoma, we've beefed up the police and eliminated privacy to the point where everybody's guilty until proven innocent, at least if you're a black man.
But the point is entertainers don't understand money. Their handlers do, that's why they're all up the ass of Silicon Valley, investing in tech. But today's entertainers come from the lower classes, believing that fame is its own currency, however fleeting, and that if you're getting paid one cannot evaluate the work.
So this leads us to a nation wherein a country artist famous for speaking her truth in song hooks up with the producer do jour to make disposable mainstream music and after drumming up interest on social media the press lauds her for selling a miniscule number of albums, because our nation is all about the digits.
But how about Relational making $188 million in two years?
That's real money. The kind entertainers barely score. The kind they can make once and not again. Notice that U2 isn't doing stadiums this time around? They're afraid they can't fill them.
But back to Relational... They split up a profitable steel and ball bearing company in order to fill their coffers. Those in control now want to add debt to a company with little previously. They want short term returns.
So the rich get richer and the rest have no idea what is happening. Meanwhile, Carl Icahn buys a scrapyard and gets rid of worker health insurance. Huh?
And all this has me pondering my own path.
When I graduated from college, where I was immersed in the liberal arts, where there was no business track, it was all about the journey, one of self-exploration and expression. That's how we got that great music and art. It was made by those with a safety net who believed they could make a difference.
No one wants to make a difference anymore, they just want to get paid. And can you blame them when the truly fat cats live a lifestyle you can only dream of?
So if I graduated from college today I'd get on the career path, immediately. Those matriculating from elite universities all do this, out of fear that they'll be left behind. If you don't start today, you won't even have a chance tomorrow. You can't make it as a social worker or a teacher, and if you didn't go to college you can't make it at all. Unless you win the lottery.
And that's what art has become, the lottery. A way for the poor and uneducated to win a payment they'll fritter away nearly instantly.
Believe me, if you needed an advanced degree to make it as a pop star the landscape would look vastly different.
Instead we're told if you've got no wrinkles and can gain an audience on YouTube you're a king. No one can argue with millions of views. Say the content sucks and the joke is upon you.
Meanwhile, Dave Grohl, our patron saint of credibility, makes a marvelous documentary on recording history and then bores us to death with new music you never even have to hear once. That's right, "Sonic Highways" is stupendous until the Foo Fighters start to play, then you want to turn it off.
But to criticize Mr. Grohl is to antagonize his fans. Who only have his fame to hang on to. They don't know the people running this country. They might go see the classic acts live who once impacted the culture, but those acts are running on fumes, creatively bankrupt.
So I'm flummoxed. I don't want to encourage the great unwashed to pursue their musical dreams, because they're too young and too uneducated to have anything to say.
And I'm angry that the faceless rich get all the good seats and opportunities and I'm closed out of a world I'm only vaguely familiar with.
This is not a music business problem. This is an American problem. One in which we venerate the rich and tell the poor they're just not working hard enough. Whereas the truth is the poor never had opportunities and we're all beholden to the corporations who want short term results.
Come on. Did you ever find an artist who could create a lasting hit from scratch in two years? Research and development is everything. But that's been gone in music since MTV minted instant stars based on looks, a paradigm that continues to this day on reality television.
Scott Borchetta should be home in Nashville, developing talent, as opposed to mentoring wannabes working for advertisers on television. Has any great talent emerged from TV shows? Carrie Underwood's hits are written by others. But Scott can't turn down the money and the fame.
No one can turn down the money and the fame. Those are the currencies of our culture. And neither one will keep you warm at night.
So I'm angry. Label me mad as hell.
If only those not privileged were aligned with me, if only those not winning would agitate for change. But if they complain, the corporation won't endorse them, won't give them a leg up. And none of them understand that art is more powerful than money, ever day of the week.
But you need to be educated to know that.
You need to live in a culture where what is exalted is the great, not the profitable.
That's right, they ruined movies and they ruined music too.
And they're laughing all the while. Because they're all getting paid, they're all living the lifestyle the rockers used to. The nerds running these companies are getting their revenge.
But remember, nerds were never cool.
These are drones.
We need intelligent anti-thinkers who believe hard work is shredding in their basement as opposed to promoting themselves on social media. Who realize not everything they do is great. Who understand the spoils go to those who go their own way.
But we live in a nation of sheep.
Might as well be a shearer.
That's what the bankers and corporate titans are.
You're the product.
Wake up.
"How Wall Street Bent Steel": http://nyti.ms/1ALA0tl
"In Conversation With Chris Rock": http://vult.re/1yrqWcq
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We have two worlds, the educated and the uneducated. Those willing to do the hard work and those who like to take it easy.
And in today's world, artists like to take it easy.
Or else they're all about the money. Witness Jeff Koons. Are his balloon animals really forever or are they just well-marketed objects the rich can trade while the lower classes argue over celebrities?
There is a story in today's "New York Times" that is so horrifying and eye-opening that if everybody read it and understood it there'd be riots in the street.
Actually, there are riots in the street, at least protests, and I view this as a good thing. When have you heard of white kids being accidentally shot by the police? (Thanks to Chris Rock for this reference, read his interview with Frank Rich in "New York" magazine, it's the best thing I've read all weekend) Under the pretense of keeping ourselves safe, as if the terrorists are going to go to Missouri or Oklahoma, we've beefed up the police and eliminated privacy to the point where everybody's guilty until proven innocent, at least if you're a black man.
But the point is entertainers don't understand money. Their handlers do, that's why they're all up the ass of Silicon Valley, investing in tech. But today's entertainers come from the lower classes, believing that fame is its own currency, however fleeting, and that if you're getting paid one cannot evaluate the work.
So this leads us to a nation wherein a country artist famous for speaking her truth in song hooks up with the producer do jour to make disposable mainstream music and after drumming up interest on social media the press lauds her for selling a miniscule number of albums, because our nation is all about the digits.
But how about Relational making $188 million in two years?
That's real money. The kind entertainers barely score. The kind they can make once and not again. Notice that U2 isn't doing stadiums this time around? They're afraid they can't fill them.
But back to Relational... They split up a profitable steel and ball bearing company in order to fill their coffers. Those in control now want to add debt to a company with little previously. They want short term returns.
So the rich get richer and the rest have no idea what is happening. Meanwhile, Carl Icahn buys a scrapyard and gets rid of worker health insurance. Huh?
And all this has me pondering my own path.
When I graduated from college, where I was immersed in the liberal arts, where there was no business track, it was all about the journey, one of self-exploration and expression. That's how we got that great music and art. It was made by those with a safety net who believed they could make a difference.
No one wants to make a difference anymore, they just want to get paid. And can you blame them when the truly fat cats live a lifestyle you can only dream of?
So if I graduated from college today I'd get on the career path, immediately. Those matriculating from elite universities all do this, out of fear that they'll be left behind. If you don't start today, you won't even have a chance tomorrow. You can't make it as a social worker or a teacher, and if you didn't go to college you can't make it at all. Unless you win the lottery.
And that's what art has become, the lottery. A way for the poor and uneducated to win a payment they'll fritter away nearly instantly.
Believe me, if you needed an advanced degree to make it as a pop star the landscape would look vastly different.
Instead we're told if you've got no wrinkles and can gain an audience on YouTube you're a king. No one can argue with millions of views. Say the content sucks and the joke is upon you.
Meanwhile, Dave Grohl, our patron saint of credibility, makes a marvelous documentary on recording history and then bores us to death with new music you never even have to hear once. That's right, "Sonic Highways" is stupendous until the Foo Fighters start to play, then you want to turn it off.
But to criticize Mr. Grohl is to antagonize his fans. Who only have his fame to hang on to. They don't know the people running this country. They might go see the classic acts live who once impacted the culture, but those acts are running on fumes, creatively bankrupt.
So I'm flummoxed. I don't want to encourage the great unwashed to pursue their musical dreams, because they're too young and too uneducated to have anything to say.
And I'm angry that the faceless rich get all the good seats and opportunities and I'm closed out of a world I'm only vaguely familiar with.
This is not a music business problem. This is an American problem. One in which we venerate the rich and tell the poor they're just not working hard enough. Whereas the truth is the poor never had opportunities and we're all beholden to the corporations who want short term results.
Come on. Did you ever find an artist who could create a lasting hit from scratch in two years? Research and development is everything. But that's been gone in music since MTV minted instant stars based on looks, a paradigm that continues to this day on reality television.
Scott Borchetta should be home in Nashville, developing talent, as opposed to mentoring wannabes working for advertisers on television. Has any great talent emerged from TV shows? Carrie Underwood's hits are written by others. But Scott can't turn down the money and the fame.
No one can turn down the money and the fame. Those are the currencies of our culture. And neither one will keep you warm at night.
So I'm angry. Label me mad as hell.
If only those not privileged were aligned with me, if only those not winning would agitate for change. But if they complain, the corporation won't endorse them, won't give them a leg up. And none of them understand that art is more powerful than money, ever day of the week.
But you need to be educated to know that.
You need to live in a culture where what is exalted is the great, not the profitable.
That's right, they ruined movies and they ruined music too.
And they're laughing all the while. Because they're all getting paid, they're all living the lifestyle the rockers used to. The nerds running these companies are getting their revenge.
But remember, nerds were never cool.
These are drones.
We need intelligent anti-thinkers who believe hard work is shredding in their basement as opposed to promoting themselves on social media. Who realize not everything they do is great. Who understand the spoils go to those who go their own way.
But we live in a nation of sheep.
Might as well be a shearer.
That's what the bankers and corporate titans are.
You're the product.
Wake up.
"How Wall Street Bent Steel": http://nyti.ms/1ALA0tl
"In Conversation With Chris Rock": http://vult.re/1yrqWcq
--
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