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Friday 10 May 2024
Re-Kate Hudson Makes Music
First of all, kudos for being one of the few people left in our business willing to have an opinion! It's interesting that we saw the Kate Hudson performance on the Howard Stern show. Although I maintain he is still the best to ever sit behind a radio mic, now that he has essentially become accepted as a mainstream celebrity, he has gone from the ultimate example of not giving a sh*t, to often kissing the ass of his fellow celebrity club members. Now to Kate Husdon, the rock star. As an actress, she was good in Almost Famous which I attribute largely to her being quite young and Cameron Crowe doing an excellent job. But because I travel a lot, and refuse to watch good movies on crappy airplane screens, I have had the dubious pleasure of watching some of "Bride Wars" and "How to Lose a Guy in 10 Days". It would be hard to be more annoying than she was in those films. And now she has to bring that same mediocre acting talent to music. (I can only assume that Chris Robinson feels he dodged a bullet). So for people who are exclaiming that she can sing ... yes, perhaps compared to someone who is tone deaf. I have spent a career coaching and producing young singers. There is a real giveaway as to who is imitating a performance, and who is the real thing. Undeveloped singers have what I call "vocal ticks", little mannerisms they think sound cool but they overuse because they don't really know what they are doing. Kate Hudson dips the pitch at the end of EVER SINGLE NOTE! Once you realize this, you can't unhear it. Listen to a great singer like Bonnie Raitt, sometimes when it is emotionally effective, she will dip a note, but it has impact because she only does it sometimes! It is the same thing with all the ridiculous flourishes & melismas you hear on American Idol ... did Aretha or Stevie do it, yes, when it counted, not constantly. That is certainly not my only complaint with the superfluous new music from yet another famous person ... but it is a start.Thanks again for being willing to call this trifle out.
Steve Postell
___________________________________
You have truly turned into the old man yelling, "Get off my lawn!" Why you needed to do a hatchet job on this woman's work is beyond me. The world you live in is one I no longer want to be a part of. Wading through your narcissistic pablum daily is a chore rather than an informative read. Please insert Lefsetz for Hudson in the sentence you wrote,"I mean who gives a crap what Hudson has to say."
Please take me off your list.
Terry Lowe
___________________________________
She has 18 million followers on instagram alone. You are getting angrier by the day. Your rants are all over the place. You keep saying nobody cares and you are right Bob nobody cares. Light one up, have a drink or get a prescription for something.
Ron Maiorino
___________________________________
Well at least she didn't try to make a movie and a documentary with it.
Brian Martin
___________________________________
On celebrities or actors doing albums I'd say the end year was 2010.
I signed Hugh Laurie to Warners when I ran Warner Music Entertainment. Hugh is a blues pianist and vocalist and he can really play!
We made a beautiful New Orleans inspired album "Let Them Talk" with Joe Henry, a PBS "Great Performances" special and sold close to 2m copies globally (across that album and the follow up).
But it was a different time.
TV still sold albums. Retail still sold albums.
It was the year YouTube started to really make traction with Spotify hard on its heels. Times were changing.
Many, many labels copied what we'd done with Hugh in subsequent years and almost without exception they failed.
Now I'm indie and running a label doing the modern equivalent. We sign artists with fan bases growing fast on socials. It's the same thing as I did at WMG, but re-cut for the 2020s. Go where the audience is and amplify.
We do 200m streams a month and 90% of our signings are profitable.
#movewiththetimes
Love your work!
Conrad Withey
CEO
FRTYFVE.com
___________________________________
Benson Boone and Zach Bryan are two recent acts that come to mind that built completely from the ground up, created huge followings, and didn't have leading hit singles … not saying that's par for the course these days, but there are a few cases here and there.
Michael Pukownik
___________________________________
Wait, did you just call her an idiot? Seems a bit harsh, no? Maybe I missed context down the page. I stopped reading right there. Do better, Bob.
Tim Fricke
___________________________________
YEP AGREE re Kate Hudson.
Holly Knight
___________________________________
Marvelous!!!!
Sent from Peter Noone
___________________________________
I like listening to Kate speak. She has that very likable, upbeat quality to her personality. She sounds fun. Like her mom. And her voice was surprisingly good. That girl can really sing.
Howard tried to sound enthusiastic, but her songwriting was nothing. And her cover of Voices Carry was karaoke.
Hope she's having fun. On to the next.
Paul Gigante
___________________________________
I love, admire, and respect Howard Stern. The non-stop classic rock worship and drum beat - hilarious coming from any boomer - is over the top. "Billy Corgan has one of the best voices in music." He said that in a serious manner! And more documentaries about sidemen nobody knows please!
Rob Warden
___________________________________
Her music has merit. It's her thing. She told Howard Stern it's been her thing her whole life but the family machine channeled her into a career that bestowed her a massive following. I see the Black Crowes and Stevie Nicks in her presentation. She's got a slamming drummer, knows show biz, has 18 million followers on instagram, 260 thousand follows on Spotify. And now Bob Lefsetz bringing her to a whole new audience. All to help feed her family. She's doing what she can. I respect that.
Kind regards,
Rob Whittaker
P.S. I can hear Taylor Swift saying 'Kate - this could be the best thing for your career!'
:)
___________________________________
You're right about one thing, we're all looking for artistry. But are you kidding me? Actors are two dimensional?? Like you have any idea how difficult it is to create a character from the text on the page and bring it to life and make people feel something? Sometimes your thoughts are insightful, and sometimes your head is shoved so far up your own ass its laughable. Please quote me and include me in your 'mailbag'.
Benjy Dobrin
___________________________________
Well…you just gave her a bump. There's no such thing as bad publicity.
Billy Chapin
___________________________________
Crickets. Right up there with a new Eric Estrada album.
John Brodey
___________________________________
I haven't even read your whole post below, but I happened to be up the other night and Kate was on The Tonight Show. Probably like you, my expectations were *very* low, but I was pretty taken aback at her vocal talent. She nailed it! I was somewhat shocked.
I can't imagine who her audience would be, but it definitely wasn't the lame performance I was expecting.
https://www.youtube.com/watch?v=H9NqxkQ6tnc
Good for her…
John Van Nest
___________________________________
The Kate Hudson thing is the epitome of modern day, good ol' USA. Her money and celebrity let her cut to the front of the line. So boring, but round and round we go.
I've run a record label (Royal Potato Family) for 15 years. I've put out countless amazing, supremely inspired, enduring records. I've never looked at all the indicators. I've always signed artists and released records by my gut, what I hear, how it makes me feel and my belief that it can bring something sustinent to others. But aside from a small loyal audience, it's impossible to get any attention or traction - even our distributor doesn't care. It's only about numbers and $$. Nobody even listens - people in fancy offices, making lots of money and all they can say is get a TikTok page, get more likes on social media. I have to always be working four or five other jobs - PR, management, consulting, etc. to keep the dream alive. Everyday, wake up, roll the stone back up hill.
I'm sure most people would respond by saying I suck, my artists suck, play the game better, stop whining. Release something that masses want and the masses will come. Fair enough. I get it. We're not entitled to anything. Live by the sword, die by the sword. We'll keep pushing. That small community of people who care will be enough. There are some brilliant artists, with pure artistic expression, who still break through. But it's getting tougher everyday. I can't help but think collectively we'd be doing a little better if quality mattered as much as the fastest path to money. I'm not sure how much longer those of us who embrace that notion can financially sustain without more reach. Never mind the mental health aspect. Speaking for myself, I'll keep going. Maybe I completely burn out and have to take a job as a barista. At least I went for it.
I'm not even sure what point I'm trying to make anymore other than there are still some of us out here for whom artists who've toiled over their craft, write songs that speak to our human condition, get in a room together and create music that vibrates with both the trials and beauty of life, is everything. We put on records and we feel better for 22 minutes. It makes the world a richer, more vibrant place and is a bridge for soulful people with open hearts in their day to day lives.
This leads me back to Kate Hudson. She has every right to make a record and put her artistic vision into the world. But it's the access, the dumb f*cking corporate hacks who care about nothing but money and celebrity, who amplify her at the expense of those way more compelling who should be getting that opportunity. Again, I get it. It's the way of the world, nothing my bitching is gonna do to change it. But it's heartbreaking.
Listen to this Chris Kasper record we put out today. If it was 1973, it might stand a chance.
https://open.spotify.com/album/7330RjVHCfbLR1rZq0Wyw2?si=4sOGtc-ATRqBj4OQvm1-zA
Kevin Calabro
Royal Potato Family
PS - I was Chris Robinson's publicist for five years.
___________________________________
I don't know Bob. I think you might have missed the boat here. I stumbled across Kate's performance on Howard's show on social media and heard an amazing performance of one of my favorite songs from the 80's. I thought she took on a tough song to sing live and absolutely owned it! Moreover, she seemed to be really enjoying the moment and obviously loves to sing. So she's happy, and I'm happy to have heard it. Isn't that how music is supposed to work? What's wrong with that??
Neil Barry
___________________________________
You're burying the lead here. The fault, dear Brutus, lies not in Kate Hudson…but Howard putting her on?? Baba-boring. (Love Howard still but…oof).
Kevin Berntson
___________________________________
I've got no time for a Kate Hudson album..I'm too busy listening to Rita Wilson deep cuts..The box set of demos is out, on colored vinyl! SO glad I bought that Dolby Atmos setup!
Celebrities get to skip the line at Disneyland..They also get good tables at restaurants, and when you're famous you can just walk up and grab em' by the pussy..
And they get some oxygen for their vanity projects..Music, children's books, cook books, charities, and other such claptrap..It counts as content on the daytime TV talk circuit..Are there even any housewives/stay at home moms that watch network/syndicated TV? Maybe some rest home residents? Do they consume new music?
I'd conjecture that the audience for a Kate Hudson album overlaps with the people who listen to Dr. Phil's WIFE'S podcast..(Not making that sh*t up!) (Of course, rock stars hawking their paintings isn't "cringe".)
I can't believe Stern allowed this..His musical guests have always been top-notch.. Someone called in their last favor.. Hudson's exes (Chris Robinson, Matt Bellamy) wisely refuse to indulge their wife in her fantasy..I'd have been LIVID seeing a Muse featuring Kate Hudson video!
Some stars WERE so hot, a single WAS a way to capitalize..David Soul, Jack Wagner, Patrick Swayze, John Travolta, Eddie Murphy,etc..But Jeff Bridges, Juliet Lewis, Kevin Bacon, Keanu, Steven Segal, Kevin Costner, Billy Bob Thornton,etc., etc.? Of course, they can play the fly-over circuit, and people will come, just to say they saw a celebrity..
The Ryan Gosling movie? I had to look it up You can't open a summer with a non sequel/superhero flick! Warner Bros lost $200 million on the "Suicide Squad" video game..The manosphere is claiming it was "too woke"..
The #1 Repugnantc*nt talking point, from Kelly Ann Conway to Joe Facebook to Kid Rock is now, "Well Trump didn't start any NEW wars." To be blurted out, when asked "tough" questions..
Huh? He continued the war he RAN on stopping..It's like a fireman who brags about not starting any NEW fires..(While failing to put out the one he was hired to.) THAT'S their silver bullet? They're peacenicks now?
What's next? The Biden Tornado Cabal? "I caint recall Trump having sew mini tornadys! And why come we never sea nary nun of them twisters in the blew states?"
P.S. Letterman and Petty laughing about Jennifer Love Hewitt's tour, on national TV was hilarious! She was still in the green room!
James Spencer
Steve Postell
___________________________________
You have truly turned into the old man yelling, "Get off my lawn!" Why you needed to do a hatchet job on this woman's work is beyond me. The world you live in is one I no longer want to be a part of. Wading through your narcissistic pablum daily is a chore rather than an informative read. Please insert Lefsetz for Hudson in the sentence you wrote,"I mean who gives a crap what Hudson has to say."
Please take me off your list.
Terry Lowe
___________________________________
She has 18 million followers on instagram alone. You are getting angrier by the day. Your rants are all over the place. You keep saying nobody cares and you are right Bob nobody cares. Light one up, have a drink or get a prescription for something.
Ron Maiorino
___________________________________
Well at least she didn't try to make a movie and a documentary with it.
Brian Martin
___________________________________
On celebrities or actors doing albums I'd say the end year was 2010.
I signed Hugh Laurie to Warners when I ran Warner Music Entertainment. Hugh is a blues pianist and vocalist and he can really play!
We made a beautiful New Orleans inspired album "Let Them Talk" with Joe Henry, a PBS "Great Performances" special and sold close to 2m copies globally (across that album and the follow up).
But it was a different time.
TV still sold albums. Retail still sold albums.
It was the year YouTube started to really make traction with Spotify hard on its heels. Times were changing.
Many, many labels copied what we'd done with Hugh in subsequent years and almost without exception they failed.
Now I'm indie and running a label doing the modern equivalent. We sign artists with fan bases growing fast on socials. It's the same thing as I did at WMG, but re-cut for the 2020s. Go where the audience is and amplify.
We do 200m streams a month and 90% of our signings are profitable.
#movewiththetimes
Love your work!
Conrad Withey
CEO
FRTYFVE.com
___________________________________
Benson Boone and Zach Bryan are two recent acts that come to mind that built completely from the ground up, created huge followings, and didn't have leading hit singles … not saying that's par for the course these days, but there are a few cases here and there.
Michael Pukownik
___________________________________
Wait, did you just call her an idiot? Seems a bit harsh, no? Maybe I missed context down the page. I stopped reading right there. Do better, Bob.
Tim Fricke
___________________________________
YEP AGREE re Kate Hudson.
Holly Knight
___________________________________
Marvelous!!!!
Sent from Peter Noone
___________________________________
I like listening to Kate speak. She has that very likable, upbeat quality to her personality. She sounds fun. Like her mom. And her voice was surprisingly good. That girl can really sing.
Howard tried to sound enthusiastic, but her songwriting was nothing. And her cover of Voices Carry was karaoke.
Hope she's having fun. On to the next.
Paul Gigante
___________________________________
I love, admire, and respect Howard Stern. The non-stop classic rock worship and drum beat - hilarious coming from any boomer - is over the top. "Billy Corgan has one of the best voices in music." He said that in a serious manner! And more documentaries about sidemen nobody knows please!
Rob Warden
___________________________________
Her music has merit. It's her thing. She told Howard Stern it's been her thing her whole life but the family machine channeled her into a career that bestowed her a massive following. I see the Black Crowes and Stevie Nicks in her presentation. She's got a slamming drummer, knows show biz, has 18 million followers on instagram, 260 thousand follows on Spotify. And now Bob Lefsetz bringing her to a whole new audience. All to help feed her family. She's doing what she can. I respect that.
Kind regards,
Rob Whittaker
P.S. I can hear Taylor Swift saying 'Kate - this could be the best thing for your career!'
:)
___________________________________
You're right about one thing, we're all looking for artistry. But are you kidding me? Actors are two dimensional?? Like you have any idea how difficult it is to create a character from the text on the page and bring it to life and make people feel something? Sometimes your thoughts are insightful, and sometimes your head is shoved so far up your own ass its laughable. Please quote me and include me in your 'mailbag'.
Benjy Dobrin
___________________________________
Well…you just gave her a bump. There's no such thing as bad publicity.
Billy Chapin
___________________________________
Crickets. Right up there with a new Eric Estrada album.
John Brodey
___________________________________
I haven't even read your whole post below, but I happened to be up the other night and Kate was on The Tonight Show. Probably like you, my expectations were *very* low, but I was pretty taken aback at her vocal talent. She nailed it! I was somewhat shocked.
I can't imagine who her audience would be, but it definitely wasn't the lame performance I was expecting.
https://www.youtube.com/watch?v=H9NqxkQ6tnc
Good for her…
John Van Nest
___________________________________
The Kate Hudson thing is the epitome of modern day, good ol' USA. Her money and celebrity let her cut to the front of the line. So boring, but round and round we go.
I've run a record label (Royal Potato Family) for 15 years. I've put out countless amazing, supremely inspired, enduring records. I've never looked at all the indicators. I've always signed artists and released records by my gut, what I hear, how it makes me feel and my belief that it can bring something sustinent to others. But aside from a small loyal audience, it's impossible to get any attention or traction - even our distributor doesn't care. It's only about numbers and $$. Nobody even listens - people in fancy offices, making lots of money and all they can say is get a TikTok page, get more likes on social media. I have to always be working four or five other jobs - PR, management, consulting, etc. to keep the dream alive. Everyday, wake up, roll the stone back up hill.
I'm sure most people would respond by saying I suck, my artists suck, play the game better, stop whining. Release something that masses want and the masses will come. Fair enough. I get it. We're not entitled to anything. Live by the sword, die by the sword. We'll keep pushing. That small community of people who care will be enough. There are some brilliant artists, with pure artistic expression, who still break through. But it's getting tougher everyday. I can't help but think collectively we'd be doing a little better if quality mattered as much as the fastest path to money. I'm not sure how much longer those of us who embrace that notion can financially sustain without more reach. Never mind the mental health aspect. Speaking for myself, I'll keep going. Maybe I completely burn out and have to take a job as a barista. At least I went for it.
I'm not even sure what point I'm trying to make anymore other than there are still some of us out here for whom artists who've toiled over their craft, write songs that speak to our human condition, get in a room together and create music that vibrates with both the trials and beauty of life, is everything. We put on records and we feel better for 22 minutes. It makes the world a richer, more vibrant place and is a bridge for soulful people with open hearts in their day to day lives.
This leads me back to Kate Hudson. She has every right to make a record and put her artistic vision into the world. But it's the access, the dumb f*cking corporate hacks who care about nothing but money and celebrity, who amplify her at the expense of those way more compelling who should be getting that opportunity. Again, I get it. It's the way of the world, nothing my bitching is gonna do to change it. But it's heartbreaking.
Listen to this Chris Kasper record we put out today. If it was 1973, it might stand a chance.
https://open.spotify.com/album/7330RjVHCfbLR1rZq0Wyw2?si=4sOGtc-ATRqBj4OQvm1-zA
Kevin Calabro
Royal Potato Family
PS - I was Chris Robinson's publicist for five years.
___________________________________
I don't know Bob. I think you might have missed the boat here. I stumbled across Kate's performance on Howard's show on social media and heard an amazing performance of one of my favorite songs from the 80's. I thought she took on a tough song to sing live and absolutely owned it! Moreover, she seemed to be really enjoying the moment and obviously loves to sing. So she's happy, and I'm happy to have heard it. Isn't that how music is supposed to work? What's wrong with that??
Neil Barry
___________________________________
You're burying the lead here. The fault, dear Brutus, lies not in Kate Hudson…but Howard putting her on?? Baba-boring. (Love Howard still but…oof).
Kevin Berntson
___________________________________
I've got no time for a Kate Hudson album..I'm too busy listening to Rita Wilson deep cuts..The box set of demos is out, on colored vinyl! SO glad I bought that Dolby Atmos setup!
Celebrities get to skip the line at Disneyland..They also get good tables at restaurants, and when you're famous you can just walk up and grab em' by the pussy..
And they get some oxygen for their vanity projects..Music, children's books, cook books, charities, and other such claptrap..It counts as content on the daytime TV talk circuit..Are there even any housewives/stay at home moms that watch network/syndicated TV? Maybe some rest home residents? Do they consume new music?
I'd conjecture that the audience for a Kate Hudson album overlaps with the people who listen to Dr. Phil's WIFE'S podcast..(Not making that sh*t up!) (Of course, rock stars hawking their paintings isn't "cringe".)
I can't believe Stern allowed this..His musical guests have always been top-notch.. Someone called in their last favor.. Hudson's exes (Chris Robinson, Matt Bellamy) wisely refuse to indulge their wife in her fantasy..I'd have been LIVID seeing a Muse featuring Kate Hudson video!
Some stars WERE so hot, a single WAS a way to capitalize..David Soul, Jack Wagner, Patrick Swayze, John Travolta, Eddie Murphy,etc..But Jeff Bridges, Juliet Lewis, Kevin Bacon, Keanu, Steven Segal, Kevin Costner, Billy Bob Thornton,etc., etc.? Of course, they can play the fly-over circuit, and people will come, just to say they saw a celebrity..
The Ryan Gosling movie? I had to look it up You can't open a summer with a non sequel/superhero flick! Warner Bros lost $200 million on the "Suicide Squad" video game..The manosphere is claiming it was "too woke"..
The #1 Repugnantc*nt talking point, from Kelly Ann Conway to Joe Facebook to Kid Rock is now, "Well Trump didn't start any NEW wars." To be blurted out, when asked "tough" questions..
Huh? He continued the war he RAN on stopping..It's like a fireman who brags about not starting any NEW fires..(While failing to put out the one he was hired to.) THAT'S their silver bullet? They're peacenicks now?
What's next? The Biden Tornado Cabal? "I caint recall Trump having sew mini tornadys! And why come we never sea nary nun of them twisters in the blew states?"
P.S. Letterman and Petty laughing about Jennifer Love Hewitt's tour, on national TV was hilarious! She was still in the green room!
James Spencer
--
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--
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-Apple: https://apple.co/2ndmpvp
--
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--
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Thursday 9 May 2024
Kate Hudson Makes Music
The surprising thing is it's pretty good. Hudson's got a serviceable voice, and Linda Perry is a virtuoso, but is anybody waiting for this album?
NO! That paradigm ended with the last century. You know, famous person makes an album with hitmakers, a lot of money is spent on publicity and promotion and then the label sees if it sticks to the wall or not. In most cases, it did not. Especially as years wore on. Although Don Johnson did have a hit.
So I'm listening to Howard Stern this morning and I hear Kate Hudson talking and the first thing that went through my mind is "I'm not interested in this." But I'd already powered through all the news channels on SiriusXM on my way to get my blood drawn, so I decided to hang in there.
America's sweetheart is an idiot. When she dropped "spiritual," I about puked. What exactly does that word mean? She gave a pass to her biological father, it wasn't much different from a pre-internet interview, but the internet blew up nearly thirty years ago.
And actors don't mean anything anymore. Ryan Gosling couldn't even open a well-reviewed movie. Because movie stars are two-dimensional, they play roles, whereas when music is done right, especially when the performer has written the song, it channels truth, people see the artist as three-dimensional, the song is coming from their heart.
Now in truth the "musicians" have abdicated this power in the search of dough, but unlike in the old days, people can get their heroes from many verticals, not only the silver screen. So Kate Hudson is famous. But so is Kim Kardashian, and she got booed at the Tom Brady roast, even though Netflix subsequently edited this out of the program.
You see people hate Kim K. Put me in that category. Overexposed. Too much plastic surgery. There's no there there. Sure, some nitwits are fans, they even buy Skims, but the truth is more people don't care or shrug at Kardashian than love her.
This is the opposite of the old paradigm, and the news business keeps employing the old paradigm. Running stuff up the flagpole that most people don't care about whilst telling us it's ubiquitous, everybody's paying attention and involved. I can avoid anything these days, and so can you. In an on demand culture we only partake of that which we desire. And who desires to hear Kate Hudson's new music?
Even worse, to the degree I've listened, and once is enough, time is too short, it doesn't fit in with today's hit genres. I mean at least try to imitate what's in the Spotify Top 50. Then again, have you listened to the lauded Sabrina Carpenter's hit? You'll be appalled. It's garbage. Especially if you have the context of the past.
Which is why most people aren't listening. The Spotify Top 50 is just a slice of the market, a significant slice, but far from the entire pie. I mean did you hear Drake and Kendrick Lamar are in a rap war? Maybe you even know this, with the ubiquitous press. But who cares? I can't seem to find anybody other than superfans of hip-hop, the rest of us are laughing, not only do we not care, we think it's childish, so last century. Dissing each other in music? You can't be more creative than that?
But that's the world we live in. Where everybody can see Biden is old but those on the left can't admit it. They're doctrinaire. Believing if they keep everybody in line and no one talks about it no one will notice. I mean COME ON!
The truth is that being 44 is not a hindrance to Kate Hudson. But her lack of recent fame is. It's not like she's coming off of a hit movie. And TV shows move the culture more than movies anyway, more people see them.
Hudson's star has been fading ever since "Almost Famous." Who is hungry to hear her sing? Other than the people involved in this project, I can't think of a single person.
And it requires an effort to listen. You've got to pull the music, the old days of push are history. Even her contemporaries, are they going to make the effort, with so many other options?
And speaking of options, like Sly Stone sang, today everybody is a star. And a lot of them are educated and articulate. Sure, we've got some imbecilic influencers, but no one said Sam Bankman-Fried was stupid. Nor Elon Musk. You might despise them for other reasons, but they're educated, they're smart. You might want to hear what they have to say. But Kate Hudson, a movie star? You'd have to be brain dead.
I'm aware there's a great unwashed underclass who go for this lowbrow fodder, but in truth the winners in today's world, and the public knows it, the younger audience even knows it, are the intelligent and educated.
Talk to a college student. They know how the game is played. They know how hard it is to make a living. They want to follow in the footsteps of those who are making bank. To a great degree, entertainment is left to the lower classes, who come from nowhere and even if they make it against long odds are willing to go back to nowhere. Never mind not being smart and worldly enough to make a stand against the system, which tells them what to do. Like the major labels who won't even release your record if they don't hear it as a hit, they'll make you work with co-writers, do cover songs, and even if you can get away with resisting, chances are they won't promote it, it's too hard a slog, an uphill push. There's not going to be some deejay in the middle of nowhere who's going to spin it ad infinitum and turn it into a worldwide hit. The days of that kind of free-thinking conflagration are history. After all, just a few companies own all the radio stations and terrestrial radio means less than ever before.
So who is Kate Hudson's album made for?
Maybe there's a chance a track can catch on, never say never, but publicity, promotion, is no longer enough. I mean if Sam or Elon, even Bill Gates made a record, I'd check it out. But Kate Hudson?
Why is everybody operating in the past? Entertainment is fluid, and archaic systems keep being employed until they ultimately collapse. No studio is as powerful as Netflix. And it's Netflix that had an extended comedy festival, taking programming risks all the while. Nobody else is doing this.
Needless to say record labels are not. They sit back and wait for something to resonate online and then they try to push it forward, they don't make an artistic judgment, they don't sign something that's artistically good without the social numbers, all the rest of the indicators, that's not the business they're in.
And "The New Yorker" jacked its subscription price and is staying alive, people want it But "Entertainment Weekly" ceased publication. And the tabloids... "The National Enquirer" might be a feature of the Trump trial, but they can't sell it. Gossip is online now. For free.
In truth, nobody from the old century wants to do the hard work. Find an act worth listening to, nurturing it and then building it from scratch. They used to say they wouldn't put out your music unless they heard a single, now you literally have to create a hit single before they'll even sign you!
And shortcuts, like making a record with a famous actor, no longer work.
It's kind of like the Gaza protests. The Democrats are scared sh*tless about losing young people, yet every poll says Gaza is way down the list in terms of their voting priorities.
Never mind tuning in Fox News on the way to my appointment this morning and thinking I'm in an alternative universe. Trump is winning at trial, Stormy Daniels is a money-hungry deplorable. I mean if we can't even get the straight news straight, what are the odds we can get entertainment news straight? Close to nil. Which is why the consumer base doesn't even pay attention, they just go online and wait to hear what their friends say is worth their while.
Kate Hudson can make music all day long. Do I have to pay attention to her and her hype? I mean who gives a crap what Hudson has to say. As for reasonable singers, they're a dime a dozen on TV, and they don't break through. We're looking for artistry, not product. There's nothing to see here. Move on.
If you were even paying attention to begin with.
NO! That paradigm ended with the last century. You know, famous person makes an album with hitmakers, a lot of money is spent on publicity and promotion and then the label sees if it sticks to the wall or not. In most cases, it did not. Especially as years wore on. Although Don Johnson did have a hit.
So I'm listening to Howard Stern this morning and I hear Kate Hudson talking and the first thing that went through my mind is "I'm not interested in this." But I'd already powered through all the news channels on SiriusXM on my way to get my blood drawn, so I decided to hang in there.
America's sweetheart is an idiot. When she dropped "spiritual," I about puked. What exactly does that word mean? She gave a pass to her biological father, it wasn't much different from a pre-internet interview, but the internet blew up nearly thirty years ago.
And actors don't mean anything anymore. Ryan Gosling couldn't even open a well-reviewed movie. Because movie stars are two-dimensional, they play roles, whereas when music is done right, especially when the performer has written the song, it channels truth, people see the artist as three-dimensional, the song is coming from their heart.
Now in truth the "musicians" have abdicated this power in the search of dough, but unlike in the old days, people can get their heroes from many verticals, not only the silver screen. So Kate Hudson is famous. But so is Kim Kardashian, and she got booed at the Tom Brady roast, even though Netflix subsequently edited this out of the program.
You see people hate Kim K. Put me in that category. Overexposed. Too much plastic surgery. There's no there there. Sure, some nitwits are fans, they even buy Skims, but the truth is more people don't care or shrug at Kardashian than love her.
This is the opposite of the old paradigm, and the news business keeps employing the old paradigm. Running stuff up the flagpole that most people don't care about whilst telling us it's ubiquitous, everybody's paying attention and involved. I can avoid anything these days, and so can you. In an on demand culture we only partake of that which we desire. And who desires to hear Kate Hudson's new music?
Even worse, to the degree I've listened, and once is enough, time is too short, it doesn't fit in with today's hit genres. I mean at least try to imitate what's in the Spotify Top 50. Then again, have you listened to the lauded Sabrina Carpenter's hit? You'll be appalled. It's garbage. Especially if you have the context of the past.
Which is why most people aren't listening. The Spotify Top 50 is just a slice of the market, a significant slice, but far from the entire pie. I mean did you hear Drake and Kendrick Lamar are in a rap war? Maybe you even know this, with the ubiquitous press. But who cares? I can't seem to find anybody other than superfans of hip-hop, the rest of us are laughing, not only do we not care, we think it's childish, so last century. Dissing each other in music? You can't be more creative than that?
But that's the world we live in. Where everybody can see Biden is old but those on the left can't admit it. They're doctrinaire. Believing if they keep everybody in line and no one talks about it no one will notice. I mean COME ON!
The truth is that being 44 is not a hindrance to Kate Hudson. But her lack of recent fame is. It's not like she's coming off of a hit movie. And TV shows move the culture more than movies anyway, more people see them.
Hudson's star has been fading ever since "Almost Famous." Who is hungry to hear her sing? Other than the people involved in this project, I can't think of a single person.
And it requires an effort to listen. You've got to pull the music, the old days of push are history. Even her contemporaries, are they going to make the effort, with so many other options?
And speaking of options, like Sly Stone sang, today everybody is a star. And a lot of them are educated and articulate. Sure, we've got some imbecilic influencers, but no one said Sam Bankman-Fried was stupid. Nor Elon Musk. You might despise them for other reasons, but they're educated, they're smart. You might want to hear what they have to say. But Kate Hudson, a movie star? You'd have to be brain dead.
I'm aware there's a great unwashed underclass who go for this lowbrow fodder, but in truth the winners in today's world, and the public knows it, the younger audience even knows it, are the intelligent and educated.
Talk to a college student. They know how the game is played. They know how hard it is to make a living. They want to follow in the footsteps of those who are making bank. To a great degree, entertainment is left to the lower classes, who come from nowhere and even if they make it against long odds are willing to go back to nowhere. Never mind not being smart and worldly enough to make a stand against the system, which tells them what to do. Like the major labels who won't even release your record if they don't hear it as a hit, they'll make you work with co-writers, do cover songs, and even if you can get away with resisting, chances are they won't promote it, it's too hard a slog, an uphill push. There's not going to be some deejay in the middle of nowhere who's going to spin it ad infinitum and turn it into a worldwide hit. The days of that kind of free-thinking conflagration are history. After all, just a few companies own all the radio stations and terrestrial radio means less than ever before.
So who is Kate Hudson's album made for?
Maybe there's a chance a track can catch on, never say never, but publicity, promotion, is no longer enough. I mean if Sam or Elon, even Bill Gates made a record, I'd check it out. But Kate Hudson?
Why is everybody operating in the past? Entertainment is fluid, and archaic systems keep being employed until they ultimately collapse. No studio is as powerful as Netflix. And it's Netflix that had an extended comedy festival, taking programming risks all the while. Nobody else is doing this.
Needless to say record labels are not. They sit back and wait for something to resonate online and then they try to push it forward, they don't make an artistic judgment, they don't sign something that's artistically good without the social numbers, all the rest of the indicators, that's not the business they're in.
And "The New Yorker" jacked its subscription price and is staying alive, people want it But "Entertainment Weekly" ceased publication. And the tabloids... "The National Enquirer" might be a feature of the Trump trial, but they can't sell it. Gossip is online now. For free.
In truth, nobody from the old century wants to do the hard work. Find an act worth listening to, nurturing it and then building it from scratch. They used to say they wouldn't put out your music unless they heard a single, now you literally have to create a hit single before they'll even sign you!
And shortcuts, like making a record with a famous actor, no longer work.
It's kind of like the Gaza protests. The Democrats are scared sh*tless about losing young people, yet every poll says Gaza is way down the list in terms of their voting priorities.
Never mind tuning in Fox News on the way to my appointment this morning and thinking I'm in an alternative universe. Trump is winning at trial, Stormy Daniels is a money-hungry deplorable. I mean if we can't even get the straight news straight, what are the odds we can get entertainment news straight? Close to nil. Which is why the consumer base doesn't even pay attention, they just go online and wait to hear what their friends say is worth their while.
Kate Hudson can make music all day long. Do I have to pay attention to her and her hype? I mean who gives a crap what Hudson has to say. As for reasonable singers, they're a dime a dozen on TV, and they don't break through. We're looking for artistry, not product. There's nothing to see here. Move on.
If you were even paying attention to begin with.
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Chris Lord-Alge-This Week's Podcast
Mixer extraordinaire!
https://www.iheart.com/podcast/1119-the-bob-lefsetz-podcast-30806836/episode/chris-lord-alge-174750533/
https://podcasts.apple.com/us/podcast/chris-lord-alge/id1316200737?i=1000655039432
https://open.spotify.com/episode/1o2VxiltaEAgpBm0axGcBV?si=D_mUMvyOQcOSuxat2uJJ7Q
https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/episodes/616bd41e-eeb2-407e-a827-2bc4e3579175/the-bob-lefsetz-podcast-chris-lord-alge
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https://www.iheart.com/podcast/1119-the-bob-lefsetz-podcast-30806836/episode/chris-lord-alge-174750533/
https://podcasts.apple.com/us/podcast/chris-lord-alge/id1316200737?i=1000655039432
https://open.spotify.com/episode/1o2VxiltaEAgpBm0axGcBV?si=D_mUMvyOQcOSuxat2uJJ7Q
https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/episodes/616bd41e-eeb2-407e-a827-2bc4e3579175/the-bob-lefsetz-podcast-chris-lord-alge
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Wednesday 8 May 2024
E-Mail Of The Day
RE: Streaming Pays
You are absolutely right on this. My indie label has artists who we pay over a million dollars a year in streaming royalties. But more importantly, we have artists who we pay over $100,000 per year in streaming royalties....AS OPPOSED TO THE $5000 THAT I COULD PAY THEM ON CD SALES CAUSE THERE JUST WASN'T ROOM IN STORES FOR DEEP CATALOGUE.
That is a really important point because if the music resonates, despite the genre, streaming allows folks to find it, save it and share it. So artists whose music couldn't find an audience when limited to physical formats, now have a chance to find new fans! And some, but not all of the DSPs offer tools to allow us to build those audiences.
I sympathize with artists who can't get traction in the streaming world. But we spend every single day looking for and exploiting opportunities which we find at the DSPs (or in social media). It's really hard for folks (artists) who aren't following every single change at every DSP to keep up. And there will always be some indie artists whose music resonates quickly and get success. But for the most part, it comes down to what record companies/artist managers always did: artist development.
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You are absolutely right on this. My indie label has artists who we pay over a million dollars a year in streaming royalties. But more importantly, we have artists who we pay over $100,000 per year in streaming royalties....AS OPPOSED TO THE $5000 THAT I COULD PAY THEM ON CD SALES CAUSE THERE JUST WASN'T ROOM IN STORES FOR DEEP CATALOGUE.
That is a really important point because if the music resonates, despite the genre, streaming allows folks to find it, save it and share it. So artists whose music couldn't find an audience when limited to physical formats, now have a chance to find new fans! And some, but not all of the DSPs offer tools to allow us to build those audiences.
I sympathize with artists who can't get traction in the streaming world. But we spend every single day looking for and exploiting opportunities which we find at the DSPs (or in social media). It's really hard for folks (artists) who aren't following every single change at every DSP to keep up. And there will always be some indie artists whose music resonates quickly and get success. But for the most part, it comes down to what record companies/artist managers always did: artist development.
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Tuesday 7 May 2024
Revival '69
Scroll down for trailer: http://www.chapmanproductions.ca/revival69
This is a fantastic movie. One that you will see if you were alive and conscious back in '69, and one you will see even if you were not. Because it contains John Lennon. When he took the stage my heart skipped a beat.
But it also shows how the music and the business used to be different. Two twentysomething concert promoters flying by the seat of their pants. They concoct an oldies festival and ticket sales tank but instead of canceling the show, they go to the head of the local motorcycle gang for the money, who appears all warm and fuzzy fifty five years later, and doesn't remember much, but he coughs up the dough.
And they're off to the races.
Only they're not. The 25k they got from the kingpin was for the Doors, but Jim Morrison got arrested for indecent exposure right after the deal was made and tickets still don't move.
So the local deejay said to fly in Rodney Bingenheimer and Kim Fowley to scare up business. But that doesn't work either.
This is not only the days before mobile phones, never mind smartphones, but faxes, everything was done by the landline. And the promoters are told the only way they can save the gig is by getting John Lennon.
Yeah, right.
Benefit shows are de rigueur these days. If you haven't been approached to play for free, you're not a star. But everybody on the inside knows the linchpin comes last, the superstar is not going to commit unless their fellow superstars are in. Then the dam falls.
But this Rock and Roll Revival is headlined by people playing clubs, they were stars once, but Chuck Berry and Bo Diddley and Gene Vincent and Little Richard are not a draw for the boomers now hooked on FM rock. Believe me, no one from that demo cared, these performers were oldsters who truly didn't get respect for at least another fifteen years. But John Lennon was older, these were his heroes.
So the promoter calls Apple.
Just imagine it, someone you don't know calling the Beatles' camp and his proffer being considered realistically, a pipe dream. Two nobodies from the Great White North are going to get John Lennon?
No one believes it, not CHUM radio, not even the outlaw biker.
But Lennon comes.
How do I know this? This was news back in '69. And ultimately there was an album, entitled "Live Peace in Toronto 1969," which was most notable for a version of "Cold Turkey," which got radio airplay. But in an era where you had to buy it to hear it, I didn't, but a friend did, and I listened. I can still see the cover in my mind's eye, the cloud in the sky.
But I had no idea there was footage.
Oh, they've combed the vaults for a zillion rock documentaries. Oftentimes giving them the imprimatur of life-changing when that's questionable at best, like "Summer of Soul," or even the recent "The Greatest Night in Pop." Both great flicks, worth seeing, but not the essence of rock and roll, they say they capture the zeitgeist, but they don't.
"Revival '69" does.
This is what young 'uns can't understand, how it used to be different. Not only were promoters young renegades, the acts were their contemporaries. Everybody was making it up as they went along. There was no VIP, food was hot dogs and popcorn. Hell, the music was enough. No production, just the act on stage. And watching this film you get it.
So there are two stories, the backstory, about putting on the concert, and the concert itself.
And the concert itself... Chuck Berry. This is not the bitter man of later years, sure, he's employing a pickup band, but he's smiling, he's into it. And up close and personal you can see how good-looking he is.
And there are no tape recorders on stage, never mind hard drives. Meaning the music is imperfect, which bothered no one back then, it was expected, we didn't want a movie, we wanted a one of a kind live experience, that lifted us into the stratosphere.
I saw Bo Diddley at a dance back in '66, with his square guitar, did not move me, I wanted to hear the cover band, which played a killer version of the Beatles' "I Want to Tell You."
Gene Vincent? He died in 1971. I don't think young 'uns even know who he is.
But Little Richard. Man, you get it. He won't go on stage until the lights are right. Because he understands it's showbiz, a performance, it's more than the music. As do all the performers. Their sheer will, along with the music, is employed to get the audience into the palm of their hands.
Little Richard has got his pompadour, and he hits the keys...
And I'll never get over that exposé on Jerry Lee Lewis in "Rolling Stone" back in the day, but people forgot the contents of that article and he was recast as being warm and fuzzy as opposed to a hothead who was dangerous. But this performance? Absolutely incredible. He comes on stage looking like he's ready for a golf tournament, he speaks with a Louisiana accent most attendees have never been exposed to, but when he tickles the ivories...
And then comes Lennon.
Oh, there's a bunch of fake gravitas at the end of the flick, saying Kim Fowley invented the tradition of holding up matches and lighters during a show, and that this is the gig that broke up the Beatles. Fowley had to get the idea from somewhere, then again if he were still here Kim would take credit, that's the kind of guy he was. And there was tension in the Beatles long before this gig. Then again, it's the first live gig for Lennon in so long, and it's solo. You get it, he doesn't have to worry about anybody else, he's the star, he's in control, and it's palpable how freeing that must have been.
But in any event, this was a Beatle on stage. Before "Abbey Road" was released. Before the band broke up. One cannot fathom how big the Beatles were unless you were there. Statistics don't tell the story. It was all about mind-set and mindshare. EVERYBODY knew the Beatles, and most everybody knew their songs. It was a phenomenon, it was mania, and to have a Beatle live and in person right in front of you on stage? That's equivalent to seeing God.
And this was back when we still believed. I must say, watching Mick Jagger on stage at Jazzfest... I mean come on, you're 80, can't you act your age? Instead of dieting down to nothing, working out and moving like you did fifty years ago? We aged, why can't you? Mick's frozen in time.
But he's not the only one. It's a rare musician who is not. Bowie tried, and let's be clear, not everything he did resonated with the audience. Do you remember Tin Machine? Did you even listen to Tin Machine?
People have success and they're afraid to change, and they end up becoming caricatures. I hate to say it, but Trump is a bigger rock star than anybody making music today. Because he does what he wants and thinks the rules don't apply to him, like all the stars of yore. They were beacons, against a hypocritical, moribund society. No, don't see this as an endorsement, but one can analyze and see truth. Kind of like Jon Stewart at the Greek Theatre on Friday night:
"'I know liberals say, "Don't say Joe Biden is old" — don't say what people see with their own eyes! You can say it, he can't hear us,' he joked. I know you know how f*cking old he is, and I know you don't want to say it because Trump is so scary, but he's so f*cking old,' Stewart said, adding, 'When you watch him on television, you're nervous, aren't ya? '"
"'I'm not saying that Biden can't contribute to society, he just shouldn't be president,' Stewart continued, acknowledging that Trump is just as old, but commenting that his supporters don't live in reality, and he can lie his way out of most things."
That's how bad it's gotten, you can't even speak truth. My inbox is going to go wild now, you can't go against the team. But that was the thing about the rockers of yore, each was an individual beholden to no one, they did what they felt, what they wanted to, and that's why we believed in them.
And the music.
Now how many times have you seen "Woodstock"?
Certainly more than once. And you're going to watch "Revival '69" more than once. At least once it hits the flat screen. It opens on June 28th. Will you go to the theatre to see it? People won't even go see "Fall Guy" in the theatre, and that's got Ryan Gosling and good reviews!
Yes, lockdown is in the rearview mirror. It killed magazines, "Rolling Stone" is monthly and marginal, behind a paywall. "Businessweek" went from weekly to monthly, "Entertainment Weekly" stopped publishing all together. I've stopped renewing my magazines, I've been burned too many times when they've gone out of business, or become digital only.
The theatre is passé, expensive appointment viewing of cartoons that don't move the culture? Hell, the roast of Tom Brady on Netflix had more cultural impact than "Fall Guy," than almost any recent picture, because it was raucous and real.
But it wasn't rock and roll.
And it certainly wasn't John Lennon. Who showed up in Toronto on a whim. Even Allen Klein his manager said he wasn't coming, after all, wouldn't he know?
The truth is we all knew back then. If you wanted to know which way the wind blew you turned on the radio and listened to a record. And if you wanted the ultimate visceral experience you went to see your favorite acts live.
And this film documents all that.
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This is a fantastic movie. One that you will see if you were alive and conscious back in '69, and one you will see even if you were not. Because it contains John Lennon. When he took the stage my heart skipped a beat.
But it also shows how the music and the business used to be different. Two twentysomething concert promoters flying by the seat of their pants. They concoct an oldies festival and ticket sales tank but instead of canceling the show, they go to the head of the local motorcycle gang for the money, who appears all warm and fuzzy fifty five years later, and doesn't remember much, but he coughs up the dough.
And they're off to the races.
Only they're not. The 25k they got from the kingpin was for the Doors, but Jim Morrison got arrested for indecent exposure right after the deal was made and tickets still don't move.
So the local deejay said to fly in Rodney Bingenheimer and Kim Fowley to scare up business. But that doesn't work either.
This is not only the days before mobile phones, never mind smartphones, but faxes, everything was done by the landline. And the promoters are told the only way they can save the gig is by getting John Lennon.
Yeah, right.
Benefit shows are de rigueur these days. If you haven't been approached to play for free, you're not a star. But everybody on the inside knows the linchpin comes last, the superstar is not going to commit unless their fellow superstars are in. Then the dam falls.
But this Rock and Roll Revival is headlined by people playing clubs, they were stars once, but Chuck Berry and Bo Diddley and Gene Vincent and Little Richard are not a draw for the boomers now hooked on FM rock. Believe me, no one from that demo cared, these performers were oldsters who truly didn't get respect for at least another fifteen years. But John Lennon was older, these were his heroes.
So the promoter calls Apple.
Just imagine it, someone you don't know calling the Beatles' camp and his proffer being considered realistically, a pipe dream. Two nobodies from the Great White North are going to get John Lennon?
No one believes it, not CHUM radio, not even the outlaw biker.
But Lennon comes.
How do I know this? This was news back in '69. And ultimately there was an album, entitled "Live Peace in Toronto 1969," which was most notable for a version of "Cold Turkey," which got radio airplay. But in an era where you had to buy it to hear it, I didn't, but a friend did, and I listened. I can still see the cover in my mind's eye, the cloud in the sky.
But I had no idea there was footage.
Oh, they've combed the vaults for a zillion rock documentaries. Oftentimes giving them the imprimatur of life-changing when that's questionable at best, like "Summer of Soul," or even the recent "The Greatest Night in Pop." Both great flicks, worth seeing, but not the essence of rock and roll, they say they capture the zeitgeist, but they don't.
"Revival '69" does.
This is what young 'uns can't understand, how it used to be different. Not only were promoters young renegades, the acts were their contemporaries. Everybody was making it up as they went along. There was no VIP, food was hot dogs and popcorn. Hell, the music was enough. No production, just the act on stage. And watching this film you get it.
So there are two stories, the backstory, about putting on the concert, and the concert itself.
And the concert itself... Chuck Berry. This is not the bitter man of later years, sure, he's employing a pickup band, but he's smiling, he's into it. And up close and personal you can see how good-looking he is.
And there are no tape recorders on stage, never mind hard drives. Meaning the music is imperfect, which bothered no one back then, it was expected, we didn't want a movie, we wanted a one of a kind live experience, that lifted us into the stratosphere.
I saw Bo Diddley at a dance back in '66, with his square guitar, did not move me, I wanted to hear the cover band, which played a killer version of the Beatles' "I Want to Tell You."
Gene Vincent? He died in 1971. I don't think young 'uns even know who he is.
But Little Richard. Man, you get it. He won't go on stage until the lights are right. Because he understands it's showbiz, a performance, it's more than the music. As do all the performers. Their sheer will, along with the music, is employed to get the audience into the palm of their hands.
Little Richard has got his pompadour, and he hits the keys...
And I'll never get over that exposé on Jerry Lee Lewis in "Rolling Stone" back in the day, but people forgot the contents of that article and he was recast as being warm and fuzzy as opposed to a hothead who was dangerous. But this performance? Absolutely incredible. He comes on stage looking like he's ready for a golf tournament, he speaks with a Louisiana accent most attendees have never been exposed to, but when he tickles the ivories...
And then comes Lennon.
Oh, there's a bunch of fake gravitas at the end of the flick, saying Kim Fowley invented the tradition of holding up matches and lighters during a show, and that this is the gig that broke up the Beatles. Fowley had to get the idea from somewhere, then again if he were still here Kim would take credit, that's the kind of guy he was. And there was tension in the Beatles long before this gig. Then again, it's the first live gig for Lennon in so long, and it's solo. You get it, he doesn't have to worry about anybody else, he's the star, he's in control, and it's palpable how freeing that must have been.
But in any event, this was a Beatle on stage. Before "Abbey Road" was released. Before the band broke up. One cannot fathom how big the Beatles were unless you were there. Statistics don't tell the story. It was all about mind-set and mindshare. EVERYBODY knew the Beatles, and most everybody knew their songs. It was a phenomenon, it was mania, and to have a Beatle live and in person right in front of you on stage? That's equivalent to seeing God.
And this was back when we still believed. I must say, watching Mick Jagger on stage at Jazzfest... I mean come on, you're 80, can't you act your age? Instead of dieting down to nothing, working out and moving like you did fifty years ago? We aged, why can't you? Mick's frozen in time.
But he's not the only one. It's a rare musician who is not. Bowie tried, and let's be clear, not everything he did resonated with the audience. Do you remember Tin Machine? Did you even listen to Tin Machine?
People have success and they're afraid to change, and they end up becoming caricatures. I hate to say it, but Trump is a bigger rock star than anybody making music today. Because he does what he wants and thinks the rules don't apply to him, like all the stars of yore. They were beacons, against a hypocritical, moribund society. No, don't see this as an endorsement, but one can analyze and see truth. Kind of like Jon Stewart at the Greek Theatre on Friday night:
"'I know liberals say, "Don't say Joe Biden is old" — don't say what people see with their own eyes! You can say it, he can't hear us,' he joked. I know you know how f*cking old he is, and I know you don't want to say it because Trump is so scary, but he's so f*cking old,' Stewart said, adding, 'When you watch him on television, you're nervous, aren't ya? '"
"'I'm not saying that Biden can't contribute to society, he just shouldn't be president,' Stewart continued, acknowledging that Trump is just as old, but commenting that his supporters don't live in reality, and he can lie his way out of most things."
That's how bad it's gotten, you can't even speak truth. My inbox is going to go wild now, you can't go against the team. But that was the thing about the rockers of yore, each was an individual beholden to no one, they did what they felt, what they wanted to, and that's why we believed in them.
And the music.
Now how many times have you seen "Woodstock"?
Certainly more than once. And you're going to watch "Revival '69" more than once. At least once it hits the flat screen. It opens on June 28th. Will you go to the theatre to see it? People won't even go see "Fall Guy" in the theatre, and that's got Ryan Gosling and good reviews!
Yes, lockdown is in the rearview mirror. It killed magazines, "Rolling Stone" is monthly and marginal, behind a paywall. "Businessweek" went from weekly to monthly, "Entertainment Weekly" stopped publishing all together. I've stopped renewing my magazines, I've been burned too many times when they've gone out of business, or become digital only.
The theatre is passé, expensive appointment viewing of cartoons that don't move the culture? Hell, the roast of Tom Brady on Netflix had more cultural impact than "Fall Guy," than almost any recent picture, because it was raucous and real.
But it wasn't rock and roll.
And it certainly wasn't John Lennon. Who showed up in Toronto on a whim. Even Allen Klein his manager said he wasn't coming, after all, wouldn't he know?
The truth is we all knew back then. If you wanted to know which way the wind blew you turned on the radio and listened to a record. And if you wanted the ultimate visceral experience you went to see your favorite acts live.
And this film documents all that.
--
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Mailbag
From: Steve Hopkins
Subject: Re: Already Forgotten? Playlist
Hey Bob,
Did you create a Spotify playlist for these? Did I overlook it? Can't find a link on your blog or in Spotify search.
Thx!
https://open.spotify.com/playlist/0lwOLJKFwbMulv00CinQza?si=c5441594844c4f3b
____________________________________________
From: Dan Stuart
Subject: RE: Streaming Pays
Hey Bob,
This has been happening for years. In August of 2020, Kobalt's founder/CEO Willard Ahdritz was quoted as saying "hundreds of AWAL artists have made this $100,000 annual revenue earning very quickly with us" in this MBW article: https://www.musicbusinessworldwide.com/hundreds-of-artists-are-now-earning-100k-per-year-via-kobalts-awal/. (Kobalt owned AWAL in 2020.)
It should be no surprise to learn that there's a long and growing list of artists who own their sound recordings and generate 3,000,000+ streams per month (a rough benchmark to net $100k/year). I'm lucky enough to know the names of dozens of these artists and, guess what(?), most of their music is excellent!
For independent artists who are truly making high-quality music (capable of resonating with a reasonable chunk of the public), and who understand how to build and maintain connections with fans in the current world we live in, there are multiple paths to earning a good living (and more).
The renaissance of the music business is well underway, and has been for about ten years.
Dan Stuart
____________________________________________
From: CHRIS LONG MGMT
Subject: Re: Streaming Pays
The artists who get streams get paid. I managed one who - 20 years after their debut album- still has 4 million+ monthly listeners on streaming platforms. We had to do a forensic audit of their first album - the huge one- and since that lp has been considered re-couped for 17 years now the band earns several hundred thousand from publishing and a lot but less from the label each year.
I interact with 100's of unsigned/indie artists per month who just do not get that in order to earn people have to care enough to listen a lot more than 10k times to one song.
When you break it down to them- and compare the pool of money that goes to artists per stream to how radio stations pay a % of their advertising income to every song spin .... they start to rage about how radio is fixed-- something that is now a lot harder to argue with.
But a large % of these people who think that they should be making $.01-$.10 per stream from folks paying $11 a month- or listening for free with ads- from streaming services- make terrible music. The talented ones- for the most part- get it. Not all of them- but I rarely run across a really talented person who is "protesting" streaming services by only having a bandcamp page. Sure- great artists have them too but it seems only the whiners just use that platform.
Someone has to be the boogeyman that is preventing them from realizing their dreams. It used to be A&R guys and radio stations- now it is streaming platforms. And judging from the scuttlebutt in the circles where I meet these artists AI is lining up to be the next machine that they will rage against. Even though they can all get amazing looking AI videos made for $200- sometimes less- for each minute of the song.
Chris Long
Los Angeles
____________________________________________
Subject: Re: Streaming Pays
Your article is 100% correct. It's supply and demand. If consumers want the artists' music, they will consume it. But at 60,000+ independent song uploads a day, we now seem to have more artists than fans. The artists who focus on marketing and promotion do far better than the artists who just throw their music out there and hope to become famous overnight. Someone somewhere must be lying to artists and telling them that their talent is enough. It ain't. Talent is very easy to find. Work ethic coupled with talent is much harder to find. That's who is making money in music.
--
Wendy Day
Rap Coalition
____________________________________________
From: Tim Halperin
Subject: Re: Streaming Pays
Bingo Bob. I'm one of the 2,000 (though not with the Orchard as they take way too high of a commission). I'm with Distrokid, who takes 0%. A decade ago while everyone was complaining about streaming, I had lunch with a friend who worked at Capitol and he informed me that they'd hired 2 full-time employees to solely focus on Spotify playlisting. So I decided it'd probably be worth my while to focus on connecting with users who had large playlists. Turned out that was the right move...I ended up in Spotify editorial playlists as a result. It seems to me that usually when tectonic shifts occur, opportunities are out there. Maybe I'm biased since I'm in this group, but I believe there's never been a larger middle class in music, and I kinda love flying just under the radar.
____________________________________________
From: Steve Lukather
Subject: Re: Streaming Pays/ personal mail
Streaming is the best thing to happen to our band!!
Africa is 2.2 Billion now and our other hits will get there. 66 Million a month with more to come.
I/We Love Spotify.
It pays to manage yourself if you are a classic rock bands. Period!
Luke
____________________________________________
From: Jim Griffin
Subject: RE: Universal/TikTok Settlement
As the Teamsters would tell the newspaper owners, "Them papers ain't gotly no wheels."
Shortly after a strike began, newsstands selling scab papers were firebombed. Soon no papers were getting out.
The wheels have the juice, the power. Same with music -- it ain't got no wheels.
Distribution is King. Universal once owned music distribution. No more.
The juice is gone. No power! No wheels! Cannot reach the audience ... TikTok owns the crowd.
Taylor knows it. Jim Urie knew it. Lucien has learned the lesson.
Jim
____________________________________________
From: ed harris
Subject: Re: Cigarettes After Sex (The Band's Manager)
Hi Bob,
I'm the band's manager and I've followed your letter since 2002 when my manager Gary Kurfirst used to send my band excerpts of your writings as one point of view on the crisis the music industry was experiencing at that time.
With Cigarettes After Sex the same thing that happened on Tik Tok during the pandemic also happened globally on You Tube in 2015. The fans made the music their own. The band is doing MSG level venues all over the world now. In many places where there's been very little a label can even do to market a record. There's a lot more that you've missed including the emails I sent you about them back in 2016 and 2018. But I figured I'd be seeing you do a piece on them eventually as they are your dream come true in terms of how their success has come about. And you're pretty spot on for the information you have. But it's much much deeper than what's happened since the Tik Tok explosion.
Ed
____________________________________________
From: Allison Moorer
Subject: Re: Michael Cuscuna
Dear Bob,
I have never written to you before, but felt compelled to shout an amen to your piece on "Give it Up."
I was about 15 when I first heard Ms. Raitt in 1988. I found out about her through my older sister, the singer and songwriter Shelby Lynne, who'd found her through a friend who'd discovered Bonnie in real time, in the early 1970s. When I heard her voice, her songs, and realized she was a player, some huge pieces of the musical puzzle fell into place for me. Without going into the minutiae of why, I discovered Bonnie Raitt as a vital missing link between my country music raising and what I was being drawn to as a questioning and tiny bit rebellious teenager — more confessional lyrics, more intimacy in the way the vocals were recorded, and a graceful rawness that was allowed to exist on albums that contained zero filler material. It wasn't entertainment, it was real expression. I woke up to the concept of a singer-songwriter because of Bonnie Raitt. Overestimating her importance to legions of female roots singers and musicians would be difficult. She has always been the coolest person in the room.
I can play "Give it Up" in my mind too. I can hear the earthy guitar tones and even the bass flub at about 3:04 on Nothing Seems to Matter right when she's singing about being out there on the road. I'm not one of those people who complains about forward movement in music, or believes that rawness equals goodness because it doesn't, but the details that you mention are the ones that make a record stick with you. It's the human element that always hooks us, because we're always looking for ourselves in art, and the best art helps us connect our pieces. "Give it Up" showed us there was a space in between Carole King and the blues.
Thanks for doing what you do.
Allison Moorer
Nashville, TN
____________________________________________
From: Paul Rappaport
Subject: Re: Re-Taylor Swift Backlash
Often I tell young artists there is "old school," and there is THE SCHOOL. Yes, the music business is different today and we all have to adjust. But, SOME THINGS NEVER CHANGE, especially when it comes to human nature. During my days at Columbia we often talked about resting an artist to make sure there would always be a demand. When we didn't pay attention to our own words, i.e. THE SCHOOL, it came back to bite us in the ass.
Such was the case with Men at Work. They were huge, EVERYONE loved them—their music and their videos. But on the heels of their breakthrough album, videos, and tour we rushed release a second album. Before we knew it there were "No Men at Work" weekends on radio and it was downhill from there. We couldn't even get traction on Colin Hay's wonderful solo album Looking for Jack because of said backlash. And, Colin Hay is one of the best artists to arrive in the 80's. He still tours and is a blast to see.
Often when artists reach fame on the level of Taylor Swift they fire their managers, think they know it all, and live in a bubble full of YES men and woman. I suspect that Taylor manages whoever is pretending to manage her now.
THE SCHOOL dictates to all performers from years ago to the present. Whatever kind of show you are doing, edit it, make it crisp, and leave them wanting more. Perhaps in our new era artists down times can't be as long as back in the day, but downtimes are essential and I am not surprised at the backlash. And PS. What else does THE SCHOOL teach us? When you get to the top that's when everyone starts shooting at you. That means you have to be extra careful.
They say a sports manager has to manage different during the season, the playoffs, and for a championship. It's clear that NO ONE is managing Taylor to help her through these inevitable times. She would be wise to seek advice from someone from the "old school" who also knows THE SCHOOL.
Paul Rappaport
____________________________________________
From: Bradley Parker
Subject: Re: Soft Festivals?
Bob,
I always enjoy your perspective. Writing to you from my flight as I head to Charleston, SC for my second festival of the year for our busy C3 team before getting ready to spend a few weeks on The Farm in Manchester, TN for Bonnaroo.
Our industry is in a very interesting period at the moment. I was just discussing the other day the unique issues that brands like Lolla, Bonnaroo, Coachella and ACL face that most festivals never get the chance to, and that is they have successfully cycled through an entire if not multiple generations of fan. The list of 20+ year festivals these days is a short one. In order to survive these brands have had to adapt. Bonnaroo's name literally comes from a French-creole slang term meaning "the best in the streets". In 2004 the best in the streets was the likes of Phish, Dave Matthews, Radiohead, etc. We now have to pivot to service a new fan to which the definition of "the best in the streets" is much different. Not to say the artists I mentioned aren't still relevant but the fan that got us through the first 20 years is NOT the fan that will get us through the next 20 years. It's just the reality of aging and growing up.
What a unique and special problem to have.
I do agree with you that we've seen increasing success on our more "boutique" festivals with more narrowed and thematic programming. Next weekend our High Water festival is essentially sold out for the 5th time in its 6th iteration. Noah Kahan and Hozier are our headliners. A home run pitch right down the middle for a certain fan. When we "overserve" a fan in a certain lane it's proven to pay its dividends.
So what does that mean for these multigenre giants? Well , personally I sit on calls every day trying to figure that out.
Could you create one of these megafests in today's festival economy? Absolutely not.
But there is something to the legacy of these shows and the brand affinity that has seemingly passed on from fan to fan over the years.
For now;
Adapt. Survive. Advance.
Hope to cross paths soon!
Cheers,
Bradley Parker
Festival Director
C3 Presents
____________________________________________
From: Joseph Bongiovi
Subject: Re: Musicares
Hi Bob, (Love saying that re: Bob Newhart, who I manage),
Yes, the evening was amazing and gratifying and the performances where stellar to say the least.
One little known fact. 45 years ago an unknown kid named John Bongiovi was the front man for a band called Atlantic City Expressway, playing Springsteen and The Jukes songs for the New Jersey faithful. One Sunday evening at the Fastlane in Asbury Park, The Boss decided to come see them and jumped on stage to sing The Promised Land with Jon and the band. I was there and it was mind-blowing for us all. So they both decided 45 years was long enough to wait to do it again.
Thanks for always keeping it real.
Joseph Bongiovi?Monarch Entertainment Group?
____________________________________________
From: "Michael T. Strickland"
Subject: Re: The Jimmy Buffett Tribute At The Hollywood Bowl
Bob,
Sorry I missed you at the show. I didn't see you backstage, but it was crowded.This was the end of 38 years of working with Jimmy for me. I was at the Superdome with Garth on Labor Day when Jimmy passed. It left me breathless. I knew it was imminent, but simply didn't belive it.
A world without Jimmy was not possible. Until it was.
Most of us have been in denial since Labor Day. It was not real. Until last night.
It was indeed a great night and a wonderful celebration in the manner Jimmy wanted. He was smiling, I am sure.
Seeing Mac and the amazing Coral Reefer Band deliver the hits was pitch perfect. But there was a hole center stage. Jimmy.
Last night it became real for those of us that worked with Jimmy for years. He was simply beyond description, and now he is gone.
I was numb and silent all night. Slowly, song by song, the wave rolled over me. Jimmy is gone. But, he will never really be gone, as he lives on in his amazing music and lifestyle.
I spent four loney days in a brown LA haze, but come Monday, it'll be alright.
God Bless Jimmy Buffett.
Michael T Strickland
Bandit Lites
____________________________________________
From: Mike Ramos
Subject: Re: The Jimmy Buffett Tribute At The Hollywood Bowl
Thank you Bob for recognizing Mac McAnally, who was the musical director last night and really pulled everything together. Together with his co-daddy Mike Utley (their Coral Reefer children are married to each other), they ran Jimmy's band for many years and definitely deserve adulation for their commitment to Jimmy, his music and the Parrot Head community. I was lucky enough to ride the same wave with Jimmy Buffett for 35 years as his right hand man, travel companion, surf buddy and tour manager. After four months of piecing this show together, I'm pretty sure Jimmy has a big smile on his face looking down on us after last night's show. It was proof (not that anyone needed it) that Jimmy was loved by so many people from artists to actors to managers, agents and talent executives. Jimmy has left an indelible mark in the entertainment world and all of us, in memory of the way he lived, should strive to "keep the party going."
Mike Ramos
Jimmy Buffett Tribute Concert Producer
Coral Reefer Band Tour Manager
____________________________________________
Subject: Re: The Jimmy Buffett Tribute At The Hollywood Bowl
I started working for Irving Azoff and Howard Kaufman at Front Line Management in 1979. For the next four decades after 1982, Howard ran the ship. Throughout that time, Jimmy Buffett's day-to-day manager was Nina Avramides. She was there before me. She was invaluable to Jimmy's career. Anyone who knew HK Management, knew this to be true. Jimmy's death was an especially great loss to Nina. She passed away two months ago. The memorial service was last Friday.
In addition to Jimmy, she also handled the day-to-day management of Dan Fogelberg, Whitesnake, Coverdale/Page, The Cult and many others.
She was a rare and treasured executive and friend, very loved by all who knew and worked with her.
I'm sure she also would have loved last night's concert.
RIP Howard, Jimmy and Nina.
Laurie Gorman
____________________________________________
From: Jack Tempchin
Subject: Steve Poltz
Great interview.
A lot of the questions were trying to determine why he has such a gigantic fanatic worldwide audience without ever having a hit record.
Well, the answer is..his live show. It's who he is. The energy is unbelievable.
I've seen everybody and his solo show is so unique and amazing.
I HAVE NEVER SEEN A SOLO ACT ANYTHING LIKE STEVE POLTZ.
Nobody has.
You have to see it to believe it.
thanks
Jack Tempchin
____________________________________________
From: Steve Weiss
Subject: Re: Steve Poltz-This Week's Podcast
Holy crap weird Al's Albuquerque is based on one of this guys songs??? I paused the podcast to listen to Dicks automotive on Spotify and I'm laughing out loud on the sidewalk.
Made my day.
____________________________________________
Subject: Steve Poltz was fascinating!
Thanks for great interview. What a personality. Frankly I had never heard of him before.
Derek Morris
____________________________________________
From: Pharper24
Re: Steve Poltz-This Week's Podcast
Loved it! What a character! Thanks to Steve for the laughs and the lessons.
____________________________________________
Re: Steve Poltz-This Week's Podcast
What a life, what a total dude and what an episode!!! Awesome stuff.
Ben Webster
____________________________________________
From: MARK LAFOND
Re: Steve Poltz-This Week's Podcast
I was a fan before hearing this interview but now my fandom ( if that's a word) is over the top.
I'm fortunate to be able to see him in a couple of weeks!
____________________________________________
From: Colleen Wainwright
Re: Steve Poltz-This Week's Podcast
Yaaaaaaaaay, Steve Poltz!!!!
One of the top-10 live shows I've ever seen. Leaves NOTHING on that stage—nothing!
____________________________________________
From: Mike Vial
Re: Steve Poltz-This Week's Podcast
"National treasure."
Well said, Bob. Seeing Steve Poltz one time turns a music fan into a Poltz fan. A songwriter seeing him once—forever changed.
When I saw him live at Folk Alliance, maybe ten years ago, I had no idea how much the show, from story to song, could be done by one person.
I'm so excited to listen to finish your interview with him. "The stories are like tortillas you nail to a wall, mold grows on them—that's the stories." I'm chuckling. Then the "bath" story. I'm spitting out my pop, full belly laughs.
Thanks, Steve: I needed to laugh today after a long day at work.
Vial
____________________________________________
From: Regan Rath
Re: Steve Poltz-This Week's Podcast
Bob!! You nailed it!! Poltz has been one of my favorite humans on this planet ever since the first time I saw him do his "thing" in San Diego back in 1997. He's a true one of a kind, and your interview style - giving him the space and room to run with his stories - proved to be the perfect catalyst for the gems you were able to uncover. Thank you for getting his Poltzian-goodness out to the masses! Everyone's life will be a little better once they experience the wonder of SJJP!
Regan Rath
____________________________________________
From: Mickey Quase
Re: Steve Poltz-This Week's Podcast
He IS the best entertainment experience out there---and he is Out There -- hope you know his spoken word piece about he and his sister bicycling to the airport and meeting Elvis.
In a league of his own.
Greetings from Nova Scotia where Poltz can sell out any number of shows he can squeeze into the Carleton every year.
cheers
Mickey Quase
____________________________________________
Re: Steve Poltz-This Week's Podcast
Just saw Steve at the Kent stage. Riveting authentic performance. He will be playing Oregon country fair this summer the weekend after the high sierra festival. Country fair will eat him up like candy
Bliss,
Brento
____________________________________________
From: Tim Hallam
Re: Steve Poltz-This Week's Podcast
I have probably seen Steve Poltz in Australia on 15 of his 22 tours.
Absent music, your podcast captured the essence of a Steve poltz show, part stand up comedy, part story telling, part seeing a man spiral in and out of insanity.
I've seen him create songs from scratch on stage based on a line from the crows, ive seen him play answering machine messages from his phone, ive seen him call his father from the stage, you never know what you are going to get from one show to another, but you always know he will have the small crowd eating out of his hand in whatever club he is playing
Once i was travelling Sydney to Melbourne on a plane with my 4 yo daughter, whose favourite song was Kicking Distance (yes, I did and still buy CDs from his merch table). At the seat in front of us was Steve and his agent (Milan?). I said "Steve, i saw you last night at the Basement, this is my daughter, her favourite song is Kicking distance". The smile on his face was something to behold, and on his next tour he remembered me and called me "plane guy"
The world needs to be exposed to Steve Poltz, but I think he will remain the insiders wonderful little secret
Thanks for the interview, it was great!
Tim
____________________________________________
From: Mike Campbell
Re: Steve Poltz-This Week's Podcast
Hey Bob,
I've been booking Steve Poltz for almost 20 years now. Just finished listening to your podcast with him and have to say it was great! You did an excellent job of getting the good stories out of him and I even heard a couple I hadn't heard before, and that's saying something! Thanks for sharing the Spotlight and one of the most criminally under-appreciated artists on this or any other planet.
Mike Campbell
Programming Director
The Carleton
____________________________________________
From: KC Turner Presents
Re: Steve Poltz-This Week's Podcast
Loving your Steve Poltz episode.
Thank you for supporting him and getting him to really open up!
Cheers,
KC Turner
Founder | CEO
KC Turner Presents LLC
____________________________________________
Re: Steve Poltz-This Week's Podcast
My old band Ghoulspoon came up at the same time in the same San Diego music scene as Steve but we ran in different circles. We played with Jewel and all of the other bands he mentioned, but never got a chance to hang with Steve. I had always heard how talented and funny he was, but had no idea what I was missing until listening to this episode today!
He may be the most entertaining guest in history.
But how did you not ask follow up questions to the Elvis and Joe Strummer stories?!
Keep em comin'.
—
Zach Goode
Smash Mouth
____________________________________________
From: Ronald Hill
Re: Steve Poltz-This Week's Podcast
Steve has been my favorite current artist for a long time. When I started getting into creating music seriously he was a great inspiration as his music is quirky like mine and I love the fact that he is still kicking ass and writing great songs at an older age. And he is in the top 1% of people that are so positive and great at bringing people together. One of the only acts where I have seen him twice in a week and he did entirely different songs.
You are right: a national treasure.
____________________________________________
From: Phil Einsohn
Re: Steve Poltz-This Week's Podcast
listening now
1:22 in and wishing it would never end
love hearing his stories
living legend!
____________________________________________
From: Milan Crncevic
Re: Steve Poltz-This Week's Podcast
Hi Bob,
Listening to this at 6am from Australia.
I'm not even halfway through the episode and I don't want it to end.
Despite being insane, Steve's amazing!
(So far) your deep dive has been fantastic, the perfect questions to learn about a loveable madman like Steve
Can we get a weekly Lefsetz and Poltz podcast? This is addictive ??
Best,
Milan
____________________________________________
From: Dan Navarro
Re: Steve Poltz-This Week's Podcast
Steve is the fricking bomb. My first encounter with him was at Folk Alliance maybe 2007. We met, and I said, "Female singers been bery bery good to us." He shot back, "Yeah, but I'll bet you didn't get to f*** yours on the beach in Rosarito!"
Mic drop.
____________________________________________
From: steve poltz
Subject: This might make ya smile
After I did your podcast I thought it would be cool to combine the magic mushrooms story with a John Prine story. Otis Gibbs filmed it for his YouTube channel.
https://www.youtube.com/watch?v=5LbBat-ILXA
Hope it makes Sir Lefsetz laugh.
Love you and you are my best friend.
Yer pal,
Steve p
Subject: Re: Already Forgotten? Playlist
Hey Bob,
Did you create a Spotify playlist for these? Did I overlook it? Can't find a link on your blog or in Spotify search.
Thx!
https://open.spotify.com/playlist/0lwOLJKFwbMulv00CinQza?si=c5441594844c4f3b
____________________________________________
From: Dan Stuart
Subject: RE: Streaming Pays
Hey Bob,
This has been happening for years. In August of 2020, Kobalt's founder/CEO Willard Ahdritz was quoted as saying "hundreds of AWAL artists have made this $100,000 annual revenue earning very quickly with us" in this MBW article: https://www.musicbusinessworldwide.com/hundreds-of-artists-are-now-earning-100k-per-year-via-kobalts-awal/. (Kobalt owned AWAL in 2020.)
It should be no surprise to learn that there's a long and growing list of artists who own their sound recordings and generate 3,000,000+ streams per month (a rough benchmark to net $100k/year). I'm lucky enough to know the names of dozens of these artists and, guess what(?), most of their music is excellent!
For independent artists who are truly making high-quality music (capable of resonating with a reasonable chunk of the public), and who understand how to build and maintain connections with fans in the current world we live in, there are multiple paths to earning a good living (and more).
The renaissance of the music business is well underway, and has been for about ten years.
Dan Stuart
____________________________________________
From: CHRIS LONG MGMT
Subject: Re: Streaming Pays
The artists who get streams get paid. I managed one who - 20 years after their debut album- still has 4 million+ monthly listeners on streaming platforms. We had to do a forensic audit of their first album - the huge one- and since that lp has been considered re-couped for 17 years now the band earns several hundred thousand from publishing and a lot but less from the label each year.
I interact with 100's of unsigned/indie artists per month who just do not get that in order to earn people have to care enough to listen a lot more than 10k times to one song.
When you break it down to them- and compare the pool of money that goes to artists per stream to how radio stations pay a % of their advertising income to every song spin .... they start to rage about how radio is fixed-- something that is now a lot harder to argue with.
But a large % of these people who think that they should be making $.01-$.10 per stream from folks paying $11 a month- or listening for free with ads- from streaming services- make terrible music. The talented ones- for the most part- get it. Not all of them- but I rarely run across a really talented person who is "protesting" streaming services by only having a bandcamp page. Sure- great artists have them too but it seems only the whiners just use that platform.
Someone has to be the boogeyman that is preventing them from realizing their dreams. It used to be A&R guys and radio stations- now it is streaming platforms. And judging from the scuttlebutt in the circles where I meet these artists AI is lining up to be the next machine that they will rage against. Even though they can all get amazing looking AI videos made for $200- sometimes less- for each minute of the song.
Chris Long
Los Angeles
____________________________________________
Subject: Re: Streaming Pays
Your article is 100% correct. It's supply and demand. If consumers want the artists' music, they will consume it. But at 60,000+ independent song uploads a day, we now seem to have more artists than fans. The artists who focus on marketing and promotion do far better than the artists who just throw their music out there and hope to become famous overnight. Someone somewhere must be lying to artists and telling them that their talent is enough. It ain't. Talent is very easy to find. Work ethic coupled with talent is much harder to find. That's who is making money in music.
--
Wendy Day
Rap Coalition
____________________________________________
From: Tim Halperin
Subject: Re: Streaming Pays
Bingo Bob. I'm one of the 2,000 (though not with the Orchard as they take way too high of a commission). I'm with Distrokid, who takes 0%. A decade ago while everyone was complaining about streaming, I had lunch with a friend who worked at Capitol and he informed me that they'd hired 2 full-time employees to solely focus on Spotify playlisting. So I decided it'd probably be worth my while to focus on connecting with users who had large playlists. Turned out that was the right move...I ended up in Spotify editorial playlists as a result. It seems to me that usually when tectonic shifts occur, opportunities are out there. Maybe I'm biased since I'm in this group, but I believe there's never been a larger middle class in music, and I kinda love flying just under the radar.
____________________________________________
From: Steve Lukather
Subject: Re: Streaming Pays/ personal mail
Streaming is the best thing to happen to our band!!
Africa is 2.2 Billion now and our other hits will get there. 66 Million a month with more to come.
I/We Love Spotify.
It pays to manage yourself if you are a classic rock bands. Period!
Luke
____________________________________________
From: Jim Griffin
Subject: RE: Universal/TikTok Settlement
As the Teamsters would tell the newspaper owners, "Them papers ain't gotly no wheels."
Shortly after a strike began, newsstands selling scab papers were firebombed. Soon no papers were getting out.
The wheels have the juice, the power. Same with music -- it ain't got no wheels.
Distribution is King. Universal once owned music distribution. No more.
The juice is gone. No power! No wheels! Cannot reach the audience ... TikTok owns the crowd.
Taylor knows it. Jim Urie knew it. Lucien has learned the lesson.
Jim
____________________________________________
From: ed harris
Subject: Re: Cigarettes After Sex (The Band's Manager)
Hi Bob,
I'm the band's manager and I've followed your letter since 2002 when my manager Gary Kurfirst used to send my band excerpts of your writings as one point of view on the crisis the music industry was experiencing at that time.
With Cigarettes After Sex the same thing that happened on Tik Tok during the pandemic also happened globally on You Tube in 2015. The fans made the music their own. The band is doing MSG level venues all over the world now. In many places where there's been very little a label can even do to market a record. There's a lot more that you've missed including the emails I sent you about them back in 2016 and 2018. But I figured I'd be seeing you do a piece on them eventually as they are your dream come true in terms of how their success has come about. And you're pretty spot on for the information you have. But it's much much deeper than what's happened since the Tik Tok explosion.
Ed
____________________________________________
From: Allison Moorer
Subject: Re: Michael Cuscuna
Dear Bob,
I have never written to you before, but felt compelled to shout an amen to your piece on "Give it Up."
I was about 15 when I first heard Ms. Raitt in 1988. I found out about her through my older sister, the singer and songwriter Shelby Lynne, who'd found her through a friend who'd discovered Bonnie in real time, in the early 1970s. When I heard her voice, her songs, and realized she was a player, some huge pieces of the musical puzzle fell into place for me. Without going into the minutiae of why, I discovered Bonnie Raitt as a vital missing link between my country music raising and what I was being drawn to as a questioning and tiny bit rebellious teenager — more confessional lyrics, more intimacy in the way the vocals were recorded, and a graceful rawness that was allowed to exist on albums that contained zero filler material. It wasn't entertainment, it was real expression. I woke up to the concept of a singer-songwriter because of Bonnie Raitt. Overestimating her importance to legions of female roots singers and musicians would be difficult. She has always been the coolest person in the room.
I can play "Give it Up" in my mind too. I can hear the earthy guitar tones and even the bass flub at about 3:04 on Nothing Seems to Matter right when she's singing about being out there on the road. I'm not one of those people who complains about forward movement in music, or believes that rawness equals goodness because it doesn't, but the details that you mention are the ones that make a record stick with you. It's the human element that always hooks us, because we're always looking for ourselves in art, and the best art helps us connect our pieces. "Give it Up" showed us there was a space in between Carole King and the blues.
Thanks for doing what you do.
Allison Moorer
Nashville, TN
____________________________________________
From: Paul Rappaport
Subject: Re: Re-Taylor Swift Backlash
Often I tell young artists there is "old school," and there is THE SCHOOL. Yes, the music business is different today and we all have to adjust. But, SOME THINGS NEVER CHANGE, especially when it comes to human nature. During my days at Columbia we often talked about resting an artist to make sure there would always be a demand. When we didn't pay attention to our own words, i.e. THE SCHOOL, it came back to bite us in the ass.
Such was the case with Men at Work. They were huge, EVERYONE loved them—their music and their videos. But on the heels of their breakthrough album, videos, and tour we rushed release a second album. Before we knew it there were "No Men at Work" weekends on radio and it was downhill from there. We couldn't even get traction on Colin Hay's wonderful solo album Looking for Jack because of said backlash. And, Colin Hay is one of the best artists to arrive in the 80's. He still tours and is a blast to see.
Often when artists reach fame on the level of Taylor Swift they fire their managers, think they know it all, and live in a bubble full of YES men and woman. I suspect that Taylor manages whoever is pretending to manage her now.
THE SCHOOL dictates to all performers from years ago to the present. Whatever kind of show you are doing, edit it, make it crisp, and leave them wanting more. Perhaps in our new era artists down times can't be as long as back in the day, but downtimes are essential and I am not surprised at the backlash. And PS. What else does THE SCHOOL teach us? When you get to the top that's when everyone starts shooting at you. That means you have to be extra careful.
They say a sports manager has to manage different during the season, the playoffs, and for a championship. It's clear that NO ONE is managing Taylor to help her through these inevitable times. She would be wise to seek advice from someone from the "old school" who also knows THE SCHOOL.
Paul Rappaport
____________________________________________
From: Bradley Parker
Subject: Re: Soft Festivals?
Bob,
I always enjoy your perspective. Writing to you from my flight as I head to Charleston, SC for my second festival of the year for our busy C3 team before getting ready to spend a few weeks on The Farm in Manchester, TN for Bonnaroo.
Our industry is in a very interesting period at the moment. I was just discussing the other day the unique issues that brands like Lolla, Bonnaroo, Coachella and ACL face that most festivals never get the chance to, and that is they have successfully cycled through an entire if not multiple generations of fan. The list of 20+ year festivals these days is a short one. In order to survive these brands have had to adapt. Bonnaroo's name literally comes from a French-creole slang term meaning "the best in the streets". In 2004 the best in the streets was the likes of Phish, Dave Matthews, Radiohead, etc. We now have to pivot to service a new fan to which the definition of "the best in the streets" is much different. Not to say the artists I mentioned aren't still relevant but the fan that got us through the first 20 years is NOT the fan that will get us through the next 20 years. It's just the reality of aging and growing up.
What a unique and special problem to have.
I do agree with you that we've seen increasing success on our more "boutique" festivals with more narrowed and thematic programming. Next weekend our High Water festival is essentially sold out for the 5th time in its 6th iteration. Noah Kahan and Hozier are our headliners. A home run pitch right down the middle for a certain fan. When we "overserve" a fan in a certain lane it's proven to pay its dividends.
So what does that mean for these multigenre giants? Well , personally I sit on calls every day trying to figure that out.
Could you create one of these megafests in today's festival economy? Absolutely not.
But there is something to the legacy of these shows and the brand affinity that has seemingly passed on from fan to fan over the years.
For now;
Adapt. Survive. Advance.
Hope to cross paths soon!
Cheers,
Bradley Parker
Festival Director
C3 Presents
____________________________________________
From: Joseph Bongiovi
Subject: Re: Musicares
Hi Bob, (Love saying that re: Bob Newhart, who I manage),
Yes, the evening was amazing and gratifying and the performances where stellar to say the least.
One little known fact. 45 years ago an unknown kid named John Bongiovi was the front man for a band called Atlantic City Expressway, playing Springsteen and The Jukes songs for the New Jersey faithful. One Sunday evening at the Fastlane in Asbury Park, The Boss decided to come see them and jumped on stage to sing The Promised Land with Jon and the band. I was there and it was mind-blowing for us all. So they both decided 45 years was long enough to wait to do it again.
Thanks for always keeping it real.
Joseph Bongiovi?Monarch Entertainment Group?
____________________________________________
From: "Michael T. Strickland"
Subject: Re: The Jimmy Buffett Tribute At The Hollywood Bowl
Bob,
Sorry I missed you at the show. I didn't see you backstage, but it was crowded.This was the end of 38 years of working with Jimmy for me. I was at the Superdome with Garth on Labor Day when Jimmy passed. It left me breathless. I knew it was imminent, but simply didn't belive it.
A world without Jimmy was not possible. Until it was.
Most of us have been in denial since Labor Day. It was not real. Until last night.
It was indeed a great night and a wonderful celebration in the manner Jimmy wanted. He was smiling, I am sure.
Seeing Mac and the amazing Coral Reefer Band deliver the hits was pitch perfect. But there was a hole center stage. Jimmy.
Last night it became real for those of us that worked with Jimmy for years. He was simply beyond description, and now he is gone.
I was numb and silent all night. Slowly, song by song, the wave rolled over me. Jimmy is gone. But, he will never really be gone, as he lives on in his amazing music and lifestyle.
I spent four loney days in a brown LA haze, but come Monday, it'll be alright.
God Bless Jimmy Buffett.
Michael T Strickland
Bandit Lites
____________________________________________
From: Mike Ramos
Subject: Re: The Jimmy Buffett Tribute At The Hollywood Bowl
Thank you Bob for recognizing Mac McAnally, who was the musical director last night and really pulled everything together. Together with his co-daddy Mike Utley (their Coral Reefer children are married to each other), they ran Jimmy's band for many years and definitely deserve adulation for their commitment to Jimmy, his music and the Parrot Head community. I was lucky enough to ride the same wave with Jimmy Buffett for 35 years as his right hand man, travel companion, surf buddy and tour manager. After four months of piecing this show together, I'm pretty sure Jimmy has a big smile on his face looking down on us after last night's show. It was proof (not that anyone needed it) that Jimmy was loved by so many people from artists to actors to managers, agents and talent executives. Jimmy has left an indelible mark in the entertainment world and all of us, in memory of the way he lived, should strive to "keep the party going."
Mike Ramos
Jimmy Buffett Tribute Concert Producer
Coral Reefer Band Tour Manager
____________________________________________
Subject: Re: The Jimmy Buffett Tribute At The Hollywood Bowl
I started working for Irving Azoff and Howard Kaufman at Front Line Management in 1979. For the next four decades after 1982, Howard ran the ship. Throughout that time, Jimmy Buffett's day-to-day manager was Nina Avramides. She was there before me. She was invaluable to Jimmy's career. Anyone who knew HK Management, knew this to be true. Jimmy's death was an especially great loss to Nina. She passed away two months ago. The memorial service was last Friday.
In addition to Jimmy, she also handled the day-to-day management of Dan Fogelberg, Whitesnake, Coverdale/Page, The Cult and many others.
She was a rare and treasured executive and friend, very loved by all who knew and worked with her.
I'm sure she also would have loved last night's concert.
RIP Howard, Jimmy and Nina.
Laurie Gorman
____________________________________________
From: Jack Tempchin
Subject: Steve Poltz
Great interview.
A lot of the questions were trying to determine why he has such a gigantic fanatic worldwide audience without ever having a hit record.
Well, the answer is..his live show. It's who he is. The energy is unbelievable.
I've seen everybody and his solo show is so unique and amazing.
I HAVE NEVER SEEN A SOLO ACT ANYTHING LIKE STEVE POLTZ.
Nobody has.
You have to see it to believe it.
thanks
Jack Tempchin
____________________________________________
From: Steve Weiss
Subject: Re: Steve Poltz-This Week's Podcast
Holy crap weird Al's Albuquerque is based on one of this guys songs??? I paused the podcast to listen to Dicks automotive on Spotify and I'm laughing out loud on the sidewalk.
Made my day.
____________________________________________
Subject: Steve Poltz was fascinating!
Thanks for great interview. What a personality. Frankly I had never heard of him before.
Derek Morris
____________________________________________
From: Pharper24
Re: Steve Poltz-This Week's Podcast
Loved it! What a character! Thanks to Steve for the laughs and the lessons.
____________________________________________
Re: Steve Poltz-This Week's Podcast
What a life, what a total dude and what an episode!!! Awesome stuff.
Ben Webster
____________________________________________
From: MARK LAFOND
Re: Steve Poltz-This Week's Podcast
I was a fan before hearing this interview but now my fandom ( if that's a word) is over the top.
I'm fortunate to be able to see him in a couple of weeks!
____________________________________________
From: Colleen Wainwright
Re: Steve Poltz-This Week's Podcast
Yaaaaaaaaay, Steve Poltz!!!!
One of the top-10 live shows I've ever seen. Leaves NOTHING on that stage—nothing!
____________________________________________
From: Mike Vial
Re: Steve Poltz-This Week's Podcast
"National treasure."
Well said, Bob. Seeing Steve Poltz one time turns a music fan into a Poltz fan. A songwriter seeing him once—forever changed.
When I saw him live at Folk Alliance, maybe ten years ago, I had no idea how much the show, from story to song, could be done by one person.
I'm so excited to listen to finish your interview with him. "The stories are like tortillas you nail to a wall, mold grows on them—that's the stories." I'm chuckling. Then the "bath" story. I'm spitting out my pop, full belly laughs.
Thanks, Steve: I needed to laugh today after a long day at work.
Vial
____________________________________________
From: Regan Rath
Re: Steve Poltz-This Week's Podcast
Bob!! You nailed it!! Poltz has been one of my favorite humans on this planet ever since the first time I saw him do his "thing" in San Diego back in 1997. He's a true one of a kind, and your interview style - giving him the space and room to run with his stories - proved to be the perfect catalyst for the gems you were able to uncover. Thank you for getting his Poltzian-goodness out to the masses! Everyone's life will be a little better once they experience the wonder of SJJP!
Regan Rath
____________________________________________
From: Mickey Quase
Re: Steve Poltz-This Week's Podcast
He IS the best entertainment experience out there---and he is Out There -- hope you know his spoken word piece about he and his sister bicycling to the airport and meeting Elvis.
In a league of his own.
Greetings from Nova Scotia where Poltz can sell out any number of shows he can squeeze into the Carleton every year.
cheers
Mickey Quase
____________________________________________
Re: Steve Poltz-This Week's Podcast
Just saw Steve at the Kent stage. Riveting authentic performance. He will be playing Oregon country fair this summer the weekend after the high sierra festival. Country fair will eat him up like candy
Bliss,
Brento
____________________________________________
From: Tim Hallam
Re: Steve Poltz-This Week's Podcast
I have probably seen Steve Poltz in Australia on 15 of his 22 tours.
Absent music, your podcast captured the essence of a Steve poltz show, part stand up comedy, part story telling, part seeing a man spiral in and out of insanity.
I've seen him create songs from scratch on stage based on a line from the crows, ive seen him play answering machine messages from his phone, ive seen him call his father from the stage, you never know what you are going to get from one show to another, but you always know he will have the small crowd eating out of his hand in whatever club he is playing
Once i was travelling Sydney to Melbourne on a plane with my 4 yo daughter, whose favourite song was Kicking Distance (yes, I did and still buy CDs from his merch table). At the seat in front of us was Steve and his agent (Milan?). I said "Steve, i saw you last night at the Basement, this is my daughter, her favourite song is Kicking distance". The smile on his face was something to behold, and on his next tour he remembered me and called me "plane guy"
The world needs to be exposed to Steve Poltz, but I think he will remain the insiders wonderful little secret
Thanks for the interview, it was great!
Tim
____________________________________________
From: Mike Campbell
Re: Steve Poltz-This Week's Podcast
Hey Bob,
I've been booking Steve Poltz for almost 20 years now. Just finished listening to your podcast with him and have to say it was great! You did an excellent job of getting the good stories out of him and I even heard a couple I hadn't heard before, and that's saying something! Thanks for sharing the Spotlight and one of the most criminally under-appreciated artists on this or any other planet.
Mike Campbell
Programming Director
The Carleton
____________________________________________
From: KC Turner Presents
Re: Steve Poltz-This Week's Podcast
Loving your Steve Poltz episode.
Thank you for supporting him and getting him to really open up!
Cheers,
KC Turner
Founder | CEO
KC Turner Presents LLC
____________________________________________
Re: Steve Poltz-This Week's Podcast
My old band Ghoulspoon came up at the same time in the same San Diego music scene as Steve but we ran in different circles. We played with Jewel and all of the other bands he mentioned, but never got a chance to hang with Steve. I had always heard how talented and funny he was, but had no idea what I was missing until listening to this episode today!
He may be the most entertaining guest in history.
But how did you not ask follow up questions to the Elvis and Joe Strummer stories?!
Keep em comin'.
—
Zach Goode
Smash Mouth
____________________________________________
From: Ronald Hill
Re: Steve Poltz-This Week's Podcast
Steve has been my favorite current artist for a long time. When I started getting into creating music seriously he was a great inspiration as his music is quirky like mine and I love the fact that he is still kicking ass and writing great songs at an older age. And he is in the top 1% of people that are so positive and great at bringing people together. One of the only acts where I have seen him twice in a week and he did entirely different songs.
You are right: a national treasure.
____________________________________________
From: Phil Einsohn
Re: Steve Poltz-This Week's Podcast
listening now
1:22 in and wishing it would never end
love hearing his stories
living legend!
____________________________________________
From: Milan Crncevic
Re: Steve Poltz-This Week's Podcast
Hi Bob,
Listening to this at 6am from Australia.
I'm not even halfway through the episode and I don't want it to end.
Despite being insane, Steve's amazing!
(So far) your deep dive has been fantastic, the perfect questions to learn about a loveable madman like Steve
Can we get a weekly Lefsetz and Poltz podcast? This is addictive ??
Best,
Milan
____________________________________________
From: Dan Navarro
Re: Steve Poltz-This Week's Podcast
Steve is the fricking bomb. My first encounter with him was at Folk Alliance maybe 2007. We met, and I said, "Female singers been bery bery good to us." He shot back, "Yeah, but I'll bet you didn't get to f*** yours on the beach in Rosarito!"
Mic drop.
____________________________________________
From: steve poltz
Subject: This might make ya smile
After I did your podcast I thought it would be cool to combine the magic mushrooms story with a John Prine story. Otis Gibbs filmed it for his YouTube channel.
https://www.youtube.com/watch?v=5LbBat-ILXA
Hope it makes Sir Lefsetz laugh.
Love you and you are my best friend.
Yer pal,
Steve p
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Monday 6 May 2024
Already Forgotten? Playlist
Wendy Waldman - "Spring is Here"
Seatrain - "Willin'"
https://www.youtube.com/watch?v=aBDc1-nFJ9A
Pousette-Dart Band - "Freezing Hot"
Charlie - "L.A. Dreamer"
Dan Hicks & His Hot Licks - "I Scare Myself"
Fat Mattress - "Mr. Moonshine"
Be Bop Deluxe - "Modern Music"
Gary Myrick & the Figures - "She Talks in Stereo"
Quicksilver Messenger Service - "Pride of Man"
The Cretones - "Justine"
https://www.youtube.com/watch?v=cmbvbBBnYBA
Badger - "Wheel of Fortune"
David & David - "Welcome to the Boomtown"
Robert Bradley's Blackwater Surprise - "Once Upon a Time"
American Flyer - "Gamblin' Man"
Mountain - "Silver Paper"
Mink DeVille - "Mixed Up, Shook Up Girl"
Joan Armatrading - "Love and Affection"
The Silencers - "Painted Moon"
David Ackles - "Another Friday Night"
Root Boy Slim & the Sex Change Band - "Dare to Be Fat"
Donnie Iris - "Ah Leah"
Rhino Bucket - "One Night Stand"
Amanda Marshall - "Dark Horse"
Days of the New - "Shelf in the Room"
Flash and the Pan - "Walking in the Rain"
John Kilzer - "Memory in the Making"
Frankie Miller - "I Can't Breakaway"
David Blue "Outlaw Man"
Angel - "Tower"
Cactus "Parchman Farm"
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Seatrain - "Willin'"
https://www.youtube.com/watch?v=aBDc1-nFJ9A
Pousette-Dart Band - "Freezing Hot"
Charlie - "L.A. Dreamer"
Dan Hicks & His Hot Licks - "I Scare Myself"
Fat Mattress - "Mr. Moonshine"
Be Bop Deluxe - "Modern Music"
Gary Myrick & the Figures - "She Talks in Stereo"
Quicksilver Messenger Service - "Pride of Man"
The Cretones - "Justine"
https://www.youtube.com/watch?v=cmbvbBBnYBA
Badger - "Wheel of Fortune"
David & David - "Welcome to the Boomtown"
Robert Bradley's Blackwater Surprise - "Once Upon a Time"
American Flyer - "Gamblin' Man"
Mountain - "Silver Paper"
Mink DeVille - "Mixed Up, Shook Up Girl"
Joan Armatrading - "Love and Affection"
The Silencers - "Painted Moon"
David Ackles - "Another Friday Night"
Root Boy Slim & the Sex Change Band - "Dare to Be Fat"
Donnie Iris - "Ah Leah"
Rhino Bucket - "One Night Stand"
Amanda Marshall - "Dark Horse"
Days of the New - "Shelf in the Room"
Flash and the Pan - "Walking in the Rain"
John Kilzer - "Memory in the Making"
Frankie Miller - "I Can't Breakaway"
David Blue "Outlaw Man"
Angel - "Tower"
Cactus "Parchman Farm"
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Streaming Pays
"She says The Orchard model is working for acts of all sizes and quotes numbers to support this. Their five biggest artists 'are making eight figures' and 127 are 'making over seven figures.' Around 2,000 acts distributed via The Orchard made over $100,000 in the past 12 months."
The "She" is Colleen Theis, President and COO of The Orchard. Who also says:
"Streaming is not, she asserts, broken ("streaming, by nature, is inherently democratic"); but she feels the narrative around streaming is."
https://t.ly/LPcot
2,000 acts distributed by the Orchard, the independent company now wholly owned by Sony, made in excess of a hundred grand on streaming alone? I haven't been able to get this statistic out of my head. Never mind the 127 making single digit millions and five making double digit millions (for those who have trouble with the math).
This is contrary to the narrative. Isn't streaming unfair? Isn't it breaking the back of independent artists everywhere? Doesn't the game need to be fixed? Don't we need legislation making sure independents can earn a living wage?
Hell, if you can't live on 100k... You're already a star, making money from verticals other than streaming, actually, if you're making a 100k from streaming the opportunities for further compensation are rampant.
This is just one company. If you ask me, if 2,000 acts are making all this money I don't think there's a problem in the streaming world. You probably can't even name 2,000 acts, and isn't that exactly the point? How many musical artists can one person support, how many can the world support?
Of course the devil is in the details, who exactly is signed to the Orchard, if it's a label how much money ends up in the hands of the artist themselves, but still...
I read this in an article from Music:)ally, I get an e-mail every day. You probably don't, it's behind a paywall. You probably get your information from friends, or frustrated musicians who aren't good with math, never mind the business.
As a live exec once told me, it's a small minority who bitch loudly about ticket prices, and they believe they're entitled to sit in the first row for fifty bucks. In other words, they're delusional. Just like so many artists who put their music up on Spotify, et al, and expect to get rich, or at least pay the rent. This doesn't happen in any other sphere, there's no guaranteed income for someone who gets a product in a grocery store. As a matter of fact you have to pay a slotting fee just to get on the shelf, and if your product doesn't sell, they remove it.
In every other walk of life, if there's no demand you make no money, or very little. Why is it in music those with little demand expect to earn a living? Yes, it's all about demand. Doesn't matter what you think about your music, it comes down to what the public thinks about your music. Do they like it enough to continue to stream it?
Music is now no different from politics. Truth no longer matters. Never mind the truth that most acts of yore never even earned royalties. Sure, they got advances, but most of the money was eaten up in recording. Why is it everybody wants to go back to a past which wasn't so good to begin with?
People don't like the truth. Facts don't matter. Emotion rules.
Believe me, my inbox will be filled with people complaining they just can't get paid, or not enough. They will completely ignore the above. Because it doesn't fit with their narrative.
Music is a hard game. No one needs your music, they can exist just fine without it. How do you make it a necessary part of people's lives, that's the question. And no one wants to listen over and over again to bad music, even mediocre music, you've got to WANT to listen to music. That's the challenge. And if you don't rise to it and succeed...
Better keep your day job.
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The "She" is Colleen Theis, President and COO of The Orchard. Who also says:
"Streaming is not, she asserts, broken ("streaming, by nature, is inherently democratic"); but she feels the narrative around streaming is."
https://t.ly/LPcot
2,000 acts distributed by the Orchard, the independent company now wholly owned by Sony, made in excess of a hundred grand on streaming alone? I haven't been able to get this statistic out of my head. Never mind the 127 making single digit millions and five making double digit millions (for those who have trouble with the math).
This is contrary to the narrative. Isn't streaming unfair? Isn't it breaking the back of independent artists everywhere? Doesn't the game need to be fixed? Don't we need legislation making sure independents can earn a living wage?
Hell, if you can't live on 100k... You're already a star, making money from verticals other than streaming, actually, if you're making a 100k from streaming the opportunities for further compensation are rampant.
This is just one company. If you ask me, if 2,000 acts are making all this money I don't think there's a problem in the streaming world. You probably can't even name 2,000 acts, and isn't that exactly the point? How many musical artists can one person support, how many can the world support?
Of course the devil is in the details, who exactly is signed to the Orchard, if it's a label how much money ends up in the hands of the artist themselves, but still...
I read this in an article from Music:)ally, I get an e-mail every day. You probably don't, it's behind a paywall. You probably get your information from friends, or frustrated musicians who aren't good with math, never mind the business.
As a live exec once told me, it's a small minority who bitch loudly about ticket prices, and they believe they're entitled to sit in the first row for fifty bucks. In other words, they're delusional. Just like so many artists who put their music up on Spotify, et al, and expect to get rich, or at least pay the rent. This doesn't happen in any other sphere, there's no guaranteed income for someone who gets a product in a grocery store. As a matter of fact you have to pay a slotting fee just to get on the shelf, and if your product doesn't sell, they remove it.
In every other walk of life, if there's no demand you make no money, or very little. Why is it in music those with little demand expect to earn a living? Yes, it's all about demand. Doesn't matter what you think about your music, it comes down to what the public thinks about your music. Do they like it enough to continue to stream it?
Music is now no different from politics. Truth no longer matters. Never mind the truth that most acts of yore never even earned royalties. Sure, they got advances, but most of the money was eaten up in recording. Why is it everybody wants to go back to a past which wasn't so good to begin with?
People don't like the truth. Facts don't matter. Emotion rules.
Believe me, my inbox will be filled with people complaining they just can't get paid, or not enough. They will completely ignore the above. Because it doesn't fit with their narrative.
Music is a hard game. No one needs your music, they can exist just fine without it. How do you make it a necessary part of people's lives, that's the question. And no one wants to listen over and over again to bad music, even mediocre music, you've got to WANT to listen to music. That's the challenge. And if you don't rise to it and succeed...
Better keep your day job.
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
--
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Sunday 5 May 2024
Victim
https://t.ly/sNkhX
It doesn't mean anything unless it goes viral. So the question for the creator is whether to do what they want to or try and game the system.
Actually, last night we finally watched "American Fiction," which is all about this. But this screed is about a new book by Andrew Boryga, which has gotten rave reviews but most people won't read because it's a book, and if they do bother to read they want self-help, or romance, or Dan Brown... Stray from the formula and the odds of you having a hit are extremely low, close to nil.
Now one of the advantages of TikTok is the company boosts that which has not had success previously. This is an impossibility in other worlds, if you don't have a base, it's nearly impossible to compete against those who do. And those who don't... They're just trying to go viral. Hell, look at the clickbait headlines even in Apple News+, makes me hate writers, it's a come-on, oftentimes there's no there there, which is not the case with Andrew Boryga's book.
Thank god Mr. Boryga is a person of color himself, otherwise there would be a national outcry, but he asks the question how downtrodden people truly are, and to what degree hoity-toity theorists, especially those on college campuses, are placing their paradigm upon those who don't recognize it and don't need it.
That's the crazy world we now live in, where even if you're a dyed-in-the-wool lefty, you've got to admit that sometimes the right has it right. Many protesters see the Gaza conflict as one between the white oppressor and the brown oppressed. That's what they teach on many college campuses these days, that's the lens everything is seen through, oppressor and oppressed. But what if the oppressed don't see it that way?
Javi grows up in the Bronx. He lives alone with his mother, who has a full time job. But he's not starving, he doesn't think he's poor and underprivileged until people keep telling him he is. And then he decides to trade on it. Yes, he's got the right skin color, the right name, the right heritage and the right domicile. The upper classes are flagellating themselves over their historic oppression of the underclass and now they want to make up for it, under the dreaded "D"-word, i.e. diversity. And they're bending over backwards to let the oppressed through the door. But, once again, are they truly oppressed?
You can play the race card to get into college, to get a job. You can see everything through the lens of race. Which is what bleeding heart liberals do, whilst many on the right feel that it's they who are being punished, when the immigrants are not coming for their jobs. Where is the truth? Well, in a world where it has to be divined, where you've got to dig deeper, no one wants to. Kristi Noem doubled-down on killing her dog today on TV, even said Biden's dog should have been put down. Talk about tone-deaf, can't she realize that public sentiment is vastly against her and apologize? Can't she learn something instead of holding to her opinion? That's what's wrong with not only politics, but society today, no one can change their opinion, no one can learn a lesson, no one can admit they're wrong. They believe they're playing a giant game where weakness is death, whether it be in career or life.
Now after all the above, "Victim" sounds like an absolute bore, you're burned out on these topics. But "Victim" is an easy read, only 281 pages, I finished it in twenty four hours. It's a book right out of the sixties, because it's a SATIRE! No one has a sense of humor anymore, everyone is dead serious, sticking to their guns in a war... That's another point in this book, are you really at risk? Is what is going on online real? The people who excoriate you on the internet, are they going to come to your house and beat you up? No, they just don't care about you that much.
Javi lives for clicks. The more notifications he gets on his phone, the better he feels. But he doesn't know any of these people, and online people switch on a dime, you're God and if you say or do something they don't like, you're immediately the devil.
We used to have satire in music. That ship sailed with the last century, there's not enough money in it, and most people don't get the joke. What people want is train-wreck, something so odd and innovative or different that not only do they have to clue in and partake, they have to tell all their friends about it. Which results in virality.
Everybody plays. Boasting that you're not on social media is akin to saying you didn't go to the movies in the sixties and seventies. Or didn't listen to rock music. Sure, that was your choice, but you were completely out of touch with the mainstream, what was really going on. The Business section of today's "New York Times" is all about TikTok, and I'd tell you to check it out, but that's another characteristic of modern society, you can't change anybody's mind, they just dig in deeper, they don't even want to be exposed to a contrary opinion. There are authorized news sources and if you get your information elsewhere, you're not a team player.
Now Javi says right up front he's going to pay for playing the victim card, it's going to come back and bite him in the ass. But you'd be stunned how long you can get away with it.
Yes, there is one false note in the book, the average person would have backed away sooner, but other than that, "Victim" rings completely true, asking all the questions of modern society, skewering the stereotypes. You're down with the oppressed. but really you want to live in Brooklyn and have a fabulous lifestyle.
Now most people don't read books, period. And women are voracious readers, but "Victim" is not the kind of book my female friends recommend. As for males... All they do is read nonfiction. Of course there are exceptions, but I'd posit I hear from more people than you do.
So where does this leave "Victim"?
Well, in the old days, the really old days, of Kurt Vonnegut's "Cat's Cradle," books would percolate in the marketplace, and to be hip, to be in the know, you had to read them. After all, the Grateful Dead named their publishing company Ice Nine.
And then there was Tom Wolfe's "Electric Kool-Aid Acid Test." Which was referenced in Peggy Mellon Hitchcock's obituary this past week:
"Peggy Mellon Hitchcock, Who Helped Timothy Leary Turn On, Dies at 90 - She was an enthusiastic supporter of the counterculture. And when she suggested that her brothers rent Mr. Leary a mansion, she made psychedelic history."
Free link: https://t.ly/4sDAR
It talks about the meeting between Kesey and Leary that didn't happen because... Because in truth Leary had a cold, even though the Pranksters were told he was on a three day acid trip.
"Electric Kool-Aid Acid Test" was a cultural signpost, it has paid dividends for decades, whenever I see the Pranksters' bus's name spelled "Further," I know the writer has no clue. No, they were going FURTHUR!
But today it's all about winners and losers. Either you're viral or you're not, either you're satisfied with your status and playing to the limited audience you've got, or you're constantly lighting the match on moonshots, trying to get lucky, get not only those clicks, but cash, even a record deal.
But just because it goes viral does not mean it's worth paying attention to.
Now if you read "Victim" we could have a lengthy discussion about the themes contained therein. This is not a Hollywood movie, wherein you walk out into the sunshine and immediately forget it. Hell, they might even make a movie of "Victim," and you'll think a viewing is enough, that the book is superfluous. But chances are they won't nail it, and you won't go at all. Which leaves us with the book.
Some books are slam dunks, and I therefore wholeheartedly recommend them. But I'm not sure everybody is ready for "Victim." It's fiction and once again it's satire, there's a story, but so much more.
People want fantasy, like "Game of Thrones." Real life is too much, even though we live in real life 24/7.
I think everybody should read "Victim." A national discussion would follow. But that won't happen, because people don't read and don't want to question their beliefs.
But maybe you do.
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
--
http://www.twitter.com/lefsetz
--
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It doesn't mean anything unless it goes viral. So the question for the creator is whether to do what they want to or try and game the system.
Actually, last night we finally watched "American Fiction," which is all about this. But this screed is about a new book by Andrew Boryga, which has gotten rave reviews but most people won't read because it's a book, and if they do bother to read they want self-help, or romance, or Dan Brown... Stray from the formula and the odds of you having a hit are extremely low, close to nil.
Now one of the advantages of TikTok is the company boosts that which has not had success previously. This is an impossibility in other worlds, if you don't have a base, it's nearly impossible to compete against those who do. And those who don't... They're just trying to go viral. Hell, look at the clickbait headlines even in Apple News+, makes me hate writers, it's a come-on, oftentimes there's no there there, which is not the case with Andrew Boryga's book.
Thank god Mr. Boryga is a person of color himself, otherwise there would be a national outcry, but he asks the question how downtrodden people truly are, and to what degree hoity-toity theorists, especially those on college campuses, are placing their paradigm upon those who don't recognize it and don't need it.
That's the crazy world we now live in, where even if you're a dyed-in-the-wool lefty, you've got to admit that sometimes the right has it right. Many protesters see the Gaza conflict as one between the white oppressor and the brown oppressed. That's what they teach on many college campuses these days, that's the lens everything is seen through, oppressor and oppressed. But what if the oppressed don't see it that way?
Javi grows up in the Bronx. He lives alone with his mother, who has a full time job. But he's not starving, he doesn't think he's poor and underprivileged until people keep telling him he is. And then he decides to trade on it. Yes, he's got the right skin color, the right name, the right heritage and the right domicile. The upper classes are flagellating themselves over their historic oppression of the underclass and now they want to make up for it, under the dreaded "D"-word, i.e. diversity. And they're bending over backwards to let the oppressed through the door. But, once again, are they truly oppressed?
You can play the race card to get into college, to get a job. You can see everything through the lens of race. Which is what bleeding heart liberals do, whilst many on the right feel that it's they who are being punished, when the immigrants are not coming for their jobs. Where is the truth? Well, in a world where it has to be divined, where you've got to dig deeper, no one wants to. Kristi Noem doubled-down on killing her dog today on TV, even said Biden's dog should have been put down. Talk about tone-deaf, can't she realize that public sentiment is vastly against her and apologize? Can't she learn something instead of holding to her opinion? That's what's wrong with not only politics, but society today, no one can change their opinion, no one can learn a lesson, no one can admit they're wrong. They believe they're playing a giant game where weakness is death, whether it be in career or life.
Now after all the above, "Victim" sounds like an absolute bore, you're burned out on these topics. But "Victim" is an easy read, only 281 pages, I finished it in twenty four hours. It's a book right out of the sixties, because it's a SATIRE! No one has a sense of humor anymore, everyone is dead serious, sticking to their guns in a war... That's another point in this book, are you really at risk? Is what is going on online real? The people who excoriate you on the internet, are they going to come to your house and beat you up? No, they just don't care about you that much.
Javi lives for clicks. The more notifications he gets on his phone, the better he feels. But he doesn't know any of these people, and online people switch on a dime, you're God and if you say or do something they don't like, you're immediately the devil.
We used to have satire in music. That ship sailed with the last century, there's not enough money in it, and most people don't get the joke. What people want is train-wreck, something so odd and innovative or different that not only do they have to clue in and partake, they have to tell all their friends about it. Which results in virality.
Everybody plays. Boasting that you're not on social media is akin to saying you didn't go to the movies in the sixties and seventies. Or didn't listen to rock music. Sure, that was your choice, but you were completely out of touch with the mainstream, what was really going on. The Business section of today's "New York Times" is all about TikTok, and I'd tell you to check it out, but that's another characteristic of modern society, you can't change anybody's mind, they just dig in deeper, they don't even want to be exposed to a contrary opinion. There are authorized news sources and if you get your information elsewhere, you're not a team player.
Now Javi says right up front he's going to pay for playing the victim card, it's going to come back and bite him in the ass. But you'd be stunned how long you can get away with it.
Yes, there is one false note in the book, the average person would have backed away sooner, but other than that, "Victim" rings completely true, asking all the questions of modern society, skewering the stereotypes. You're down with the oppressed. but really you want to live in Brooklyn and have a fabulous lifestyle.
Now most people don't read books, period. And women are voracious readers, but "Victim" is not the kind of book my female friends recommend. As for males... All they do is read nonfiction. Of course there are exceptions, but I'd posit I hear from more people than you do.
So where does this leave "Victim"?
Well, in the old days, the really old days, of Kurt Vonnegut's "Cat's Cradle," books would percolate in the marketplace, and to be hip, to be in the know, you had to read them. After all, the Grateful Dead named their publishing company Ice Nine.
And then there was Tom Wolfe's "Electric Kool-Aid Acid Test." Which was referenced in Peggy Mellon Hitchcock's obituary this past week:
"Peggy Mellon Hitchcock, Who Helped Timothy Leary Turn On, Dies at 90 - She was an enthusiastic supporter of the counterculture. And when she suggested that her brothers rent Mr. Leary a mansion, she made psychedelic history."
Free link: https://t.ly/4sDAR
It talks about the meeting between Kesey and Leary that didn't happen because... Because in truth Leary had a cold, even though the Pranksters were told he was on a three day acid trip.
"Electric Kool-Aid Acid Test" was a cultural signpost, it has paid dividends for decades, whenever I see the Pranksters' bus's name spelled "Further," I know the writer has no clue. No, they were going FURTHUR!
But today it's all about winners and losers. Either you're viral or you're not, either you're satisfied with your status and playing to the limited audience you've got, or you're constantly lighting the match on moonshots, trying to get lucky, get not only those clicks, but cash, even a record deal.
But just because it goes viral does not mean it's worth paying attention to.
Now if you read "Victim" we could have a lengthy discussion about the themes contained therein. This is not a Hollywood movie, wherein you walk out into the sunshine and immediately forget it. Hell, they might even make a movie of "Victim," and you'll think a viewing is enough, that the book is superfluous. But chances are they won't nail it, and you won't go at all. Which leaves us with the book.
Some books are slam dunks, and I therefore wholeheartedly recommend them. But I'm not sure everybody is ready for "Victim." It's fiction and once again it's satire, there's a story, but so much more.
People want fantasy, like "Game of Thrones." Real life is too much, even though we live in real life 24/7.
I think everybody should read "Victim." A national discussion would follow. But that won't happen, because people don't read and don't want to question their beliefs.
But maybe you do.
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
--
http://www.twitter.com/lefsetz
--
If you would like to subscribe to the LefsetzLetter,
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