A few days ago, when Apple pushed the latest from U2 into everyone’s iTunes library, you could hear the Internet pause as it suddenly realized that Apple is its parents’ age.
Now in the ad-promotion succubus occupying the body of what used to be Time Magazine, you can see U2 desperate to do exactly the wrong thing: insisting that it wasn’t a gift at all. You can learn more about this in the hilariously titled cover article of Time: “The veteran rock band faces the future.” This a future in which tracks we don’t like are bundled with tracks we do (the return of the CD format) and people who share with their fans are ruining it for U2, boohoo.
Or, as Bono recently said, “We were paid” for the Apple downloads, adding, “I don’t believe in free music. Music is a sacrament.” And as everyone knows, sacraments need to be purchased at a fair market value, the results of which Bono, as a deeply spiritual artist, secures in sacred off-shore accounts.
In my head I hear Bono, enraged by the increasingly bad publicity, composing a message that he posts without first running it through his phalanx of PR folks:
You have recently received a copy of our latest album, Songs of Innocence, in your iTunes library. U2 understands you may be confused or even upset by this. So, let me clarify once and for all the most important point about this — if I may humbly say so — eternal masterpiece. It was not our intention to cause you stress or to wonder if you have the musical sensitivity to full grasp (if I may, humbly say) the greatness of our work. But most important, it is essential above all that you understand that it was not our intention to give you a gift. No freaking way.
We understand your mistake. You are, after all, just fans, and you don’t play in the Jetstream world of global music. As I said to my dear friend Nelson Mandela (friend is too weak a word; I was his mentor) shortly before he passed, music is a sacrament, just like tickets to movies, especially ones with major stars working for scale, or like the bill at a restaurant where you and any two of the Clintons (Chelsea, you are a star! Give yourself that!) are plotting goodness.
To tell you the truth, I’m disappointed in you. No, worse. I’m hurt. Personally hurt. How dare you think this was a gift! After all these years, is that all U2 is worth to you? Nothing? Our music has all the value of a CrackerJacks trinket or a lower-end Rolex in an awards show gift bag? Do you not understand that Apple paid us for every copy they distributed? We were paid for it, sheeple! Massive numbers of dollars were transferred into our bank accounts! More dollars than you could count, you whiny little “Ooh look at me I’m sharing” wankers! We’re U2 dammit! We don’t need you! You need us! MONEY IS LOVE! EXTRA-ORDINARY LOVE!!!!!!
For $3 at a library book sale I picked up a copy of Releasing an Independent Record, revised 4th edition, by Gary Hustwit, published in 1994 by Rockpress Publishing Co. The short review is: Times have changed.
Gary’s advice is that if you want to get your music out, don’t go to one of the existing labels. Start your own. In 1993, that was pretty radical even though it required you to emulate the major labels’ processes, albeit starting from scratch and with no budget. So,the bulk of Gary’s manual is a directory of the services you’ll need to hire. He assumes you’ve already got a tape of your music. So, now you need to find a tape duplication house. You also need to get the paperwork done to set up your label’s bank account, and don’t forget the rubber stamp: “Depending on what formats you release, you’ll need a ton of different sized envelopes, and stamping the return address is easier than having them printed or writing it by hand.”
There are also handy, multi-page lists of the press to contact and the local radio stations (remember them?) to flog your songs to. And booking agents and promoters. And record labels so you can “See if your label name is already taken.” Oh, and you might want to check “if they’re interested in licensing your record.”
A quick google reveals that Gary is now a director of documentaries. I saw and liked Helvetica, and Objectified is on my Netflix list.
On the last page, there’s an ad for Rockpress’ other four books. My favorite is Hell on Wheels, by Greg Jacobs:
A compilation of tour stories from 40 bands, including ALL, aMINIATURE, Babes in Toyland, Big Drill Car, Buck Pets, Buffalo Tom, Butthole Surfers, Cadillac Tramps, Chune, Circle Jerks, Coffin Break, The Cult, Descendents, Doughboys, The Dwarves, Ethyl Meatplow, fIREHOSE, The Germs, God Machine, Kill Sybil, King Missile, L7, Luscious Jackson, Mary’s Danish, Melvins, Minutemen, Naked Raygun, Overwhelming Colorfast, Popdefect, Rockets from the Crypt, Screaming Sirens, Skin Yard, Superchunk, Supersuckers, Surgery, UK Subs, and X.
I recognize a couple —it’s not my demographic, people — but that list’s got a bit of Key and Peele about it, don’t you think?
I know it’s the day after the day after Christmas, but I’m still going to give you a gift. A gift of Schiff.
I heard Andras Schiff on the radio a couple of days ago and it reminded me how much I’ve enjoyed his discussions of Beethoven’s piano sonatas before he’s performed them. He plays with passion but has an analytic understanding of the compositions. And, no, I’m not sure why I used “but” as the conjunction in that sentence.
Anyway, you can download the lectures here, thanks to The Guardian. (Thank you, The Guardian!)
Schiff said on the radio the other day that as he gets older, his understanding increases but his technical ability decreases. It makes me hope that we get some software that lets a master like him manipulate musical notation to produce a digital version of the performance that he would have liked to be able to give. Or will it turn out that there are so many variables for how you strike a note and string them together that such software is like wishing that Meryl Streep could instruct a digitizal avatar to act as well as she does?
Brad Turcotte, AKA BradSucks, has put out his new album, Guess Who’s a Mess. It is tuneful, dark, and remarkably well done. I like not only his music, lyrics, and voice, but also his skill as a producer. He is, in fact, a one-man band++.
So, you ought to buy his album, first because I think you’ll enjoy it; you can listen for free to decide. Second, Brad’s exactly the sort of artist the Web should support: no DRM, tracks posted for remixing, continuous interaction with his listeners as he develops new songs. He trusts the Web. We should repay that trust. It’s the least we can do.
At my request, Brad sent me an unedited copy of his lyrics. He’ll undoubtedly post a better version soon. But for now, here they are.
A few days ago I pointed to Elizabeth ‘s thread at Reddit where she engaged with the public in a way that everyone who manages customer support, PR, or marketing ought to learn from.
Today, Amanda Palmer posted about her current Kickstarter project, which has raised $855,000 with eight days yet to run. Her goal was $100,000…except in her post she responds with complete frankness (she’s AFP, after all) about what her real expectations were. The post is both an explanation and a demonstration of how musicians and theandir audiences can love and support each other.
A couple of days ago I was talking with my friend Gianluca Baccanico who was telling me that he enjoys playing the same track over and over and over and over for days. I happened to have my camcorder with me (do we still call them that?):