My music Rant

StevieD

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The Lost Generation of Rockers


I was at a local bar last night. Not being much of a drinker it was the type of place I would probably never go to. Small, dark and, dingy. I was there to see a friend of mine who had just joined a new band and was playing there. My friend is 27 years old and has been playing keyboards for 20 years. He can make them talk. To listen to him play is one of the joys of my life. I often wondered what went wrong for him. He is certainly as good, in fact, better than the musicians I see on TV.

I didn?t know it but when I walked into this little club I was in for a shock. There was a band setting up on the small stage and about 15 or 20 people watching. The 15 or 20 people made the small place seem crowded. I saw my friend drinking a beer in front of the stage. I thought to myself, there are three bands playing here tonight, there are 15 to 20 people watching the poor schmucks on stage set-up and they include the members of the other bands! These guys must stink.

My friend was overjoyed to see me. He shook my hand and introduced me to the singer, who seemed like a very nice guy and he introduced me to his wife. At this point I was really wondering what kind of night I had in store for myself. I looked around and there wasn?t even a chair to sit on. Then the air was filled with the unmistakable sound of feedback, a drumbeat pounded into my chest, and we were off!

The group on stage was pretty rag tag looking. Their equipment was beat up. But I found myself mesmerized by the sound. These guys were good! No, these guys were great. For the first time in years I was rocking. I mean I was really rocking. There was a melody to the songs, a beat, and the words made sense. And the guy could sing!

I thought I had died and gone to rock n roll heaven. But this place can't be heaven it?s Hell.

The band played for an hour. By the end of their set I was drained. They were drained. But more important they didn?t miss a beat. These guys were every bit as good as my friend. Nevermind why is my friend here, why are these guys here? I mean I am not a big fan of music for the last I don?t know how many years. It has been full of ?Performance Artists.? Singers who screamed not sang, people with guitars but not playing them, oh yeah they were loud and they were strumming them, no they were raping them not loving them. There is no melody to that crap. I forgot what the beauty of harmony sounded like.

My friends new band came on and I have to tell you they were better than the first band I saw. Then it hit me. I had stumbled across the Lost Generation of Musicians. Passionate, caring, rocking musicians who had their legacy stolen from them by the suits at MTV and the record labels. Sentenced to play and live their dreams in these bug infested rooms while lisping boy bands and Alternative goof-offs were given the prize.

Don?t tell me the audience decides what gets played because all you have to do is keep playing songs on the radio and MTV and you can make anything a hit. That is what these corporate a$$holes did. They took something that at one time was pure and corrupted it. Alternative was once a viable art but these bastards decided that Alternative was mainstream! And the public bought it! Now don?t tell me that you can?t make hits if you can sell the fact that Alternative is mainstream. And with that change music died. Or so the suits thought.

While they filled our airwaves with non-talented goofs who had no respect for the past and were only interested in filling their pockets, dedicated musicians were forced to sit on the sidelines. It seems to me if you play guitar in a rock band you should be able to play a song or two on your guitar. Oh it?s true they can rape it but who wants rape? I will admit I love making love and sometimes I?m in the mood for a good fvck, but rape? No not for me. And all those goofs could do was rape.

What the suits didn?t count on though was these kids who could rock. Kids who spent their lives learning their craft. People who loved music, loved rock and, loved to play. They would survive. They're older now, yes, but they still rock!

Give yourself a treat some night. Check out MTV or the crap that the rock station in your town is playing. Listen while you are driving to one of these dark and dank clubs. Walk in the club, buy yourself a beer, and be prepared to be blown away by some of the 30ish year old musicians on stage. Guys still playing because it is their life. The guys who the record industry screwed. Guys still playing because they love it. The Lost Generation of Rockers.
 

Penguinfan

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As far as non war related posts on this site go that was, BY FAR AND AWAY, the best thought out, best articulated, insightful post I think I have ever read, you nailed it. I hope Anders see's this one somehow.

<marquee>:clap: :clap: :clap: </marquee>

penguinfan
 

TORONTO-VIGILANTE

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"...Quo fas et gloria ducunt..."
GREAT POST!!!!

man, music is something that's kept me goin for 28 years now....

can't get enough of it...

listen to all types and there's a never ending supply of it.

imagine my child like cries of glee when i got my first CD burner waaaaaaaaayyyyyyyy back in 1999...(don't get on my ass about the goods and bads of music pirating), fawk, i was burning CD's like there was no tomorrow....and getting songs that i LIKED, and getting them for free!

as well as getting songs from bands that might NOT have been signed to a major record label....and their shit was good.

Music washes away from the soul the dust of everyday life.
 

StevieD

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Thanks for the kind words guys. I am glad I am not the only one who feels this way.
 

ChrryBlstr

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StevieD:

like it or not....music has become even more about the money and less about the music....so-called mainstream or popular music has ALWAYS been about who the labels can shove down the masses' throats....clearly....image and marketability far outweigh actual musical talent....and many great bands get sucked into this vacuous black hole and have to change their sound in order to appease the powers that be within the major labels....case in point - LEN's "steal my sunshine"....mark, sharon and co. were fantastic prior to signing with sony....BUT....it took that sappy song, as mandated by the label, in order for them to garner worldwide acclaim and fortune!!!

don't get me wrong....there are still some bands/acts that adhere to what they believe in and refuse to make concessions that make it in this business....albeit very few and far between!!!

i won't even get into the machinations of record contracts as a whole....simply because the topic upsets me to no end!!!

put it this way....i left a band a coupla years ago that (i felt) was just as good (musically) as the one i'm in now....BUT....none of the majors were interested....and all we received were polite rejections....because our "style" wasn't current and image was somewhat non-existent!!!

the new band has garnered major label interest....which i attribute more or less to our image....which we consciously made a focal point....glam-punk a la dandy warhols....and having a hot female guitarist definitely doesn't hurt....as opposed to the music....which i guess is somewhat more with the times....BUT....in no way better than the other band....YET....zomba, bmg, etc. insist on us cutting another album....paying for it ourselves....which will cost another bajillion dollars....prior to discussing business....although all feign interest at our live shows....needless to say....it just ain't 'gonna happen....even signing a development deal is no guarantee...check bomb 32....and i simply refuse to keep plugging along forever before making it....a la blue rodeo!!!

so....i can totally relate with what you've said....and with your friend's band....there are way more talented indie bands than what you see on mtv....unless one thinks that j lo, christina, jay-z and the like are the shitz!!!

with that being said....i'm very happy that some of the people that i've met and played with these last few years are on the verge....sum41, not by choice, the salads, clark nova, etc.....so biggie props and all the power to them....who knows....maybe we can even ride the wave if T.O. ever breaks as a scene!!!

as an aside....the reason most of the pop-crap you hear on the radio sounds the same is because they're all (co) written by the same swedish dude!!!

man....i STILL hate nirvana for bringing alternative to the mainstream!!!

:D
 

dawgball

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If you haven't seen the movie "Josie and the Pussycats", first let me say that I understand why. BUT, if you have an hour and a half to kill, it actually addresses this very issue. It doesn't matter if a band is talented or not. If a major label wants you to succeed, you will.

When I finally sat down and watched this movie, I found myself cracking up at how close to reality it really is.
 

StevieD

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I have not seen the movie but I believe what you and Chry say is true. But after Nirvana became a hit the music changed. Nirvana may of had some talent but those who followed under the guise of Grundge and Alternative did not. Not only didn't most of them have talent but they couldn't even play their instruments.
Granted in the 60's it was said that their was more talent pickiting the studio they taped Hootaney in then was onstage. And that has gone on for ever in the music industry. But what the music indistry did in the 90's was an out and out crime.
 

Megami

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like it or not....music has become even more about the money and less about the music....so-called mainstream or popular music has ALWAYS been about who the labels can shove down the masses' throats....clearly....image and marketability far outweigh actual musical talent....and many great bands get sucked into this vacuous black hole and have to change their sound in order to appease the powers that be within the major labels....

The sad thing about music these days is that if you love music and you are dedicated to it as a musician... even if you have a following, its only the Pop Princes and Princesses, etc. that earn the money. For example, a great ska band called the Dance Hall Crashers... they are huge in their genre and have had a couple Alt. Rock Chart hits... the drummer was STILL working at Rasputin's (Two of the coolest and most well known record stores in the East Bay are Rasputin's and Amoeba. These two were non-chain stores, and were located on the famed Telegraph Ave. in Berkeley. (There are also ones in SF, but again, these are local-owned). ) to earn money. My friend Steve managed Rasputin's for a little bit, and he said that he would constantly see people like the lead singer from Mazzy Star (remember "Fade Into You"?) or the guitarist from Rancid, or even members of Tilt or Pennywise would come in frequently and talk with staff or whatever... they hardly earn ANY money at all even though they had numerous albums out and a following. Each of them had "day jobs."

It makes me sick to see fabricated musicians earning the money when their team of stylists, producers, trainers and handlers are molding them into something profitable, rather than focusing on the actual music.

Of course, the exception to that rule today is Radiohead. True geniuses of music, actually earning money. Good for them! :)
 

Blazer

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:toast:

Good Topic.

Truly great musicians are like superstar athletes. To witness their work in person is an awakening experience.

The sad truth is no one is really "discovered" anymore. The streets of Nashville are lined with brilliant musicians and singer/songwriters who have become waiter/waitress. The only ones that ?make-it? are cloned copies of the successful band before it. The music industry is only trumped by the television industry when it comes to reproductions and facsimiles of the same thing. The only chance for most is with an Independent label.

Indy labels don't have the pull of the big boys and cannot compete when all Clear Channel will play is RCA and BMI tracks. Now that music is mass media and mass media needs music the only way new acts are launched is they find a way onto a commercial for beer or the new domestic sedan. But you cannot completely blame the corporate giants.

Those who truly love music have ruined it by stealing and downloading their favorite tracks. The money that was once used to fund the good music is now spent at the WalMart on Cheetos and Beer. Hence the music industry is broken partly by those who love it the most. I am no better. I rank among them.

The story gets worse. The lack of public school funding takes money directly form the music departments. I know better than to launch a pro-music campaign on a sports dedicated site. I am in no way saying that prep football is over funded, but imagine a high school game without a band. Our children are learning ?rap? as an art form. Our kids think J-Lo is a music genius. Our little girls are looking up to Christina Arugulia, Brittney Spears, and Pink as role models. Good music is lost among the younger generation.


The industry has too many problems, not enough solutions. Support your local radio stations and your local artists. Teach a teenager about the Doors or Zeppelin. Don?t watch Nashville Star, Pop-Idol, Star Search, or Kid-Star. Go buy a CD. Go hear a live band. Boycott remixes and songs that ?sample? other songs. Support your music community or it will simply fade away.
 

ChrryBlstr

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megami:

excellent post....yes....it's true....millionaire rock stars are exceptions rather than the rule....like i said....signing a contract even a lucrative one with a major lable doesn't guarantee millions....for starters....most of these contracts are more like loans....where you have to pay them back for funding and marketing your albums prior to making any real money from record sales!!!

i'll try to elaborate about what i know regarding the 2 major forms of revenue for musicians....

1) live shows - pretty self-explanatory in that most bands take a big chunk of the gate receipts....BUT....the bigger you are....the smaller the piece of the pie is....large touring acts have to pay for such things as rental equipment (mixing boards, DAT machines, amps, mics, stage props, etc.), sound engineers, guitar/drum techs, travel/food costs, promo stuff and sometimes even security for the establishment (not all venues provide their own security staff)....and the bigger bands who sell through ticket master and other such outlets....well....these companies charge sometimes as much as HALF the price of the ticket for rendering their services....although a musician myself....there is no way i can justify paying over $30 to see anyone play....cripes....i have a hard time paying to see ANY band, truth be told!!!

2) royalties - songwriters/members in canada are paid by SOCAN and those in the US by two similar type groups, ASCAP and another that i can't think of right now....here is basically how royalties work....the US being similar to canada....

Royalties are determined and divided according to their type and source. They are calculated and divided as follows:

Mechanical Royalties: Record companies pay the recording artist payment of mechanicals based on the amount of phonorecords sold. Sales of sound recordings are determined by the record companies through Sound Scan and other sales reporting systems. Unlike most countries, which base mechanical royalties on percentages, US mechanical royalties are calculated on a penny (?) basis per song. Record companies pay the recording artist either a current minimum statutory penny rate, or a "reduced" penny rate. The current statutory rate for a U.S. copyright is 7.1? per song. (See, 37 C.F.R. ? 255.3(h)) This minimum rate is effective until January 1, 2000, after which it will go up every two years until 2006, at which time it will remain at 9.1? per song until changed.

However, recording artists rarely get maximum (statutory) rates from their US record companies. This is because most of their the domestic recording or production contacts usually contain a standard "controlled composition" clause which allows the record company to pay the artist and/or music publisher less than the minimum rate for songs written or "controlled" in whole or in part by the recording artist. This negotiated or "reduced" mechanical royalty rate is generally a percentage of the minimum compulsory license rate, up to a maximum number of songs. A common example is 75% (of 7.1?) per song, with a cap of 10 songs, no matter how many songs are recorded and released on the album. This negotiated "min stat x 10 rate" is collected by the music publisher, which then pays the residual to the recording artist per their publishing agreement.

Before the artist/songwriter eventually receives their "reduced" US mechanical royalties, there are numerous withholdings by the recording company pursuant to the artist?s recording contract. There are frequently several clauses that give away "freebies" and eat away at the artist?s basic royalty rate (e.g., getting paid on less than 100% of units sold, paying up to 25% of royalties for packaging, receiving no royalties for "free goods" or promotional CDs, or for "non-controlled" songs, getting a lower royalty rate for CD?s, cassettes, and record club or budget records, giving free licenses for promotional music videos, etc).

There are also other provisions in the recording contract that delay and reduce payment of royalties. For example, most record companies pay mechanicals on a quarterly basis, i.e., 60 to 90 days after each quarter. Moreover, a certain percentage of the reduced royalty rate is withheld by the record companies in "reserve against returns",.i.e. in case of over shipment and returns.


Foreign mechanical royalties are calculated differently from domestic mechanical royalties. Unlike in the US (where musical compositions are licensed on a cent per-song basis), foreign mechanical societies grant mechanical licenses for the entire record based on a percentage of the wholesale or retail price, regardless of the number of songs. The rate of foreign and/or domestic mechanical royalties paid to the songwriter is determined by the US publishing and/or sub-publishing agreement by specifying in those contracts whether the writer will be paid by an "at source" or "receipts" method of calculation. "At source" means the percentage paid to the sub-publisher is based on earnings in country where earned (e.g. England), which is considered the "source". "Receipts" means the percentage of the foreign mechanicals paid to the sub-publisher is based on earnings in country where received (e.g. USA).

(2) Performance Royalties: Each quarter, the US PRO?s first deduct from gross receipts a small administrative fee for "operating" expenses. They may also get reimbursed for payment of fees to foreign societies for their sub-publishing percentage. Then the remaining net performance fees are divided among the participants of the same PRO, depending of the amount of their respective radio and TV air play. After "weighing" the air play, the PRO then bypasses the music publisher and pays all of the net "writer?s share" performance income to their songwriter member writer directly, with the music publisher getting paid their "publisher?s share" separately.

The amount of public performance monies collected by the PRO?s depends on their survey and consensus of how many times your songs were played, when, and on what type of medium. The amount of blanket license fees charged to music consumers and received by the U.S. PRO varies, as each have their own unique monitoring systems and detection techniques based on either a random survey, census, sampling, or digital detection method.

ASCAP uses the random survey and consensus method to detect performance royalties. In contrast, BMI uses a scientific sampling method of tracking performances. SESAC relies on cue sheets for TV royalties, but, utilizes a more accurate and cutting edge method of detecting radio performances. It uses digital pattern recognition technology created by Broadcast Data System (BDS), the same company that monitors radio air play and that Billboard magazine relies on to help determine chart positions.

Under a "standard" co-publishing deal, and per a letter of direction to the PRO with which the author is affiliated, the song writer gets 100% of the writer?s share, and 50% of the publisher?s share, or 75% of all performance royalties. The music publisher gets the "publisher?s share" of performance royalties, or 25%.

(3) Synchronization Fees: Unlike mechanical royalties, synch fees are purely negotiable and are not regulated by statute; they are strictly contractual and vary greatly in amount depending on the usage, subjective importance of the song and production, and medium used. Ranges can vary as low as free for an unsigned artists for an unknown and un-released song for a local public TV program, up to $250,000 or more for a major artist?s hit song featured in a high-budget feature film. Generally, however, synch fees are determined and negotiated by custom and practice based on a number of objective and subjective factors.

(4) Print Income: Domestic (US) print royalties are paid by printers to the song owner that granted the print music license (usually the music publisher). The print licenses are usually non-exclusive and limited to three to five years in duration. For a single-song sheet music, publishers are usually paid 20% of the marked retail price (or about 70? @ $3.50 retail price). Folio royalties are paid at 10% to 12?? of the marked retail price (or about $14.95 to $16.95). There is usually an extra 5% of marked retail price for personality folios, which requires an additional license or consent for the right of publicity.

Foreign print music is collected by the foreign sub-publisher(s), which base their charge depending on whether they actually manufacture and sell the material. If they do, they generally charge from 10% to 15% of the marked retail selling price. If they license out the print music, the sub-publisher retains the same percentage as all other income (15% to 25%), and remits the balance to the writer.

If a folio is the selected work from a single songwriter, only that writer?s music publisher receives the print royalties. If the writers on a folio collection vary, different music publishers will receive their pro-rata share. For example, if one publisher owns 10 songs from a 20 song collection, it gets 50% of the (10% to 12.5%) royalty.

Under a standard "co-pub" deal, after taking their 25% share, the music publisher pays the artists 75% of their pro-rated share. For personality folios, the extra 5% for the use of name and likeness (if any) is paid directly to the artist.


yeppers....not quite as glamorous as most think!!!

:D
 

ChrryBlstr

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blazer:

i resprectfully disagree with you in terms of artists losing money because of all the free music on the 'net!!!

firstly....i think that most indie or "smaller" bands don't really care if their music is "ripped" on the 'net....whatever revenue they lose on record sales is more than compensated by the free advertising they gain....leading to a bigger fan base in the future....plus....i think that the only ones who are really complaining are those that are accustomed to millions in sales already....see metallica....and the money-grubbing establishment itself!!!

secondly....i equate mp3s to "free" music that has always been available to us....one of my producers explained it to me this way....downloading mp3s is exactly like recording off the radio or borrowing a friend's record and dubbing it onto tape....i know i did this as a kid....BUT....the quality is definitely worse than the real thing....and the people that do this and don't buy the actual cd afterwards probably wouldn't have bought it regardless....they're happy with the mp3 sound and hat's ok....while those that want higher quality will buy the actual pressed cds....those that burn cds are a different story....but....again....i just don't see these as being the consumers that make up your core fan base anyways!!!

:)
 
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