Music - response to Emily White and David Lowery

http://www.npr.org/blogs/allsongs/2012/06/16/154863819/i-never-owned-any-music-to-begin-with

http://thetrichordist.wordpress.com/2012/06/18/letter-to-emily-white-at-npr-all-songs-considered/

As I see it there are several balls in play on this issue. First is the decline of the 'record industry' that has seen A&R men going from the Ritz to the Travelodge. This is of course the result of the decline of physical product, but I would also posit that it is also the result of mismanagement: a failure to cope with change, to keep up with music tastes, to detect new revenue streams, to rationalise and restructure effectively. Now mainstream, major label music hasn't changed that much (apart from homogenisation), but several things changed over the past 20 years that have effected the way both that music, and the independent music community that (eventually) feeds and stimulates the mainstream. Things like the ease, speed and availability of downloads (often free via download sites like mediafire), the availability of information on music from sites like Wikipedia, people downsizing their possession of music (from hi-fi systems to cds etc.) the ease of purchasing hard to find music physically (ebay), mp3s (itunes) or both (amazon), the decline in record stores (both good and bad - some assistants were there to try and make you feel small, others tried to help you make buying decisions. Buying a record was often more about the cover than the music, or what friends you were with), the rise and fall of MTV (it killed off institutions like Top of The Pops and the Singles chart, though by splitting itself between genres and channels it has overspecialised and lost out to the internet), diffusion of radio stations thanks to digital and online radio (and the death of John Peel) so people don't really use the radio to discover new music anymore, increased revenues for established acts touring (leading to much reforming of the likes of Led Zepellin, Black Sabbath, Stone Roses, Happy Mondays etc) with small venues and bands dying out due to people preferring to stay in to surf the net for music rather than go out to discover it for real (Aids Wolf splitting up, Newport TJs closing down). Certainly in the UK and US this has resulted in the record companies taking less risk, there being fewer 'scenes' developing, and there being less exciting underground bands and music, all of which meaning the mainstream is even more stale and uninteresting than it has ever been. Just look at X Factor etc. This is a problem for all forms of music as a stale mainstream means fewer music fans in general, less opportunity for new artists or sounds to emerge (it is over 20 years since Nirvana), hence a crisis for, and homogenisation of, music. Fear of risk is a monumental problem that results from falling revenues. Promotion of bands and hence band success is also based on labels taking risks - less money=less risk=less good music.

HISTORY LESSON: I can remember downloading on napster for the first time back in 1997, I think it was a Slint live recording that contained a cover of Neil Young's 'Cortez the Killer.' It took hours using dial-up with numerous dropped connections and crashes. Now you can find and download an album (legally or illegally) in a matter of seconds, but then there were no legitimate sources of mp3s, if you wanted music on your pc then you had to rip cds. This was a period of transition from tape to cd. I had many hundreds of tapes of copied albums, mixtapes and John Peel shows - either copied from friends, the radio, or my own cds or vinyl. I partly did this transferring to tape so I could play albums in the car, but also so I could see if I liked a band a friend liked - if I did I would often buy a copy, as a tape copy offered inferior sound quality. Again the process took ages, and tapes were easily chewed or damaged so when cd burning appeared it was a revelation. However in the early days this was also time consuming and often the CD-R's wouldn't play in hi-fi cd players. All this copying was for personal use, and often was because I could not find a copy of the album at my local record store (remember them?) or they could not order it in for me. Amazon/ebay had not taken off and many bands/labels did not have a website. So that was my music collection - numerous vinyl, tapes and cds (including bootlegs) bought from record stores, gigs or via mail order (Southern Records had an excellent service), probably an equal number of copied tapes, plus a few mp3s of rare or hard to get songs. I do not consider my actions piracy (despite it technically and legally being seen as such) as I was backing up my records to another format, and obtaining music I could not have otherwise listened to. Over the years I reduced the tapes and CD-Rs thanks to amazon and ebay enabling me to obtain harder to get hold of material (albeit usually second hand - no money to the band there), though with the reduction in cost of hard drive storage and increasing time spent online it made sense to rip my cds. All this makes sense as physical storage space is increasingly at a premium in these times of higher population, where people like to have everything on a convenient hard-drive (or even in the cloud) rather than having the pain and expense of carting round piles of lps. 

The rise of convenience of being able to pretty much download any album ever made in a matter of seconds (pretty much for free), with cheaper computers, storage and internet means it is no surprise people have made the switch. Not so long ago middle aged men were putting classic lps into landfill to replace them with cds - then the cds replaced with mp3s.  The problem with this (sort of) non-physical media is that the sound is inferior to vinyl (as Steve Albini will assure you), and you don't get (all) the carefully selected by the band artwork. Now companies will try and assure that mp3/flac etc are great quality formats, however the average punter doesn't care about any of this, they just want to possess the MUSIC - that is the sounds that come out of their player that their ears hear. Possession is important here as often the average punter may have heard the song at a club, gone home to find it, downloaded it illegally, or avoided possession altogether by streaming it from Spotify, then never listened to it again. Spotify is really wrong as it pays so little to artists, though it does allow people to hear albums in their entirety so punters can decide if they want to buy it. The problem is that most people (like Emily) are quite happy to continue listening to it on Spotify as they don't have to pay for it and it is the same quality as if they had downloaded it. The point is some people can and are prepared to pay, however many have learned that not paying is more convenient and the norm - this needs to change.  Psychology plays a part here too as people are fickle - one day they may be willing to buy an album, the next they may not - I can remember going into a record shop several times and looking at the same record each time debating whether I could afford to buy it but also whether I really wanted it - being able to download it and listen to it properly (not 10 second samples) would have helped. I know sometimes it is nearly impossible to wait for a new album by your favourite band - I have downloaded an album (on itunes) that I had pre-ordered from the band because I couldn't wait Some music lovers will go out of their way to buy vinyl direct from a band because they know that their money will go toward helping that band make more music or go on tour and that the record will sound better than mp3. Happily bands are putting mp3 download codes with lps so fans have an instant back-up they can listen to on the move. This is great and the way to go. It is also okay that mp3s are emailed around between friends as the sharing of music is often the best way of people discovering new music, as I did with mixtapes from friends. Even downloading something illegally from a dodgy site is acceptable if: a) every other legitimate means of hearing the music has been exhausted, b) the band/label are defunct/album is out of print and stupidly expensive second hand c) you are a totally skint music obsessive who has to hear something that you know is good an will help you become the next Kurt Cobain.  Point c) is really important here as not everyone can afford new music, and many of you may recall that many great musicians come from deprived backgrounds. Cobain must have copied albums from friends, if he hadn't would he have heard the Vaselines? Would he have produced In Utero? I don't think that downloaders should be blamed or be given a massive guilt trip. The problem has been the sheer speed at which everything got posted to download sites, offering music fans the opportunity of being able to hear every album they've ever wanted to hear at their leisure on whatever platform they wish for free. I would never have enough money to buy all the music I want to, and I consider it a shame that I have to make decision over what to buy. If something is out of print, like the God Machine's 'One Last Laugh In A Place Of Dying' was until recently, then we either have to spend a fortune on a second hand copy or forgo listening to it. The opportunity download sites and bloggers offered real music lovers was often like putting a heroin filled syringe in front of a Junky and saying to them - well this is top quality morphine made by Chinese experts in the field, now you are not allowed to sample it, although if you do the Chinese experts will be killed and no more of it will be made. The only way you can take this morphine without the makers being killed is to pay $10 for it...The junky injects the syringe after the word morphine and ignores the rest. Most real music fans do what they can afford to do to help the deserving independent music industry, it IS up to the record companies, labels, bands, ISPs, search engines and governments to figure out what to do to improve revenue streams. This issue has only come to light after major label albums have been leaked and posted on download sites causing labels to believe they have lost revenue, though I doubt they lost much, if it was only independent artists being downloaded then there would have been no problem. I suggest a clampdown on dodgy download sites, setting up a task force that can check and shut down sites that bands and record companies identify as distributing their music illegally, record companies should join forces like pressure groups (rather than remaining divided and conquered by middlemen like itunes and spotify) and should look into working with download and streaming sites as ways of distributing and advertising their artists, bands should do the same with bloggers ( a fine example of this is http://www.shinygreymonotone.com/ ), ISPs and search engines should block dodgy download sites and Governments should look again at copyright and internet legislation and its enforcement so that artists (a vital part of our culture) are protected as is the record industry (a vital part of the economy), and that download/filesharing sites give some of their revenues back. If none of this happens then record companies will be schlupped by itunes and spotify who will be able to sign, market and distribute artists direct.

Film is part of this equation too as without Hollywood Megaupload would not have been shut down. The film industry has homogenised too, as you can see from recent bland and inoffensive blockbusters - even Ridley Scott has fallen into it. People can stream virtually any newly released movie (albeit in generally poor quality) illegally and Hollywood don't like it one bit. The difference between this and music is that Hollywood is a clear market leader that holds a financial monopoly over the industry, and as such can afford to lose a few quid on a movie. Cinemas and independents producers cannot. I am of the opinion that films should be seen in the cinema, however, mainly because of the quality issues watching films online illegally should not be a crime, wheras hosting films by streaming sites should be. Movies are quite different from film though many of the issues are the same, and will become more problematic as technology improves. The rise of 3D has been a direct response as the 'experience' is only possible at the cinema. The problem is most of the films are crappy, and Hollywood does very little to help smaller film producers and independent cinemas, or promote a vibrant industry. If Emily White's generation don't want to pay for albums they sure as hell don't want to pay for films, however the cinema event (like the live gig) is still enough of a draw to keep making money, independents, because their films don't usually get distributed illegally online, have it as tough as it was, though not as tough as indie music labels and underground bands. 

The issue of 'freedom of the internet' appears here again, but as most people have no problem with ISPs shutting down child pornography sites the same should apply here - a law is being broken - enforce it. 

As for Free Culture - there is something called public domain where after a certain amount of time, under certain conditions copyright runs out and material is free to distribute see http://archive.org/ and http://www.gutenberg.org/ and http://www.ubu.com/ for more interesting material than you can shake a stick at. That is free culture. However buying a new album then posting it on your blog for everyone to download for free is not Free Culture, it is stupid as numerous people will now download it free rather than buy it, and your $10 to the band should be sent with a kick in the teeth, as it may be the last album the can afford to make. What I find funniest about these blog posts it that some of the people who download the album show enough guilt as to comment on the blog, thanking the blogger for the post, stating - 'Been meaning to buy this' or 'I lost my copy' or 'the dog ate it' etc. 

As an 'artist' myself, both solo and in a band I totally understand and I'm with Lowery on most issues. It is impossible as an unsigned act to generate any hype, tour, market, record or even practice without investing large sums of money and time into your act. Without large savings you are willing to invest, a solid benefactor or getting signed you aren't going to get your music out 'there'. You'll be lucky to get a few local gigs, maybe a half decent recording and a few friends following you on facebook. We've played many local gigs and unless each member of the band has lots of friends willing to come to your gig it will probably be audience free. Get a popular band to headline and their fans will ignore your performance, as will fans/friends of local support. You will maybe sell one cd (for about £3) to someone who liked your set and cares about music. If you organised the gig you will not get paid. There will never be an A&R man looking to sign unless you play in Camden and are either lucky or a cocaine dealer. The venue takes all the bar money and a cut from door takings for door staff. The headliner came from out of town and needs petrol money. That is probably it. Each member must maintain their equipment, chip in for practice space and transit to gigs. Splits must also be made for recording (£100 a day average) unless you go lo-fi and do it all yourselves, in which case you need recording equipment (not cheap) and loads of time, mastering (£100ish average) and manufacturing. Why you do this you are not sure as you are never likely to sell anything except the one copy at the occasional gig you play to nobody. Still it is nice to do vanity publishing - have a nice cd for nostalgia. All this time you need to work to stay alive and fund all this. As you work it is impossible to tour without booking a holiday, which you need to spend with your family not your band. You try to get a 'presence' online, posting your music to last fm, Spotify, bandcamp, myspace etc, but can't help but feel that this is a bit like giving your hard work and investment away, still you may get some income, fans and sales. No. For all the plays, views and positive comments you still get no money coming in. You are not on a 'known' label. You don't play gigs with 'known' bands. You try and get some publicity - go on local radio, send you record off to be reviewed, invite reviewers to gigs. No one listens to local radio, it is a public service funded by either charity or the bbc, and even if they do they've never heard of your band before so don't really listen (John Peel's show was the exception as people would listen and if your band got played you stood a chance of people checking you out, because John had good taste - there is no equivalent to this now). The reviews come in. Mostly positive but placed in online mags and blogs no one except bands like yours read, only to read reviews of themselves, the only negative reviews occur in the local listings magazines a few people actually do read. The gig reviewer does not make him/herself known at the show and the review never materialises. By this time the band has split due to time/family pressures or internal arguments over lack of progress... 

Look at this link - http://www.greenman.net/unsigned/portlands this band have spent real money on a professional video, underlined their credentials - headlining a 10000 people festival, mates with Elbow, recorded in the states with name producer 'Press coverage, interviews and radio play followed, including interest from a variety of music promoters and industry representatives.' BBC airplay, headline slots a Manchester Academy, European tour and gushing reviews. Yet this band is UNSIGNED. Not only that they have entered this competition despite having all this behind them. However this is the problem for bands with no backing - how do you compete with bands that risk and invest everything just to get signed - the label get an instant product with fans, records, tours - the lot, all the company have to do is sort out a risk free contract to distribute and promote the record and they should get some return. No label would invest in a band that haven't got these minimum elements sorted, even if their music was incredible. In fact the qualitative element of music was lost a long time ago. 

Unfortunately these days everything is on your computer/phone - your record collection, your bank, your friends, your record shop, you library even your University. People, we need to get out more, and we need to own more real stuff. Virtual 'goods' cost zip in manufacturing - while this is good environmentally it means there is massive profit to be made, and sometimes you just get sick of staring at a screen. 

Bottom line: 

Labels should get together if they feel they are being robbed. There used to be camaraderie between indies like Touch&Go, Dischord, Drag City, Skin Graft etc - what happened?

Bands need to find new models to make their music pay - though it must be remembered that being an artist often means great sacrifice, living in poverty etc. like Van Gogh. Though that doesn't mean it's okay to get ripped off.

Punters need to understand the joy of vinyl and go to more gigs. Get off the computer. 

ISPs need to get a grip, self regulate and stop companies that infringe copyright - and block sites.

Search engines should take responsibility and work with ISPs to stop advertising on download/filesharing sites and block results.

Governments need to update legislation and work with Artists, record companies, labels, ISPs and search engines to deal with these issues rather than doing knee jerk missions like taking out megaupload.

Emily White should not feel guilty for what she has done, though she should understand that the music industry has changed and that not getting any money to bands means that some great bands will never happen now, and that she will will never get a paid job in that industry.

David Lowery (I agree with many of his points) should understand that not paying for music is, and always has been a part of the music industry that should be understood, incorporated and utilised, rather than using guilt to extract money from punters. 

Higher Education (response to Guardian Blog)

http://apps.facebook.com/theguardian/education/mortarboard/2012/jun/18/academia-not-stressful-for-me?fb_source=other_multiline&fb_action_types=news.reads
'Personally, I think we need to move away from the narrative of stress and focus instead on the opportunities for fulfillment that academia can offer.' I agree. I hereby withdraw all your funding, double your workload and expect you to teach for free.

The world should be 'preached' to about the value of our work by the Universities, the government and the media. Instead the latter continually berates students for being lazy party animals with rich parents (okay, some are) while the government look to cut funding to Universities and students (who are forced to pay for the privilege of higher education), hoping parents and private investors can fill the void (higher education should be a right for all young people who have the academic ability to be enriched by the experience, benefiting wider society).
(As they are not paid) It is not the job of students to 'preach' Students should study, teachers teach, disseminators disseminate.

Researching/studying is both stressful and joyful. Trying to think up new ideas, interpret difficult texts and write academically to tight deadlines is stressful, hard work. The knowledge that failure is possible and all the time and money invested could be wasted is the most stressful thing of all. That is what people are anxious about.
As someone who sees 'cheerfulness' as somehow opposite to stress you clearly know nothing about the latter.

UK Universities are in general chronically underfunded and shockingly managed (having worked for two, studied at another and seen how things are done in Switzerland). Since the credit crunch in 2008 Universities have purged staff to a shocking degree, generally expecting academic and administrative staff to pick up the slack resulting in higher workloads and less pay. Researchers on 2-3 year contracts have stress, as do lecturers on 2 year probation with REF. Lecturers and professors have the constant threat of redundancy from departmental cuts dependent on academic 'trends' that seem to involve an ongoing shift toward 'business studies' type courses and Mandarin at the expense of Humanities subjects that are at the core of our cultural identity. I have seen professors go blind with stress.

What is most worrying is the Conservative focus of your post. It seems to be heading towards 'Big Society' territory, implying that it is right for students to pay for the joyful experience of higher education, and perhaps that teachers should do so for free as well as it is so much fun. The government has already tried to make public librarians volunteers so this is not so far-fetched.

(I am final year distance learning PHD (who loves his subject) at a supportive University, with a 2 year old child and working a 4 day week).

Community, Education and UK news

It has struck me, since I have been living in Switzerland, and since I will soon return to the UK, that people here live and function in communities far more effectively than in the UK. Most of the housing here is made up of four or more floor blocks of flats (even older houses like the one pictured appear to house several families), that are predominantly rented, unlike the UK's dominance of private ownership and individual family homes of two or more bedrooms in mainly detached suburban estates. The city here is very compact, with far less suburbia leading to a greater sense of community, less reliance on cars and out-of-town shopping centres. That is not to say that such things don't exist, they are just less of a focal point and offer less of a threat to established, smaller, high quality shops.
The education system is also completely the opposite of the UK. Private education is the inferior sector here as because the state system is so good and well funded that only pupils who fail their studies or drop out are forced to pay to complete their education in the private sector, which somehow seems fairer, and makes sense. In the UK not only is private education better, but only the rich can afford it, AND the sector has charitable status so gets tax breaks. Failing pupils are bounced around the state system and are failed by it. After primary school pupils already start to specialise into ability and career path, something only begun at 13 in the UK. They are divided here between academic and vocational. There are also in most cantons, unlike the UK, several different schools depending on attainment level. Also the A-level equivalent system is much harder, with a much greater emphasis on languages, typically at least two having to be studied.  
Every so often I have been checking back on the BBC news website and Guardian to 'keep up to date' as it were and I've been feeling increasingly distant from events in the UK that no longer seem relevant to people's real lives. It could just be living at a distance but the UK government seems increasingly out of touch although there seems to be no real opposition to what they are doing (despite it being apparent that Labour are saying the right things they don't seems to be getting anywhere) up to the point that Jeremy Hunt seems to have gotten away with some pretty dodgy behaviour, Boris Johnson got re-elected and David Cameron doesn't understand what LOL means. What are the Lib Dems doing anyway. And with the Queen's jubilee farce going on it all looks like Thatcher's Britain all over again. I really cannot understand the national pride in a monarchy with historical blood on its hands, no real English blood in its veins and having done nothing of value for the nation except constantly draining it of resources for idiotic events like this. I just don't get it. Coverage of the events in the news was total, and seemed to drown out events in Syria and other issues that should be seen as far more important. I don't want to sound like a leftist Glen Beck but what is happening? I thought the phone hacking would destroy the Murdock monopoly and reinvigorate proper investigative journalism. It seems it has only forced it further back into its shell so celebrities can carry on their affairs in peace...