Monthly Archives: August 2017

A to Z of Making It, Copyright, Music, My Stories, Piracy, Unsung Heroes

Def Leppard And The Digital World

There is a Def Leppard story that did the rounds at the start of August. Almost four weeks later, it’s forgotten. That’s how fast people move on. If you are an artist and you spend 12 plus months on an album, just be mindful that it could be forgotten within a month, especially if it’s not part of a cultural movement or crossed over into the mainstream.

Anyway, back to the Def Leppard article.

No one can forget how big Def Leppard was from 1983 to 1994. Huge. Even their sound was huge with multi-layered vocals and instrumentation.

Like all the 80’s heroes, they had a bit of a back lash in the 90’s and maybe alienated some of their fan base with their 90’s sounding “Slang” album. But like all great bands from the 80’s they had a renaissance. I wrote a while back about how I believe piracy made Twisted Sister relevant again from 2000 and onwards and that viewpoint is still held for Def Leppard.

It’s actually even more relevant for Def Leppard, because the band refuses to have their 80’s output on digital services due to a payment dispute with the record label. The label (Universal) wants to pay the band a royalty based on a sale, whereas the band wants the licensing royalty payment which is much higher. The band even found it easier to create their own forgeries (re-recording some of their classics) easier than dealing with the record label.

This leads to an interesting position.

If you cannot purchase the Def Leppard 80’s output legally or stream it legally (apart from the few forgeries the band did themselves and the live releases), what should people do?

Well in this case, they obtain the music illegally (provided they haven’t purchased a legal physical copy)?

In other posts, I have mentioned how bands survive by replenishing their fan base with younger fans. It’s the reason why bands like Ratt and Dokken haven’t really gone well in the 2000’s compared to Crue, Leppard and Jovi. Well, it turns out that Def Leppard is doing a pretty fantastic job at doing just that.

“In recent years, we’ve been really fortunate that we’ve seen this new surge in our popularity. For the most part, that’s fuelled by younger people coming to the shows. We’ve been seeing it for the last 10, 12 or 15 years, you’d notice younger kids in the audience, but especially in the last couple of years, it’s grown exponentially. I really do believe that this is the upside of music piracy.”
Vivian Campbell

While the band is on the road, it works and their popularity is as big (maybe even bigger) as their 80’s popularity. The band is also a heavy user of YouTube, even though the site is the punching bag for the RIAA and the record labels. As YouTube recently said, they pay $3 per 1000 streams in the U.S. If it’s true or not, we will never know until we see proper financials from both YouTube and the labels. But if it is true, Def Leppard would be getting that cut themselves, and I haven’t heard of them taking YouTube to task over their payments. Even Metallica who controls their own copyrights don’t take YouTube to task. Both bands are heavy users of the platform, constantly putting up new content. But if you believe the RIAA and the record labels, YouTube is evil and due to its high volume of users, the payments are not enough.

But in Def Leppard’s case, you could say that YouTube is seen as a more likely driver of new fans than pirate torrent sites. Because all the research shows that YouTube has a user base made up of young people. They are also fostering a true connection with fans again which for a lot of artists who made it in the 80’s is a frightening prospect.

This model will not work for every band. In this case, each creator needs to look at the problem and find a solution that works for them. Eventually Def Leppard’s music will come to streaming services as the band will not be able to tour. But it will be on their terms and their terms only. Like AC/DC and Metallica. They signed their own streaming deal themselves and it’s got nothing to do with the record label.

Standard
A to Z of Making It, Music, My Stories

People Create Value

When are people going to realise that music doesn’t create value. Customers do. People. The people who listen and consume the music are in charge of the value tree. They decide what song or album is valuable and what isn’t. And it’s a cold hard truth for any creator out there. You might have a record deal and a massive PR machine, however if no one is interested in what you create, it’s back to the drawing board. 

Do a few more releases that fail to connect and the downward spiral is real. It doesn’t mean you can’t make it back, however when people are in a downward spiral they have a tendency to cut corners and dumb down their art for the sake of making it back. And for a little while, it might pick you back up. But then, demand for your art goes down again, which means you lose again. The great artists are aware that writing a song that connects with millions is magical but it’s not scalable. No one can write hit songs forever. In the 80’s and 90’s, Desmond Child was the hit making machine, along with Diane Warren and Jim Vallance. Today, it’s Max Martin and Dr Luke and others. Even bands like U2, Aerosmith, Motley Crue, Ratt and Bon Jovi couldn’t sustain the “hits”, albeit they had a pretty good run which guarantees them a victory lap after a victory lap.

The key to success is random. It’s unexpected when a song connects and breaks through. But instead of having the mindset to keep showing up and creating in the same way you did before, creators try to recreate the unexpected success. Writing songs that become hits is a different mindset to writing a “hit song”.

And artists got those unexpected hits by being imperfect. By paying their dues and honing their craft. By being willing to speak their truth and taking a stance on issues. We need people to believe in. And we believe most in those whose risks resonate. 

The record labels are worried about their stock price or their greatly compensated executive salaries while they underpay creators and drop them at will. Meanwhile we all pay taxes while they pay none. So don’t think the label will have your back when people are not interested in your product. 

Today’s story is about artists who are unable to get traction. It’s because they think the music they create has some value. But it doesn’t. It has no value at the start. It might later, if people decide it’s valuable. 

But the space for attention is cluttered and your new song is competing with the history of music, which is at people’s fingertips. But it can rise to the top. There just needs to be a message to it, instead of the usual clichés. Remember, people create value. It’s not the other way around. 

Standard
A to Z of Making It, Music, My Stories, Piracy, Stupidity, Treating Fans Like Shit

How the Labels and the RIAA Rob Creators?

YouTube tells the world that the service pays more in the U.S for Ad-Supported Streaming than other services like Spotify and Pandora. YouTube points out that they pay about $3 per 1000 ad-supported streams in the U.S.

The record labels via their lobby group RIAA disagree with YouTube’s math. 

Cary Sherman, the RIAA head honcho had this to say on the matter;

“About 400 digital services have been licensed around the world, many with ad-supported features. Comparatively, YouTube pays music creators far less than those services on both a per-stream and per-user basis, and nowhere near the $3 per thousand streams in the U.S. that Lyor (YouTube) claims.”

Okay so if the RIAA is going to dispute the math put out by YouTube, then what is their math.

How much do they get from YouTube per 1000 streams?

The record labels and the publishing/licensing companies are the first to get paid. And nowhere in this debate have these organisations mentioned what they get. I know I have seen thousands of news articles showing what the artists or the song writers get from YouTube streams in their bank account, but the artists are the last to be paid, once the labels and publishing companies take their cuts.

If the record labels via the RIAA want to be taken serious they need to be transparent.

Instead they counter the math from streaming services with fluff. Yes, that same thing found in people’s belly buttons.

They fluff the conversation about a value gap, talking on and on about how YouTube has billions of users and the amount of traffic they generate should equate to higher payments and because it doesn’t, there is a value gap.

They fluff the conversation about DMCA Safe Harbor provisions being a rigged system and how politicians need to create laws to protect the business model of the record labels and in the process destroy innovation on the internet.

Basically, these organisations are doing the same thing they have always done. Lying and scheming to keep their creative accounting in-house and away from the actual people that made these organisations rich. The creators.

Think about it for a second. The streaming services via their own blog mention how much they pay the copyright holder. The very next day, the RIAA or the Record Labels quickly counter it, but they never mention how much they do get?

So the headline of the next article should be “How the labels and the RIAA rob creators?”

 

Standard
A to Z of Making It, Copyright, Music, My Stories, Unsung Heroes

Cash From The Old

I read on a blog post by Seth Godin that “Book publishers make more than 90% of their profit from books they published more than six months ago. And yet they put 2% of their effort into promoting and selling those books.”

So what do you reckon the numbers would be for music?

Would it be fair to say that 90% of the income that the record labels get comes from music that came out six months ago compared to what is new.

The majority of people don’t normally purchase creative content all the time but when they do, they buy what is popular. It’s the reason why each year the “Black” album from Metallica sells. It’s the reason why “IV” from Led Zeppelin still sells. It’s the reason why “No More Tears” still sells. It’s the reason why “Slippery When Wet” still sells.

Then you have artists putting out new stuff.

Back in the MTV era, the new stuff sold well on the first week. It was marketed heavy by the record labels, all on the budget of the artist. The record labels controlled the distribution channel. So many other industries came to be because of this distribution chain. Vinyl manufacturing plants, cassette manufacturing plants, CD manufacturing plants, video clip services, record shops, delivery drivers, image consultants and so forth.

However we are living in a different era, one controlled by consumers. And the new stuff released by artists in 2017 is originally purchased by a smaller hard-core super fan group. Much like to 70’s. Then in time as word spreads, people will check out the release and keep it in the conversation. Much like the 70’s. You know that person that doesn’t purchase much creative content a year, well there is a pretty high chance they will purchased something that is popular when they decide to purchase. Like Metallica’s “Hardwired” or “Seal The Deal and Let’s Boogie” by Volbeat.

Actually Volbeat is one of those stories that you can write forever about. Death metal musicians in the 90’s. By 2000 they branched out into the Volbeat sound. By 2010 they had an opening slot on the “Death Magnetic” tour and U.S success came. “Seal The Deal and Let’s Boogie” was released June 3, 2016. It’s still in the conversation with physical sales, streams and radio spins. Even their “Beyond Hell, Above Heaven” album released April 24, 2012 was certified Gold in the U.S on March 22, 2016. Yep, 4 years after its release.

“Inhuman Rampage” by Dragonforce was released on January 9, 2006. On July 21, 2017 it was certified Gold in the U.S. Not bad for a power metal act and it happened 11 years after the album was released. “Come What(Ever) May” by Stone Sour was released on August 1, 2006 and on July 21,2017 it was certified Platinum in the U.S. Yep, 11 years after the album was released. “I Get Off” is a single from Halestorm. It was released on February 25, 2009 and 8 years later on July 12, 2017, the single was certified Gold in the U.S.

The one song I want to bring to your attention just to show how out of touch and behind the RIAA and their certification systems are is “Human”.

“Human” is a song by Rag’n’Bone Man. It was released on July 15, 2016. On July 7, 2017, a year after its release it was given a Gold certification for 0.5 million certified units by the RIAA. On Spotify, the song has 206,745,038 million streams. It was in Spotify’s Top 50 hits for six months before radio and the labels and the normal PR label press outlets caught wind of it. To put into context, Metallica’s most streamed song on Spotify is “Enter Sandman” with 166,178,415 streams.

What’s the above telling us?

Recognition doesn’t come on day one or week one or month one or year one. It percolates year after year after year until it boils to the surface. Will you be around to capitalise and monetise? Maybe, but I can guarantee one entity which will be around to monetise. The record label and the publishers. The labels/publishers via their lobby groups like the RIAA have got Copyright wrapped around their little finger so tight and they have the power/money to influence the copyright conversation even more in their favour.

Standard
A to Z of Making It, Copyright, Music, My Stories

TheWay Of The World

If you risk, you could lose. There’s no safety net in life. All of the people who have succeeded say you need to fail to succeed. And we don’t hear from those who risked everything and failed and now have nothing. Hell, we don’t even know their names.

If we want a better future, we need to be able to see the world as it is. It’s easier said than done as we are all products of our tribes. The family we grew up in, the friends we associated with or still associate with, the city we grew up in, the school we went to, the music we listen to, the teachers and employers we had, the books we read and so on. Basically we have so many influences in our lives. The biggest one is money. It’s a system designed to keep us in a cycle of debt. We grow up watching our parents argue over it. We got to school so we get “skills” to earn it. We get jobs so we have it. We get credit cards and loans to have more of it. We invest in shares and property to make more of it. And the cycle just goes on.

To top it off, tech innovation has created a “superstar” lifestyle, which is even more extravagant than the music “MTV superstar lifestyle. We see it all over the news and social media. So we try to be one of the players. We pretend on social media our lives are better than what they really are.

But we are currently living in a “winner-take-all” economy. The internet is controlled by Amazon, Facebook and Google. You can add Apple to the list with their iTunes/App store. Streaming is controlled by Spotify, Netflix and YouTube. Retail is controlled by Amazon. Social media is controlled by Facebook. Search is controlled by Google. We can use their tools for productivity or to make money, but it’s on their rules, which can change any time.

But we still plod on, trying to make it. But we don’t know where to start, so we take all the roads on offer, only to get back to the start.

Everything we were told was wrong. The internet didn’t topple the old players. It just created more of the same and in the process it made the old players even more powerful. In relation to music, the artists created their own problems by signing terrible contracts in the first place. Then when they had songs make it big, they would renegotiate their contracts and resell their copyrights to a corporation for an advance payment plus a royalty cut of any “profits” the song makes, less “expenses”. So they get paid in the short term, but lose in the long term. The record labels knew this.

Why do you think they lobbied hard to get Copyright terms changed to be life of the creator plus 70 years after death?

They will pay the Estate of the artists a few million here and there for a popular catalogue of songs, which will keep the Estate happy while they laugh all the way to the billion dollar profit sheet.

The TV mirror tells us the world is dangerous. We see news of terrorist trying to kill innocents or moments after they’ve just killed innocents. Certain channels will try and influence the debate to suit their point of view. Meanwhile, the internet never forgets. We expose ourselves online and give big corporations all of our private data, which they sell to other marketing corporations or hand over to the government if they are warranted. All the while, we are exposed to fake news or real news and people just can’t read critically enough or care to read critically enough to make up their own minds.

We don’t have enough time to have showers, let alone put together a critique of two conflicting news items.

And somewhere in this chaotic life we all lead, there are artists who want to have a music career. They are sitting at home making music on Apple Logic or Cubase or Pro Tools. They put it out on streaming services via an aggregator like Tunecore or CD Baby. They tell all of their “social media friends” to check out their new song without realising it’s an empty echo chamber and they end up nowhere. The reason is simple. Making music is great, but making connections is even better. It’s the way of the world today.

Standard
A to Z of Making It, Copyright, Music, My Stories, Piracy, Stupidity, Treating Fans Like Shit

Outside The Conversation

Are the organisations like the record labels and the publishers doing their best for artists in the long term or are they just focused on the short term profits?

Customers of music showed the recording industry what choice brings to the conversation and the record labels ignored it. It wasn’t until a hardware company created iTunes and then a techie created a streaming service that customers started to get what they want.

Are the record labels and their lobby groups seeking useful outcomes in their fight against piracy or just short term wins?

Seriously, legislation to protect copyright and make the terms longer does not foster creativity. It only gives the current players a longer government granted monopoly.

What about how the record labels keep all the streaming licensing monies and give nothing back to the artists?

Some of the bigger artists might get a fee however the record labels are in this powerful bargaining position because of all the artists, not just the few. Then again, most people want the music of the few.

Is the record label policy of other people losing and them winning a good policy for artists and music in general?

It seems the record labels like to win. To them it’s a battle to get control back of things they lost. And they will do it through the courts and with legislation designed to protect their business model.

And if the record labels get control over the distribution chain and the recording industry goes back to the gatekeeper model of the past, do artists believe they will better off?

It’s easy to fall in love with the ideal of record labels getting artists to sign fair and equitable deals. Of course, that’s not how it works. And if there’s one organisation that hasn’t learned from past mistakes it’s the record labels and their lobby groups.

Instead of following a path that leads to better standards/outcomes for artists in the long term they seek a litigious path that only benefits them in the short term.

And what we have here is tribal identity at full force. Artists are emotional and they react to what is going on in a complicated world. In this case, the tribal identity set up by the record labels aligns itself with a downward spiral of selfish, short term actions. Fans are also emotional. Some attach themselves to the artist/creator point of view while others read wide and make their own choices.

And that’s the disconnect the industry is facing. Choice for fans to decide and make their own decisions and the power to demonstrate what they believe something should be worth.

No one wants to go deep anymore and unpack the facts. They’re too busy building out their identity online.

Trust me when I say this, there are fans who don’t pay for recorded music because they don’t believe they should, however these same fans have no problem coughing up $200 plus dollars for a concert ticket for a larger act and these same fans have no problems coughing up $20 to $70 for independent acts. It’s their choice how they choose to interact with music.

And then there are the fans who have large LP and CD collections, who don’t pay for music anymore, but still pay for concert tickets and what not.

And then there are fans like me who have large LP and CD collections and decided that streaming is the way forward. So I pay for a family account and I have no problems forking out cash for a concert ticket.

And then there are fans who have large LP and CD collections and have decided that purchasing physical is what they want to do. And these fans also have no problem paying for a concert ticket.

Life is fluid and we need to make choices every day.

This is the world we’ve arrived in. We’re dying for entertainment. The recording industry has never been more powerful. There’s all this crap about piracy, streaming rates and the techies taking over. But the techies make tools, not stories or music.

Life is a struggle for everyone, not just creators.

And our leaders have their own agenda while corporations pollute the conversation with their lobby dollars.

Why do you think they pay no tax and white collar crime corrupt bankers avoid jail?

Someone always thinks the rules don’t apply to them. If you listen to the recording industry, they would tell you that the techies believe that rules don’t apply to them. But hang on a second, if the techies are doing it their way, didn’t that used to be the ethos of the musician. To do it their way. So what went wrong? The techies have become the new rock stars. And they built it all themselves.

These days the pop stars become brands and puppets to the corporations. Otherwise there is a high chance they are left off the playlist. At least there are metal and rock creators doing it their way. Outside of the conversation they are building something, going against the grain.

Standard
Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories

New Jersey

I felt like listening to Jovi, so I called up “New Jersey” on Spotify. 

“Slippery When Wet” was written while Jovi and Sambora still lived at home and had a million dollar debt to the record label. The start of the “New Jersey” song writing process began as soon as the band came off a gigantic 18 month world tour with millions to their name. A double album was demoed and rejected. Desmond Child was brought in and a few more songs got written. Other outside songwriters like Dianne Warren and Holly Knight also contributed. The double album then became a single album and months after the conclusion of the “Slippery” tour, Bon Jovi had a new album ready to release and another world tour on the cards.

Jovi once said in an interview (and I am paraphrasing here) “What I didn’t get out of New Jersey was the pure pleasure of it”.

“Slippery” changed everyone around the band before it changed the band. Suddenly people around them started to make money because the band was making money. It was only natural that the band was sent right back into the studio.

Also after working so hard to make it, Jovi and Sambora realised that it’s even harder to stay on top. The success they had post “Slippery” could not be there tomorrow. “Slippery When Wet” moved 9 million copies in the U.S between 1986 and 1988 so the pressure was on to repeat it. Suddenly the band needed to deliver hits, where in the past they delivered songs that became hits. It’s a big difference in the mindset of the writer. Gone was the ignorance problem and in was the fame problem.

The problem that record labels don’t understand is people don’t always care about what the bands care about. And the reason they don’t care is because they don’t believe what the band believes in at certain points in time. In some cases, people just grow up and fall out of love with the soundtrack of their youth. And Bon Jovi’s challenge was to engage with their fan base and communicate in a way that shares the same emotion, values and beliefs. The fan base was also much larger than the fan base they had coming into the “Slippery” sessions.

They did their homework, looking at what Mutt Lange did with “Hysteria”. In addition, Aerosmith used Bruce Fairbairn for their 1987 smash “Permanent Vacation” so they had a fair idea as what kind of production was required.  

“Lay Your Hands On Me” was meant to be Bon Jovi expressing the feeling to the fans, that the band is still accessible. The same old dudes with new shoes, but the song was marketed as something totally different. Plus it kept in line with Bruce Fairbairn’s methodology that each opening track needs to have a cool intro for the live show.

“Bad Medicine” was a simple little romp linking making love to bad medicine. It might taste bad but you keep on going back.

“Born To Be My Baby” was a title Sambora came up with while Jon was playing the chord progression. It was more Dylanesque in the demo version with harp and harmonica in the mix than the final amped up version released on the album. 

“Living In Sin” is Springsteenesque. It had a pretty cool film clip with a decent amount of skin showing and Jovi is trying to move away from sugar pop into more serious territory lyrical.

“Blood On Blood” drew inspiration from the Stephen King film “Stand By Me” with River Phoenix and Keifer Sutherland. Jon had the draft, Sambora and Desmond Child further developed it. It’s also another song that’s very Springteenesque. “Blood On Blood” and “Wanted Dead Or Alive” are two songs Jon Bon Jovi would like to be remembered by.

“Homebound Train” is a rolling rocking good time song, perfect for the live show. But in an era that was controlled by MTV it would never have been a hit to the record label machine.

“Wild Is The Wind” and “Stick To Your Guns” are good pieces of AOR and occupy a similar place that “Without Love” and “I’d Die For You” occupy on “Slippery”. Both are fan favourites.

“I’ll Be There For You” was the unexpected hit on the album, buried deep at track number 10. “99 In The Shade” and “Love For Sale” close off the album. To be honest “Love For Sale” along with “Ride Cowboy Ride” should have remained off the album.

The foundation of any good record is the SONG. The song is meant to hit you in the heart, bring up some sentimental feeling or some feeling about the now. And the music we like accompanies us throughout our life. Human songs about what we go through in life are what end up sticking with us in the long run. 

“Jersey” came out, another 2 year tour happened and in between Jon Bon Jovi got married. Once the tour ended, Jon Bon Jovi went on a road trip, released a solo album for a movie and achieved even more success. Richie Sambora was left in limbo, picked up the pieces and also released a solo album. While “Jersey” didn’t have the same sales success as “Slippery”, it is a solid album and the band earned its keep as one of the best live shows.

Standard
Music

The Spirit Of 83 To 85 Returned Between 1990 and 1992. Part 2…

I’ve been writing about 1983 for quite a while now. I didn’t think that when I started the series that more than 12 months later I would still be on the same topic. I guess the year was revolutionary to me. I always held a view that metal and hard rock music committed its own demise between 1990 and 1992 by dumbing down lyrics and simplifing their song structures. So when the bands from Seattle came out singing about social problems and personal thoughts, it was a no brainer to take the more serious lyrical subjects over the “having a good time and getting laid” lyrics.

However, during the writing of the 1983 series, most of the bands that had an impact in that year to me, also released music between 1990 and 1992 and I didn’t see much dumbing down of lyrics. Instead I saw better lyrics, more mature lyrics, lyrics that showcased highs and lows.

And my view of hard rock and metal committing suicide is changing. Yes, bands got signed to mimic another popular band.

Britny Fox = Cinderella. Tuff = Motley Crue. Steelheart = Whitesnake. Poison – Motley Crüe. Warrant = Motley Crue/Poison. Bullet Boys = Motley Crue/Poison. Faster Pussycat = Guns N Roses. Tora Tora = Guns N Roses. LA Guns = Guns N Roses. Danger Danger = Bon Jovi/Motley Crue. XYZ = Dokken. Roxy Blue = Van Halen and so forth. From memory, 95% of the lyrics of the clones dealt with having a good time, getting it on with someone and I guess having a good time again.

Here are another 6 records that have lyrical ideas and themes far removed from the clichéd sex, drugs and rock n roll themes.

  • Megadeth – Rust In Peace
  • Ozzy – No More Tears
  • Black Sabbath – Dehumanizer
  • Pantera – Cowboys From Hell
  • Pantera – A Vulgar Display of Power

“Holy Wars… The Punishment Due” deals with killing in religions name. I guess people are still killing for religion, something I struggle to understand. “Sins Of The Father” deals with a person paying for a crime committed in the name of religion. “Heresy” deals with religion corrupting the world;

People, they go to war
Because religion gives them
Reason to fight

“Dawn Patrol” deals with the aftermath of global warming, with the lyrics “the green house in effect, our environment was wrecked”. “Letters From Earth” also addresses the destruction of our environment as the lyrics deal with sending letters to an unnamed source/planet from a cold world called Earth. “Rust In Peace.. Polaris” deals with nuclear weapons and the threat of nuclear war. Polaris also refers to the star that sits over the North Pole, so is Mustaine singing about a new ice age brought on by nuclear war. “Master Of Insanity” deals with killing rain falling down from the sky and cities burning. “Shattered” deals with the world as we know it ending from below. “Computer God” deals with our infatuation to technology, virtual reality and artificial intelligence and Dio more or less sums it up with the following lyrics;

Virtual existence
With a superhuman mind
The ultimate creation
Destroyer of mankind
Termination of our youth
For we do not compute

“Primal Concrete Sledge” addresses social inequality.

There’s a double standard for the way we live
If there’s nothing to have, well then there’s nothing to save

“Rise” is about how we need to push aside our differences and the influences of our tribes, so we can unite and rise and dominate the world. “No Good (Attack The Radical)” addresses the race divide in the U.S.

In the states
There’s a problem with race
Because of ignorant past burned fires
From evolution
We’ve been killing each other
I figure man should have it down to a science

In “I Don’t Want To Change The World”, the chorus lyrics deal with how a person doesn’t want to change the world and they don’t want the world to change them. It’s the metal head commandment. Just leave us be and we will get by. “The Art Of Shredding” addresses social wrongs with the lyrics;

Unity is a rare thing
Blind eyes of society bring
The category of minority
Now what are we supposed to be?
Born free to be
Powerless to change the world
With our lives in the hands of madmen

“TV Crimes” deals with evangelists on TV guranteening instant glory if people send their money. Dio again nails it. It’s basically the same topic Daisley wrote about for “Miracle Man” a few years before.

Gotta send me a plastic Jesus
There’s a check in the mail today
That’s what I need
Somebody to love

“Desire” deals with wants. In it’s essence it’s a self-reflection song of what it means to be Ozzy. “I gotta keep rocking, ’cause it makes me crazy, it makes me crazy, who needs to be cool”. In “Hellraiser”, the lyrics deal with living on an endless road, around the world for rock and roll. That’s what people wanted, to be on the road, live the life and the groupies. All the money might be in tech and banking, but they don’t have this. “Time Machine” deals with a person who refuse to change and stays the same for their whole life. “I” is also about wants.

“Poison Was The Cure” deals with Mustaine’s addictions. “Zombie Stomp” addresses drug addictions and liking the users to zombies. “Psycho Holiday” also addresses addiction while being on the road.

“Mama, I’m Coming Home” deals with being away from a loved one. It was a hit, not because Ozzy sold out, but because he crossed over to country courtesy of Zakk’s Southern Rock influence.

“Tornado of Souls” deals with a relationship break up. “Too Late” also deals with the same issue. “Walk” deals with so called friends talking crap about you to other friends and then those other friends telling you what the so called friends said. “This Love” also deals with a relationship breakdown.

“Road To Nowhere” is about reflection and how in the end we are all on roads that really lead back to ourselves and if we are too caught up with our heads in the clouds, we will pass ourselves by. “A New Level” addresses moving on from the past that involved being stepped on and spat on by lesser men to a new level of confidence and power.

“Hanger 18” deals with government/military conspiracies/cover ups. “Cemetery Gates” deals with religious conspiracies/cover ups.

“S.I.N” addresses how we deal with our thoughts when we are alone. “Mouth For War” is about using your aggression and hate for good instead of evil. Be creative instead of destructive. “Live In A Hole” also addresses our fears of breaking out of our shell and if we allow the fear to take over, we are unable to break out of the cage it creates.

Metal and rock was good. The record labels on the other hand chased the dollar and fucked it all up.

Standard
Copyright, Music, My Stories, Piracy, Stupidity, Treating Fans Like Shit

Short Term

Thinking short term is hurting us. Every leader in charge thinks about the now and never about what’s around the bend. The majority of people in charge of corporations only care about the now. What is our bottom line looking like? There is no care about their environmental footprint or employee well-being.

Record labels are the same. They focus so much on first week sales and charts as they believe it brings in an instant payday, without understanding that the payday they are really earning is from music created 30 plus years ago and it just percolated, slowly rising to the top.

Have you heard of the record labels starting to employ artists as employees and offer them retirement plans? 

Of course not. That’s long term thinking. 

So Disney is pulling its catalogue of movies from Netflix in 2019. As a Netflix user, I say who cares. I never started subscribing to Netflix because they had Disney movies. I started subscribing because I wanted Netflix Originals. And with the addition of a comic book company with a cult like following, Netflix is looking at creating its own shared universe. It’s positive and long term thinking.

How often do we hear that people have no reason to pirate from the movie studios and record labels, as their catalogues are available online legally?

Amnesia seems to be the order of the day for the labels and studios because the online legal alternatives are fragmented. And as long as fragmentation exists, the pirate sites will be numero uno for content consumption. Same deal for music that’s available on Tidal or Apple and not on Spotify and vice versa. It’s ridiculous. So are consumers meant to have three streaming subscriptions for music and another ten streaming subscriptions for movies/TV. I don’t think so.

Consumers don’t want to have a dozen or so subscriptions. Just look at the cable TV industry. Too many subscriptions are expensive and not manageable, especially when these streaming sites are competing with illegal streaming sites who offer everything on the same site. Illegal streaming sites also show the content industries what kind of supply consumers want. At the moment, the content industries are focusing on the payday right now which means limiting the supply instead of the payday in the long term which means to open the supply and get more people to subscribe.

So what would Spotify do if Universal, Sony and Warner pulled their music from the service and started up their own service like Disney?

I don’t think it will happen. The revenues the three majors are getting from streaming licensing deals and royalty payments is insane. They would be crazy to leave Spotify. But if they do, Spotify is in trouble as it has no original content.

Have you seen the revenue numbers from Warner Bros lately?

Streaming grew by almost 60% from $227 million to $360 million. Downloads bring in $88 million, down from $121 million. Forget about vinyl, CD’s and cassettes. They are niche items that collectors would buy, however they will not sustain the business.

Overall income from recorded music grew by 13% to $770 million and it happened on the backs of listening instead of selling. Consumption in the 2000’s is all about access.

So if Spotify doesn’t pay, how did Warner accumulate $360 million dollars in streaming fees? All of those artists who sold their rights to corporations are losing out big time. The corporations who hold the rights are making a lot on streaming. 

The rich are getting richer. Meanwhile, we have clueless sites reporting how legacy artists need to hit the road to keep an income as they have no monies coming in from streaming. Well, these legacy artists need to get with the times. Get their fans to stream instead of buy and the corporation that has your rights will get paid royalties. And if you have a good deal with the corporation that holds your rights, you will get paid as well. If you don’t have a good deal, you will get squat. The game is rigged in the record labels and publishers favour. They are making a tonne.

It wasn’t supposed to be this way. The internet was supposed to level the playing field, give us all a chance. Instead we have monoliths who control 70% of the marketplace. And the powerful always abuse their position. Look no further than the scandals.

In Australia, we have our largest bank, Commonwealth Bank of Australia, involved in money-laundering. The deputy commissioner of the Australian Tax Office was covering up the multi-million tax fraud of his children. Politicians are resigning because they developed amnesia and forgot they are dual nationals, which is a breach of the Constitution. And still no word if they get to keep the money they fraudulently earned or they need to pay it back. All short term thinking.

Standard
A to Z of Making It, Music, My Stories, Stupidity

Fragile Attention

If the stories are true, then Netflix has a debt problem. And we all know Spotify hasn’t turned a profit and neither has Pandora. Meanwhile, Soundcloud is for sale or closing up shop, depending on which stories you believe.

Will Netflix survive long enough to turn a profit?

I hope so. Their own catalogue keeps growing but does the money spent on original content turn into profits or is their debt due to infrastructure and network costs. The ISP’s charge Netflix (and all the other streaming providers) a lot of money and then they charge us to you use the internet and access Netflix. It’s a double dip of epic proportions. Netflix also has investors and shareholders that it needs to placate.

Radio is a perfect example of how it went from a format that broke acts and drove culture to a format that focused on profits to please shareholders.

Gyms make their money from customers who pay and never use the facility. However, the customers who are at the gym for 4 hours a day end up costing the Gym in the long run.

Is this the same deal with Netflix?

Streaming services might have 100 million subscribers, however they might have only 2 million subscribers accounting for 95% of the usage.

Then again it’s been proven that the type of user you want is the person who uses the service daily instead of once a week.

Netflix lives in the current world, where everything’s instantly available, just a click away. But they have the same issue every other service and artist has. People can’t slow down their lives long enough to immerse themselves in their content at a rate they would like. If Netflix has this problem, imagine every up and coming musician.

And sometimes it doesn’t matter what you do. If someone doesn’t want to hear from you anymore, you’ve lost the ability to reach them. For a brief time, an artist or a service might have a person’s attention. However attention is fragile. In a monoculture, when we had 5 channels and gatekeepers, attention could last longer. However it today’s world, it’s gone within an hour, sometimes even a week.

Attention is fragile. We give it and then we take it away only to give it to something or someone else.

Standard