Mick Jagger on the Economics of Music

Another reason to like Mick Jagger and the Stones: the man is smart. Here's a bit from what he observes regarding music sales on an interview with the BBC:

...people only made money out of records for a very, very small time. When The Rolling Stones started out, we didn’t make any money out of records because record companies wouldn’t pay you! They didn’t pay anyone!

Then, there was a small period from 1970 to 1997, where people did get paid, and they got paid very handsomely and everyone made money. But now that period has gone.

So if you look at the history of recorded music from 1900 to now, there was a 25 year period where artists did very well, but the rest of the time they didn’t.

More here.

 Subscribe to HetPer

 Subscribe to Gendering the Media Podcast

Lared Leto and Hayley Williams Cover Lady Gaga?

I was reading up on Rolling Stone, BlackBook, and Spin earlier today and, lo and behold, it was Lady Gaga galore, again. Like Jersey Shore references, Lady Gaga tracks and costumes are another exercise in ubiquity. I like to think I can ignore vexations pretty well for the most part. However, it's pretty difficult to ignore ubiquity by virtue of it being, well, everywhere.

Two musicians I generally like and whose music I find worthy of attention i.e., Jared Leto's 30 Seconds to Mars and Paramore's Hayley Williams have both done covers of Lady Gaga's "Bad Romance". I don't understand why they're doing such covers but I would think it has something to do with sales boost since Gaga's been selling very well. Be it as it may, next time I'm at the gym, the grocery store, or any store for that matter and Gaga's music is played, at least I hope they play Williams' or Leto's version. There are after all levels of vexation and that would be tolerable.

You can see Hayley's version of "Bad Romance" below. (Read about it first on Spin)



And here's 30 Seconds to Mars' version. (Read about it first on BlackBook Magazine).

 Subscribe to HetPer

 Subscribe to Gendering the Media Podcast

Keane: Concert Report

Two nights ago we headed up North to Cleveland to see Keane in concert.
I am most appreciative of Keane as, over the years, they have informed much of my own writing process. Our concert experience was quite gripping as it seemed to contain a number of nigh comical contradictions.
Actually, the main reason why the Keane concert was such an enjoyable experience was because of the bundle of oddities that occupied the same setting.



For starters, on the tickets it said that the 'opener' for Keane was some form of a cook-off. Cook-off?! Welcome to Ohio, folks! Meat, Buckeye football, and John Boehner. Yup. I did a double take as a cook-off isn't necessarily the first thing that comes to mind when thinking of an Indie rock performance where the artists sport skinny jeans, nicely coiffured hair, and an overall vegetarianism-informed 'text.'

We approach the gate to ask the older gentleman who checked the tickets what all the other commotion was. The gentleman said, "you can eat anything you please here. There's a lot of booths. And afterwards there's going to be a concert, too."

"Ah, well, we're here for the concert, actually. Are there any sushi places nearby?" the good half asked.

The man looked at us funny and then added: "Sushi? Uhm, well, there's a lot of food here."

We thanked the man and then decided to scope the Cleveland downtown area ourselves and pick one of the places the iPhone app "Around Me" recommended to us. Yes, oh-so-very-non-cook-off-like!

The musical opening acts for Keane were Helio Sequence and Matt Kearney. Both bands made comments about the uniqueness of the setting. Matt Kearney made some vegetarian references while also commenting on the meat. "I don't think I've ever sung my songs while reading a big meat sign from the stage" said the Eugene, OR-based performer. He also taught the audience how to pronounce Oregon. "It's not Ore-gon," he said and I smiled as this is a comment I hear with much frequency from my Oregonian crowd.

And then it was Keane's turn. Tom Chaplin also made food- and meat-references when on stage. His language was almost too polite. Chaplin's good schoolboy charm is easily observed on stage. He has a hard time masking his surprise over the fact that the audience was so excited to see them perform. "I really didn't know what to expect tonight," said Chaplin, and it was a statement that could be easily believed, especially having the odd/funny setting in mind. His demeanor seemed to say: 'You guys like cook-offs and our music?! How equal opportunity of y'all!'

I wondered who was in charge of event planning and who had thought to pair the music of Keane and Matt Kearny with a cook-off. But the odd setting contributed to a most enjoyable experience. Contradictions like this are what make Ohio fascinating to me.

Keane's shows are always worth it as they are fully committed to entertaining well. After a 90-minute non-stop performance, we were happy to have driven a couple of hours North on the I-71 to see them live.

If Keane is performing in your neck of the woods, do see them. It'll be worth it, cook-off and all.

 Subscribe to HetPer

 Subscribe to Gendering the Media Podcast

The Killers: A Concert Report

Two nights ago I saw The Killers in concert in Cleveland. I will be discussing it in next week's videocast, as well.
My right ear is still not at full capacity thanks to our standing in close proximity to six giant loudspeakers.
One has to sacrifice for music, after all.

Frontman Brandon Flowers is the main reason behind the band's cache. And he has much of it. Flowers is always in sync with his music and his band members. Like an involved conductor, he makes sure all the instruments are attended to and, thanks to his quick movements, he managed to have eye contact with his band members as well.

Flowers does not stay put in one spot.
Those who are hyperactive by nature will especially get his modus operandi. When in his element, singing or playing the keyboard and guitar, he accompanies his vocals with constant movement. What's truly amazing about this performer is that regardless of the constant sprint-like moves on the stage, his voice quality doesn't suffer.

And then there was the stage. It looked like a spot of Vegas had been extracted from the Strip and had been planted in Cleveland. His initial getup was also oh-so-Vegas. It looked like a showgirl helped him with the extravagantly bejeweled jacket which he kept on for the first few songs. The rest of the time, the band's outfits fit comfortably with their sound and stage.

A few times Flowers looked a little perturbed at the mic as it evidently wasn't behaving the way it needed to. He left the stage for a few seconds to talk to the behind-the-scenes powers that be about said mic.
He re-entered the stage at the loud welcome of his eager fans.

I like The Killers not only because of their definite role with the post-punk revival. That, after all, is not a primary reason to like any act as, in my case, at least, it's not what informs my taste primarily. I like their music because since they entered the scene and my radar over 6 years ago, their work has fueled mine most exquisitely. And, at the risk of narcissistically quoting a previous audio piece of mine, after all, one needs to be a 'grateful receiver' of such musical favors.

The concert experience lasted about 1.5 hours and it felt like 1.5 seconds. I never have the urge to play with my iPhone or check my watch or even think about anything else of substance or inconsequence when in the presence of their music. And to me, that's something. Something novel.

The Killers do seem to have gotten to the point of comfort with their level of popularity. It might just be that they believe they are deserving of it. I most certainly think so and those who object to their music/performance style need to make a good case for themselves for this band has created the pattern, I think, of what it means to translate 80's SynthPop, Electronica, and Punk into the reality and consciousness of the twenty-first century.

In sum, you should try and watch them on their current tour promoting their last album, Day & Age. It will be nigh impossible for you to take your eyes off the stage.

Kudos, Killers, kudos.

 Subscribe to HetPer

 Subscribe to Gendering the Media Podcast

Bob Dylan and the Press

In this clip, a very young Bob Dylan discusses the business of music, the arts, and news.


And consider the following clip from the film I'm Not There. A 'Cate Blanchett' version of Bob Dylan renders the artist's philosophy of what music is.

 Subscribe to HetPer

 Subscribe to Gendering the Media Podcast

Verdi on High Definition?

Some snobbism is allowed when Verdi's work is at stake. At least, according to many Verdi-informed music lovers. Since I have loved his work since I was able to read, I consider myself worthy of voicing an opinion on the matter.

Incidentally, I am currently reading much about Verdi's impact on Italian/European politics of the 19-century and the more I become involved with the topic, the more I see my admiration for the composer morph into yet another (much deserved!) cognitive appreciation. Experientially, I have always 'gotten' his work. Now it's cognition's turn to catch up.

As a supporter of the arts, I list Verdi as one of the highlights of my upbringing and life. Watching things like Casa Ricordi didn't just give me musical pleasure for the moment, it also taught me concretely about the pragmatic aspect of creative genius. Verdi epitomizes just that. Having overcome an amazing sea of hardships, the composer manages to maintain his stoicism while creating some of the most soul-feeding melodies the West has yet to experience.

Watching a Verdi production live is something that the language cannot adequately contain or explain.
Nabucco, Aida, and Traviata were created to be experienced by sold out audiences and Verdi, like very, very few artists, had the right vision to know that when people would love his work, the would love it in great numbers and with much passion.

I read an interesting bit on the Times today about the use of technology in broadcasting and how it is making an impact on live productions of operas as well. I think Verdi would have been a fan of the notion of allowing many people to experience his works in almost perfect synchronicity.

Something like La Scala times 1000 would have given him pleasure, I think.

The composer produced the kind of music that inspired not only the bona fide music lover but people at large, peasant and nobleman alike.

Would I like to watch Aida on a huge screen in San Francisco when it is being performed live in Milan? Yes.

Would I rather want to watch it at La Scala? Yes.

This scenario strikes me as a rare yes/yes one.

A paragraph says:

"The Teatro Alla Scala in Milan broadcast its gala opening night, a performance of Verdi’s “Don Carlo,” live on Dec. 7. At the New York showing, in the Miller Theater at Columbia University the Milanese glitter of tuxedos, gowns and dripping jewels on the screen contrasted with the bulky sweaters, down jackets and eccentric facial hair of an Upper West Side crowd."

The entire article is here.

And might I treat you with Verdi's "Va Pensiero sull' ali dorate" from his opera Nabucco? This particular production comes from 2001 at the Metropolitan Opera House.

 Subscribe to HetPer

 Subscribe to Gendering the Media Podcast

Bruce Springsteen Deserves His Nickname

I have never understood why concert goers get punished regularly with higher and higher concert/venue fees. A performer has stood up for his fans, however. The Boss took it upon himself to criticize Ticketmaster for overcharging the fans. Bravo, Boss, bravo!
Making a buck is one thing. Making thirty is thirty wrong things.
So, my tip of the hat goes to Bruce Springsteen today.

"The musician condemned Ticketmaster for redirecting fans to another website selling more expensive tickets. Writing on this website, Springsteen said he had asked the company to "immediately" stop the practice. Ticketmaster said it has removed all links and has pledged to refund fans their additional costs for tickets."

Read more here.

 Subscribe to HetPer

 Subscribe to Gendering the Media Podcast

Radio Station Indie 103.1: Good Luck to You!

“Because of changes in the radio industry and the way radio audiences are measured, stations in this market are being forced to play too much Britney, Puffy and alternative music that is neither new nor cutting edge,” the station said in a statement on their Website and an audio blast that aired several times this morning. “Due to these challenges, Indie 103.1 was recently faced with only one option: to play the corporate radio game. We have decided not to play that game any longer. Rather than changing the sound, spirit and soul of what has made Indie 103.1 great Indie 103.1 will bid farewell to the terrestrial airwaves and take an alternative course.”

And that is the reason why I don't do mainstream radio. My musical tendencies are not featured in it the way I'd like them to be and nothing is as effective in engendering a bad mood as, well, bad music.

Radio has definitely shifted much from the days Everclear was inspired to write the song AM Radio. And with the web taking over, I find Indie 103.1's decision solid and laced with integrity. It is also sad. Indie 103.1 has served as an arena where a lot of good acts were discovered. It's helped Indie music a great deal, indeed. If the industry says you need to comply or else, very few places have it in them to say, 'uhm, I'll take 'else,' please, Alex."

And I, for one, will be supporting Indie 103.1. Not solely out of the kindness of my heart, however. Music is a serious business with me, after all. I will be checking them out because I know I can listen to the Kings of Leon, LCD Soundsystem, and Morrissey et al., and not be bothered with pseudo melodies.
Best of luck to you, Indie 103.1. I will be listening.
Read more here.

 Subscribe to HetPer

 Subscribe to Gendering the Media Podcast