Entertainment For Lively Minds
How to solve the problems of the record business at a stroke
Somebody just sent me a link to an open letter where OK Go explain how fed up they are that EMI (their record company) won't let people embed their video in any old site. The reason, which OK Go, being intelligent human beings, understand, is that EMI don't stand a chance of making any money out of it and the old "it's for promotion" explanation won't wash any more. OK Go have to use expressions like "bummed out" to make it clear that they're sympathetic to the fans and expressions like "kinda" to simultaneously stress that they understand where their record company are "coming from".
On one site this led to the usual torrent of reaction, some of which displays a touching belief that OK Go, like any up and coming group, must be trying to pull the wool over the fans' eyes because they're clearly having a terrific time and "they cruise around in a big ass, cushy tour bus all year long". This view of the economics of the music business, which seems to owe a lot to great thinkers like neil out of The Young Ones and Wolfie in Citizen Smith, is grounded in the belief that all bands must be living the life of Riley because they're not living the same life as the fans. This point of view takes root in ignorance and is allowed to blossom by the wide gulf between the life that is lived by the bands (even the up and coming, mortgaged up to the hilt, living on KFC bands) and the people who buy their tickets and records (if they're very very lucky.)
I have a suggestion which I think could bridge this gulf of misunderstanding. It involves public transport. Back in the day when professional footballers earned not much more than the average skilled man, they used to go to the games on the same buses and trains as the fans. This communicated the important truth that they were men as other men and not the members of some distant, exotic species. I think musicians should do the same thing. They should use the same transport, bars, restaurants and facilities as their customers do. You should not be surprised if you look up on the Jubilee Line and see that a member of the band you're going to see is on the same train as you are. This would not be a pose. Because the fact is that no matter how parlous your finances might be, they are nothing like as parlous as those of most people you're going to see.
The average musician - and I include the members of OK Go in this - is potless. They're trying to make a living against massive odds. They don't expect any special treatment. But they must resent the assumption on the part of many of their fans that they're somehow living high on the hog on the tab of some record company or manager. They assume this because the members of Ok Go live, breathe and have their being behind the red rope of celebrity, even minor celebrity. What they have to do is come out from behind that rope and show themselves to be as other men. If they were sitting next to you on the tube on the way home from the gig you'd feel bad about not buying their record, wouldn't you?
- More from David Hepworth.
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The last thing 'fans' want to see
is their 'heroes' behaving in the same way as them.
The more it appears that musicians are 'just the same as us' rather than 'special beings from another planet' the more devalued music will become.
Btw, what facts do you have to support your claim that OkGo are 'potless' ?
Also
the huge Ok Go banner at the top of the page wouldn't have anything to do with this post, would it?
Heh
What would we have to gain by drawing attention to an article that criticises the same record company that paid for the advert? Most of the time, a post is just a post.
No such thing as bad publicity?
Yes there is
ask Gerald Ratner.
Or Iris Robinson ...
(ha!)
Take the average record company advance...
....which is dramatically less than it used to be, now divide it between the members of a band plus their manager, deduct basic living expenses and - bingo - no pot.
Spot on
A friend of mine is in a band signed to a major label. He lives on a £100 per week allowance from their manager. This is unlikely to change any time soon, unless they get uber-massive, which is unlikely.
Having said that, wouldn't the cost of undertaking a two week national tour using only public transport outweigh that of hiring a splitter van for a couple of weeks and putting fuel in?
Quite so
not so much Babylon by bus, as a bank loan for a bus pass ...
[thinking of installing a handy coat rack]
Money
One of my best mates was bass player in a couple of pretty successful bands - US & Japanese tours, lots of radio play, that kind of thing. He gave it up to become a painter & decorator because the pay and prospects were so much better.
So no facts then,
merely conjecture.
I don't have any facts to show that they aren't potless either, but Ok Go's video for their song 'A Million Ways' is the most downloaded music video ever with over 9 million downloads & as of July 2009, the original video upload for "Here It Goes Again" has been viewed over 48 million times. I'm betting that there was some revenue for the band from those 9 million downloads and the 48 million viewings must have translated into at least some sales for their albums.
OK Go
I guess it depends on how the YouTube clips in question were monetized - no-one benefited directly from the 35,000,000 views Susan Boyle got for I Dreamed A Dream (although it obviously had a huge beneficial effect on sales elsewhere), and most of OK Go's "downloads" were in the days before videos were regularly made non-embeddable, from a time when YouTube hadn't really sorted out it's payment mechanisms with the record industry.
But let's assume they get paid for everything: at the current UK rate of 0.085p per video play, 48,000,000 views turns into £408,000 of record company money, not band money. If we're very generous and assume the band get 25% of that (assuming they've paid back their recording advance), that leaves about £100,000. After the manager takes 20%, the band members are left with £20,000 each for being one of the most successful acts on YouTube for four years. That's £5000 per member per year. It's a nice sum, but you can probably cancel the guitar-shaped swimming pool order.
This is very much back-of-a-fag-packet maths, but I suspect I'm being generous. Or maybe I just can't count.
The Futureheads
Apparently, the most they ever earned in year whilst signed to a record label (and having a top 10 hit) was about £11-12k each.
Keith Flint from the Prodigy once said something like 'There's a perception that once you've appeared on telly, a van comes round to drop off exactly one million pounds'.
Also bear in mind...
...that the advance, along with pretty much all costs involved in making and promoting the recording, will be taken back by the record company before the band actually earn anything from it.
I resent the assumption
that I use public transport, how very dare you. I want my rock stars rich, opulent and extravagant if they're not well maybe they're not very good and should get a proper job, like the rest of us.
Joking apart though,
We seem further away than ever of resolving this one.
There seems to be a overwhelming consensus among the Freetards that all musicians, whether it is Robin Hitchcock or the bass player from Grizzly Bear, enjoy a lifestyle comparable to that of Elton or Queen circa 1986. How many of the same Freetards are probably doing courses in Sound Engineering, or Advanced Rock Star Studies at Uni and haven't considered how this will impact on their own future pop career.
I don't think bands and musicians should live like lords though, and if the days of bands straddling the globe in private jets and snorting Bugle off the thighs of Pan's People are over then fine (although the rock biographies of the future may be a tad duller). But I do think a musician ought to be entitled to a few bob and if they make good records, play gigs and entertain us then they ought to at least earn as much as say a supply teacher of trainee estate agent.
A lot of new bands already look like buskers who need a good meal as it is, a lot of them certainly can't afford razorblades.
"I don't think bands and musicians should live like lords"
Why not?
Guilt as a weapon
I don't think people have a right to free music - but if you see a fiver on the pavement, you will probably pocket it and spend it on sweets. But most of us know that this is not how you get money to buy sweets. It is in this spirit that many people take free downloads or films on DVD from your mate in IT.
I guess the "freetards" (not sure I like the word...) must be the kind of people that expect a fiver to be there on the pavement every day. But I don't know many people like that.
So my thought is that attempts to make people feel guilty on this issue are always rendered impotent by the immediate association with wealth that people have re pop/rock music.
Stop dropping fivers on the floor and then the problem will disappear.
Good post
Illegal downloading is so prevalent because (a) there is little social stigma and (b) the chances of getting done for it are virtually nil.
What bugs me is when 'freetards' regard themselves as renegades fighting against 'the man'. They're not, they're just taking advantagre of (a) & (b).
Robin Hoods
The attitude that I get most often here in Spain (Madrid) is that the record companies, and therefore the bands, have made so much money from the consumer in the past, it is their right to take music for free now.
To some extent I agree that CDs in Spain are crazy expensive, but nobody seems to understand (or listen) to the fact that money made in the past isn't going to support the labels for long, cheap CDs are available from the internet - and more relevantly to this thread - Just because the band is "famous" doesn't automatically make them "rich".
I must admit to being a torrent using downloader, but I also buy as many CDs/Records as I can afford and go to more gigs than most people I know. And if Spanish TV wasn't so crap I wouldn't have to download TV shows in the first place...
Perception of whether or not you'll get caught
is everything, I quite agree, just try parking in London. Though if you want to dump rubbish on the pavement right next to all the legally parked and paid up cars, no one at the Council can see any money being made in taking action to change your perception of whether or not you'll get caught.
I'm buying less officially released music in these straightened times but on downloading I've made a policy only to illegally get illegal recordings, which seems almost fair to me.
Reallity of not being able to be caught
As it's still not illegal to download music over here there's not even the perception that it's morally wrong - let alone legally suspect.
link below is to a related BBC article.
http://news.bbc.co.uk/2/hi/technology/8471290.stm
When I'm in the UK I ALWAYS kill my bitorrent software just in case my head pops above the radar.
To Me
There is still not enough clarity over what is illegal and what isn't and this may be on purpose to act as more of a deterrant. Am I right in thinking that by downloading an album on an mp3 blogsite you are not breaking any existing law as it is the "file sharer" or "uploader" who is the one breaking copyright by making it available in the first place.
Obviously it is morally wrong (although I bet we all had taped copies of mate's albums in yesteryear)but is it also illegal?
Also I notice a lot of people who take a very high moral stand against copying released albums have no such qualms about downloading bootlegs (even though bands often sell copies of live recordings at gigs themselves)
So back to the original question, is downloading technically illegal? every case I have ever heard aboout being prosecuted both here and in the US is for making your own music availible to others.
The thing that perplexes me is people thinking that
cruising around in a big ass, cushy tour bus all year long is a) the definition of life on the hog; and b) a desireable way of life.
Let's for a minute leave aside the inconvenient point that at some time the cruising has to stop and such trivial things as writing more songs, rehearsing them, playing them to an audience, recording them, publicising them and attending to all manner of music business stuff has to be done.
Let's also assume the band members don't have a family they want to see from time to time, much less a steady relationship to maintain, and that they don't have a home with bills to be paid that requires them to be somewhere other than on a foggy, bumpy obscure Belgian motorway at 2am on a Saturday morning.
I suspect that too many people have been seduced and/or misled by "Britains Got X Factor on Ice" tales of £1 million pound contracts and get rich quick myths to see the real life behind the hard slog that's required to get into a position where an elite few acts can take it comfortably.
Too much joy
As most people don't know (but I bet we all do) - the band are ultimately paying for that tour bus.
See the blog post from Too Much Joy http://www.toomuchjoy.com/?p=1397,
explaing how after a decade of minor success they owe the record company a third of a million. Which digital sales is reducing by about $10 per year.
I saw TMJ supporting the Mighty Lemondrops in the USA (which tells you how big they weren't) and they were great fun. But never rich.
BTW, like many people I travel a lot for work. Hotels and planes are fun for the first year. After that, they are just places you work in. Again, most people don't seem to realise that.
A very good post.
Flawed only by the excess baggage that musicians have to cart around with them.
That'll be the drummer with kit.
Here all week. Try the Saltimboco and Chips.
I perceive rock/pop music as a young man's game partly due to it being the music of my youth but also because it's easier to live on sunshine, fresh air and not a lot else when you're young.
Money isn't everything
Rock music has always been a young person's game. If they are lucky they will be able to convert a hobby they do at school/Uni into something that delays the onset of real life. All they need is enough to pay their rent (or mother) and the costs of living on a par with a student; they will get this by playing live and getting the odd expenses here and there and maybe something from record companies. They can get state benefits for a while too.
It's a gamble because their school/Uni mates are into a career and they are not, unless they strike it big. If they fail, then the band collapses and real life begins aged 25. It's like an extended gap year but with more sex and a lot more ego fulfillment. And certainly there is ample enough time to catch up your Uni colleagues and develop a 'normal' career.
Young folks - go for it!
This is what I want from rock stars...
Exactly
I want Stevie Nicks living in a silk, draped gothic palace in California, not dragging suspicious lengths of hose pipe and a sheepish looking roadie onto the Jubilee Line. Let's keep it unreal guys.
Does anyone remember the "At home with Stevie Nicks...
...feature in Q where, rather than invite a photographer into her actual silk draped gothic home in the hills, she had her bedroom recreated in a studio nearby for the convenience of the magazine? You wouldn't catch *her* on the Jubilee Line.
THIS hepcats all for outtasite space rock...
...but there's no harm in having the people who make it right where you can see the whites of their eyes.
I had the great pleasure of seeing PJ Harvey in Folkestone in 1992 when PJ Harvey was still just a band with a singer called PJ Harvey in it, and they were about as unpreposessing as that taxi driver who was mistaken for a computer expert by BBC News 24.
They were still at the bar when Moonshake's support slot finished, and they then wandered on and tuned up their rickety kit with the houselights on while no-one was paying attention.
The fact that they then delivered the most transcendent, life-affirming, incandescent (insert other ten-rate rock hack cliche here) 75 minutes of live pop I've ever seen was made even more special by the fact that they were about as drab and unspectacular as me.
I had a cousin who was so close to the "stage" when he saw Sonny Boy Williamson in the 1960's that he was able to half-inch his harmonica after the set, and I say we should have more of that and less of this "Tonight I'm A Rock N Roll Star" rubbish that The Eyebrow Brothers made fashionable again.
My experience...
...or what little I have is...
a) hanging around shabby subterranean studios round the back of Piccadilly station whilst the lead guitarist tries and fails to nail his part to his own satisfaction ("Ooh more flange I think"). At 8am. On a Sunday. Cos it's cheap. Ooh look, a rat!
b) Irritating habits becoming more and more magnified by this time spent together. Factions developing. Pencils being thrown on Christmas Eve ("Write it down!")
c) Nobody turning up at gigs (we weren't great, but we weren't bad). Lead singer having a crisis,tearing up the set list, getting shedded before a gig and eventually sounding like Demis Roussos channelling the spirit of Charles Hawtrey.
d) Muso-types who are technically brilliant but can't work out a chord-change or hear a wrong note. Hey, I'm only a drummer, what do I know. Well, I know it's E major not Em.
e) Yes, e, not e minor.
f) The drummer moaning all the sodding time ;-)
OK Gone
Great post, DH.
As someone partial to a bit of OK Go, I've been following their Twitter stream and website around the release of their new album. I bought their last album in the CD format. The new one, I just Spotified onto my phone. That song that the record company won't let them embed the video of? Why it's FREE on the CD given away with this month's mighty Word! They say the video can't be embedded off YouTube? This is true, but OK Go have an embeddable version over on Vimeo. Here it is...
OK Go - This Too Shall Pass from OK Go on Vimeo.
With Spotify, free Word track and Vimeo vid, it's hard to see OK Go living high on the hog. I'd be amazed if they're on a major by Christmas. They're managed by the guy who manages They Might Be Giants, who have defined how to stay creative and successful after being dropped by a major over the last 10 years, so hopefully they'll be ok.
Ouch
I wonder how many cuts there were because the lead singer clobbered the bassist with his drumsticks when they were kneeling? Also, if I'd known they were shooting out the back of our house in autumn, I'd've taken out a tray of tea.
Trying To Make A Living Against Massive Odds
http://www.list.co.uk/article/23083-fence-winter-tour-king-creosote-inte...
King Creosote saying it how it is.
"Since 2005, I’ve watched my profile go up, my record sales go down, and my live audiences go down – despite there being more copies of my records on computers."
Touring
May be a bitch, but it hasn't stopped nearly every band that ever existed from reforming now that record sales have plummeted.
But why bother
when the pay is soooooo crap?
It's a mystery.
Seems to me
That ticket prices have risen in line with record sales decreasing.
You now pay for a third division band what you used to fork over for a top act.
State of pay
It never ceases to amaze me how whenever the subject of piracy comes up the attention is perpetually focused on teh four pimply youth who may or may not be living high on the hog. Whether you like it or not the music industry is just that : an industry. That means it currently employs everyone from accountants to roadies, freelance photographers to carpenters. Someone out there must have the figures for the amount of people dependent on the music industry for a living. I'de love to see them. I'de especially love to see the diversity of jobs and skills involved in maintaining the whole process.
I can't see anyway out of it other than punitive legislation. You can't rely on peoples morals. One of my best mates is a senior producer and abhors music piracy yet came home from holidays boasting of having picked up some counterfeit luggage for a song! Go figure!
Punative Legislation
is counter productive and will create a negative perception on the industry. It will also not work if it just applies to music or film - and if you're not careful, you create criminals of whole chunks of society.
The entertainment industry getting to grips with the new market model, cutting its costs (like all other industries have done) and engaging with its customers is more likely to work.
Let them be out on their own ?
As someone who has completed several adventures as a tour manager, there is one very good reason for having a tour bus - it keeps all your little darlings in one place. I don't think I'd trust many touring musicians to be able to manage public transport. It's hard enough getting them all from the B&B rooms, down the stairs, along the path and into the van on time, never mind giving them the opportunity to get properly lost.
Spiritualized take the train
Well Jason Spaceman does (I sat opposite him last year) - lovely chap, gave me a salute when I was nearly blubbling about what a big fan I am.
I've also seen Richard Jobson on the train, but he's not so much of a draw for me.
Public transport
I once bumped into Max Bygraves at Leeds station where he was waiting for a train to London. Pleasant enough chap.
I saw Prunella Scales at Vauxhall Tube station
She was twittering to the point of irritation about which way she should go and what train she should get to get to Leicester Square. She looked like a total fish out of water. I know she likes to think she's a bit of a woman of the people but she's clearly not got the Tube for years but thought she'd try it to be like any other 'ordinary' person.
I wondered why she wasn't being like a normal celeb and getting a cab.
Which is why rock stars taking the bus would never work. Once people get a sniff of fame they get a driver or taxis as they think they're a bit special because everyone tells them this is so. So they can't cope with being among the public. They think they're above it all. And when they try to show they're just like you and me it just gets embarrassing.
Reminds me of Andrew Ridgeley
At the height of his fame, I recall him saying that he still used the bus. When pestered by the public, he would ask them to consider whether Andrew Ridgely from Wham would be travelling on a bus? These days of course, the answer is yes - but things were different in the 80s.
Amazed
no-one's mentioned this yet
http://news.bbc.co.uk/1/hi/8339710.stm