Morals and Music: Where Do You Draw the Line?

26-Aug-2015 By Shannon Duvall

Last week’s apology by rapper and world famous record producer Dr. Dre to the women in his life he has “hurt” has stirred a hot debate in the music world.

Dr. Dre. Photo courtesy of Wikimedia Commons

Dre issued the expression of remorse publicly when the release of the much-anticipated film Straight Outta Compton, which chronicles the early history of his former rap group NWA, was followed by the publication of a story by Dee Barnes, a journalist who says she was assaulted by the rapper in 1991.

She’s not the only one to blow a whistle on Dre; several women have have alleged that they, too, have experienced violence at the hands of the musician.

It’s a story that doesn’t surprise many of us. We’ve been here before. We watched it unfold in the sixties and seventies with Ike and Tina, Phil Spector, and country music “sweetheart” Glen Campbell. The eighties and nineties provided no shortage of domestic abuse, with repeat offender James Brown, and practically all the members of Guns’n’Roses leading the charge.

And everyone knows about the extremely poor choices made by the likes of 50 Cent and Chris Brown.

Chris Brown. Photo courtesy of Wikimedia Commons

But the weird thing is: not every celebrity with a penchant for abuse is treated the same way by a quick-to-appall public. Following his seemingly heartfelt apology, the media has, for the most part, been fairly forgiving toward Dre. This, in stark contrast to the rabid vilification of Chris Brown, whose career has arguably faltered irreparably since photos taken of Rihanna’s badly-battered face leaked online in 2009. Jay-Z called Brown “a walking dead man”.

So the question for music lovers is: how much should our moral compass guide our choices about whether or not to like a certain artist? The answer might not be as easy as you think.

Many of you would avoid spending money in a restaurant or cafe where it was observed or otherwise discovered that staff were badly treated. This makes sense, because not many people wish to reward a business for being abusive or taking unfair advantage of someone. We all know that when we spend, we’re voting for something over an alternative; letting the gods of commerce know what we want, what we value.

But how a musician behaves behind closed doors is very different to our experience of them on an album, or in concert. Alcohol and drug abuse is pardoned when it comes to musicians, as long as it doesn’t affect their output, so why not also systematic aggression toward a partner?

Guns'n'Roses guitar man Slash. Photo courtesy of Andrejk via Wikimedia Commons — Guns’n’Roses guitar man Slash. Photo courtesy of Andrejk via Wikimedia Commons

It seems to reason that any behaviors which aren’t directly related to talent and performance ought to be dissociated from whether or not we enjoy someone’s music. After all, bad behavior as an adult doesn’t negate the merits of a lifetime of musical training and the honing of raw talent.

But many people – from the people who protested sales of Chris Brown’s album with warning stickers, to Jay-Z – don’t think so. And Dr. Dre’s former girlfriend Michel’le, who also accuses him of assault, isn’t buying his apology.

“I don’t really think it’s a sincere apology,” she told BBC Radio 5 Live. “He’s selling a movie. I just think it’s good PR at the moment.”

What do you think? Should artists have to pay for assaulting women by losing fans and sales? Or should we keep our feelings out of it? Let us know in the comments below.

Streaming Services, Good or Bad for Indie Music

03-Aug-2015 By Guest Blogger

The recent launch of Apple Music has brought a clearer image of the streaming music market. While the money keeps flowing and new subscribers tune in every day, how does this affect the indie artist?

The continued rise of streaming music is just the beginning of a transition into a digital-only market. Numbers are up all around for providers and listeners, creating an attractive outlook for the future of the music industry. But does this mean that you should sacrifice your soul and talent for streaming services? Of course not. They are undeniably large money machines, but artists only see a tiny fraction of these sales actually make it to their pockets. The traditional way of focusing on live performances and merchandise sales remains the best way to earn revenue.

Bringing up discussion about revenue is something that isn’t easy for artists, as general artist income and royalty payments have dropped off considerably over the past few years. This drop-off is due in large part to a significant reduction in physical albums being sold (i.e. illegal downloads). Royalty payments from streaming services are also quite small, with recent numbers for Spotify hovering around $.007 per song played.

Now, you probably have heard that artists like Neil Young and Prince have come out and complained about, and even elected to remove their offerings from streaming services. Superstar Taylor Swift has recently threatened to remove her latest album, 1989, from Apple Music completely over questions surrounding royalty payments. Apple Music is notably also facing an FTC probe itself into whether it violated antitrust laws in their practice of charging 30% extra for subscriptions through the Apple Store.
But how can we compare the likes of Neil Young, Prince and Taylor Swift to less-mainstream indie artists? These millionaire artists have already collected their fortunes and can afford to threaten streaming services by pulling their catalog but is this notion a reality for indie musicians as well?

Simply put, no.
First, an aspiring indie artist is already going to have a mountain to climb when it comes to selling music and gathering followers, something that services such as Apple and Spotify can make somewhat easier. Second, it is easy to blame streaming services for not giving more back to artists when a case could be made that it is the major labels who are to blame for such small payments. These major labels take a large part of Spotify shares due to various financial agreements that are only beneficial to themselves. Mainly, major labels use streaming services like a shield from artists who complain about streaming while taking a significant percentage of payments.
In this digital age, all artists have to make the right decisions when it comes to streaming. As an indie artist, the added exposure and simplicity “should” trump those checks in the mail. Keep touring and selling t-shirts at concerts because those remain the best way to make money.

Of course every artist is going to have a different experience with streaming. Do you have any good or bad experiences with streaming services? Let us know in the comments below!

Post by Thomas Ujj.
An expat/traveler and IT enthusiast with a passion for security and privacy. When he isn’t planning his next trip, he likes to take the time to practice his Italian cooking as well as religiously watching Italian football team AS Roma. Unfortunately, cooking and watching football games doesn’t always equal paychecks, so he writes for SmartDNS.com as well.

A Man Without Measure: youbloom Bids Farewell to Drum Pioneer Vic Firth (1930-2015)

30-Jul-2015 By Shannon Duvall

Here at youbloom, we pride ourselves on giving good advice. As musicians and creatives who love the independent ethic, we like to draw from whatever experiences we have – be they salty and extensive or brief, yet fresh – and share them with you so that all angles of this music business madness are explored and unpacked as thoroughly as we can manage. The result of our musings, we hope, is as thorough and transparent an advantage as possible, for you, the unsigned artist.

But just as often as we communicate, we have to listen. And sometimes, we simply have to stop talking altogether. Today is one of those days.

Today we have no advice, only respects to pay to a man who dedicated his life to the pursuit of the impeccable: Mr. Vic Firth.

Mr. Firth, famed, longstanding member of the Boston Symphony Orchestra, teacher, and drumstick company heavyweight, passed away on Sunday.

Born Everett Joseph Firth, on June 2, 1930, in Winchester, Massachusetts, to parents Rosemary and Everett E. (himself a noteworthy trumpet and cornet player), “Vic” started learning to play the cornet himself at the very young age of four. Later, the adolescent Everett became interested in several other instruments, beginning lessons in piano, trombone, clarinet, and, perhaps most fortuitously, percussion. During this time, he also began studying and learning to write musical arrangement, and by the time he was a high-schooler, Firth was known in his hometown of Sanford, Maine, as a full-time percussionist.

By the age of fifteen, he had formed his own twelve-man band, and settled on the stage name of Vic Firth, which, he once laughingly recounted in an interview with Modern Drummer magazine, sounded less like a “…skin disease” than the name Everett.

Vic Firth in later years. Photo credit: paulauger.com — Everett “Vic” Firth. Photo credit: paulauger.com

He took regular trips to Boston – a six hour drive away – to take snare drum lessons from George Lawrence Stone, as well as lessons in keyboard percussion from a man named Larry White, who would eventually convince Vic to attend college at Boston’s New England Conservatory, where Firth would earn both a Bachelor’s degree and an Honorary Doctorate in Music. He also made frequent trips to New York City to study timpani with Saul Goodman, and spent a summer in college at the Tanglewood Music Festival in Massachusetts (where the Boston Symphony Orchestra spend their summers), the result of a scholarship award.

Having entered college as a Music Education major, Vic developed an enthusiasm for teaching, and started the NEC’s first preparatory department. Later, he would become head of the percussion department, leading it for over forty years, and influencing countless students in their musical studies, among them such distinguished musicians as John Mellencamp drummer Kenny Aronoff, and prolific jazzist Harvey Mason.

Firth became the youngest member at the time of the Boston Symphony Orchestra in 1952, auditioning as a percussionist at the age of 21, while still in college at the NEC. He spent the first four years jumping at every opportunity, moving quickly through the ranks from percussion to timpani, then on to roles as associate principal, assistant principal, and subsequently, principal timpanist. He would hold this position for the remainder of his 50 years with the Orchestra.

In his time with the BSO, Mr. Firth performed with such notable players as Leonard Bernstein, Leopold Stokowski, and Seiji Ozawa.

Firth at work with the Boston Symphony Orchestra. Photo credit: Milton Feinberg/Courtesy of the Boston Symphony

A passionate pursuer of the very best in terms of musicianship, and, more specifically, sound, Vic turned his focus on his musical implements. Finding the commonly used drumsticks and mallets of inferior manufacturing quality, Firth began whittling his first homemade sticks in his garage and sharing them with fellow percussionists. Word spread of the sticks’ durability and wide range of functions, and by 1963, Vic Firth, Inc., perhaps his most enduring legacy, was established.

Through Vic Firth, Inc., Mr. Firth’s channeled his innovation and business savvy, which focused on setting the standard for drumstick quality, becoming indispensable in the world of drummers from every discipline.

Though we take many of the advancements today for granted, it was Firth’s insight and relentless perfectionism which drove such crucial improvements in stick design as pitch-pairing, weight-sorting, and centerless grindin g to achieve a smoother stick surface. Currently at the height of their production, Vic Firth, Inc. (now the Vic Firth Company) makes around 12 million sticks annually. “The Perfect Pair” is today a trusted emblem of superior work in the drum realm.

Vic Firth sticks, loved by many. Photo credit: ArunBli

In 1995, Vic Firth was inducted into the Percussive Arts Society’s Hall of Fame, and in 2002, retired from the Boston Symphony Orchestra.

“I believe he was the single greatest percussionist anywhere in the world,” said composer Seiji Ozawa of Firth. “Every performance that Vic gave was informed with incredible musicianship, elegance and impeccable timing.”

Craigie Zildjian, CEO of Avedis Zildjian, world-famous cymbal manufacturer (merged with the Vic Firth Company since 2010), agrees.

“Vic was a visionary in the music industry who was revered by all of us,” he said. “Never one to accept the status quo, Vic blazed trails throughout the drum world.”

Mr Firth died at his home in Boston. He was 85 years old.

All hail.

The Top 5 Ways to Build a Better DIY Music Scene According to “Salad Days”

26-Jul-2015 By Shannon Duvall

It’s not so much the unpaid gigs. That you can handle – for now, at least.

It’s more the lack of sustained recognition; the very real blood, sweat and tears channeled into creating and sharing your music, only to receive enthusiastic responses in fits and starts. Those silent pockets of time between gigs make you want to put your mic stand through the computer screen.

The struggle is real. Photo of The Faith by Jim Saah.

You know your music is good, your audience knows it’s good, but how on earth do you get – and keep – the kind of momentum you need to make this what you do for a living?

It’s no secret that a lot of people in your local music scene are distracted. Last year’s music report by information measurement bastion Nielsen showed that, despite access to unlimited sources of new music online, the radio is still the source of the majority of new music discovered by Americans.

It’s as if fans still want the industry to do the legwork for them, telling them who’s worth listening to and going to see live. And research shows little likelihood of this trend slowing.

It’s a result of what has been dubbed “the tyranny of choice”. Simply put, with so many options out there, it’s easier and less risky for listeners to follow and spend money on artists who they perceive to have already proven their popularity. And all a record label has to do to make you perceive an artist in this way is to spend millions of dollars on PR and marketing campaigns, along with relentless radio play – money and resources up-and-coming musicians simply don’t have.

The truth hurts. Minor Threat. Photo by Jim Saah.

Still, music scenes survive – even thrive – on their own, far from the bank accounts of corporate music institutions. Often, it’s these scenes, organically grown and self-sustaining, that catch the attention of label scouts, leading to the discovery of a wealth of musical talent. Think CBGB-era New York, or the grunge scene of 1990’s Seattle, which exploded into a pop culture force majeure.

Salad Days, A Decade of Punk in Washington, DC, is a documentary chronicling one of the most influential DIY music scenes in American history.

It’s a rousing, thorough journey through the hearts and minds of musicians in 1980’s Washington, DC, who, without support from major – or sometimes even minor – labels, set out to take control of their own exposure, making and distributing their own records, creating their own record labels, putting on their own gigs in any spaces they could, and self-promoting by way of independently made ‘zines, posters, and mail order setups.

Without directly preaching, the film has a lot to say about how you can (and really should!) build, strengthen, and work to sustain the music scene in your own town.

Embrace everyone. The next generation of music heroes are going to be inspired by what’s going on right now, so you want them in your audience.

Consider the power of all-ages shows.

These can be held in outdoor spaces or school gyms, auditoriums, or rec centers. If you’re playing at a bar or in an establishment which serves alcohol, talk with the owner or booking manager beforehand to find out what they’re willing to allow. Often, the solution to letting underage fans into bars and clubs is as simple as marking their hands with visible X’s, so that bar staff know not to serve them alcohol.

Play music because you want to. After this, your reasons for strumming that guitar or writing those lyrics are your own. There are no rules, and no forms to fill out. Every reason for playing is a valid one, even if all you want to do it is to try it out for the laugh. If you have a message, by all means, share it. If you don’t, don’t feel pressure to come up with one for the sake of it. Don’t let anyone stop you or make you feel like you should explain yourself. Just show up and play.

I don't know what it is but I like it. Photo by Jim Saah. — I don’t know what it is but I like it. Photo by Jim Saah.

Play music for each other (and support others who do) because it’s inherently human. Western culture has somehow managed to appropriate music as the specialty profession of a select few, which, in other parts of the world, is crazy, because in most other societies, making music is something everyone does. Don’t fall for the hype. You’ve got a right to play. Encouraging others to do the same leads to a super creative DIY music scene you’ll be proud to call your own.

Hook each other up. Maintaining a strong, convicted community is the only way this works. Whatever your skill or skill level, get involved.

Ian MacKaye and Jeff Nelson of Minor Threat, hard at work in the front porch/Dischord Records office.

Offer up any resources you might have. Got a car? Offer to drive bands to and from gigs. An empty space can be a spot for bands to play shows or hold practices. Have access to a printer or photocopier? Help make posters, album covers, and ‘zines.

Share your talents and skills. Everyone has something they can contribute. Write reviews. Take photos and let the zine guy use them. Draw some sweet cover art or cut and paste a rad collage for a poster. If you’re good at talking to people, offer to answer phones for small labels. Give bands crazy haircuts. The options are literally endless.

And, hey, while you’re at it, promote equality. Everyone should have a shot and a say.

Get off your butt. At the end of the day, none of the talent and support matters without a motivated, no-nonsense approach to getting things done.

A strong DIY music community is one where bands and fans come together, show up to each others’ gigs and events, and stay active. That means not waiting around for something to happen. No one will release your record? Do it yourself. Remember that just by doing stuff, you’re contributing to the history and substance of the DIY scene in your time and place, as well as the formation of new, exciting music to come.
And don’t wait for tomorrow. Mark Andersen (founder of Positive Force, an activist group that was instrumental in organizing music and social events within the DC scene) agrees. “(The time) is always now,” he insists. “So go. Make it real. NOW.”

Ian MacKaye of Minor Threat has a moment. Photo by Jim Saah. — Ian MacKaye of Minor Threat soaks in the moment. Photo by Jim Saah.

How to be a music superfan in 2015!

16-Jul-2015 By Shannon Duvall

Hey there, you hot mess, it’s 2005, MySpace messaging you crunk peeps from the past with a totally hott message, so listen up.

If you’re a music lover in 2015 – and you’re here, reading this, so it’s safe to assume that you are, fo sheezy – then there are a few things you should know about your, ahem, current status.

First of all, you – yes you, the one reading this – are directly responsible for the absolute interplanetary, warp-drive, ‘let’s-tear-this-space-time-continuum-a-new-one’ success that most of the music superstars in your day are right this minute enjoying. In a freakish turn from expected events, the openness of the internet has not, as we here in 2005 were certain would happen, resulted in the dismantling of the Record Label as we know it, freeing the market and balancing the scales. Au contraire.

The bands and solo artists making the big bucks in the industry have only ended up making more money, getting more media attention, and becoming more popular, and thus immeasurably more valuable to the record companies representing them.

And. The same power you wield to bestow such wild, unbridled, never-before-witnessed prosperity upon those lucky few hundred entertainers has also resulted in the widening of the pay gap between them and, well, every other musician out there.

Seriously.

It’s a sizeable chasm of unprecedented size: MIDiA Research is one company that has been using analytics to track the progress of digital music, and a report released by them last year showed a staggering 77% of all the money in the industry gracing the bank accounts of the top one percent of global superstars.

In short, fancy future folk, you probably don’t realize how influential you are in this, the new music business battle royale.

It’s your choices: your likes and dislikes, your skips, saves and shares, that determine who makes it, and who flakes it. If you’re in any doubt about how true this is, take a look at viral victim/sensation Justin Bieber – discovered singing humble covers on youtube; promoted like there was no tomorrow – and you’ll see what I mean. What you are capable of.

Look at your eyes. You’re already drunk with power.

So how should you flaunt – I, ahem, mean, responsibly apply all this newfound sway?

Click (or swipe, or tap…) wisely. Intelligent analytics are scoping out every aspect of everything you do online, and there’s big money in being able to predict what people are going to want next. If you have a favorite unsigned band, follow them on social media, like their posts, and share their videos. Check in, tweet, Instagram and Snapchat from their gigs.

If they’re on Spotify, even better. Add favorite tracks to your shared playlists, that way other people can discover them on their own time, rather than caving in to your constant OMG ballyhoo.

Interaction is EVERYTHING. Websites like WeDemand allow you to act much like an old village council, telling venues and promoters what bands are wanted where. IndieGogo and other crowdfunding sites let you pitch in when it comes time for an artist to create something, like an album or a run of t-shirts. You can even help send them on tour. And there’s usually a sweet, VIP bonus for digging into your pockets and getting involved.

Other sites, such as Patreon, let you give them money – just because you like them.

One word: collabs. If you’re the creative type, why not get in touch with an artist you really like and offer to work together for mutual benefit? After all, they’re looking for fresh ideas and constant exposure as much as you are.

Are you an artist? Offer to design gig posters, t-shirts, or use your likeness in some rad graffiti somewhere strategically placed. If they like your work, they might end up asking you to design some album art, which would be dope AF.

Musician yourself? How about a remix or mashup? Heck, even a cleverly executed cover of one of their songs can be a great way to show support and appreciation for the work and inspiration of others in your genre or location. This can sometimes lead to working together – on a track, perhaps, or, if you have really good chemistry, an album, split seven- inch (yep, people still do this; vinyl is the top selling purchased music format after digital, and sales are up 54%!), or bill sharing at gigs and on tours.

Can you write? Offer to review songs or albums, then submit your work to blogs and websites that might publish your work as a guest blogger. Exposure for everybody!

Travel blogger? Seek out new bands in places you travel to and blog your heart out to your followers. Take photos and videos and show the rest of the world what they’re missing.

Surfer, skater, or parkour perfectionist? Ask for permission to feature a song in one of your promos. I can’t tell you how many times I’ve heard a song while watching a surf video and Shazammed the crap out of it so that I could add it to my “How to Get Through This Workday Alive” Spotify playlist. This approach is equally great for animators, videographers, and anyone with a smartphone/GoPro and a vision.

Actually go to their gigs. I know it’s hard, but you can do it.

So what we’re saying is this: the millenial music lover has so much opportunity to be connected to the up and coming artists he or she loves. With all that say at your fingertips (literally), and no end in sight to the innovation which continues to break down walls between observer and observed, there’s never been a better time to have your say. Like a true music superfan.
Take it from me, your old pal, 2005, champion of MySpace, the one who started all this internet band business in the first place.

Morals and Music: Where Do You Draw the Line?

Streaming Services, Good or Bad for Indie Music

A Man Without Measure: youbloom Bids Farewell to Drum Pioneer Vic Firth (1930-2015)

The Top 5 Ways to Build a Better DIY Music Scene According to “Salad Days”

How to be a music superfan in 2015!

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