Jeff,
You are a gentleman and I've enjoyed our gentle
bout of industry fisticuffs. AlI I could say is that
many of us have done a myriad of things to acquire a
'tron, some quite reprehensible (I know I have). Of
those things, I think working your butt off to make a
few lowly musicians some dough is the least. Tron-on
my friend! : )
Cheers!
-Jack
---
jeffc@netaxs.com wrote:
>
> hey, no problem man.
> it's all good.
> i just felt i needed to clarify some of the myths,
> and to point out that, if you really want to be
> a huge rockstar [no matter how naive or misguided
> that dream may be], the major label is the path,
> and that there are benefits that go with the
> servitude.
>
> yes, it's the dying archaic old school way.
> the death of the business is why i'm out of work.
> i don't think i'll pursue it again.
> it has collapsed on itself, as does anything that
> reaches
> the sort of mass it did.
> but my years in the record business, during which i
> worked very very hard to make others rich, also made
> me a bit of money, and ultimately got me a
> mellotron,
> which i why i'm here.
>
> certainly no hard feelings, and apologies for taking
> up
> so much of the list's space with this off-topic
> mess.
>
> peace!
> jeff
>
>
> On Sun, 20 Apr 2008, Jack Younger wrote:
>
> > Jeff,
> > It was not my intention to put anybody on the
> > defensive or to go on and on in an attempt to
> support
> > an attitude and methodology that is in practice
> today
> > and is working for many artists. I simply wanted
> to
> > point out that there are alternatives. My
> experience
> > with majors and big studios (which is more
> extensive
> > than you may be aware of) has been that they can
> often
> > be wasteful. The music industry is changing
> > drastically and I wanted to make an effort to
> touch on
> > some of the ways in which that's happening.
> Here's a
> > link to an article that is somewhat more eloquent
> than
> > Ms. Love"s. Although Albini can be a bit caustic
> (an
> > understatement for sure), he hits it on the head
> > concerning the seductive nature of big
> labels/reps,
> > etc.
> >
> >
>
http://www.csun.edu/CommunicationStudies/ben/news/albini.html > >
> > Now, I know a few of these folks in the
> article
> > and I definitely don't recommend getting into a
> > pissing match with Mr. Albini. That's all on this
> > subject from me. I'd rather save my energy for my
> > clients. My apologies if I've prattled on or
> > exacerbated anything.
> > Peace.
> > -Jack
> >
> >
> > --- jeffc@netaxs.com wrote:
> >
> > > On Sat, 19 Apr 2008, Jack Younger wrote:
> > >
> > > > Hi!
> > > > I realize you guys have put the subject
> to
> > > bed,
> > > > but these notions of the way the industry is
> are a
> > > bit
> > > > antiquated. As you said, there were more
> majors
> > > than
> > > > there are today. The music "industry" is only
> a
> > > tiny
> > > > subsection of represented music that floats
> along
> > > the
> > > > top like slag. The better, more creative
> product
> > > is
> > > > something to hunt for on the net, in bars and
> > > > basements, anywhere it's being made. It is
> > > apparent
> > > > that the kids getting into the business today
> are
> > > > rejecting the old values in droves. They are
> > > saying
> > > > no, and the industry is suffering. Fine. A
> major
> > > > label deal is like a credit card. You don't
> need
> > > one,
> > > > but one becomes severely hampered without one.
> > > > Artists are changing what they need from their
> > > careers
> > > > as a result. The expectation of becoming a
> "star"
> > > > just isn't important any more. More and more
> > > artists
> > > > are doing it for the creative release and the
> > > simple
> > > > fulfillment of the artistic impulse.
> > > > As an example, I asked some of my clients
> about
> > > the
> > > > following statement:
> > > >
> > > > > the label has many things to offer an artist
> > > that
> > > > > the artist would never
> > > > > have otherwise, that are part of what you DO
> get
> > > > > when you sign to a
> > > > > label:
> > > >
> > > > The responses were as follows:
> > > >
> > > > > an art department
> > > >
> > > > The band usually can come up with better
> artwork
> > > that
> > > > is more appropriate to the product, isn't
> messed
> > > up as
> > > > often and isn't over-priced or "padded".
> There is
> > > a
> > > > difference between an artist, and a commercial
> > > artist.
> > > > Art departments try to sell, artists
> represent
> > > and
> > > > support.
> > >
> > >
> > > perhaps, but how many bands have the expertise
> to be
> > > knowledgeable in things like spot colours, flood
> > > fills,
> > > bleeds, and all the other technicalities
> involved in
> > > modern printing. just making something that
> looks
> > > nice
> > > in photoshop does not a beautiful finished
> product
> > > make.
> > > and it takes further expertise to craft an
> entire
> > > marketing scheme tying things together into the
> > > posters,
> > > postcards, ads [yes - you get ads in real
> magazines
> > > at
> > > reduced rates that the individual could NEVER
> get]
> > > and
> > > all the little things that make up a band's
> 'brand'.
> > > these people are well-trained professional
> artists
> > > also.
> > > and this 'padded' thing is, i think, something
> that
> > > is a myth, like being charged for the
> paperclips.
> > > you pay for qualified personnel and you get
> > > professional
> > > work. there is no 'padding'. and they take their
> > > jobs
> > > very seriously and spend qiality time with a
> bands
> > > entire image, from lyrics and influences to
> likes
> > > and dislikes. i think you hear things about
> labels
> > > that are just not true.
> > >
> > >
> > > > > a pressing plant
> > > >
> > > > There are so many more options on a private
> basis
>
=== message truncated ===
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