However, I am sure how much my band has made with Spotify. Better yet, here’s a breakdown of the payouts we’ve received from all streaming services we’re distributed through. Instead of relying on the fractional amounts/per stream breakdown, I chose to calculate how many streams one would have to achieve prior to getting a hefty $1 USD payout. This list includes the now defunct Ruckus (the more the merrier). Enjoy!

Just in case your multiplication isn’t as sharp as a middle-schooler, it seems – with an independent distribution contract – one would get paid the now infamous $167 with a mere 430,359 Spotify plays/streams. Still nothing to brag about, but it goes to show you how much major labels garnish artists paychecks. The interesting thing I took away from crunching these numbers is while only charging a $5 USD/month subscription fee, Napster still pays out exceptionally more than Spotify. The UK service (yet to launch in the US) charges approx’ $20 USD/month for an all access subscription. I don’t use either service, therefore I’m not familiar with the advantages/disadvantages each provides/lacks.

Going further, I thought it might be fun to figure out how many times an artist would have to be played in order to be make a modest salary of $30k. This graph is measured in the millions (obviously).

My advice:

1. Get invited to a private torrent site.
2. Download away.
3. If you like something, send $5 in the mail to the artist.

Most musicians would probably agree that the following term holds a negative connotation; “local band.” It’s akin to calling someone an amateur. Nevertheless, the stock of “local” is going up. Locally grown vegetables are selling better than ever and new farmers markets are popping up year-after-year. Buying from your neighborhood “Mom and Pop” hardware/pharmacy/convenience store thus thumbing your nose at the Walton family is a favorite pass time to many in the “liberal elite.” But it still sucks to be in a “local band.” Or does it?

The general consensus amongst music aficionados is there will never be another “rock star.” U2 and Aerosmith are the last of a dying breed. Major label sales have been plummeting since the dawn of the internet; which was promptly accused for the decline, and was (partially) to blame. Yet, the internet was not culpable because of Napster and its successors. It wasn’t guilty because of the advent of MP3s and iPods. It was to blame because people were given a choice. No longer was “crate digging” limited to snobby NY DJs in pursuit of a rare 78. Everyone could find and/or be promoted to/from anything. For that reason, major label sales are down, but music sales are up. The internet gave everyone the power to be a snob. And because snobs are innately narcissistic bastards who think their physical proximity played a part in inspiration (or simply feel a little more connection with the creator based on similar life experience), they especially enjoy art developed in their own backyard. So, if the death of the rock star is truly at hand what’s next?

Regional rule and infinitesimal-genres. The world is experiencing the most widely spread minutely refined class of pop music it has ever seen. No matter what you’re into, you can find it. Hell, you can probably find it a couple blocks away (or at most, the nearest large city). It’s a remarkable resource that has yet to be fully exploited. Most people are still stuck in the hype machine. But if consumption continues to follow the trend of “local = better” we could all bear witness to looks of pride when a couple of musicians are referred to as a “local band.”

Read: The Perils of DIY

We’re sick-and-tired of the old dichotomy, band v. audience. Our cogitations on the subject led to an idea. This idea is not a final solution to the problem. But we feel it’s an encouraging step.

Sh! Mob

It’s nearly an old adage. If you treat a hobby with the seriousness of a career there’s a good chance the hobby will transform to just that, a career. Money isn’t everything. The only separation between amateur and professional is dedication and attitude. So why do so many musicians shoot themselves in the foot with pure laziness?

I guess it’s a question of self-motivation. Not all musicians are lazy asses. The vast majority of Pitchfork reviewed, college radio played, and touring bands obviously have it together. The rest? Well, they just ramble on about how all the other guy’s success is due to “hype” and all those “over-hyped” bands are “un-original no-talent hacks.”

News flash, talent means squat. Talent is akin to an idea, or some fantastic invention. An idea without execution is worth zilch, null, nothing. Derek Sivers’s hit the nail on the head in 2005 with his article Ideas Are Just A Multiplier of Execution. Sivers’s is the founder of CD Baby, he’s a smart guy. More importantly he’s a self-motivated guy.

Usually not every member of a band is plagued with the “I’ll get to it later” bug. But how can you tell if you’re the virus or host? Well, it should be pretty obvious. If not, here’s a fun little guide:

1. Divide the amount of shows you booked by how many the band has played. Compare this number to your percentage of the band. Ex: “I booked 20 shows out of 50 (40%) and we’re a 4 piece [you're 25% of the band].” If the shows booked total is higher than your chunk, good job. If not, congrats’ you’re the anchor (not a good thing)…
2. Do you ever initiate practices/rehearsals/writing sessions or does someone else? If “Yes, always.” Great keep it up. If “sometimes.” Keep carrying your weight. If “never.” Better get back to WoW, a troll might be eating your level 5 rogue.
3. Do you handle communication? Maintain contacts? Check the MySpace? Respond to emails? If “Yes, always.” You’re the same one that booked all those shows and scheduled those practices aren’t you? If “sometimes.” Good job helping out where you can. If “never.” Seriously bro’, do you think those other guys like doing that stuff?
4. How many posters have you stapled up/passed out? If “Too many to count.” Obviously, you’re not the problem. If “as many as I can.” OK, maintain. If “We have posters?” Alright jackass, let me guess, you have better things to do, right?

Read: The Perils of DIY

I was just reading one of the many blog debates (this one on ETC) centered around pirating music. Nothing new, just restating the, “How am I supposed to find the good stuff? Radio? Blogs? MySpace? I need to steal everything first, then pay for it when I decide I like it” argument against, “Downloading without the consent of the artist is stealing.” I respect both views. Downloading (especially BitTorrent) have opened up avenues of music exploration previously unattainable. Yet, it’s a tough road for an artist that never makes money from creating music. What does this have to do with OnLive?

What if all music was located on a cluster of servers (think of the best torrent site ever) and could only be streamed (not downloaded) to your wi-fi enabled iPod, car stereo, or home computer? What’s the use of pirating something when you can access it at any time with any device? Especially if the quality was in the magically blessed 192KBPS? Not to mention, no more worrying about storage space for your 2TB collection. The server handles all of it. As far as price. It could be based on an all-you-can-eat subscription system (Like OnLive) or a per song/album (or better yet, both). Wrap it in Voluntary Collective Licensing along with Creative Commons copyrights and you may have a winning idea. You could even combine Pandora/Last.fm/social media functionality into the system.

The benefits of a system like this are many. To start with, you never have to worry about buying an iPod with enough space to carry your music collection. Storage space would matter little, yet functionality would be paramount. No more hard drive failure worries. Your data would always be “off site.” With added social media functionality it would be possible to discover music based entirely on your personal preferences.

The negatives are mainly technical. Wi-fi isn’t available everywhere (and certainly isn’t available on every device that can play music). Even when it is available, fast broadband wi-fi can often be buggy, sparse, or just downright broken. Sometimes it’s necessary to burn a CD to go “off the grid.” How would you accomplish that? Anything but DRM!

There’s a coy arrogance flooding musicians. It’s a permeation of pride that obstructs self-promotion. Snubbing those who plaster the town with crudely illustrated posters and fill empty hands with 4 x 5 inch Xeroxes are the musicians themselves. We’re above it. Promotion is left to “someone else.” We adorn ourselves with pearl snaps, skinny jeans, and ironic mustaches. We jump around in front of hundreds in hopes that attention will be undividedly on us. Yet, we wouldn’t be caught dead facing down exiting bar patrons while attempting to hand flyers to avoiding-eyes darting to find the most direct path out. Those who do this chore are naïve. “It won’t get more people to your show.”

This is a prevailing attitude amongst musicians and to be honest with you, I hate promoting too. I hate passing out flyers. I hate driving around town tacking posters on every Starbucks within 40 miles of the show (actually Starbucks has magnetic boards, no tacks needed). But every time I find myself questioning the likeliness of even a slight return on these chores I remind myself, “It can’t hurt.” Well, unless you own stock in the hermit crab approach. You see, a lot of musicians view self-promotion as not only useless but counterproductive. Their self-importance and conceit is valued higher than any gain a self-promotional scheme could realize. Most promotional methods are too shameful; the risk of rejection is too high.

Some of the disapproval toward self-promotion comes with a simple truth. Promotion not from the promoted is more powerful than from, which is true. You’re more likely to trust a friend’s opinion on a product than the manufacturer’s. But when you wrap that truth in the apathetic world of indie rock with the widespread feeling that interest in one’s own success is harmful to one’s own success, this whole mess of self-promotion becomes a complex jumble of posturing and overinflated ego.

I hate spam-like emails, overused MySpace bulletins, wallpapering storefronts, and carpet bombing city blocks with leaflets as much as the next guy (and would never condone it). But musicians need to take back their right to tasteful self-promotion. There’s nothing wrong with expressing humility and asking someone to consider coming to your next show. And one way to be effective in doing this is to get flyers into the hands (or in front of the eyes) of people you don’t know. Narrowing down these people to those likely to enjoy your music is even more valuable. So come on, go out to your friend’s next show and pass out some flyers. Trust me; if you’re depending on someone else to do it, you might as well just come to terms with an audience consisting of band girlfriends and little brothers.

Read: The Perils of DIY

Seriously. The Silent Years, Child Bite, and Rescue would (have) never be/been what they are/were if it weren’t for the dissection of Wafflehouse*. Last time I saw them was at Red Shirt Brigade’s¹ final show at CPop.

Oddly enough, Al Scheurman (Rescue’s lead guy) is doing a set at our show. Which is quite ironic if you consider what the Detroit indie scene looked like back in 2000-01. I wonder what the rest of the Michigan Hardcore Board is up to that night…

¹ A Band with members in Thunderbirds Are Now!, Pas/Cal, Zoos of Berlin, South South Million, The Big Mess, and Friendly Foes

Detroit based Zoos of Berlin released a three song disc a little while back. Any fans of Bowie should give them a listen.

Thunderbirds Are Now! keyboardist Scott Allen has a brand new alt-country band called Big Muscle*. Think Velvet Crush, Old 97s, and Whiskeytown. I saw them open for Copper Thieves this past Friday and absolutely loved ‘em. But without the requisite MySpace page they’re not making it easy to check they’re upcoming schedule. If you happen to know when they’re playing let me know…

Oh, and Last.fm is finally paying out those royalties they promised earlier this year.

* (8/18/2008) Renamed The Big Mess.

Today I became aware of the story behind “Wagon Wheel,” a song that I’ve lauded now and again in my various blog entries. It’s a great song all on its own. The first time I merely saw Old Crow Medicine Show play this song on television, I vowed to get their CDs in the next few days. Purchase away I did. I’ve become a devout fan of OCMS – their music and its aesthetic, their integrity and dedication – through this song. The story behind the song, though, has made me even more appreciative of how “Wagon Wheel” caught my attention because of the strange history behind it. It’s been handed down through an indirect line of string players and finally came to rest in the lap of Ketch Secor of OCMS. Thank God it did.

Check out this report from NPR’s Here and Now.

The newest release from Old Crow Medicine Show, Tennessee Pusher, is slated for release on September 23, 2008.

If you like the idea of Bedhead mixed with Brian Jonestown Massacre filtered through The Velvet Underground (especially on I’m Not Afraid of a Fight), you’ll like this band. Below is the video for Point of Contention.