In Vol 1, No. 1 of Rolling Stone (November 9, 1967–price: twenty-five cents), the then underground publication self-described as “The Revolution Chronicled By Revolutionaries”, there is a Letter from the Editor that states in part:
“We have begun a new publication reflecting what we see are the changes in rock and roll and the changes related to rock and roll. Because the trade papers have become so inaccurate and irrelevant, and because the fan magazines are an anachronism, fashioned in the mold of myth and nonsense, we hope that we have something here for the artists and the industry, and every person who ‘believes in the magic that can set you free.’
“Rolling Stone is not just about music, but also about the things and attitudes that the music embraces. We’ve been working quite hard on it and we hope you can dig it. To describe it any further would be difficult without sounding like bullshit, and bullshit is like gathering moss.”
-Jann Wenner
Rolling Stone is itself chronicled in Wikipedia and has, to me, gone from underground to mainstream and thus represents both the promise and failed possibilities of an epoch-defining period. The second period of dramatic disruption is occurring right now.
Paul Resnikoff at Digital Music News described the insidious lack of trust that is plaguing the music industry today. I thought it apt in these acrimonious times to post a few observations at our collective Nightschool concerning the evolution of “trust” and “honor” in music.
While looking at the business side of the music industry, I see an entire ecosystem that has lost its compass, morally and economically. The RS Revolution (version 1) failed to gain headway and the lack of direction is creating both hardship and opportunity for existing Artists and Artists-in-the-making. It is time to disaggregate the old music ecosystem. And perhaps this time, the Music Uprising will take hold.
I. Resurrection of Trust in Music
At thecapitalclinic, I found that, by looking at the negative side of things, you can find the positive side hidden underneath and in contradistinction. What I see all around me in the music industry in transformation is a lack of trust among the constituent parts of the system, the Artists, Fans, and the necessary Intermediaries/Facilitators. I, thus, ask myself: How can Trust be resurrected in the presumptively segmented society in which we now find ourselves? I have spoken long and often about the importance of communication links and supernodes in an digital world and the emergence of alternative forms of capital to “keep score” (and we will get back to these themes), but for today, I would like to focus on the importance of ritual honor in restoring trust.
II. Ritual Honor In Music
David Fricke, senior editor at Rolling Stone, has been described as one of the “most passionate, influential and knowledgeable music writers” in the industry and, to me, his observation that “buying music is a social transaction” provides the key to resolve the current artist/music industry dilemma of “digital for free”. Since Fricke works for Rolling Stone, we might call the new revolution (music uprising) RS Revolution (version 2). Let us elaborate at our Nightschool.
Fricke’s insight is blindingly simple: the traditional buy/sell relationship between artist and fan as a one-time market transaction is DEAD; however, the continuing artist/fan relationship itself is very much ALIVE, but conditionally.
How to monetize a continuing social relationship as opposed to a singular commercial one is then just a matter of elegant execution that can take a myriad of forms, depending on how industrious and clever Jenny and Johnny are.
Once you move outside of the single buy/sell market (i.e, a price-driven or price-led supply/demand) paradigm to a broader artist/fan relationship in a hybrid digital/personal context, the world of possibilities opens up to increase the velocity of your social capital.
A “social transaction” that transcends a sale of a product but is more akin to the ritual exchange of honor given for honor received may well cut the Gordian knot that has constrained the development of the music industry for decades and trust will be resurrected.
Second, when I sat down with David Fricke to explore how music has changed over time, he emphasized the importance of the social implications that music has with fans. Music defines who you are - kids in a lunchroom will often sit in different corners based on their activities (sports, theater, chess, whatever) and interests - obviously, music is a key component of that - the Deadheads were very different from folks that listened to the English Beat, the Smiths, or the Style Council. I think artists now have an opportunity to play upon the "social transaction" that you and Fricke refer to, but on a one-to-one basis. In short, the Internet has not only created a means for one-to-one communication, but has almost now necessitated this interaction be a key component of an artist's online marketing efforts. Fans don't want to be part of a mass emailing or God forbid, spammed. They want a DIRECT connection with the artist. A "transaction" implies that there is some sort of value exchanged between parties - on the fan side perhaps the consideration given is money, buying a t-shirt or a ticket, or telling a friend about the artist; on the artist side, the consideration is making a connection via email, text, comment, post, whatever. To make matters more challenging, fans KNOW when it's an intern, manager, or label is responding. Nonetheless, I believe the concept of music as a social transaction is brilliant and is one of the reasons why music in this new era is vibrant and very much alive.
And Persistence of Memory, Tear Drops and Her Last Unicorn are as good as Oasis, New Order and The Rapture, even though they are not professional musicians. But I assume Oasis, New Order and The Rapture also were extremely good when they were not yet professionals (actually some early recordings of some of them do document this).
So indeed it is a social transaction between me as a fan/consumer and Persistence of Memory, Tear Drops and Her Last Unicorn, because what the heck can they do with my few dollars or Euro? They get it, I even insist on paying, even if they offer it for free (because they too take the social thing serious). And then they have the money, but it's still not a business. It's a little bit of money that can to only a small degree compensate for the enormous amounts they have to pay for equipment, instruments, studio time etc.
I wish they all would be in the charts tomorrow, because I want MORE and MORE of their great music, and if they are stars they have more time to produce their wonderful music of which I can't get enough. Then maybe everyone wants to communicate with them and they cannot talk to everyone. But being a rock star is an unnatural state anyway, so maybe we will get to the situation that really great musicians (from their fans' perspective) will make some extra cash to fund their equipment or to finance their childrens' health insurance. That would be social indeed.
FYI, I'm finding it impossible to get to the Resnikoff article, even after registering and logging in to the Digital Music News site.
It's interesting to see the music industry's reaction to falling CD sales...put more and more capital into the few artists who do make them money through 360' revolving contracts....
but then re-issue "classic albums" like Dark Side of the Moon, Tapestry, Rumours, NeverMind the Bollocks, in such a way, that it proves the "Acts" they have signed recently, with perhaps 1 or 2 singles, and have since "fallen away" from their initial cheap appeal, just isn't working.
And as for RS, it too has become boring....which most things do, as it becomes part of "the establishment". I love reading well-research articles on political issues, as well as the artists who actually have something to say, be it politics...or their own music!
It's food-for-thought, but it seems like "Demographics" has fallen upon the industry...When albums like BadMotorFinger, Nevermind, Ten, Sweet Oblivion, and Dirt were released in the early 90's, it took awhile for them to catch on "commercially", but nonetheless they did...and back then, those bands were considered "Alternative" (which they had been for 5-7 years beforehand) which eventually became Mainstream. The "Industry" switched Gear so quickly back then, which was refreshing to see....but with that said, the Bands' themselves appeared to be more intelligent with their approach.
Much of today's "Alternative Music" is just "a label" given by the marketing agent at the Label and doesn't really do the real Underground/Alternative Bands out there, true justice.
The Labels need to get their Heads out of their proverbial A$$es and look at what's going on in the Internet, like here at FUZZ and similar sites, to get their minds back on the real pulse of music. (Artists who do it "their way", and on their Own Budget! ...now what could be better than that???)
We're in a period of 'transition', so it will be interesting to see what happens next.
Yes, fans want a direct Artist/Fan relationship, but with that said, it's becoming more of a cultural issue...there's parallels between this Industry and every other Industry out there, where "the little guy" is trying to break in, to make his/her or their mark.
It's interesting to see NIN, RadioHead and Pearl Jam "testing the waters"....of course, they have massive followings so they are well positioned to take advantage of any scenario out there.
One thing, don't look for anything "Exciting" coming out the Major Labels, but more from the Independents out there...which has always really been the case...
As for young aspiring musicians' out there, the old addage still holds true...GET YOURSELF OUT THERE! TOUR! TOUR! TOUR!!! USE THE NET!!! ...because it's not going to be handed to you on a Silver Platter!!! (or, in an environmentally-friendly world...a Bio-Degradeable Paper Platter!)
Meredith