Ignored By Dinosaurs 🦕

I was just thinking this morning about what a hilarious and glaring anachronism the term “record label” actually is. The “record” as a popular medium for musical commerce was essentially replaced by the CD when I was about 5 years old. There haven't been “labels” on popularly consumed music nor have they been sold in “record” form in approximately 25 years. Yet mavins of popular culture wonder “what will become of the record label system?” When will they finally embrace the digital model (or a digital model)? Will they just continue to sue copyright infringers until it's no longer profitable to do so? How long has it honestly been since record labels even bothered with the pretense of being purveyors of culture, anyway?

A buddy of mine forwarded me a link to a nicely written piece on the stages of music business decline that we've all witnessed over the last ten years. Recommended reading.

So, let's remove the rose colored glasses that I had on for the trip down memory lane that was my post on the valuable service that record labels once provided to American culture. Let's talk about the flipside of the equation. It's been a long time coming, and is something I've been meaning to get to sooner. There are many reasons I'm leaving RRE at this time. The fact that of the impending record contract which would obligate me for the next several years is only part of the story from my end. One of the other parts is that I'd feel kind of like a D-bag for signing a record label contract on the one hand while doing everything in my power to kick the legs out from under the entire faltering system on the other. Make no mistake about it – I think that the record label system and most of the folks who have made a living in the record business for the last 50 years deserve everything that they are reaping right now. They used to provide a service over which they had a monopoly – the recording and distribution of recorded works. There was no practical way around the fact of recording and distribution for an artist in the age when physical media were the only media.

This monopoly was supported on all sides by a conglomeration of other media companies – print publications, radio stations, television studios – whose sole purpose was to make and promote product that made money for all. The cultural side effects were a bonus as far as shareholders was concerned (if they were concerned at all). However, all of these media outlets now find themselves in the exact same position of irrelevance. The tremendous and spectacular downfall of the recording industry was only a prelude to what's to come for all the rest of these companies – witness the Boston Globe, or NBC, or any of the awful top 40 Clear Channel radio stations out there whose ad revenues are dwindling in the face of the coming storm. Don't even get me started on TicketBastard and their “convenience” charge. Go ahead and merge with LiveNation, you're only hastening and enlarging your own downfall. It will come.

For the last ten years there's been no practical justification for that model to remain in existence save for the folks in charge are familiar with it, that's how it's always been, and that's how it is. They will all be dead soon enough, though. Our musical and cultural heritage will not, however. So it is up to us to figure out the path toward self-sufficiency in the cultural arts. Here's my high-falutin' theory –>

If what burned the old way to the ground was 1s and 0s, then what shall rise from the ashes and light the way forward for us all shall also be 1s and 0s. This obviously means the internet. Where other efforts to cram the old model into the new era have failed, ours shall succeed. Where the old models existed for the enrichment of a very few in the business, the new model shall succeed in creating a sustainable livelihood for those of us who create art, who create cultural value, and who share our artistic wealth in the interest of enriching the lives of others as well as ourselves.

Record labels and middlemen of all stripes be warned. I'm coming for you.

We met last October at the taping of the “Woodsongs Radio Hour” in Louisville, Kentucky. It was the one where Edgar Meyer and Chris Thile were there, also. They did the show after ours? Anyway, I just wanted to tell you something...

I spent the better part of my college years listening to a lot of MMW. I actually had to willfully cut myself off because I was absorbing a bit too much of Chris' style, in my youthful opinion. I hadn't really listened to much in the several years since then, but it was still a bit of an intimidating treat to be on the set of this nationally syndicated radio show with Chris Wood and Edgar Meyer. My bass teacher in college used to drag us to master classes down in Hickory NC, and Edgar's was one of them. It was mindblowing, but I digress. I went out and bought your album, Loaded, the day after the taping.

The point I'm getting at is that we, as professional musicians, have been taught through many generations of unfortunate Pavlovian training to view the worth of our art through the lens of commerce. How many units we sell is how good our record is. Of course, we know that we're creating art and that the value of our work can't be quantified as simply and as greedily as that, but if your record doesn't move that many units, it's harder to stay excited about it as a work of art, isn't it? It's certainly harder to keep our record label excited about it. That fact is quite likely the fundamental cause of the mess that we find our “industry” in, wouldn't you say? That it's an industry at all is part of the problem. Irony.

So, I just wanted to take a moment to tell you, in public, what a profoundly great record it is. It's moved me to tears more times than I can count, and almost every song on there has at one point or another perfectly summed it all up for me. I haven't heard music as good since probably the first time I ever heard Gillian Welch. I'm not sure how many units it's sold, maybe “not many”, but it's one of the finest albums I've ever heard. So, thank you.

I thought I'd take this quiet opportunity to try and recall some of the thoughts that have been bouncing around my head the last few weeks. I was thinking about all the various manners in which many of the bands that I've known have experienced or dealt with personnel changes. I believe there to be a spectrum, and my departure from RRE seems to fall somewhere in the middle.

On the one side you have the “okay, bye” method, most notably employed by my friend Zac Matthews, formerly of Hot Buttered Rum. (Funny, his was a November announcement as well. What is it about impending winter that runs roughshod over summertime festival bands? Rhetorical question.) Obviously this approach has it's pros and cons. The most obvious con is the sense of a lack of closure that the public can feel when one day everything is cool and the next their favorite band is no longer what it was. I know I felt something of a shock when Ben quit Tea Leaf or when John-O split SCI. You want to know “why?” Usually you are disappointed. The pro (singular) of doing it like this would presumably be that relations within the band have deteriorated to such a degree by this point that dragging it out over a farewell tour would not be a good thing at all for anyone. I'm glad that's not the case here.

Then there's the other end of the spectrum, most notably employed by Bill Nershi of String Cheese Incident. I'm not going to rehash the reasons for his splitting, mostly because I'm afraid he might be reading this. Instead, I'm going to guess at them. Bill was the frontman of a huge operation. They weren't just a band at the point when he had to call it, and hadn't been for many years. As much as I look up to their operation, and the operation of Phish or even Umphrey's McGee as a band whose business model seems sound from my perspective, I can understand the pressure of finding yourself in that position of success. Let's face it, most musicians don't become musicians because they like running companies, yet the more successful your band becomes the more of your time the business syphons off. The less time you have to make music. The less time you have to contemplate taking a break since the rest of the operation doesn't go on holiday just because you do. I think this played a big part in Phish's hiatus, aside from the much publicized substance issues. The business of being in a band can be a major grind. I digress...

This approach also has it's pros and it's cons. The most notable pro is that you can actually set it up in a very lucrative business-like manner for your last tour to be a “farewell” one. I'm not sure how much $ SCI made on that summer 07 tour, but they didn't play another gig until summer 09, so it must've been okay. The fans of the band get to relish a last hoorah, and the band members themselves get to say goodbye to a lifestyle as well as some of the locales that have become home out there, if only for a little while. The cons of this approach are relatively minor, mostly having to do with people continually asking “so what are you gonna be doing next?” It's a natural question, but you might not always have an answer ready.

Where I fall is somewhere in between. I wouldn't quit this band if I were less than ready. As I may have said to some of you, this decision took me years to come to, but on the other hand I've known for years that it was coming. Sometimes when I walk into a room full of hobos I get this feeling like everyone is looking at me, like I'm a dead man walking. And to be perfectly honest, I haven't had a ready made answer for what kind of music my band plays for the last seven years, so obviously I don't have a ready made answer to “what are you doing next?” Well, I'm gonna be programming. You see this website? I'm gonna make a living off of it one day.

The pros – I get to say goodbye.

The cons – sometimes I'm tired of saying goodbye.

related

I had a great blog post going in my head while I was cooking dinner, and now that I have time to write it all down, I'm too tired. It's been a long day. We woke up without power this morning, which happens way too often in Stillwater. No power means no heat and no water, since we're on a well and our pump is probably as old as I am. So I got out of bed, lit a fire in the fireplace, lit the burner on the stove and got to making pancakes. We were out most of the day, hence my tiredness. Made an awesome black bean soup for dinner. Not your typical black bean, but more of a Cuban influenced recipe that calls for a couple of tablespoons of balsamic vinegar. It's awesome. Maybe I'll start a recipes section on this site, which will be fully searchable as soon as I figure out Apache SOLR...

So anyway, today's tech discoveries. First of all, Google Chrome for Mac was finally released yesterday. It's not bad. The thing with browsers now is that there is NO user loyalty, at least not with me. Think back to the good old days when you didn't know there was a thing such as a browser. IE was the internet. I felt like I was cheating the day I went and downloaded Firefox, even though I was telling myself that I was merely subverting the paradigm or something like that. I stuck with FF for a few years, for at least a month into my Mac-hood. Then one day a weird thing happened (I don't remember what), and the advice I got was to try a different browser. Opera was the one that was advised to make this broken site work, but Camino was the one that I was told was “generally the best Mac browser”. So within a month I'd skipped out on MS completely, and had gone and stabbed my open source friends at Mozilla square in the back. I mean, sure, Camino is a Mozilla product, but I'm sure they knew where this was headed. Safari 4. JavaScript rendering so fast that it makes you actually say “wow”. And when your main email client is GMail, which is nothing but a mountain of JS (or AJAX if you wanna get particular), you start to notice such things. That was only 6 months ago or so. Now I'm typing this post up in Chrome. God knows where this ends. I'll probably join some open source project one of these days.

Discovery #2. JQuery Lightbox. I can already tell that it's going to be derided as overused, but DAMN it's sweet. Click on my “Contact” menu link up there. That superfly effect that superimposes the form over the screen? Seems kinda familiar, right? That's JQuery in action. Sweet.

Tomorrow, or sometime this weekend, I promise you a post on quitting a band, and the many ways in which it can go down as well as a state of my noggin report.

thanks, all...

Well, this blog has hit version 3.0, with today's torturous migration from WordPress to Drupal. Why put myself through such an ordeal? Because if I'm going to paint my masterpiece, I'm going to have to start butchering some canvasses, and Drupal seems to beg for me to hack away at it. That and there is a world of flexibility in this platform that doesn't really exist in WP.

It'll be a process of getting up to speed and making this look and feel and act as nicely as the old iBD, but once I get going, expect some actual development here.

Thanks, friends. Oh, and in case you were wondering what happening to all of RRE's web properties today, I don't know anything about it...

I'd said earlier that I'd use this blog as a tool to try and explain the process that I'm going through so as to hopefully help some of you understand what has led me to this decision (to quit my awesome band).

I'm changing my mind.

Most of what I'm feeling and doing and going through at this point is way too personal and, the existence of this blog notwithstanding, I'm kind of a private person.

Edit: what I mean is that I'm going write about whatever is on my mind, just like I've always done. I've felt something of a mental block since I made my pronouncement on the purpose of this blog. I didn't really feel like talking about what a wreck I was after the last CO show, or how Vince Guaraldi set me off Sunday afternoon after Stroudsburg. It's my bidness, and there's not really much to say about it. So, I'm just going to resume writing about whatever...

I had so much fun last night that I'm writing about it before I've even had a cup of coffee.

The first rule of Geek Club is:

Don't talk about Geek Club. Actually this first rule is my own, and I'm breaking it immediately, except that I shall not refer to Geek Club by it's true name. It took me many months of searching to find it, and I don't want to spoil the sense of victory for you, should you be inclined to sniff out your own local chapter.

The second rule of Geek Club is:

Be prepared to practice your pitch. That's what pretty much everybody is here for, and some of them may even try to poke holes in your idea. Sooo much fun...

The third rule of Geek Club is:

There are no NDAs. Presumably, everybody here has an idea that they're working on, so they don't really have time to steal your idea. That and the ideas and interests and fields that people are working in and on are sooo widely varied. I met a dude working on a project involving credit cards, a dude working on a project involving medical testing, a dude who cofounded a startup called SeatGeek, and a dude who wants to help you find fresh local food in NYC. Yes, Geek Club is a primarily, though not exclusively, male environment.

The fourth rule of Geek Club is:

Tolkien references are okay. I had this image flash in my head toward the end of the meeting of storming the gates of some castle, that castle presumably being the tech scene that I'm busting into now. So you know that scene at the end of The Two Towers where the humans are holed up in Helms Deep with the orc hoard at the gates? As my brain was almost to sleep, I figured that actually, that fortress is the music business of old, and that mongrel hoard is me and my musician buddies. And this idea that I'm working on is the big scary orc with the bomb that blows the joint to hell. And the mongrel hoard is going to win this time, come hell or high water.

SO EXCITED!

I just finished “Zen and the Art of Motorcycle Maintenance” in the ATL airport yesterday. I tried to read it in college and failed miserably – it was just way too wordy and too deep for 20 year old me. For some reason about a month and a half ago I picked it back up and gave it another try, shortly before I started coming to grips with the fact that my spell in RRE is drawing to a close. It's basically the tale of a man and his son on a road trip. The man has battled mental illness in the past, the memories which were erased by shock therapy. The book is partly the tale of his putting his past back together again via a philosophical exploration while riding on a motorcycle (obviously) from Minnesota to San Francisco.

I got a lot out of this book this time. Whether it's the station I'm at at this point in my life, whether it's the fact that I have Noah now, whether it's the fact that I'm just older now, I didn't have much trouble with the sections that gave me trouble 11 years ago. On the contrary, there were several sections that could've been written about me. There is one in particular where the narrator is recounting a portion of his past where he taught Rhetoric at the University of Montana in Missoula. One semester he decides to conduct an experiment – to do away with grades for the whole semester. The students will receive a grade at the end of the course, and not before. The section that made the hair on the back of my neck stand up is toward the beginning of his recount of the experiment, when he's stating his hypothesis. I'll quote it, rather than summarize. Pardon the length.

Phaedrus' argument for the abolition of the degree and grading system produced a nonplussed or negative reaction in all but a few students at first, since it seemed, on first judgment, to destroy the whole University system. One student laid it wide open when she said with complete candor, “Of course you can't eliminate the degree and grading system. After all, that's what we're here for.”

She spoke the complete truth. The idea that the majority of students attend a university for an education independent of the degree and grades is a little hypocrisy everyone is happier not to expose. Occasionally some students do arrive for an education but rote and the mechanical nature of the institution soon converts them to a less idealistic attitude.

The demonstrator was an argument that elimination of grades and degrees would destroy this hypocrisy. Rather than deal with generalities it dealt with the specific career of an imaginary student who more or less typified what was found in the classroom, a student completely conditioned to work for a grade rather than the knowledge the grade was supposed to represent.

Such a student, the demonstrator hypothesized, would go to his first class, get his assignment and probably do it out of habit. He might go to his second and third as well. But eventually the novelty of the course would wear off and, because his academic life was not his only life, the pressure of other obligations or desires would create circumstances in where he just would not be able to get an assignment in.

Since there was no degree or grading system he would incur no penalty for this. Subsequent lectures which presumed he'd completed the assignment might be a little more difficult to understand, however, and this difficulty, in turn, might weaken his interest to a point where the next assignment, which he would find quite hard, would also be dropped. Again no penalty.

In time his weaker and weaker understanding of what the lectures were about would make it more and more difficult for him to pay attention in class. Eventually he would see that he wasn't learning much; and facing the continual pressure of outside obligations, he would stop studying, feel guilty about this and stop attending class. Again, no penalty would be attached.

But what had happened? The student, with no hard feelings on anybody's part, would have flunked himself out. Good! This is what should have happened. He wasn't there for a real education in the first place and he had no real business there at all. A large amount of money and effort had been saved and there would be no stigma of failure and ruin to haunt him the rest of his life. No bridges had been burned.

The student's biggest problem was a slave mentality which had been built into him by years of carrot-and-whip grading, a mule mentality which said, “If you won't whip me, I won't work.” He didn't get whipped. He didn't work. And the cart of civilization, which he supposedly was being trained to pull, was just going to have to creak along a little slower without him.

This is a tragedy, however, only if you presume that the cart of civilization, “the system,” is pulled by mules. This is a common, vocational, “location” point of view, but it's not the Church attitude. [not the church of the religious type, but I don't have time to explain all that here -jg].

The Church attitude is that civilization, or “the system” or “society” or whatever you want to call it, is best served not by mules but by free men. The purpose of abolishing grades and degrees is not to punish mules or get rid of them but to provide an environment in which that mule can turn into a free man.

The hypothetical student, still a mule, would drift around for a while. He would get another kind of education quite as valuable as the one he'd abandoned, in what used to be called the “school of hard knocks.” Instead of wasting money and time as a high-status mule, he would now have to get a job as a low-status mule, maybe as a mechanic. Actually his real status would go up. He would be making a contribution for a change. Maybe that's what he would do for the rest of his life. Maybe he'd found his level. But don't count on it.

In time – six months; five years, perhaps – a change could easily begin to take place. He would become less and less satisfied with a kind of dumb, day-to-day shop-work. His creative intelligence, stifled by too much theory and too many grades in college, would now become reawakened by the boredom of the shop. Thousands of hours of frustrating mechanical problems would have made him more interested in machine design. He would like to design machinery himself. He'd think he could do a better job. He would try modifying a few engines, meet with success, look for more success, but feel blocked because he didn't have the theoretical information. He would discover that when before he felt stupid because of his lack of interest in theoretical information, he'd now find a brand of theoretical information which he'd have a lot of respect for, namely, mechanical engineering.

So he would come back to our degreeless and gradeless school, but with a difference. He'd no longer be a grade-motivated person. He'd be a knowledge motivated person. He would need no external pushing to learn. His push would come from inside. He'd be a free man. He wouldn't need a lot of discipline to shape him up. In fact, if the instructors assigned him were slacking on the job he would be likely to shape them up by asking rude questions. He'd be there to learn something, would be paying to learn something and they'd better come up with it.

Motivation of this sort, once it catches hold, is a ferocious force, and in the gradeless, degreeless institution where our student would find himself, he wouldn't stop with rote engineering information. Physics and mathematics would come within his sphere of interest because he'd see he needed them. Metallurgy and electrical engineering would come up for attention. And, in the process of intellectual maturing that these abstract studies gave him, he would be likely to branch out into other theoretical areas that weren't directly related to machines but had become part of a larger goal. This larger goal wouldn't be the imitation of an education in Universities today, glossed over and concealed by grades and degrees that gave the appearance of something happening when, in fact, almost nothing is going on. It would be the real thing.

The hair on my neck is still standing up. I did poorly in school. Don't know why, but I just hated it. I and my parents were routinely told by teachers what potential I had that was going to waste. It was humiliating. My overarching, impressionistic memory of my academic career is that of a humiliated mule. As I mentioned in my very first blog post, I was kicked out of the band in 10th grade for not getting with the program. And now I've been a professional musician for the last 12 years, virtually since I left high school. I don't blame anyone for my stubborn refusal to do the rote bullshit work we were all assigned, but something was clearly not right. I was a kid, for crying out loud.

Anyway, the great thing about college was that it enabled me to shed a lot of the self-esteem issues that I graduated high-school with. It also more fully introduced me to a very deep and powerful talent that had always been there, waiting to be discovered and nutured. Music. Music has made me what I am. But at the same time, I can't help but feel that I've been a mechanic for the last seven years. That my real education, my real work, my real purpose begins now.

#life

Shouldn't it be a little more like this –>

You're a new user to the iBD CMS. The initial login screen is simple, clean. It has 3 fields that you need to fill in to register – Your name, your password, and your band's name. You press the submit button and that's it. Your new website is active. The second screen you come to asks for your Facebook login information. You enter it, and since your an admin of your bands Facebook page, you just directly imported all the data that is present on your Facebook page – that's a bio, your tour dates, band members, any contact info, links to videos and photos, pretty much everything a website needs is automatically populated with the press of a button.

That's cool! But wait, this bio is a little outdated. It still has the story about carving a path deep and wide. Let's change this a little bit. And once we're done, we press save and it's automatically sent to Facebook, since your admin account is already linked.

Are you starting to get the picture?

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#the-idea

The ongoing sorrow in my life is this –>

You can build an awesome website, and then where are you?

The answer is that you're ahead of at least some of the craptastic pack. The rest of the answer is that you've just taken a major step into proving that you take yourself seriously on the internet. You have opened Pandora's box, my friend, and if you think you can shut it, the world will know just what a punk you are. After all, the days when your website was the totality of your internet presence have faded into our collective long-term memories by this point. I'm not gonna say “social networking is just as, if not more important” because that would be insulting your intelligence. Besides, you already know how much more time you spend on Facebook than the best band website out there.

So now I have to babysit this thing, too?

And this is where the drudgery begins, my friends. Take it from someone who valiantly attempted to up the ante on RRE's web presence –> the internet is a big place. There are plenty of musicians out there that are intensely adept at using one or more facets of their web presence to the fullest effect, but it takes practice. If you're on Twitter, would you do me a favor and follow the @stringdusters? I'm not sure who does the posting for them, but I think it's the one Anders calls “Panda”. He gets it. And he gets it more every day. It's been something to behold over the past few months, and it makes me envious somewhere in my heart that I'm not as good a Twitterer as they. But I also know that someone with a hammer that bangs Twitter nails probably isn't as sharp or as diligent about banging the Facebook nails, or the Tumblr nails, or hell, what's going on on their website?

Are you with me so far?

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#the-idea