Want to buy a piece of a Drake song? Track’s rights sold via pioneering digital currency scheme

Vezt lets investors and fans purchase a share of future revenues from ‘Jodeci (Freestyle)’ and many more to come.

Only this time, it’s a different kind of money, one that could have far-reaching implications as the music industry pushes further into the realms of cryptocurrency, the speculative digital money that is secured through cryptography and recorded by blockchain technology.

In a pilot project of sorts, and in the hope of creating a direct and transparent marketplace for creators and rights holders, Los Angeles-based blockchain outfit Vezt just completed its “ISO” — initial song offering — in late November: a chance for 100 non-U.S. residents to purchase up to 10 per cent of the copyright of a Drake song.

Steve Stewart, Vezt’s co-founding CEO and former manager of the Stone Temple Pilots, says it’s a win-win situation for both parties: the creator gets to dictate the terms of the transaction and generate immediate money, and the buyer winds up owning a piece of an artistic creation, which could have deep sentimental value to that person.

“We think that everybody who participates in the creation of music should be compensated and this is a direct way to monetize intellectual property for the creators,” says Stewart, who created Vezt just over a year ago with Robert Menendez.

To prove the viability of its business model, Vezt recently concluded its first “token generating event,” by offering “Jodeci (Freestyle),” a 2013 track recorded by Drake and J. Cole, as the musical guinea pig.

The event, which concluded Dec. 1, resulted in the purchase of over 2.8 million VZT tokens for a total of $1.38 million (U.S.). Combined with a previous private investor offering that raised another $3.2 million (U.S.), the result left Stewart ecstatic.

“If we had raised $100 and given up no equity, I’d be amazed,” says Stewart. “To do more than $4.5 million in a short period of time is almost inconceivable.

“The important thing is we now have enough runway to build and scale our platform in the most efficient and expeditious way.”

To be clear, the writer’s share of the song doesn’t solely belong to — and wasn’t offered by — the Toronto rap god himself, although Drizzy’s superstar name was definitely a selling point.

But one of its co-writers whom Stewart refused to identify — Dewayne Brandley, Simon Rufus William III and Roosevelt Harrell III, the producer known as Bink, are among those listed — cashed in, selling his 10 per cent share to Vezt.

Stewart says Vezt owns a fraction of the copyright shares of 27 additional songs recorded by the likes of Kanye West, John Legend, Rick Ross, Dr. Dre and others to help jump-start its platform, which it’s planning to open to artists and rights holders by summer 2018.

“Anybody who owns rights should be able to transact them,” Stewart explains. “That’s the basis for our platform.”

Vezt co-founders Robert Melendez (l) and Steve Stewart (R) with producer Andre “Dre” Lyon.
Photo By: Ken Alkazar

The premise is simple: creators and rights holders of intellectual property offer some share of their song rights to potential buyers on the Vezt platform.

These song shares are purchased via Vezt’s VZT utility tokens valued at approximately $0.35 (U.S.) each. In exchange, the creator forgoes those portions of the rights for a predetermined term — usually one, three or five years — during which the purchaser receives whatever pro-rated royalties and revenues are generated.

Song-rights details are automatically encoded on the Vezt blockchain and tracked by royalty-collecting performance rights organizations in 137 countries around the world, gathering income from various sources (see sidebar). The rights revert to the creator at the conclusion of the term.

While public interest in cryptocurrency has spiked lately on the heels of Bitcoin’s rocketing value — from 8 cents in 2009 to more than $11,000 (U.S.) today — a few recording artists took notice earlier. British singer and songwriter Imogen Heap was the first, independently releasing a song in 2015 called “Tiny Human” that could be purchased with ETH, perhaps the second most popular cryptocurrency after Bitcoin.

The latest projects include Icelandic singer Björk, who has offered consumers the chance to purchase her just-released Utopia album via several digital monies. Slovenian electro-producer Gramatik, who is booked into the Danforth Music Hall in April, has gone one better: establishing his own GRMTK cryptocurrency, which he launched in Zurich in November.

Artist manager Steve Stewart says one of the reasons he launched Vezt is to resurrect the value of music, which he says disappeared with the arrival of file-sharing company Napster. By relying on a song’s music royalties, Stewart is convinced he can help turn around music’s — and music makers’ — recent misfortunes.

“After a song is pumped up and released, there’s a spike if it’s put out on the radio or toured behind for a period of time,” he says. “After that spike comes down and levels out, you pretty much have a level income stream going forward.

“That’s why people like (David) Pullman could do the Bowie Bonds 25 years ago: they securitize music royalties. We’re seeing firms like Goldman Sachs today look at music securitization options again because it almost acts like a bond . . . it’s fairly consistent as far as income goes.”

Pullman, creator of the “Bowie Bonds” that saw David Bowie receive $55 million (U.S.) tax free in exchange for the majority of his album and publishing catalogue being securitized for 20 years, says this type of transaction probably wouldn’t interest songwriters with extensive catalogues “because they’re too conservative,” but are more for creators who want “liquidity now.”

Stewart believes that once the Vezt platform is fully running, the majority of song-share purchasers won’t be from Wall Street.

“Honestly, we think that 80 per cent of our buyers are going to come from an emotional place: they’re going to buy it because it’s their favourite song,” Stewart says. “Every time they hear that song streamed, every time they hear it in a club, every time they hear it on the radio, they know that they’re making something along with the artist.

“We see a lot of our buyers coming at a relatively modest dollar value, anywhere from $1 to $100. So for the price of a T-shirt — $25 or $30 — they can buy a piece of a song that moves them emotionally.”

With many musicians struggling to fully devote time to their craft and others lamenting the terms of onerous recording contracts that wrest intellectual property control away, Stewart says Vezt has great potential to be a music industry game changer.

“Artist/creators get a publishing deal and it might cost them 25 per cent of their copyright,” says Stewart. “They get an admin deal, that might cost 5 per cent to 10 per cent. They get a label deal and a label might take 85 per cent. There’s a lot of people with their hands in pockets, as is with the music business traditionally.”

And his company won’t stop at music.

“We’re looking at anything that has an IP component to it,” says Stewart. “We’re looking at books, shows, film, TV, video content. . . . We’re looking to be the marketplace for IP all around the world.”

How it works

Once a song is written, 100 per cent of its copyright (which entitles the owner to money generated by streams, radio airplay, TV broadcasting or even a commercial spot) belongs to the writer or writers. Typically, the writer signs a publishing deal giving half of that to the publisher; if there is more than one writer, they each get a chunk of the writer half.

Under the Vezt plan, creators could sell the right to the cash generated over a given period in exchange for the buyer’s cash now. Once the transaction is complete, the funds are immediately credited in the creator’s account and the deal is recorded in the blockchain for posterity. Song-rights details are automatically encoded on the Vezt blockchain, too, guaranteeing the buyer proof of possession and opening the door to cheques from royalty-collecting performance rights organizations in 137 countries around the world.

 

The purchase of the rights is made using VZT tokens, which can themselves be bought with the more established cryptocurrency ETH or, for a service fee, with recognized currencies such as U.S. or Canadian dollars.

The rights revert to the creator at the conclusion of the term.

 

https://www.thestar.com/entertainment/music/2017/12/10/want-to-buy-a-piece-of-a-drake-song-tracks-rights-sold-via-pioneering-digital-currency-scheme.html

 

Kelly Clarkson pleased that new album shows off her soul

Meaning of Life is a departure for the American Idol winner — one she’s been waiting for.

Nick Krewen

Music Mon., Oct 30, 2017

“Character, sass and attitude.”

Powerhouse singer, American Idol alum and current The Voice judge Kelly Clarkson nails a description of her new Meaning of Life album, just released, in just four words as she sits across her from her interviewer, resplendent in a black dress.

 

While she might be succinct with her summary of her eighth album, the 35-year-old Texas native has been long in patience, telling the Star during a recent Toronto visit that this 13-song effort is the one she always wanted to make.

But shouldn’t a superstar who has topped the charts with such hits as “Since U Been Gone,” “Stronger (What Doesn’t Kill You),” “My Life Would Suck Without You” and “A Moment Like This” — selling more than 24 million albums and 36 million singles in the wake of three Grammy Awards — be enough of a proven commodity that she’d be able to dictate the terms of her output?

“Well, I just got out of my Idol contract,” Clarkson admits, citing a 15-year relationship with RCA Records due to winning the reality TV music show’s very first season.

“It was an arranged marriage — and a very successful one — but I fulfilled a particular lane for that label. Luckily, it wasn’t that I hated my life. I like pop/rock and I like a lot of genres, but I sang soulful pop on Idol the entire time, so I don’t think (Meaning) is going to be a shock for my fans.”

That particular RCA lane didn’t include what Atlantic Records saw in her when she started the search for a new label home.

“Whenever I went to meetings with Atlantic and asked them what they wanted to do with me, they were like, ‘Man, we’d love to make an album like if Aretha (Franklin) were coming out now in 2017, what would that sound like?’

“And I asked, ‘Where do I sign?’ ”

Clarkson then played them the song “Meaning of Life,” a gospel-tinged, rafter-booming soul anthem co-written by Jesse Shatkin (Sia’s “Chandelier”) and U.K. artist James Morrison that she had been holding for consideration since her final RCA album, 2015’s Piece by Piece — and was buoyed by Atlantic’s response.

‘They flipped out on it and said, ‘This is perfect, because it’s hard to switch gears with people that have heard you for 15 years singing ‘Because of You,’ ‘Already Gone’ and ‘Stronger,’ etc.’ It was a nice song to be able to set the bar for the album.”

In terms of Kelly Clarkson albums, Meaning of Life is a bit more brazen, with barn-burning soulful blasts like “Love So Soft,” “Whole Lotta Woman,” “Didn’t I” and “I Don’t Think About You” providing plenty of grit and sweat.

Which brings us to the overall reason Clarkson — who performs at the Air Canada Centre on Dec. 9 as part of the iHeartRadio Jingle Ball — was eager to produce an album like Meaning of Life.

“Really, my goal was to showcase my vocals so people will stop telling me, ‘My God! I didn’t know you could sing!’” she laughs.

“That’s the entire reason I made this album. Because a lot of times I’d get mildly offended because I’d perform and people would be like, ‘Oh my God, you can sing!’ And I’d be like,’ What?!’

“It was perplexing me, but then I get it, because when you sing a lot of pop/rock stuff it comes off almost like jingles. A lot of artists can do that. So with this album, I focused on making an album that maybe not everyone could sing, just the strength of my performance. Because that’s my part in my art: I don’t really fly or dance in concert . . . I love writing, I love singing and I really wanted this album to sound solid.”

Either way, the mother of four (two by husband/manager Brandon Blackstock and two from his previous marriage) views this new work as a fresh start.

“I know it’s funny but, 15 years later, I feel like a first-time artist,” she admits. “It’s my first time to pick my label; the first time to pick my entire team and like really go for it. And it’s awesome to be at that point in your career, where if it does well awesome and if it doesn’t, still awesome. I’ve been dying to make this for so long that I don’t care either way. I’m just very happy.”

On the horizon for Clarkson, beside a world tour to support the new album, is a spring 2018 appearance as a coach on The Voice, one of the myriad reality TV music competition shows that seem to be in vogue at the moment.

Clarkson, of course, is the original winner of American Idol, which ended its Fox Network run in 2016 only to be resurrected by ABC for 2018. The Nashville resident says she was approached to be a judge for the new show but had already committed to The Voice.

“I’m like, well, if I have to choose between my husband, who manages Blake Shelton and has to leave us, and our family can all be in the same place, I’m obviously going to choose that,” Clarkson explains. “Honestly, I’ve given 15 years of my life to Idol; I’ve gone back every season pretty much and I’m so proud of my start, but I’m also pretty excited about sitting in a chair and not seeing or worrying about the esthetic appeal of someone, and just listening.

“Because I love music. I grew up without MTV. I loved artists because I listened to them, which is what I feel like music should be.”

With the reality TV music scene seemingly heating up again — besides Voice and Idol, Canada is preparing its own program The Launch and NBC has green-lighted another one called The Stream — is there a chance all these programs may suffer from audience fatigue?

“Well, when are y’all going to stop watching them? “she retorts. “And the other question is, why aren’t people more famous from them? And that’s because there’s a frickin’ plethora of them now.”

Clarkson agrees that music is often the last concern with viewers.

“I’m going to be honest with you right now: I am 99 per cent of the time told that it wasn’t even my singing that drew them to me. People are like, ‘Oh, I loved your personality.’ It wasn’t always about the singing, it’s about the selling. But if you think about it, that’s also what happens in the industry. That’s why some people make it and some people don’t, because people gravitate toward them as a person as well. Like country music, for instance, the whole genre is based on lifestyle.

“I will say you’re lucky when you get to do it the way I did, because you have all this leverage. You have all these millions of people that already like you, though it’s like, what are you going to put out? They’re excited, they want something. A new artist doesn’t have that. They don’t even know you. You have to work for everything.

“There’s always going to be a different door and it’s whichever door comes in front of you.”

Kelly Clarkson pleased that new album shows off her soul | Toronto Star

What does $50,000 buy? The ultimate Gene Simmons fan experience

Or, if you don’t have that kind of cash, the KISS rocker will hand deliver his box set for just $2,000.

Nick Krewen

Music

Thu., Sept. 21, 2017

Gene Simmons is at it again.

The co-founder and bassist of legendary rock band KISS, who has gained almost equivalent public stature as an audacious and shrewd marketing tycoon, has set aside most of 2018 to deliver his latest project: The Vault Experience, a 17-kilogram, 10-CD collection of 150 previously unreleased demos and recordings that he boasts is the “largest and most expensive boxed set of all time.”

©Mark Weiss

And by “deliver,” Simmons means exactly that: For $2,000 (U.S.), the rock-and-reality-TV superstar will personally hand it to you at a location of your choice.

Actually, he’ll wheel it to you: The boxed set, which comes with an envious number of bells and whistles, resembles a small safe and is cumbersome enough that it rolls around on castors.

“Anyone that buys one — first come, first served because there are only a few thousand around the world — I will fly to you,” declared Simmons, who was in Toronto earlier this week to promote the venture.

“Whether you’re in Moncton or New Zealand, I will hand-deliver this to you in a convenient area — because if you live in the North Pole, I’m not going to the North Pole — I want to be upfront.

“But if you’re in Moncton, I’ll go there.”

For those willing to shell out the coin for Gene Simmons: The Vault Experience, the dates for Toronto delivery have already been designated: May 5-6 and Sept. 19, 2018, with the tongue-wagging rock star promising to buy his own “plane tickets, hotel rooms, security, insurance, legal stuff — at my expense.”

Why is he doing it? Simmons, whose cartoonish, on-stage “Demon” persona has helped sell 75 million KISS albums worldwide and filled arenas countless times over, says it’s his way of personally thanking his followers for 50 years of an unimaginably wonderful musical career.

“Well, the fans made my life possible,” reasons Simmons, born Chaim Witz, 68 years ago in Haifa, Israel, and who is married to St. John’s, N.L. actor Shannon Tweed. “I mean, I have a great life. My family is taken care of. I can spend money on anything I want, although I don’t need a lot of stuff. I don’t care about stuff, mostly.

“But how do you say thank you after becoming America’s No. 1 award-winning group of all-time? That also includes Canada — yeah, we have more gold records than A Foot in Coldwater.”

His reference to a classic Toronto rock band notwithstanding, the six-foot, two-inch Simmons, reclining on a couch in an RV next to The Launch studios in Scarborough, says he’s willing to do what other superstars won’t.

“I never had Elvis (Presley) knock on my door and say, ‘Hey man, here’s my new record and thanks for being a fan,’ ” Simmons notes. “But why not? If you can afford it and you’ve got the time and you want to do it . . .”

“I’m not going to make everyone happy. If one million fans buy these, I’m not going to go and spend 10 years visiting one million fans. But a few thousand? Sure. So, I’m taking a year off, starting January, and I’m going around the world. I don’t know what kind of tour you want to call it — but I’ll be going and visiting the fans.

“There will be people crying — especially if I step on their feet — and I’m going to well up as well . . . because once upon a time, I was a kid with a dream and I saw this dream come true on a scale that I never envisioned. By many estimates in the marketing world, those four KISS faces (Simmons, Paul Stanley, Ace Frehley and Peter Criss) are the most recognized faces on planet Earth.

“I don’t see (Bruce) Springsteen or (Bob) Dylan or anybody on that level who are going to go and meet and greet every single fan that buys their boxed set.”

Manufactured in partnership with Rhino Entertainment, the California-based specialty label that has previously released elaborately designed boxed sets for Ray Charles (a turntable suitcase) and Z.Z. Top (a barbecue shack), Gene Simmons: The Vault Experience includes a 50,000-word coffee table book, an action figure (which is kind of ironic, because it’s a likeness of Simmons standing with his arms crossed), a gold medallion and secret compartments, where fans will discover a unique piece of hand-picked memorabilia — “it could be a pair of leather gloves or a scarf” — from the Van Nuys, Calif.-based KISS warehouse.

A Vault “pre-pack,” including a signed golden ticket, an exclusive T-shirt, a laminate and a USB of the track “Are You Ready,” will arrive separately by email once an order is placed at GeneSimmonsVault.com or by calling 1-833-GSVault, the only way it can be ordered.

Musically, the set chronicles some of Simmons’ pre-KISS output dating back to 1966 — and there are some intriguing curiosities.

“Three of the tracks are Bob Dylan and Gene Simmons-written songs, including the Bob/Gene writing session in which he was kind enough to get into an unmarked van and come up to my house,” Simmons explains. “The Van Halen brothers — after I discovered their band and signed them to my company — were kind enough to play on three tracks. We have a power trio: Eddie and Alex and Gene Simmons. They played on ‘Christine Sixteen,’ the original version. Joe Perry from Aerosmith in 1978 plays on ‘Mongoloid Man.’ Also, it includes all the KISS guys — Ace, Paul and Peter.

“This set includes the very first song that I recorded — one of the songs that I wrote when I was about 14, called ‘My Uncle is A Raft, But He Always Keeps Me Floating.’ Oh yeah, that’s deep, Gene — but melodically, it’s not a bad song.”

Simmons is adamant that he wanted something tactile for this set and, with the exception of the single-song USB, has no intention of releasing it digitally.

“There’s no downloading, no social media — nothing,” he declares. “There’s no ‘cloud’ nonsense — get the f— out of here with that cloud s—. I wanted something real, a lifetime thing, not a ghost or a mirage.”

True to Simmons’ entrepreneurial nature, those who have a little extra cash on hand can enhance their Vault encounter. For $25,000 — and only until November — fans will get the Producer Experience, which will include a Skype call with Simmons and an invitation to the studio, where they can make notes, suggestions and get their name etched on the inside of the safe’s door as executive producers.

And if you happen to have $50,000 lying around, Simmons will deliver the set and spend the day with you and up to 25 friends.

“If you’re nuts and you want Gene Simmons for a day to come to your town — invite 20 to 25 of your friends — do karaoke, pet the dog or, if you have a rock band and you want me to join the band, boom, $50K,” he says.

“Few people are going to do that and that’s cool. But again, it’s about changing the relationship: doing something that’s lifetime stuff, away from retail, which is a failing model, as you know.”

This isn’t the first time Simmons has gotten up close with his fans. In the mid-1990s, KISS staged a day-long convention tour and visited 23 cities, including Toronto. The day, held at the Sheraton Centre, included exhibits and memorabilia, several KISS cover bands and, in the early evening, an acoustic concert and Q&A session with the original quartet.

“It wasn’t personal enough,” Simmons recalls. “You came to the convention and it was like a mini-concert. You were onstage, you answered questions. Yes, we were the first ones to do that and I will take full responsibility for that.

“In those days, it was $100 per ticket but we paid for travel and everything else. But again, fans couldn’t come up and talk, touch or spend individual time, if you see what I mean. You’re still part of 1,000 people. This (The Vault Experience) is to try and change the relationship and get closer to our bosses.

“There’s this thing about celebrity — it’s far away and don’t touch me and don’t take my photo. I’m not that guy,” he adds. “I wanna do something that’s a tug of a heart. That’s why I’m doing it.”

Simmons has an estimated fortune of $300 million, has been “comfortable for decades” and has merchandised everything from urinal cakes with pictures of his face on them to KISS condoms, caskets and customized Axe guitars. But the one-time manager of Liza Minnelli remains busy, with ventures ranging from the Rock & Brews chain of 19 restaurants he shares with KISS co-founder Paul Stanley to books, films and his own line of cola.

Does money remain his main motivation?

“Well, look, (Warren) Buffett gets up every day and goes to work,” he says. “You can’t use the ‘Look Warren, you’ve got enough money, why do you get up every day?’ excuse.”

“What the f— is he supposed to do? Wait to die? Once you reach a billion or whatever that number is, what do you do? Play golf all day? I’d hang myself.

“You can amass large fortunes, and that’s great and chicks are great and fame is great. All of it is great. But unless you’ve got some passion that makes you get up in the morning, you’re just going to lay there and wait to die. So don’t minimize money or fame or sexy stuff.

“But the most important thing is that I can’t wait to get up out of this self-induced coma, sleep — which is a f—ing worthless piece of time. Let me use my brain 24 hours a day. I’d rather a shorter life and be fully awake the whole time than a long life and be comatose for a third of it. Wouldn’t you? So that’s my spiel and I’m sticking to it.”

What does $50,000 buy? The ultimate Gene Simmons fan experience | Toronto Star

30 Years of Farm Aid: Why Willie Nelson, Neil Young, John Mellencamp are still at it

Willie Nelson at Farm Aid 30 ©Ebet Roberts

By Nick Krewen | www.samaritanmag.com

Posted on September 23, 2015

CHICAGO — To say that Farm Aid, the annual music festival fundraiser for family farms and farmers, “celebrated” its 30th anniversary this month at Northerly Island would be a bit of a misnomer.

Certainly, there were some festivities, as an impressive lineup of top musicians including Farm Aid founders Willie Nelson, Neil Young and John Mellencamp, Farm Aid board member Dave Matthews, rock band Imagine Dragons, R&B legend Mavis Staples and singer-songwriter Jack Johnson, provided nearly 12 hours of music, entertaining an estimated 27,000 in attendance at the FirstMerit Bank Pavilion on Sept. 19. But the truth of the matter is that 30 years after Nelson organized the first Farm Aid in Champaign, Illinois — raising more than $48 million towards the cause over the last three decades, excluding the most recent event — the plight of the U.S. farmer remains in crisis.

Neil Young at Farm Aid
©Paul Natkin/Photo Reserve, Inc.

The U.S. Department of Agriculture (USDA) lists the current number of U.S. farms at 2.2 million; it also admits that less than 1 percent of the country’s 313 million citizens “claim farming as a profession;” that farm production expenses average $109,359 per year per farm and that “fewer than 1 in 4 of the farms in this country produce gross revenues in excess of $50,000.” Foreclosures, deep debt, industrial agriculture muscling in and manipulating prices to the point where non- corporate agriculturalists are lowballed for less-than-market crop prices, and high-level stress that often leads to depression and suicide.

The situation is still dire, warned the non-profit charity’s co-founder Neil Young at the Farm Aid 30 press conference. “The American farm is disappearing. This is a reality,” Young stated. “We keep saying, ‘We’re fighting…we’re fighting,’ but it is disappearing.”

Young says a dearth of younger generation farmers isn’t helping the cause, especially when aging farmers hand over their livelihoods to their kin, only to watch it be sold to corporate interests. “We’ve only got a few young people involved. The farms are going to change hands. We know when the farms change hands; that’s when the corporations come in and grab another slice.”

Still, war wages on, fighting commercial behemoths like agrochemical and agricultural biotechnology giant, and genetic seed modifier Monsanto and Tyson Foods Inc., the world’s leading processors of poultry, pork and beef, two companies whose multi-billion-dollar deep pockets and alleged government collusion have transformed them into formidable foes, said Young, whose latest album The Monsanto Years particularly takes one company to task.

“We’re up against a gigantic force that keeps coming at us from everywhere,” Young stated. “It’s centered in our government, and it’s backed up by multinational corporations who have taken over the farmland of the United States, who produce 90 percent of the corn.”

Young says the latest crisis farmers are facing is “seed control.”

“Seeds are owned by these companies, so farmers can’t trade the seeds,” he explained. “Currently, there’s a bill in the Senate that, if it passes, will make it illegal to trade seeds farther than 3 to 5 miles.

“Because of our government and the money that they’re taking from the multinational corporations, we are being forced to give up the right for our farmers to trade seeds,” he added. “We need seed justice in this land.”

John Mellencamp at Farm Aid
©Paul Natkin/Photo Reserve

This public advocacy is one of the crucial differences Farm Aid has made in the lives of farmers: standing up for the little guy.

“The fact that Farm Aid even exists has given every farmer out there a stand against companies like Monsanto where they didn’t have one before,” country artist Jamey Johnson, who was performing at his eighth Farm Aid Festival, told Samaritanmag in an exclusive interview.

“If you don’t have a voice or a vote, there’s no way you can make anybody change. Farm Aid gives every farmer out there a platform to stand on while they make their case. Farm Aid helps farmers that get pushed out by ever growing corporate business and helps them make a new start on their own, helps them stand up against the Goliath.”

Besides offering hope, Farm Aid also supports farmers through third party administration with programs like The Family Farm Disaster Fund — which helps families survive weather-related disasters by providing emergency funds to buy food and cover living expenses, an emergency hotline and provides legal and financial counseling when foreclosure is threatened — and The Farmer Resource Network, a grid of 700 organizations recommended by Farm Aid that provides “resources, tools and opportunities to help (farmers) thrive.”

Every annual Farm Aid concert funds a year of activity, as artists and crews donate their time and talent, with all proceeds going to the cause save for a small amount of production expenses.

Here’s how it breaks down according to Farm Aid website: 41 percent of proceeds go toward promoting “fair farm policies and grassroots organizing campaigns to develop and bolster family farm-centered agriculture;” 39 percent goes toward “helping farmers thrive; providing farmers with the services and resources they need to access new markets and transition to more sustainable and profitable farming practices;” 14 percent to natural disaster and emergency response and 6 percent towards “growing the Good Food movement,” a crusade that espouses finding and shopping for organic, naturally grown farm food rather than the genetically altered stuff.

Dave Matthews at Farm Aid
©Paul Natkin/Photo Reserve

“When we started Farm Aid, crisis was gripping farm country,” said Willie Nelson, who launched the idea following a remark he heard from Bob Dylan at Live Aid regarding a similar charity for farmers, at the press conference. “Farm Aid called on America to stand up for family farmers. They showed up then and they’re still showing up. All different types of people are coming together for family farmers, and we’re making a difference.”

Farm Aid has also influenced other musicians to lead by example and make a difference.

Jack Johnson, and his wife Kim, for example, have implemented a healthy snack program via their Oahu-based Kõkua Hawai’i Foundation called AINA in 16 local schools, a farm-to-school initiative that promotes childhood health by pushing healthy eating habits, contributes to a healthier local food system by supporting Hawaii’s farming community and their produce, and connects children to the land and water that sustains them.

For this school year, AINA is in 16 schools across the state, where students will experience garden-based learning, compost and nutrition lessons.

“Basically, during the school hours you can come into the classroom with locally grown food,” Johnson explained. “We have parents come down in the morning, they cut it all up, it comes from the farmers, it gets put into the classrooms and kids get to taste it.

Jack Johnson at Farm Aid 2015
©Sabine Carey

“Any kids who don’t want to finish it we get them to put it in a little bin, and we take that off to worm composting. They’re learning about how it goes back into the soil, and what healthy soil is, and we’re happy to be part of it.”

Jack Johnson told Samaritanmag that because his foundation is self-financed, there is a lot more flexibility and direct action in what they’re able to do.

“We’re pretty lucky with our Foundation, it’s all self-funded,” he admitted. “We’ve gotten some grants, but we’ve done music festivals that kind of support it and a lot of the touring I do, I pour money into it from there. So it’s been different than a lot of non-profits that have to rely off the grants, year after year. In that sense, the finances haven’t been a huge challenge but I know it’s been a challenge for other non-profit groups.”

Jamey Johnson at Farm Aid 30, 2015

For the Imagine Dragons, Farm Aid is an inspiration to change their eating habits. Guitarist Wayne Sermon, whose grandfather and father were farmers, said the band is doing its part to promote better eating by setting an example and actively searching out farm-to-table restaurants whenever they’re on tour.

“When I first started this band and we actually got successful, was when I first realized that I can’t eat the way I used to eat,” Sermon told Samaritanmag exclusively. “I have to eat fresh meat and vegetables, making sure knowing where my meat comes from, the non-GMO stuff. It became apparent and actually made a difference in my life. We also definitely encourage people to go out to grocery stores that support local farms as well.”

Even Micah Nelson, son of Willie and brother of Lukas, who fronted his own Insects Vs. Robots and joined Lukas’ Promise of the Real to perform with Neil Young at Farm Aid, said he’s going to Kauai this winter to help his cousin start a food forest. “I’m going to go help him out and learn as much as I can and apply it to my own life, instead of just going out there and preaching about it,” he said.

The fact that a trio of second generation artists, Micah and Lukas Nelson, and Ian Mellencamp, all performed at an event that initially took place either before they were born or just after, suggests that the Farm Aid will take the fight for the farmer well into the future.

* Samaritanmag.com is an online magazine covering the good deeds of individuals, charities and businesses.

30 Years of Farm Aid: Why Willie Nelson, Neil Young, John Mellencamp Still at It | Samaritanmag.com – The Anti-Tabloid

Golden Globe or Golden Throat?

Actor Musicians

Nick Krewen

Grammy.com

October 2003

Golden Globe or Golden Throat?

There may be a sizeable increase in the number of actors pursuing their muse as recording artists these days, but trying to earn respect from the masses, the music industry and critics is still an uphill battle.

Some, such as Hilary Duff or Jennifer Lopez, are talented television and movie multi-taskers who seem to have no trouble climbing the Billboard charts and finding millions of fans to buy their albums.

But others, such as the Oscar-winning Russell Crowe and ex-Party Of Five ingenue Jennifer Love Hewitt, are still struggling to find an audience for their music.

While public choices concerning such matters as talent and material may be subject to individual tastes, at least one fledgling actor musician feels there’s a bigger obstacle to overcome.

“People just don’t take actors seriously,” says Crazy/Beautiful star Taryn Manning, who is simultaneously pursuing a career as singer of Dreamworks recording act Boomkat.

“It’s been one of my biggest hurdles. The whole deal is the perception that anybody can act, but not everybody can play instruments or write songs.”

Manning, whose Boomkatalog.One was released to critical acclaim earlier this year, says the notion that acting is an easier profession to conquer doesn’t help.

“If you have a pretty face and a nice body, you have a chance to make it as an actor unfortunately. You really do.”

Academy Award winner Billy Bob Thornton, who recently released his sophomore album The Edge Of The World on the Sanctuary label, also feels actors are at a disadvantage when it comes to establishing their musical legitimacy.

“We’re definitely under a microscope,” says Thornton, revered for his starring roles in such films as Monster’s Ball, The Man Who Wasn’t There and his self-written Sling Blade. “I don’t think you have as fair a shake.”

He says the perceived glamour of Hollywood lifestyle often creates suspicion both within public and music industry circles.

“I think that people think that the only reason actors have the opportunity to record music is because they’re rich guys who can get what they want, or that maybe they have an ‘in’,” Thornton explains. “And maybe that’s true to a degree. But there’s a downside – there are people within the music business who have a prejudice against actors doing it.  They watch you with one eye kind of squinted – ‘Wait a minute, what are you doing in my yard?’”

He also feels that much of the bias is media-driven.

“The media creates it and perpetuates it,” says Thornton, who has toured with Willie Nelson and Elvis Costello. “A critic may be slamming your thing for many reasons. You may have slept with his girlfriend, or whatever he thinks you did. If you get a critic who’s got a bee in his ass about you and they want to talk about you in that way, that’s the only way a guy in Wichita, Kansas hears about that. There are people out there always looking for this angle that’s easy for them, a soundbyte.”

And then there’s the residue from the “Golden Throats syndrome,” the ‘60s and ‘70s era of big-name movie and TV idols that regularly savaged pop classics through ill-advised recordings. Remember Leonard Nimoy’s “I Walk The Line?”

However Rhino Entertainment A&R manager and staff producer Gary Peterson, co-creator of the four-volume Golden Throats series for Rhino Records, says a return to such an ear-cringing movement would be unlikely.

“When an artist from the movies or television or another type of entertainment field wants to do a recording now, there’s a safety net of recording technology at hand to fix up the mistakes because the production values are higher,” says Peterson.

“Of course with these artists now, and the high profiles that they maintain, they’re much more guarded about what comes out.”

“The fact of the matter is that you’ve got to look at people for what they’re doing and not who they are,” says Billy Bob Thornton, who received critical acclaim for his Marty Stuart-produced first album Private Radio.  He says he considers music and acting equal priorities.

“I consider it all the same thing,” he says. “ It’s all about telling stories and moving people in some way or another. But there are different feelings you get from it. What movies do that music doesn’t do for you is put you into a different world for a long time, whereas a song might tell a story and put you in another world, but you’re not able to develop it that far.

“What music does for you is more immediate. You can write a song and go cut it that night. If you’re writing a movie, it’s going to take you awhile, and then you have to go get it financed or set up in a studio.  Then they’ve got to cast it, so it’s a long process.”

Boomkat’s Manning says she shouldn’t be pigeonholed.

“I like to dabble in and hone all my talents, which range from singing, acting, and dancing to making clothes, doing hair and makeup.”

Manning, who has begun working on Boomkat’s second album, says she’ll honor her musical commitment through action.

“You’ll have to start believing in me when I’m five records in, because I never plan to stop making music. People should open their minds and not be so judgmental.”

Postscript:  This was published by Grammy.com in either October or November 2003. The site has since been upgraded and some of the archival files are no longer available.

I also remember Billy Bob Thornton telling me during this interview that he wrote the script for his Academy Award winning Sling Blade while Frank Zappa and the Mothers Of Invention’s Burnt Weeny Sandwich served as the soundtrack.

Customized Instruments

CUSTOM DESIGNED

 Nick Krewen

GRAMMY.COM

January 2005

Wish you could play the electric guitar like Angus Young or pound the drums like Mike Bordin?

While they may not be able to guarantee you a spot in the AC/DC or Ozzy Osbourne camps, major music instrument manufacturers like Gibson and Yamaha are striving to bring you one step closer to realizing your dreams with their exclusive lines of signature, custom-made instruments.

“It is our finest stuff,” proclaims Henry Juszkiewicz, chairman and CEO of the Nashville-based Gibson Guitar Corp., whose product line also includes the familiar Epiphone, Kramer, Baldwin and Slingerland brands of musical instruments.

“Virtually every model that comes out of that business is hand-built because they’re constructed in very tiny quantities. They are the vanguard of our production line.”

And they appeal to the diehard fan, whether you’re an aspiring musician or an avid collector. With the right amount of cash, you can wail along to “You Shook Me All Night Long” on your Gibson Angus Young Signature SG electric guitar ($1900) or use your Yamaha Mike Bordin SD-6455 MB snare drum  ($1079) to ride the rhythm of “Crazy Train.”

According to Joe Testa, artist relations of Yamaha Drums, the sound of a signature instrument is just as important as its appearance.

“When you’re talking about a signature snare drum, it’s supposed to capture the sound of that particular artist,” explains Testa, whose division imprints include customized products by renown drummers Manu Katché, Dave Weckl and Steve Gadd. “If you’re a fan of that artist, one would think that would help sell that drum. That’s the thinking behind it.”

Jimmy Chamberlin, the Smashing Pumpkins alumnus who recently launched a Yamaha signature snare drum of his own – the SD-2455JC ($699) – says reputation carries influence.

“One of my favorite drums to this day is an old Gene Krupa Radio King,” states Chamberlin.

“As soon as you hit it, you know it’s his drum.  That’s what you do as a young drummer — you emulate your heroes. And anytime you can get your hands on some of their gear, it just gets you that much closer to the mark.”

Gibson’s Juszkiewicz estimates that custom and signature lines represent only a tiny fraction of his company’s annual sales of $300 million – “less than 5%” – but the product associations with such icons as Jimmy Page, Paul McCartney, Emmylou Harris and Earl Scruggs offer instant credibility.

“To have an artist like Paul McCartney or Jimmy Page associated with Gibson just reminds people of the quality,” says Juszkiewicz, “We acquire the professionalism and the musicianship of people like Les Paul — who at the age of 90 is still out playing every week — and B.B. King and Joe Pass, guys who are exquisite instrumentalists.

“Equally, the brand stands for excellence, and artists acquire some of that prestige through our relationship.”

But are they paid for that relationship?

“We don’t pay anybody to play Yamaha drums,” admits Joe Testa. “Never have. Once you do that, you dilute the whole meaning of an endorsement. It’s embarrassing to say, ‘We had to pay this guy to play our drums.’ Al Foster and Steve Gadd have been with Yamaha for 30 years because they really believe in the product.”

That’s not to say some financial consideration isn’t a factor. When Paul McCartney agreed to partner with Gibson to issue his Epiphone Signature Texan, the former Beatle only warmed to the idea as a charity fundraiser.

“When we presented it to Paul in the right way, which incorporated benefiting Adopt-A-Minefield, it really made sense to him,” says Pat Foley of Gibson Custom, Art And Historic, who liaised with the living legend on behalf of Epiphone.

“A signature guitar to him is an honor, but it’s not something he needs to add to his legend.”

When Serial No. 001 rolled off the production line 18 months and three prototypes later, Sir Paul auctioned the guitar and raised $50,000 for Adopt-A-Minefield.

An additional consumer incentive is the hands-on involvement of artists throughout the process. Jimmy Page personally selected and tested the first run of 25 Les Paul Honey Burst guitars – but not before spending years helping Gibson perfect the instrument.

“We did a Jimmy Page reissue that had a very unusual electrical set up involving a lot of switching,” Henry Juszkiewicz recalls. “Getting it right took the better part of four years to satisfy him.

“But we’re highly committed to ensuring that the instrument you buy is exactly the instrument the artist is playing. It takes a lot of work to do that.”

Juszkiewicz says a Gibson custom-made signature guitar is also a good value for investor: just recently, Christie’s auctioned a Gibson SG electric played by George Harrison for $567,500.

“On average our Gibson guitars have appreciated 12-17% annually,” says Juszkiewicz.

As far as signature artists are concerned, Jimmy Chamberlin says the advantages of his Yamaha association range from access to a community of musicians to a natural outgrowth of his current career.

“As time goes on and I’m touring less, I’d like to wrap my head around more developmental drums and get more into the Yamaha R&D department,” says Chamberlin, who premieres his signature snare on the Jimmy Chamberlin Complex’s upcoming album Life Begins Again.

“But the snare drum is just the tip of the iceberg. We’ll do more snare drums. Then ideally, I’d like to see a Jimmy Chamberlin kit down the road.”

Casino Royale

Casino Royale

Nick Krewen

GRAMMY.COM

March 2003

As the concert business continues its uneven ebb and flow, the casino circuit is continuing to establish itself as an increasingly safe anchor for the touring performer.

Not only is the $25.7 billion casino gaming industry on an upswing — with over 430 commercial establishments operating in the U.S. alone — but many locations outside the seasoned hubs of Las Vegas and Atlantic City are now booking high profile acts as an incentive to increase consumer traffic.

And it seems to be working.

“There’s a marked increase on the revenue we make off our gaming floor on the nights we have concerts,” reports Leslie Herslip, Events Manager for the New Town, North Dakota-based 4 Bears Casino And Lodge.

“I don’t have a percentage figure, but it’s substantial.”

Concert headliners have also proven to be a very effective calling card for casinos located in remote, rural areas.

“You’d be amazed at the number of people willing to travel 75 or 100 miles for quality entertainment,” says Herslip, who has filled her venue’s future calendar with country legend George Jones, classic rock icons Grand Funk and veteran Motown favorites The Commodores.

“It’s a great avenue for us to bring in new people who may not come out here to gamble and expose them to the experience.”

4 Bears isn’t alone in its findings. Casinos across North America are bolstering their bottom line by booking renowned singers, groups and comedians. In turn these renowned singers, groups and comedians are discovering a substantial increase in the demand for their services from on-land, riverside and racetrack gaming houses.

“This market has actually grown pretty rapidly in the last few years, largely because of the growing number of Indian-based casinos,” observes Pollstar Magazine Editor-In-Chief Gary Bongiovanni. “We’ve never done an analysis on it, but I know there are more and more places for artists to play than ever in terms of gaming situations.”

The growth has been phenomenal. Considering the Indian Gaming Regulatory Act, which legalized gaming operations on reservations in a number of states, wasn’t passed until 1988, the movement has catapulted from an upstart $100 million industry to an $8 billion powerhouse in less than two decades.

Now there are 300-plus Native casinos booking a stylistic gazpacho of established acts, from dancehall reggae veteran Eek-A-Mouse and former Partridge Family heartthrob David Cassidy to rock ‘n roll pioneer Jerry Lee Lewis and electrifying blues combo Little Charlie And The Nightcats.

The venue is satisfied whether an act sells 2000 tickets or 20 tickets.

“We’re not so concerned that we make a profit off the act itself,” says 4 Bears’ Herslip. “We’re more concerned about making a profit off the gaming floor, making good money on the nights we actually have shows.”

An unexpected benefit, however, is casino circuit compensation for other music business downturns.

“Country acts used to rely heavily on the fair circuit, ” notes Al Schiltz, partner in Nashville-based management firm The Consortium and personal manager of country singers Billy Ray Cyrus and Tammy Cochran.

“But with country music sales suffering, we’ve lost about 20% in the number of venues as a hard ticket sales revenue source. Today fairs are bringing in the Christina Aguileras and older acts like the Three Dog Nights or the demolition derbies instead of country stars.”

Schiltz believes that the casino circuit has filled the void with a winning situation for performers regardless of genre.

“It’s exposure to a market the artist may not normally play to,” says Schiltz, “Usually it isn’t a hard ticket date and the casinos pay well, especially since they use free entertainment as an incentive to expose people to the casino.”

And the long-term benefits?

“The hope is that the people who wouldn’t have initially seen the artist are turned on enough to buy an album and buy a hard ticket to go see them in concert the next time they’re in the area,” Schiltz explains. “It helps build a fan base and there’s not a lot of risk involved.”

Then there’s the pampering. Although his band hasn’t had a blockbuster pop hit since 1978’s “Kiss You All Over” — and hasn’t topped the country charts since 1987’s “I Can’t Get Close Enough” — Exile co-founder J.P. Pennington recently sat in an opulent lounge at Rama, Ontario’s Casino Rama with a big smile on his face.

“The staff here are falling over themselves trying to please you,” said Pennington a few hours prior to the first of two Exile performances.

“Believe me, the accommodations for most gigs aren’t this nice. They actually gave me a suite, and I’m so ridiculously low maintenance.”

Pollstar’s Bongiovanni says the casino circuit provides the perfect forum for nostalgic memory lane bands like Exile.

“All of the acts that are out there touring – whether it’s a Paul Revere And The Raiders, acts like that that pretty well have established names, but no contemporary caché or heat about them, those are environments where they can be successful.”

“The casino circuit has opened up additional opportunities for those acts who are still viable to the consumer, still have a fan base that can draw 1000-1500 people to a venue, and may not have a record deal,” adds Al Schiltz. “It will continue to grow.”

Farewell Fan Fair

Fan Fair

Nick Krewen

GRAMMY.COM

 

Farewell Fan Fair.

When it wound down June 8 with a rare reunion of The Judds, the door closed on a 32-year tradition. Upon its return in 2004, the annual Nashville country music festival – which encourages fans to mingle with its stars – will be sporting a different name: the CMA (Country Music Association) Music Festival.

More troubling to hardcore country music fans, however, is the CMA’s new willingness decision to welcome non-country talent into the mix.

Although acts such as The Beach Boys and the soap opera casts of Days Of Our Lives and Passions have made Fan Fair appearances in the past, this official policy change – combined with few details regarding the transition – have put country fans on the defensive.

Worried that their premier country music festival is going to be distilled by an onslaught of non-country artists, distraught fans – and some industry professionals – have been flooding CMA offices with e-mails and phone calls expressing their concern.

Published comments by CMA executive director Ed Benson, describing the annual love-in as “an event any Nashvillian could come to and not feel like something was going to jump off on them and infect them” – inferring an unsophisticated stigma attached to the words “Fan Fair” – weren’t reassuring.

“They make us sound like a bunch of nose-picker, butt-scratcher country hicks,” complained Fan Fair attendee Annette Wood of Davenport, Iowa to The Tennessean.

But a yearly attendance drop, a decline in superstar attractions and continuing money losses have left the CMA grasping for solutions, clearly puzzled at its fizzling mandate to expand country music’s audience.

The first major step towards growth came in 2001, when the CMA relocated Fan Fair from the self-contained 24,000-seat Tennessee State Fairgrounds  — its home since 1982 and a place where fan booths and artists exhibits were mere steps away from the concert venue, a converted racetrack  — to downtown Nashville.

“When we made the move (downtown), it was a commitment by our board to say we’re going to build this event for the future,” Benson told The Tennessean.

Fan Fair was switched from a week to weekend festival, downsized from five to four days.  Record label showcases shifted to the 66,000-seat capacity Coliseum for the evenings, and the much smaller Riverfront Park stages for weekdays. And booths where fans wait for autographs were transferred several city blocks away to the air-conditioned Nashville Convention Center.

However, these transitions came with a price to Fan Fair visitors. Camping, which kept costs economical for many tourists and added a social element to the outing, was banned. Admission prices were also jacked up: A $95 ticket that allotted you four nights and five days of country music, a free meal and – until it was scuttled in 1997 by Gaylord Entertainment – admission to their Opryland U.S.A. theme park, gave way to $115 tickets with no additional incentives.

Today, the top ticket for gold circle admission into the Coliseum for four days and nights of country music is $250 – a 211% increase from 2000 prices.  If you’re 18 and under, you can pay as little as $86 to attend the festivities, although you’re denied gold circle access even if you have the money.

Other implemented changes have made artist accessibility more restrictive. Stages once within handshake reach of fans are now heightened and inaccessibly barricaded. Photo lines that formerly allow shutterbugs to watch shows while they waited to snap their cameras are now re-directed through Coliseum corridors.

And the lack of superstar talent hasn’t helped. Whether the switch to weekends, normally the most lucrative booking time for recording acts, has had an impact is questionable, but both the 2002 and 2003 lineups were woefully short on marquee headliners.

Although Garth Brooks is in semi-retirement and annual no-shows include superstars Shania Twain and George Strait, other regular visitors decided to skip this year’s event altogether. Among the missing: chart-toppers Tim McGraw and Faith Hill, Toby Keith and The Dixie Chicks, Reba McEntire, Trisha Yearwood and LeAnn Rimes, although Rimes did cancel a main-stage cameo duet with Vince Gill due to illness.

However, mid-level and up-and-coming artists such as Rascal Flatts, Tracy Byrd, Lee Ann Womack and Carolyn Dawn Johnson were also absent.

Alan Jackson, Kenny Chesney, Brooks & Dunn, Martina McBride, Patty Loveless and Darryl Worley were among the headline acts played for free, accepting a reported $100,000 contribution to the charity of their choice in lieu of payment.

But even the majority of those acts skipped the opportunity to greet fans and sign autographs at the Nashville Convention Center. After Jo Dee Messina and Montgomery Gentry, familiar names were rare.

Others chose just to keep it private, appear at their own fan club parties which are scheduled to run concurrent with the festival.

As a result, Fan Fair attendance dropped 1.7% — from an announced “aggregate” headcount of 126,500 in 2002 to 124,300 in 2003 – with CMA officially laying blame on a faltering economy and post-Iraq war fallout.

In a separate Tennessean article, however, Benson revealed that Fan Fair, produced at a cost of $3 million, has been losing financial ground for years, with out-of-town attendance topping out at 21,000 visitors. In the same article, CMA associate director Tammy Genovese acknowledged that tourists rather than locals accounted for the majority of ticket sales.

Whether the CMA can stage a reversal of Fan Fair fortune under its new CMA Music Festival guise remains to be seen, but Benson clarified that its country music core will not be supplanted by other genres.

“Any celebrities or musical guests we invite to Fan Fair will have a tangible connection to country music and this lifestyle,” Benson explained.

”Our primary mission is always to grow country music. We don’t want to limit it.”

By excising the word “fan” from the equation, however, the CMA may have bitten off more than it can chew, alienating the very loyalists that have kept Fan Fair alive for more than three decades.

The Career Commencement Challenge

 

Nick Krewen

GRAMMY.COM

July 2005

 

Billy Gilman is back from recess.

Professionally derailed by the trials of puberty for the past three years, the Rhode Island country singing sensation is hoping for a new lease on life with his recently released album Everything And More.

Billy Gilman during his “One Voice” days

But Gilman, who stormed onto the Billboard country charts at the age of 11 as the genre’s youngest recording artist with the double platinum album One Voice in 2000, finds a new challenge awaiting him at 17: the transition from child to adult music star.

“I loved having no worries as a kid. Now I have a lot of worries, ” he laughs. “Now I get nervous a lot more. Before, when I put out a record it was, like, ‘Oh, I’m excited. I’ve got nothing to lose.’

“Now I’ve had a career for six or seven years and the nerves and reality are coming into play. That little-child innocence isn’t there anymore.”

 

A very young Aaron Carter

Aaron Carter can relate. After selling over four million records of his cherubic pop, the 17-year-old younger brother of The Backstreet Boys’ Nick Carter also finds himself at an important crossroads. As he records his sixth album, he’s faced with the task of choosing a sound that will appeal to more mature audiences without alienating his established fan base.

“It’s really tough,” says Carter, who has a role in the upcoming 20th Century film Supercross. “Eventually your fans grow up and don’t want to listen to cheesy music anymore. Some of them lean towards more rap music, some of them lean towards more Ryan Cabrera-styled music — it’s really just about finding the middle, but also being comfortable.

“Right now, I’m just trying to find and figure out the style of music I really want to do, which is a little bit of R&B and a bit of soft rock. I want to stay along the lines of some of the stuff I’ve done, but also move on.”

 

The conversion to long-term artistic credibility isn’t insurmountable, but it is difficult. As Reebee Garofalo, Ed.D Clinical Psychology and Public Practice and Community and Media Technology professor at Harvard University observes, most young acts find their public introduction targeted at an equally youthful audience, with trained professionals controlling and manipulating the creative aspects of their vocations.

As performers develop, their tastes change.

“In the early stage of teen poppers’ careers, you’ve got the old school Tin Pan Alley division of labor with professional A&R people matching singers with professional songwriters to come up with material,” notes Garofalo, author of Rockin’ Out: Popular Music In The U.S.A.

Reebee Garofolo photo by Joe Mabel

“As they mature, their music becomes a more personal statement and that dictates a much different division of labor, with them taking on more of that creative function.”

Compounding matters is the young artist’s image, often sculpted to exploit their budding sexuality. If their image overshadows the music, Garofalo says the chances of post pin-up career survival are slim.

“If there’s no substance behind the image, when that image is no longer appropriate, they’re going to disappear.”

Image still plays a crucial role even if the music does have legs beyond a teen audience, finds Anastasia Goodstein, founder and publisher of Ypulse: Media For The Next Generation, a blog about Generation Y for media and marketing professionals.

“It’s really a question of how far you can go before you cross the line and alienate your audience,” notes Goodstein, also manager of Viewer Created Content at Current TV, the new Al Gore-financed television channel for 18-34 year olds launching August 1.

“If your audience is mostly young people, especially if it’s girls and tweens, then I think you walk a really fine line with how far you can go.

Anastasia Goodstein

“Someone like Hilary Duff or even Mandy Moore, when she was doing music, seemed to keep that in check. But for Britney Spears and Christina Aguilera, going from somewhat innocent to full-on sexual adult outside of their performances, in their personal lives, in the tabloids and the gossip blogs, it does damage them a little bit. It alienates a lot of the people who may have been buying their actual music.”

Goodstein says young stars searching for a mature audience should find the right producer.

“If you can come back with something kind of good, as Justin Timberlake did — he broke out and took it to the next level, making very smart choices about his solo effort,” says Goodstein.

“Finding really good producers will help you make the transition.”

She also suggests that teen music idols avoid any behavior that would make good tabloid fodder.

“A lot of people would say any publicity is good publicity, but for some of these former teen stars, anything that has to do with being arrested, hitting somebody or partying a little too much and making an ass of yourself – I don’t think that stuff looks good or does anything but alienate their younger core audience.”

Then there’s always the danger, Goodstein warns, of falling into the trap of multi-hyphenated talent.

“It always seems like everybody wants to be that triple threat – do movies, TV and everything else,” Goodstein explains. “Very few people can successfully do it, and maybe the risk of that is doing it really poorly. So that temptation to spread yourself a little thin and try to be the triple threat and the star versus the music star might be a pitfall for some people.”

Self-contained artists – those who write, record and perform their own music – tend to weather the adjustment better, says Isaac Hanson, guitarist with the Tulsa sibling trio Hanson. When the band debuted in 1997, Isaac, Taylor and Zac — 16, 13 and 11 at the time — hit pay dirt with its debut album Middle Of Nowhere, selling more than four million copies.

Hanson then…
Hanson…now

Now running its own 3CG Records label, Isaac Hanson says the trio is currently in a rebuilding process, selling over 150,000 copies of its 2004 album Underneath, scoring a U.K. Top 10 hit with “Penny & Me” and continuing to sell out soft-seater venues wherever they tour.

“I don’t feel like the barriers are insurmountable because the foundation that we have musically is the only thing that ever mattered,” Hanson states. “We are in a better position than ever because we’re dealing with a growing fan base.”

Hanson says that for most adolescent recording artists, a backlash may inevitable considering the cyclical nature of pop music.

“When you reach a critical mass, that backlash happens. It’s always a challenge. Whether you’re U2, Maroon 5, Hanson or anybody else, it’s about continually moving forward. That’s difficult no matter who you are.”

Aaron Carter, whose older brother’s Backstreet Boys found themselves back near the top of the Billboard Top 200 charts recently after a four-year absence, remains undeterred.

“My ultimate goal is to just make my fans happy and sing good music for them, because eventually I’m not going to be that young, cute-looking kid,” he explains. “And I don’t want to be looked at like that anymore. I don’t want to be referred to as that and just being in the pop star magazines.

“The main thing is being careful and watching where you’re stepping, because eventually there are going to be some holes that you’re going to step in, and getting out is my problem.”

Billy Gilman is also optimistic. He feels that his time away from the spotlight will bolster interest in his current album.

“The advantage is that people are wondering what I’m sounding like, ” says Gilman. “There’s a lot of intrigue now.”

But he’s all too aware that public taste can change on a dime.

“You can’t see what tomorrow is going to bring,” notes Gilman. “Your stock can fade as quickly as you came, so you live each day in the moment.”

 

Keeping Score: The Rapidly Expanding Video Game Music Industry

GRAMMY.COM

Game Music Video

October 16, 2013

 

Keeping Score: The Rapidly Expanding Video Game Music Industry

 

Nick Krewen

 

Game on.

With 2013’s fourth-quarter rollout of XBOX One and Playstation 4, the release of over 300 titles for a variety of platforms, including consoles, mobile and online play, and the record-setting pace of Rockstar Games’ Grand Theft Auto V breaking the $1 billion sales barrier in just 72 hours, the current $66 billion global video-game industry shows no signs of disappearing anytime soon.

In fact, such trusted sources as DFC Intelligence and Forbes are forecasting video-game markets to substantially increase to $78 billion and $82 billion by 2017, leaving one to argue that music’s role in contributing to the bottom line of this visual medium is extremely vital, whether it’s been through soundtracks that have been assembled via song placements for titles like EA Sports’ perennially popular Madden or FIFA franchises, or scores delivered by respected composers like Martin O’Donnell for Bungie’s Halo and Russell Brower for Blizzard’s World of Warcraft and Diablo.

Jordan Mechner

“Music is a lot of things to gaming,” explains Jordan Mechner, the legendary game designer responsible for creating Karateka – which was recently modernized — and the successful Prince Of Persia video game franchise.

It’s absolutely critical, and often unjustly overlooked in favor of graphics, because people tend to talk about graphics first, sound second, but they’re both equal partners and critical parts of the players’ experience.”

Mechner says there are several hallmarks of good game music.

“As a player, the music is often the key part of the atmosphere,” he notes. “It can set a mood, and if it’s well done, eventually becomes inseparable from our memories of the game.

“From a game design point of view, music can also be a cue to the player, warning them that something’s about to happen, or subtly clue them as to whether they’re on the right or wrong track.

“And of course, music in games does all the things that music does in film: it reinforces the action; creates a feeling of tension and tells the story as well. Game music can have a kind of light motif approach where music represents particular characters and themes, so the story is actually being told through music.”

With USA Today reporting a 178 percent growth spurt in the composer and music director professions over the past decade, and the U.S. Bureau Of Labor and Statistics projecting a minimum of “32,000 new music or composer job openings due to growth and replacement needs will need to be filled over the next decade,” opportunities for video game music scorers are looking so rosy that even Sir Paul McCartney is trying his hand at scoring some of Bungie’s Destiny.

However, breaking into this lucrative field is easier said than done, and usually requires a mix of luck and fortuitous timing to accompany a composer’s dazzling skill set.

“I went to my five-year college reunion and ran into my old roommate,” recalls Christopher Tin, who won the first video-game related GRAMMY Award in 2010 for Best Instrumental Arrangement Accompanying Vocalist(s) for “Baba Yetu,” a song he composed for the 2k Games and Aspyr partnership Civilization IV.

“He told me he had become a very prominent video game designer and asked me if I wanted to work on the game he was developing, which turned out to be Civilization IV. That’s the game I wrote ‘Baba Yetu’ for.”

Christopher Tin with someone not in the video game scoring industry

 

For Austin Wintory, who received a precedent-setting Best Score Soundtrack for Visual Media nomination last year for Thatgamecompany’s Journey, it was meeting and working with game designer Jenova Chen at the University Of Southern California.

Jenova Chen

“We were doing student games much likes student filmmakers, and one of those – flOw — ended up being one that exploded and set all the wheels in motion. Sony was just getting ready to launch Playstation 3 and were looking for ways to be different from Microsoft, their chief competitor, and asked us to remake flOw as a Playstation 3 game.”

Russell Brower, senior audio director at Blizzard who presides over a department of 42 employees, including three staff composers, says he just keeps his ears open.

“There was a composer (Edo Guidotti) on (World Of Warcraft’s) Mists Of Pandaria whose work I heard in an IMAX film while I was on vacation,” he remembers.  “The film was great, but I walked out of there going, ‘Who did this music?’ I found out and two years later, he was working on Mists Of Pandaria with us. That’s the best way.”

Russell Brower

Brower, a three-time Emmy Award winning sound designer who also keeps his hand in scoring, says he has a particular goal in mind when recruiting musical freelancers.

“It’s a very competitive market but what it really comes down to, is, can you tell a story with music?”

Prince of Persia’s Mechner says he starts his process by making a project wish list.

“We look at films and games we’ve admired, as a lot of composers now work in film, TV and game,” he explains. “We look at the demands of the project and try to find someone not only whose sensibility and style are privy to the project, but who also has the experience that’s needed for what we’re trying to do.

“For some projects, a composer whose experience is predominantly in film and linear media might be fine. For another project, we might need a composer like Christopher who has a deeper understanding of how music works in games and be able to create music that can be taken apart and recombined on the fly according to algorithms, something that traditional composers don’t have to deal with if they’re composing a single piece.”

Once the gig is secured, the role and scope of the music is determined by the project. If it’s a video game where the music is crucial as a storyline catalyst, usually the composer is brought in early, unlike film, where the music is often started and completed after the film has been locked.

“Scoring a film, you’re obviously working with a director, producer and the creative talent involved and you’re able to see the film when you’re scoring it,” notes Tin, who composes mainly from his home studio. “At times, when you’re working on a game, you don’t have much more than an Excel spreadsheet to tell you what you need to write. Basically, it’s almost like you’re relying on the audio lead and the in-house people to be your eyes and tell you what you need to do.

“When I score a game with an interactive score, I’m not the person plugging it into the audio engine and programming it. So I rely very heavily on the audio lead, usually from a staff member of the game developer. They sort of take my hand and walk me through what it is they need for the game and how it needs to work. In a lot of cases, I’ve basically put my trust in them, and I execute, musically, their technical needs.”

Another chief difference between film and game is the time factor, as video games often have more complex scoring demands, seeming as though they offer an infinite soundtrack.

“The solution that we’ve employed for decades is that we take a piece of music and make it loop eternally,” says Wintory, who took three years to write the music for Journey. “You can play Tetris for hours, and there’s 10 minutes of music that you hear tens of thousands of times. That’s a very clunky system, but it was a necessary step in the development of interactive audio.

“To be honest, I don’t know how much music I wrote for Journey. I’ll write a piece of music that could last 45 seconds, but it could also last three minutes depending on how it unfolds, because it’s not linear, traditional music. It’s written in a non-linear way, which is difficult for your brain to wrap around.”

Tin agrees.

“Everything that you write has to be modular, and it’s so piecemeal. It’s akin to actors acting in front of a green screen. That’s personally where the big challenge is for me. It’s like trying to paint a painting on jigsaw puzzle tiles, assembling the tiles later on and then hoping that what you’ve painted bears some resemblance to what you had in your mind when you started it.”

It’s also a medium where deadlines are tight, but loose enough for Russell Brower’s in-house Blizzard team to provide opportune feedback.

“I look at schedules and deadlines as a very constructive way to say, ‘hey, let’s set down our pencils for a few minutes, and look at each other’s work, or listen to each other’s work, and share it around the company,’” Brower explains. “We all spend some time every day, playing the games. And we’ll get comments about the music from character artists on the Diablo team, for a random instance. One of our maxims here at Blizzard is, “Every voice matters,” and we do listen.”

As far as the future of video game scoring is concerned, projects like Journey and Karateka that place music in the driver’s seat are opening a whole new world of interactivity.

“The music I composed for the recent update of Karateka was actually rhythm-based combat mechanic, so you had to listen to the music for cues on how to fight your enemy, and musically, it would give you hints and you’d have to tap in rhythms,” says Christopher Tin.

“I think that level of interactivity is not found on that wide of a scale, but I think we’re heading that way. There should be exciting developments in the way that music and sound can be implemented as audio engines get more sophisticated.”

 

GRAMMY.COM

Sidebar:  Behind The Scenes of The Banner Saga

Austin Wintory’s Play-By-Play Rundown

 

 Released February 25, 2013, The Banner Saga is a Viking-themed tactical video game developed by Stoic after raising Kickstarter funding of almost $725,000. GRAMMY-nominated composer Austin Wintory spent 18 months on the project and breaks down his involvement with the score.

The beginning:

“I was brought in essentially from day one, which meant we were having conversations over how it should feel and play long before anyone even saw it. It’s a Viking mythology-inspired, turn-based strategy game with hand-drawn animation in an Eyvind Earle Sleeping Beauty style from the ‘60s. It’s exceptionally beautiful.”

The process:

“I’m writing music, in some cases, inspired by an e-mail description of what that part of the game is going to be like, before they’ve even designed the most fundamental architecture. Because I write the music first, they end up designing the game around the music. It’s not really step-by-step: I write music and then we put it in the game and we see if it’s working. The game is very rudimentary: missing graphics bugs, and you click on something that makes the game crash and you have to reboot your computer. It’s a work in progress.”

The lock-in:

“With The Banner Saga, at some point you have to start committing to recording, and this being an orchestral score, I recorded The Dallas Winds — this big ensemble of winds, brass and percussion — in a Dallas concert hall. Later I added Lisbeth Scott on vocal and a solo violinist from Detroit named Taylor Davis. Usually I record at the last possible second, so if I want to keep revising the music, I can. Once it’s recorded, you can’t change it. “

The finish line:

“The developers of the game have heard everything that I’ve written. I make MIDI mock-ups on my computer that sound approximately like the final music, and we code them into the game. By the time I reach the finish line — when I have these finished, produced, fully-recorded, mixed and mastered recordings –we’re essentially switching them out with the original placeholder mock-ups.

“Once that’s done, we do our final mixing and then you spend another few months ensuring that it’s working how you want it to in the game. You really are just fine-tuning – making things a little louder or softer, play testing, and having strangers come and play the game. If problems arise, I can solve them by adding a little music here, or make it stop sooner, to clear the way for X, Y, Z. You feel it out as you go.”

Nick Krewen