Category Archives: Bands

Two Stories of Sexism in the Music Industry

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The kind of BS sexism we need to eliminate

The kind of BS sexism we need to eliminate

The Scourge of Sexism

With the issue of gender equality fast becoming one of the central topics in Silicon Valley (and by extension, the tech and startups industries) at the moment, I can’t say I’m anything but pleased. The problem of gender discrimination and the glass ceiling is long overdue for a solution. While I harbor no fantasies that such a solution will be found overnight, I am nonetheless pleased to see that there is a major effort being made to reform these shortcomings in the tech industry.

As a male, I can confidently say that gender discrimination hits very close to home for me; my parents both practice civil rights litigation, with a focus in employment discrimination and sexual harassment. I grew up seeing cases of blatant discrimination (and unfortunately it makes me angry to say I still do), where the the ugly beasts of intolerance and sexism were clearly visible. The latter, in particular, surprises me again and again because we are taught to believe that we’re moving forward in eradicating sexism—but not fast enough in my opinion. We still have a lot of work to do.

While the tech industry is starting to really spotlight and root out sexism within its ranks (as well it should), other industries are lagging too far behind in my opinion. The music industry, for example, is still too hampered by outright sexism for my taste, even after movements like third-wave feminism and Riot grrrl punk began to shatter the mold. It’s not a foregone conclusion by any means, and there are many within the music trenches who are trying very hard to change it for the better—to level the playing field so that gender becomes irrelevant—so that talent is acknowledged and validated by its inherent existence, regardless of the artist’s gender.

But let me provide two examples of what can be changed, and how people can step in to make the music arena more tolerant and progressive. Neither example makes me happy to share (less happy to have experienced), but perhaps that underscores their importance.

The Sleazy Promoter

The first example happened a couple of years ago, in the spring of 2013, and goes like this: I am good friends with a band whose members included a female element (the singer and drummer). The group was set to work with a promoter to book shows in their home state (which, though eliminated by name, I can say is quite a big market for independent music). The promoter made inappropriate and unwelcome advances towards the female band member(s) and the group cut ties, not wanting to work professionally with someone of such poor character quality. The promoter then retaliated by threatening to call every promoter within the state, seeking to destroy the group’s reputation, thus effectively cutting out their feet from under them. (In this particular state, I can say with confidence that there are at least seven major cities and/or scenes that they most likely split their time between).

I was in Amsterdam at the time, on my study abroad program. I woke up one day to a frantic “what do we do?? we’re going to get totally screwed by this person!” email from the singer. Even through text it wasn’t hard to clearly read her fear and anger over the situation. So her solution? Reach out to me in search of some advice.

The response I sent her was simple: I explained to her that I was behind her, and would throw the entire weight of my blog and radio show behind her and the band (and would bring in other artists I knew for support if need be). I even offered to write a letter as a professional contact (DJ and journalist) attesting to their quality as a band and professionalism as people, which they might use to send to anyone to rebuke the slanderous threats of this sleazy promoter. She seemed calmed by that offer (and most thankful, as you can imagine!) and we decided to see just how events would proceed.

In the end, the promoter never made good on his threats, and the whole situation seemed to blow over. But I never forgot that frantic email (I’m sure she hasn’t either), and to this day I’m still good friends with her and the band. The point is this: such a situation should never have occurred, and it very quickly seemed to spin out of control. But in situations like these, one needs to have the wherewithal to step up for what’s right. I didn’t do anything I didn’t think others wouldn’t do in the same situation. You don’t do it for pats on the back—you do it because it’s right.

The Sexist Tweeter

The second example happened more recently, during the Super Bowl this year. One of the Super Bowl commercials was to promote the hashtag #LikeAGirl to promote gender equality. This is one commercial I loved and supported, and I made so known on Twitter. This was the result:

The sexism problem that needs to be solved

The sexism problem that needs to be solved

I was actually staggered by the sheer sexism of the comment that I saw on my post. Someone telling me that I was sure to “get laid” for supporting “those feminists.” I was angry—actually I was seething. Not only had this person insulted the women that my comment was meant to support, but had dragged my name down too by insinuating that my motive was “to get laid.” I work with numerous artists—many of them with a female element—and I was pissed that this person had seen fit to insult not only people I work with, but people who are my friends.

The music industry is like the tech/startup industry in this respect—not perfect by any stretch of the imagination, but trying very hard to get better. And here was someone dragging us back to the dark ages. This is exactly the sort of thing that people in both industries (or any industry) need to find and root out. The people who make these comments and hold these views are toxic. It’s not (and won’t be) easy, but it has to be done. And it will be.

I for one will be on the lookout for it in the music industry, and will call anyone on it. I encourage other to take aim at sexism and gender discrimination in their respective industries which they know best. Music is my world, and I will not have it polluted with this sort of poison. Don’t step into my house and disrespect my business contacts and friends, it’s as simple as that.

The Lie of “Live Won’t Save Music”

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The Introduction

Yesterday, I posted my second article inspired by Fred Wilson’s comments to Jason Calacanis during LAUNCH, wherein I focused on his comments about Kickstarter regarding the music and movie industries. The post itself became too long to explain the economics of the paradigm (of the music industry, at least), so I figured it would be better to do so here in a more focused post. So let’s jump in.

The Lie

In the music business, there’s a well-known adage: “Live won’t save music.” This is the argument that many within the established major label machine use to fend off the assertion that free distribution of music would actually help the music industry in the new digital era. The argument is that artists can’t make enough on a live performance to offset losses they would see by distributing their music for free. And in some cases this is true; income from live shows may not be able to offset those losses…for the major label artists, who have huge stage crews, large arena shows, and a long list of people to pay back (not least of which is their record label). 

The Secret

What industry professionals don’t tell you is that live shows are where artists have historically always made most of the money that goes into their pocket. Money from album sales most often gets paid back to the record label and company, whose “signing” of the artist was simply a monetary advance in the first place. In 1993, well-known artist/producer Steve Albini took aim at the expenses squeezed from artists in his essay “The Problem With Music.” Excerpts from the essay clearly detail how the real economics worked behind the scenes.

The Simple Economics

This simple economic reality means two things: 1) That it’s true that major label artists like Beyoncé and Robin Thicke may very well have a hard time making any real money from live shows and will possibly need to continue to rely on the age-old system’s business practices, and 2) That newer, increasingly independent artists can leverage this new business dynamic to their advantage. Whereas their major label peers are essentially tied to the old system (and streams) of revenue, newer artists who are either fully independent, or have contracts with smaller indie labels which afford them more control, don’t need to sell 150,000 albums or fill an arena tour to make a profit. In fact, they will have an easier time of it, precisely because their “stage crew” many times may only consist of a friend from high school watching the merch table.

And this is where Wilson’s comment comes into play, and is exactly right; crowdfunding platforms like Kickstarter and Indiegogo provide a way for artists (both inside and outside the music sphere) to secure funding for that next tour without being on the hook for ~$400,000 in album distribution and tour expenses.

In fact, there are many artists now exploring the possibilities of free precisely as a way to use their music as a means of marketing to jack up the money they’re able to raise on sites like Kickstarter. By using their music as a “free sample” of their brand, artists are able to explore the dynamic of giving their prospective fans a reason to come out and see them live, buy a shirt, bring a friend—all things that are better for them than the money for one album sale anyway. Music is increasingly being used by these artists as major means of marketing and branding, rather than solely as an end commodity for sale.

You can’t argue with math, and here’s reality: How many times are you compelled to and/or do you buy a song or album? Just once. Why would you buy it again unless you had to? But if you examine the same dynamic with respect to going to a show, or buying a t-shirt, suddenly the answer is “as many times as you want.” It becomes a self-feeding cycle, wherein new possibilities are presented by the power of crowdfunding, and not having to go to a major label for the financing. It boils down to simple arithmetic.

The Album You Had to Buy Over and Over Again

It’s worth noting, also, that the established music industry got used to people buying the same album(s) over and over again because they had to. With each subsequent technological change, that Led Zeppelin album you loved so much became obsolete, and thus you needed to shell out more money for something you already had. Buying music on ’45’s became buying the same music again on LP’s, then again on cassettes, again on CD’s, and then again as basic mp3 files (usually off iTunes).

But something happened during that last transformation: music became distilled down to only the information, sans any physical product, and with the power and reach of the internet, distribution costs dropped to zero. Suddenly, the ability to reproduce and distribute music became the cost of 10 minutes of your time, and didn’t even require the kind of distribution networks that record labels had spent decades building, growing and protecting.

And who was it who lost out the most? The demographic that gleaned most of their revenue from physical album unit sales—the major record labels. But the artists now had a new reality in front of them: mass distribution, but without having to indenture themselves to the “physical CD sales-dynamic.” They were (and are) free to make money where they always have: in the live sphere with grass-roots ticket sales and merchandise sales. Thus it becomes clear that the statement “Live won’t save music” is inherently a biased lie. Live won’t save the old music industry, but those within the industry who are adapting to the new terrain are doing just fine exploring the new possibilities before them.

The New Free/Live Dynamic

Those are the people I would place my bets on. They have no stake in the old paradigm, and are happy to push it aside to see what the new free/live dynamic can do for them. This is where the real money in the music industry will be in the next decade. Not grasping with frail fingers at a business model quickly fading away, but exploring with wide-open eyes the opportunities that “free/live” afford both those in the music trenches, and their prospective fans. Don’t be fooled; there’s still a ton of money and opportunity in the music industry. You just need to know where to look.

Everyone Wants to Be a Rock Star

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Yesterday I posted a list of music-centered movies that were some of my favorites and which I thought everyone should see at least once. While I will undoubtedly be adding to the list, I thought it would be a good idea to go into each one a little deeper and explain why I love it so much. As a lot of these flicks have inside jokes all the way through, I’m excited to point out just why some of them are so funny.

Up first, the incredibly underrated movie Rock Star (2001), starring Mark Wahlberg and Jennifer Aniston, among other recognizable names. While I quite like Wahlberg’s performance and Aniston is good as always (and is it just me, or does she just seem to be in everything?), one of the coolest things about this film is the laundry list of actual rockstars that are in it: Jason Bonham (Led Zeppelin/UFO/Foreigner), Zakk Wylde (Ozzy Osbourne/Black Label Society), Jeff Pilson (Dokken), and Stephen Jenkins (Third Eye Blind). Frankly I’d watch it just to see those people in the cast.

(And I promise not to give away anything that’s not in the promotional trailer).

Rock Star; 2001

Rock Star; 2001

The plot itself is a nod to the real-life story of Tim “Ripper” Owens, a Judas Priest fan who ascended to become the new singer of Priest when Rob Halford left to explore his solo project (1996-2003). The movie mirrors Owens’ life so closely, in fact, that the beginning of the film finds Chris “Izzy” Cole (Wahlberg) as the singer of Blood Pollution, a Steel Dragon tribute band (in real life, Owens was the lead singer of British Steel, a Judas Priest tribute band). (Though his part is minor, it’s still really awesome to see Jenkins play the rival singer from the other Steel Dragon tribute band). With his business manager/girlfriend Emily (Aniston) by his side, Cole gets kicked out of his band amid internal conflicts, only to find himself in an audition for the real Steel Dragon following the departure of their original singer.

While Cole explores the trappings and excesses of the late 1980’s hair metal scene in L.A., he soon finds that his Steel Dragon bandmates (played by Bonham, Pilson, and Wylde) don’t exactly view him as an equal, stunting his artistic (and personal) growth. It’s not long before Cole is consumed by the excess and decadence of the glam metal scene, and Emily voices a desire to leave and open a business with her roommate in Seattle (foreshadowing anyone??).

I won’t give too much away, but I will say that the end of the film is a clear nod to the death of the glam metal scene, and the rise of grunge. Without describing too much, pay close attention to Cole’s dress towards the end, and see if he reminds you of anyone (if you’re a music history fan, you should figure it out in about ten seconds).

All in all, Rock Star is just one of my favorite music movies because it’s got a good, simple message, and it’s entertaining to watch. The laundry list of real rockstars in it would give any music addict aneurysms, and the history that’s commented on beneath the surface is pretty cool to see. Not a blockbuster, but still a great film in my opinion.

30 Music Movies You Need to See Right Now

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While racing my brain today for a topic to blog about, I found my mind wandering to the music-centered movies that I wanted to watch this weekend. After some listing in my head, that seemed like a cool topic in and of itself, since I find that so many of my favorite music movies go under the radar. As it’s been a while since I last posted a list at all, I figured that today seemed an ideal time to put up a new one. So here are some of the best music movies in my opinion—docu-/rockumentaries, mockumentaries, and just plain good flicks. These are just some of my favorites based on my taste—there are a ton of other amazing music-centered movies out there (in no particular order). Check ’em out:

Mockumentaries

  1. This Is Spinal Tap – 1984

Rockumentaries

  1. About a Son – 2006
  2. 1991: The Year Punk Broke – 1992
  3. Hype! – 1996
  4. PJ20 -2011
  5. LoudQuietLoud: A Film About The Pixies – 2006
  6. The Decline of Western Civilization – 1981
  7. The Decline of Western Civilization Part II: The Metal Years – 1988
  8. The Decline of Western Civilization III – 1998
  9. The White Stripes: Under Great White Northern Lights – 2009
  10. Some Kind of Monster – 2004
  11. Anvil: The Story of Anvil -2008
  12. A Band Called Death – 2012
  13. Rush: Beyond the Lighted Stage – 2010
  14. It Might Get Loud – 2008
  15. Metal: A Headbanger’s Journey – 2005

Biopics

  1. 8 Mile – 2002
  2. Walk the Line – 2005
  3. Ray – 2004
  4. The Runaways – 2010
  5. Hysteria: The Def Leppard Story – 2001
  6. What We Do Is Secret – 2008

Fictional

  1. School of Rock – 2003
  2. Rock Star – 2001
  3. Empire Records – 1995
  4. That Thing You Do! – 1996
  5. The Blues Brothers – 1980
  6. High Fidelity – 2000
  7. Almost Famous – 2000
  8. Tommy – 1975

Mean People Fight; Creative People (Sometimes) Argue

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In his essay “Mean People Fail” a few months ago, Paul Graham has provided more food for thought (for me, at least) than much of anything I’ve read of late. [1] The essay itself is a clear caution against acting nastily to others, as such actions can impede or prevent one’s intended goals. Most of the themes discussed therein I agree with readily as they are so common-sense that to disregard such proposals seems utterly preposterous.

There is, however, one area which Graham touches on lightly that I feel needs a little more attention. Graham’s short paragraph on fighting is truthful (I believe) in its intended message and account of reality. However, we all speak from our own experiences, and I feel that the term “fighting” may be too broad a term, particularly for an industry as genuinely artistic and creative as startups and tech. While I understand Graham’s point here (he is undoubtedly using the term “fighting” to refer to pointless disagreements, high tempers, and accusatory tones that lead nowhere), I think a deeper examination is warranted.

I fear the term “fighting” may be overrepresented in cases where the term “arguing” fits more appropriately. In an industry where creativity and outthinking the competition are not only realities but necessities for successful startups, it may very well be in times of arguing differing views that an answer or pivot point presents itself. Good answers and opportunities do not always appear within the vacuum of “a good day” and sometimes take a little more pressure to fully crystalize.

Much like the music industry where arguments between band members or artists and producers can (and many times do) produce the best creative results, arguing is not only a luxury but a necessity. The creative frustration can at times reach a critical mass before a meltdown occurs. But if the proper alternative lines of thinking are presented at the right time, then that critical mass not only returns to normal, but can yield a result not viewable before the high rise of creative pressure and focus. It is this creative force which drives many musicians, and which I’m sure can be likened to the creative drive to build that drives those within the tech space.

Creation is a messy, dissonant, sometimes quite frustrating process. But it’s precisely that power and sheer will to succeed that many of the great ideas (albums) are born from. Graham is not wrong about his discussion of fighting; pointless accusations and infighting drain a startup’s (as well as a band’s) lifeforce and ability to thrive (it’s this definition of “fighting” that I am convinced Graham is referencing in his essay). A band, like a startup, is very much like a marriage: both are living, breathing organisms, requiring constant care, adjustment, and which, at times, can become arenas for argument and restructuring. But, though the prospect of adjustment may pose a distasteful reality for a startup team, it could lead to bigger and better things. Then you go from being Iron Maiden with Paul Di’Anno to being Iron Maiden with Bruce Dickinson. [2]

 

Thanks to Mom, Dad, Charles Jo, Terrence Yang, and Scott Menor for reading earlier drafts of this.

 

Notes


[1] This essay does not reflect the beliefs of Paul Graham or any of those mentioned in his “Thanks” section, except where the original essay’s thesis was referenced. These are merely my own thoughts on the the thesis that Graham presented in his original text.

[2] Though I prefer the lead vocals of Bruce Dickinson, I quite like the Paul Di’Anno releases of Iron Maiden (1980) and Killers (1981) as well, since both albums are notable in their own rights. However, it is indisputable that Iron Maiden grew to new heights under Dickinson’s leadership, thus the point of the example in the essay.

10 Things Startups and Local Bands Should Avoid Screwing Up On

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For those who may not know, we in the music industry are quite fond of lists. Best albums, best songs, best guitar players, etc.—we love to compile and compile. And we love to argue our points a thousand times over, and then a few more thousand times after that. It makes for good dialogue.

One of the more popular lists to compile now, though, has a bit more meaning behind it (in my opinion) than the writer simply touting his or her new favorite picks for the week. Lately, the list of annoying things that (local) bands do has been getting longer and longer, and they’re becoming more prevalent within the community. A good (though albeit too lengthy) example is the one that MetalSucks compiled back in 2008 which I’ve seen making its rounds again in the new year.

As I read through it again, however, it occurs to me that many of the points that are being made might very well apply to startups within the tech sphere as well (or any other industry for that matter). Malicious intentions not withstanding, numerous points jump out at me as translatable in an almost eery way. Thus I will take what I think are 10 of the most important points and translate them from the independent (local) music arena to that of the startup tech world. Let’s begin:

1. Bands who feel a need to bang on their drums and guitars in an annoying display of a lack of talent before the doors to the club have even opened = Startups that feel a need to tell you they will have the next big thing before they have written a line of code or made any effort to set up a structural base for a company. You’re not fooling anyone, and just come off as delusional and annoying until you have an actual product to play/build/sell. (The term “stealth mode” comes to mind).

2. Bands who have more roadies than actual band members = Startups that have more employees/cofounders than are actually needed to get the job done and run a company efficiently. You’re only hurting yourself in the end and people actually look at those extra cooks in the kitchen as a detriment too early on. 

3. Bands who arrive at the club and state that they’ve talked to “someone” about a paying gig, but when asked who, can’t remember the person, all the while insisting that it was “just someone who worked at the club” = Startups who try to “network” by insisting they have a mutual contact and that the person has totally introduced you once before. Again, you’re not fooling anyone, and in fact are coming off as scheming and dishonest. Take the time to build the relationships you want to cultivate rather than trying to take the shortcut to your end goal. 

4. Bands whose draw is so bad that even their guests don’t show up = Startups who have absolutely no feedback at all because not even their friends want to use and try out their product. If you can’t at least sell your music or product to your friends, you have a major problem. 

5. Bands who have no guests because they have no friends = Startups who have no users or support because they too have no friends. This one is arguably an extension of #4. Takeaway: have a product that’s at least good enough for your friends to want to use it. (Double takeaway: don’t be a tool; have friends who want to champion you). 

6. Bands who show up wearing “All Access” laminates at a club where “all access” means just about nothing since it’s just a stage and soundboard area = Startups who wear what they think they’re supposed to (maybe hoodies and quirky shoes) and act they way they think they’re supposed to (take this to mean whatever you will) in order to be “real” founders. Posing isn’t just an insult in the punk vein of the music industry; poseurs are everywhere and they are most easily identified as the people who seem really deep until you start interacting with them. Then you realize that they sing the song and dance the dance, but that’s about it. You don’t want to have this reputation as a band, and you certainly don’t when you’re a startup looking to break out amongst the competition. 

7. Bands who market themselves as “We’re ________, but with a mix of ________ and a hint of _________’s vocal/guitar sound” (Example: We’re just like Nirvana, but with some Green Day-style vocals and killer Van Halen guitar licks) = Startups who market themselves as “We’re _________, but for ________” (Example: We’re like Netflix/Uber/Facebook, but for candy/socks/refrigerators). No you’re not, and you’re cheapening both these companies and yourselves by suggesting so. If you have a similar business model, say that, but don’t speak in all analogies (especially since you want to distinguish yourself anyway). 

8. Bands who can’t play longer than a 10-minute set = Startups who have no idea how to last longer than a few months (i.e. have not thought about any structure or organization of the company beyond the writing of the code). This tells investors, customers, and your peers that you’re not capable of sitting down with a pad and pen and planning out how to take your idea from: an idea => a working prototype => a viable, long-term business. This is a particularly essential thing to figure out before you take any financing (think of it as having more than 3 songs before you get up on that stage).

9. Bands who don’t even have enough respect for their fans and musical peers to stick around for the whole show after their set is finished = Startups who don’t even have enough respect for their peers to reciprocate feedback when they receive it. Seriously, this is both a stupid and jerk move. Firstly, it earns you a poor reputation as someone who won’t reciprocate the good will shown to you because one of your peers may end up “competing” with you sometime in the future. Secondly, it’s stupid because you lose out on anything you might have learned from the experience to make your own startup a better company. 

10. Bands who grow supermassive egos and forget their fans and musical peers when they get a little taste of success = Startups who grow supermassive egos when they taste a little success and seem to forget their early supporters. Regarding bands/artists, yes this does happen (I’ve experienced it myself) and no, it doesn’t end well. Don’t forget the people who came out to your show before anyone knew you, or the other bands who took you on tour when you were nobody. Regarding startups, it may happen a little less often (in particular ways), but I can’t imagine it doesn’t happen at all (again, I’ve experienced it myself). Don’t forget your early supporters and believers, and certainly don’t ever forget your core customer-base. When the smoke clears, they’re most likely the only people who will stand by you (unless you’re very lucky).   

These are just a few points that occurred to me to have crossover appeal and application. Certainly more exist, though I think these are the some of the most obvious. In many ways being in a startup is like being in a new local band (who would’ve thought?)—we should all strive to avoid these pitfalls. Otherwise, we’re just that crappy local band that everyone wishes would just finish their set and get off the stage.