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Penny Marchand, Davey Havok's mother, writes about the early days of AFI:
I really don’t know. I can tell you what I do know though… He started in on rock and roll early. He was five years old when he asked for the AC/DC album Back in Black. At the time I was pretty naive about hard rock or punk rock and when I heard the record I was shocked. Why would my sweet child want to listen to this kind of music… the lyrics clearly suggested killing your mother. Of course they didn’t suggest that… but that’s what it sounded like to me. What happened to those days of Mr. Moon? I didn’t get it… and that was pretty much the beginning of not getting it for quite a long time.

Submitted by ACA
Jason Tate on 07/31/15 - 11:42 AM
Billboard has written a lengthy piece on the Front Porch Step situation. He talks with the publication about not wanting to be known as a pedophile, but god damn does the word "predator" sure seem to fit.
Talking with Billboard, McElfresh claims he didn’t ever knowingly exchange nude photos with anyone younger than 16, and in Ohio, where he was living, that’s the age of consent. That distinction wouldn’t matter in federal court, explains Los Angeles-based criminal defense attorney Jerod Gunsberg. “Under federal law, it is illegal for anyone to persuade, entice or coerce anyone under the age of 18 into sending sexually explicit photos over the Internet or cellular networks. It doesn’t...
Jason Tate on 07/30/15 - 09:38 AM
Ross Barber, writing for ElectricKiwi:
Well, for a start – BUY their music. Find out which method gives them the highest % of the profit. I will often send a message to an artist and ask them how they would prefer me to purchase their music. Some prefer Bandcamp as it gives them a higher % than iTunes. Some prefer iTunes as the chart visibility means more sales. Some prefer you buy their physical CDs directly from their website as they don’t need to pay a % to anybody.
Jason Tate on 07/20/15 - 02:38 PM
Jamie Ludwig, writing for Noisey, on the bystander effect at live music events.
Jackie’s call to hold predators and bullies accountable for their actions—and to not place blame on passive bystanders—is important, compelling, and admirable. However, there’s also something to be said for people empowering themselves so that they have more tools at their disposal to get involved should they ever come across a person in the midst of threatening situation. In the music community, we owe it to ourselves to walk the walk and be proactive in watching out for one another.
Jason Tate on 07/20/15 - 11:34 AM
Maria Sherman, writing for Flavorwire:
This kind of behavior is heightened in the pop-punk and emo scenes — a world that’s typically uninviting to female musicians. Men are on stage, and young women are off it, in this realm created by boys for girls — to impress or seduce them. When you have one of the scene’s most widely accessible institutions, Warped Tour, encouraging sympathy for men who take advantage of their young, emotional female fans, it speaks volumes about where the power lies. Because of the genre’s history of guys on stage/girls in the crowd, aspirations of groupiedom remain intact for these historically disrespected female fans. This is especially sad when you consider...
Jason Tate on 07/17/15 - 01:12 PM
Pollstar has released their mid-year concert tickets sales data.
The Top 50 Global Tours did a combined $1.73 billion, which is up nearly 5% over 2014 but still short of the 2013 record of $1.85 billion. The total tickets sold was 19.9 million, which was well up on last year’s 18 million but still short of the 2013 record of 21 million. The average ticket price of $87.13 declined by $4.58 or 5% from last year’s record $91.71. Top Tours The two biggest tours of North America grossed nearly the same amount of money but used wildly different approaches to touring.

Submitted by mr_raccoon
Jason Tate on 07/14/15 - 12:43 PM
Marc Hogan, writing for NPR on transparency (or the lack thereof) in the music industry:
Transparency is "the next big fight," says Casey Rae, CEO of the artists' advocacy nonprofit Future of Music Coalition, in an email. "The current environment has too many 'black boxes,'" he explains. "It's simply too easy for big companies to sit on money because they can't find out who to pay, or don't care to know. It's time to demand more accountability and transparency, and artists can play a crucial role in that push."

Submitted by MalevolentHoff
Jason Tate on 07/14/15 - 12:41 PM
Kayla St. Onge (sorry we got your name wrong on this week's podcast!) and Jonathan Diener continue their 'Pop-Punk and Feminism' series over at The Runout. This week's article focuses on accountability.
The most important thing to remember is the base definition of accountability: taking responsibility for your own actions. If you mess up, apologize sincerely. If you say something that isn’t right, make amends with the correct people. Don’t apologize “if anyone was offended”, don’t ignore it and hope everyone just forgets. Step up and take action to better yourself as a person and make the world a little more accepting. Small steps are better than none, and if we all hold ourselves to a...
Jason Tate on 07/10/15 - 10:17 AM
HypeBot has a good rundown on the current state of the music industry. Vinyl continues to do really well.
If you add in the new ways of looking at albums in the digital domain (track equivalent albums = 10 and stream equivalent albums = 1500), total album sales are actually up 14% over last year at this time.
Jason Tate on 07/09/15 - 10:35 AM
The BBC, reporting on how in Finland you can now get some money back for shitty live performances:
A landmark decision by the country's Consumer Disputes Board means music fans can ask for their money back if an artist's performance is well below what they reasonably expected, the national broadcaster Yle reports. It follows a complaint by a Chuck Berry fan, who saw the rock and roll pioneer perform in Helsinki in 2013. Berry, who is now 88 years old, seemed unwell during the concert, and apologised to fans while on stage. The consumer body decided that the event's organiser should refund 50% of the ticket price.
Jason Tate on 07/08/15 - 10:26 AM
Ethan Kaplan, writing for TechCrunch, on how the music industry could move toward a service model.
The problem? The music industry is still organized to support the traditional retail and digital sales cycle. As subscription services become the dominant source of revenue for recorded music, the entire business will have to shift gears to survive.

It’s no longer about pre-sales and Week 1, it’s about nurturing an audience month-over-month to drive loyalty and increase returns on a streaming service platform. All of the promotion dollars and methods to support Week 1 have to be retooled for a longer cycle, up to 6 months in many cases.
Jason Tate on 07/07/15 - 01:42 PM
Jonathan Ford, writing for the Financial Times, on how Taylor Swift is fighting the wrong part of the music industry.
Rather than agonise about Spotify’s model, artists might do better to direct some pointed questions closer to home if they really want to understand why their royalty cheques are so small. The economics of the music business have changed vastly in recent years. The deals they have with the music labels have not.

It is a point highlighted in a recent report from EY, the professional services firm, and the French record label industry association SNEP, which looked at where streaming revenues end up. What this showed is that while artists and songwriters share about 17...
Jason Tate on 07/07/15 - 01:39 PM
Mary Bonney, writing for the LAMusicBlog, on her experiences in the music industry as a music journalist.
The democracy of the Internet is helping female music journalists gain a more level footing, but we need more women fearlessly writing in the face of sexism, like Lisa Robinson and Jessica Hopper and Lisa Robinson, who was famously told by Mick Jagger, “There really is no reason to have women on tour, unless they’ve got a job to do…the only reason is to fuck. Otherwise they get bored; they just sit around and moan.”
Jason Tate on 07/01/15 - 11:27 AM
Luke Morgan Britton, writing for The Guardian, looks at the psychological dangers of life as a touring musician.
For many, the contrast between the highs of a successful show and the anti-climactic low that often follows can be hard to adjust to, a phenomenon that has been termed “post-performance depression’, or PPD. Mental health professional John C Buckner writes: “When the body experiences major shifts in mood, it is flooded with several different neurotransmitters, resulting in a biochemical release that leads to a feeling of ecstasy. After these moments the nervous system needs time to recalibrate itself to prepare for another release. After an exciting performance the body...
Jason Tate on 06/29/15 - 11:58 AM
Kiel Berry, writing for the Harvard Business Review, looks at the ever shifiting business model of music.
To be clear, we are still in the music business, but creating and selling music now plays more of a supporting role in our overall business mix. As we get ready to headline a five-city stadium tour of China this summer, we are also planning to meet with technology companies, consumer brands, and venture capital firms to discuss opportunities for partnership. Of course we’ll play the shows and meet with fans, as we’ve always done. But along with continuing to make great music, today’s Linkin Park is now better positioned to operate in the ever-evolving cultural and business landscape.
Jason Tate on 06/27/15 - 12:49 PM
I love seeing other publications pick up on this topic: Pitchfork has posted an article on "Why there are so few women on festival bills and why that needs to change now."
Perhaps it’s that women don’t feel their artistic expression welcomed on their own terms; that they fear being patronized, objectified, and treated like a novelty, because music—the industry, the media, not to mention audiences and venues—is still largely a patriarchal domain. You need to posses metric tons of "inspiration" to navigate through that lot. How are women of an impressionable age going to see a female role model at a festival when there aren’t many? How are boys and men going to know that women are on...
Jason Tate on 06/26/15 - 02:40 PM
Part two of Jonathan Diener (The Swellers) and Kayla St Onge's weekly column, "Pop Punk and Feminism," is up on The Runout. This article looks at the issue of consent.
All of this has to do with consent, how it’s defined, and how we understand it. In the past, the most important idea behind consent was “yes means yes and no means no.” In recent years, as the third wave of feminism has evolved, we have come to rest at the pass of “enthusiastic consent.” Simply put, YES means YES, and when I say YES, I mean an enthusiastic and willing given permission to perform sexual acts. A huge, huge problem with the way sexual dynamics work lies in the fact that a yes can be coerced. A yes can be...
Jason Tate on 06/26/15 - 10:53 AM
Jason Snell, writing at iMore, does a good job recapping Apple's history with digital music.
It's easy to pick the launch of the original iMac or iPod as the moment that Apple's fortunes changed forever, but I think a strong argument can be made for April 28, 2003. Without a version of iTunes for Windows and support for USB syncing (rather than just FireWire, which was rarely seen on a PC not made by Sony), the iPod would've never become a breakout product. For Apple to win the day, it needed to go to Windows, and the third-generation iPod did that.
Jason Tate on 06/26/15 - 10:42 AM
The New York Times has published a profile on Zane Lowe and his work with Apple on Beats 1.
To keep Beats 1 sounding fresh around the world, the station will alternate one- and two-hour programming blocks by established broadcasters with those by musicians and celebrities, who will host and plan the shows themselves. Among the names on board: the teen actor Jaden Smith, the alternative singer St. Vincent, Josh Homme of Queens of the Stone Age and the British electronic duo Disclosure.
Jason Tate on 06/25/15 - 10:44 AM
Kelly Conaboy, writing for Gawker, on how concerts should end at 11pm.
“All right, we just have a couple more songs for you guys,” announces the singer of a band you like, or a band you are seeing out of obligation, from the stage. You look down at your watch: It is 11:25. Man—come on.

Here is the correct time for a concert to end: 11 P.M.
Jason Tate on 06/22/15 - 12:01 PM
Steven Hyden, writing for Grantland on "Lead Singer Disease" and the new album from Nate Ruess:
The cliché about solo albums is that they compel an artist to finally indulge his or her unrequited whims. But eclecticism is already baked into Fun.’s music — what’s left for Ruess to show off on Grand Romantic is the depth of his Rolodex. For “Take It Back,” a gently loping prairie blues that culminates in Ruess’s over-eager theater kid vocal histrionics, Jeff Tweedy makes a surprise appearance to lay down an impressively gnarled guitar solo. It’s both stunning and totally incongruous, like seeing Mark Kozelek suddenly pop up in a Maroon 5 video. But Ruess is angling for a seat at a more...
Jason Tate on 06/22/15 - 11:10 AM
Stephen Heyman, writing for the New York Times, about the possibilities we're in a festival bubble.
An informal survey of headliners at 20 of this summer’s large music festival shows just how few headliners there are to go around. Overlapping is common; 70 percent of the festivals are headlined by either Florence and the Machine, Muse or the Swedish D.J. Avicii. Also noteworthy is just how old many of the headlining artists are. At Glastonbury, top billing goes to Kanye West, 38; the Foo Fighters (fronted by Dave Grohl, 46) and The Who (whose surviving original members are now in their 70s). Aging establishment acts also are appearing at festivals once distinguished by their “alternative”...
Jason Tate on 06/16/15 - 10:36 AM
Kayla St. Onge and Jonathan Diener (The Swellers) teamed up over at The Run Out with a really good piece titled "Pop Punk and Feminism: Intersectionality and Microaggressions":
If you ask anyone at a show if they’re against racism, they will most likely say yes. If you ask them if they’re for LGBT rights, they’ll most likely say yes, but you have to think critically about these things. Any idiot can say they aren’t racist because the picture we have of racism is white men in hoods lynching people. But they forget to examine the social norms we have been bred with. Another large part of racism (and any kind of discrimination) are microaggressions. Microaggressions are small, subtle, and...
Jason Tate on 06/11/15 - 11:38 AM
Steven Hyden, writing for Grantland, floats the idea of artists no longer releasing the traditional album for sale. I think the idea is interesting enough that if I was at a label I'd maybe play around with the idea for a few months leading into a more traditional release cycle and sale.
Here’s a truism that’s been proven time and again for nearly two decades: People can’t be guilted into spending money on music. They’ll spend money only out of a sense of need or want. So, how do you make people need or want something that is everywhere? Charging money for access to music online is like putting part of the sky behind a paywall — even if it’s a really well-tended part of the sky, it’s...
Jason Tate on 06/10/15 - 11:43 AM
Josh Constine writes on TechCrunch about YouTube's new "Music Insights" tool that lets musicians see where they're most popular and may help with planning tour routings.
Top Cities: Shows artists where to plan concerts. They might discover foreign countries where they have a surprisingly large following, or that they have more fans in a smaller city like Oakland than its bigger neighbor San Francisco. It could also help them to convince radio stations in those cities to play them.
Jason Tate on 06/05/15 - 11:33 AM
Mike Errico, writing on Medium:
There are many more examples of technology influencing song form, of course. But it’s crazy to witness the hangover from previous technologies that now are being declared dead. For instance, if the CD is dead/dying rapidly, why are people still making 10-song buckets of three-minute songs? Well some aren’t, that’s true, but the rethinking has not yet taken hold in a full-fledged way. Most of my students are making five-song EPs, which is also a holdover.
Jason Tate on 05/27/15 - 11:01 AM
Kayla, writing on her blog, about confronting misogyny in music.
So what’s to be done? As it stands, pop punk is clearly unsafe. I’m not naïve. I know this can’t be fixed overnight, and it seems like no one truly has an interest in changing the way things are. There is a vocal minority that has been persistent, but a vocal minority is not enough. This is a problem that permeates every corner of the music industry, but seems particularly bad in punk. The main focus on solving the problem is accountability. Not only are they accountable for their actions, but we are accountable for calling out this behavior when we see it. For them, it means sincere apologies to victims, removing...
Jason Tate on 05/27/15 - 10:48 AM
As I talked about a little in this week's podcast, I've been working on a lengthier article in response to a lot of the stuff that's been going on in our music scene lately. It's on my blog because it gets long and I think it's a better reading experience there.
Sometimes I find myself trapped in a cycle of cynicism, believing that the way things are is the how they will stay. I remember feeling this way a lot during those first Bush-as-President years, and I’ve felt the dark coils wrapped around my mind again recently. With all of the news popping up around the Pure Noise Records situations, the what-feels-like weekly new discoveries of misconduct within the music scene, and the almost...
Jason Tate on 05/23/15 - 11:25 AM
Thomas Nassiff is here to convince you to listen to Bruce Springsteen. Is that the guy that sounds like Brian Fallon?
The quintessential starting point for Springsteen is your dad’s favorite album, Born to Run. In his early days, Springsteen was very much a “DIY” type of artist – he and his band would play in and around New Jersey, go on small tours and generally jam a lot. Remember, this was the ’70s, and there was no true rapid-fire success to be found. Columbia Records signed Springsteen to an album deal in the hopes that it was signing the next Bob Dylan. But while Springsteen is majorly influenced by Dylan, he has never been content to restrict his art to just himself and an...
Jason Tate on 05/20/15 - 01:13 PM
The Verge breaks down the leaked contract Sony Music had with Spotify.
This contract — like every other contract involving a music label and a streaming service — has been secret until now. Given the myriad ways Sony Music came out as the winner, it’s worth asking who really should shoulder the blame for the lackluster streaming payments that artists like Swift have been complaining about — the labels or the streaming service?

Submitted by mr_raccoon
Jason Tate on 05/19/15 - 11:19 AM
Stereogum has profiled the ... issues ... the VNYL service has had since their Kickstarter. Who would have guessed?
In short, the service being pitched by VNYL would have violated copyright law. The old-school Netflix model worked well for DVDs because movies weren’t covered in the Record Rental Amendment — but applying that same model to vinyl records (or cassettes, or CDs) would have been illegal. VNYL was supposed to start shipping records to subscribers in early February, but it didn’t actually do so till early April. When those records arrived, there were no instructions for how they might be returned — almost as if VNYL had simply forgotten to include such instructions.
Jason Tate on 05/14/15 - 11:39 AM
Warner Music Group said it now makes more money from streaming than downloads
Streaming revenue from the company’s recorded music unit, generated by companies like Spotify and YouTube, grew 33 percent in Q2, Warner CEO Stephen Cooper announced during the company’s earnings call. Warner says digital revenue grew 7 percent overall — which means download sales from outlets like Apple’s iTunes decreased during the same period.

Submitted by mr_raccoon
Jason Tate on 05/12/15 - 10:27 AM
Derek Thompson, writing for The Atlantic:
New analysis from researchers in the United Kingdom, who studied the chord structure and sounds of 17,000 songs in last half-century, determined that 1991 marked the most significant revolution in the history of modern pop music. The rise of rap and hip-hop, they authors wrote, marked “the single most important event that has shaped the musical structural of the American charts."
Jason Tate on 05/12/15 - 12:21 AM
Amy McCarthy, writing for Salon:
In the nearly 10 years that I have been attending and reviewing live music, I have been punched, groped and had beer thrown in my face. I have snuck out of shows early to escape the aggressive advances of a man who just wouldn’t take no for an answer. I have watched and intervened as men tried to take advantage of falling-down-drunk women who could barely keep their eyes open. I have seen artists make sexually inappropriate remarks about me and other women from the stage. Unfortunately, my experience as a woman in music is not unique.
Jason Tate on 05/11/15 - 09:57 PM
John Gentile, writing for The Runout, about sweatshop merch being sold by punk bands.
Yet, fans are as much the reason for this as bands, if not more. (Actually, fans are probably more to blame). We all need to realize that the age of the $10-$12 shirt is over. I looked at the calendar. It’s not 1986 anymore. You know what? Twenty bucks for a t-shirt is reasonable. Don’t give me that hooey that you “Can’t afford a $20 shirt.” First, if you can’t afford a $20 shirt, then a $10 shirt made by a twelve year old who just lost his fingers is a pretty lousy alternative. Second, I’ve seen you all at the show. I saw *YOU* buying a $4 beer (plus one dollar tip!). If you can afford a band shirt,...
Jason Tate on 05/11/15 - 11:53 AM
Carl Magnes, writing for Jacobinmag:
High pay comes with serious restrictions. Musicians must agree to a radius clause that prohibits them from performing within a radius (say one hundred miles) of the festival for a certain number of months (often six). The radius clause is also coupled with a subtler exclusivity clause: the inability of fans who can’t afford the $200+ ticket prices to enter a major festival. When a show at a high-cost festival will be your only show for six months in a region, you offer your working-class fans a cold silence.

Submitted by Love As Arson
Jason Tate on 05/11/15 - 11:50 AM
After the events of the last few days, I'm donating to RAINN tonight. I hope others will join me. Thank you.
RAINN is the nation's largest anti-sexual violence organization and was named one of "America's 100 Best Charities" by Worth magazine. RAINN created and operates the National Sexual Assault Hotline (800.656.HOPE and online.rainn.org) in partnership with more than 1,100 local rape crisis centers across the country and operates the DoD Safe Helpline for the Department of Defense. RAINN also carries out programs to prevent sexual violence, help victims and ensure that rapists are brought to justice.
Jason Tate on 05/06/15 - 09:47 PM
Spenser Milo, writing on The Daily Writ, about Brand New's "Mene" and the expectational bias new music creates.
Now, with context, “Mene” isn’t just a song anymore; it’s a highly-anticipated monster of a single that, to some fans, fell absolutely flat. Why? Because there’s that hanging suspense that’s set in unrealistic fantasies of what the band can perfectly achieve for every individual fan out there. The song, and now the band’s new album, is plagued with expectational bias.
Jason Tate on 05/04/15 - 12:22 PM
Fantastic profile in The New Yorker about one of the largest music piracy rings on the internet back in the day.
Then, in January of 2007, one of RNS’s topsites mysteriously vanished. The server, which was hosted in Hungary, began refusing all connections, and the company that owned it didn’t respond. Kali ordered the group shut down. RNS’s final leak, released on January 19, 2007, was Fall Out Boy’s “Infinity on High,” sourced from inside the plant by Glover.
Jason Tate on 04/27/15 - 03:51 PM
Dan Ozzi takes a look at the biggest "sell out" albums in punk and re-reviews:
The move was never received well, and always seen as an affront to those who had launched the bands out of the basements in the first place. Whether the band's major label debut was a commercial success or a flop, a critical darling or panned piece of trash, many fans stuck a middle finger to the whole thing, as if to say, "We support you, but not enough for you to be able to quit your job at Whole Foods!"
Jason Tate on 04/02/15 - 07:04 PM
Ben Thompson, writing for Stratechery, about Tidal and the future of music.
This is why, by the way, I’m generally quite unsympathetic to artists belly-aching about how unfair their labels are. Is it unfair that all of the artists who don’t break through are not compelled to repay the labels the money that was invested in them? No one begrudges venture capitalists for profiting when a startup IPOs, because that return pays for all the other startups in the portfolio that failed.
Jason Tate on 04/01/15 - 11:29 AM
Mike Campbell writes for Noisey about how independent labels are being squeezed out by the "vinyl revival."
The result we are seeing in most recent years is that independent releases are being pushed aside, becoming less of a priority due to the fact that vinyl orders from indies are usually a fraction of the size of most major label artist orders. To give an example, the first pressing of Philadelphia indie-punk band Cayetana’s debut LP, Nervous Like Me, released in 2014 on independent label Tiny Engines was limited to 1525 copies. The band was only able to get 400 copies to sustain their merch sales on their six-week tour supporting the album’s release, as the rest of copies were...
Jason Tate on 04/01/15 - 11:08 AM
Jonathan Diener, writing for Nothing Original:
I am the guy standing in the back of the crowd. I’m most likely crossing my arms and not singing along. Even in a situation when there’s a circle pit, stage diving or crowd surfing, I’m most likely not participating. When the singer of the band shouts out to the show-goers for a wall of death or to clap along, I don’t indulgethem. If you’re having a good time up front and look back to see me standing there, you probably think I’m trying to be cool. You probably think I’m not enjoying myself. If you assume those things, you’re in the wrong. I couldn’t be cool even if I tried and I’m probably having a great time. If that’s the case, then why...
Jason Tate on 03/28/15 - 01:01 PM
Sarah Sahim, writing for Pitchfork:
What substantiates this are the microaggressions, as well as overt and covert expressions of racism, that happen as a result of those systemically held ideals. Some may take the success of artists of color as threat to their space or scene. White art is deemed more worthy of respect, and so white audiences respond to it positively—it is set up for success. It’s evidenced the last week of news: be it the insidious petition urging Glastonbury to drop Kanye West in favor of a "rock band" (read: a white artist), or the repeated co-option of Indian and Desi pop culture by Major Lazer going unremarked upon. White art additionally dilutes and flattens...
Jason Tate on 03/28/15 - 12:58 PM
Lena Dunham wrote an article for The New Yorker called "Dog or Jewish Boyfriend? A Quiz." -- the boyfriend being Jack Antonoff of Bleachers.

Submitted by mr_raccoon
Jason Tate on 03/28/15 - 12:53 PM

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