The irony of the gate/fence/wall up around the perimeter of the free U2 show at Brandenburg Gate in Berlin last night (11/5/09) is painfully obvious, and also a bit confusing.

I have no idea who is to blame for this idiocy. Maybe MTV? Maybe U2? Maybe the local police? Maybe the promoter? It doesn’t matter; the symbolism speaks volumes.

Bono is NOT the savior, but I’m pretty sure he and his cronies would have had the power to keep this wall from going up. I’d love to know who in the ring of power around last night’s show would trump the band’s wishes/demands (assuming they were there). How could Bono’s (obsessive) world-saving, superhero persona not step in and put a stop to this?

Could it be that they let it fly so that we all would be sitting here talking about it like this? My background is PR; I have a hard time taking anything (especially like this) at face value.

Here is an interesting tidbit of music, and Berlin Wall, history, according to an Associated Press story:

In 1988, musicians such as Pink Floyd and Michael Jackson performed in a three-day “Berlin Rock Marathon” on the western side of the concrete barrier, with the landmark as a backdrop.

Concertgoers in the West hurled bottles and firebombs at the wall, while some 2,000 youths gathered on the eastern side to listen, many shouting “The wall must go!”

November 9, 2009 will mark the twentieth anniversary of the fall of the Berlin Wall.

We are only as powerful as what we represent.

Yes, our skills and knowledge (hopefully) increase and compound over time; making us more marketable as we go along. But, the older we get, the less appealing we become (in most circumstances). So, on the continuum of our finite lives, the window for success and power is pretty limited.

Consider why people want to talk with you; or why you want to talk with most others. Usually it’s for what’s on the other side, giving the temporary delusion that the person in the middle has power. Yeah, they technically do in that moment. But what happens when their representative power ends?

I started my career working with (very) independent artists. More often than not, no one cared. It’s amazing how some of those same people responded (usually for the first time) differently when I was able to attach “Sony” after my name. Those first few years of my career have, and will continue to, provide my personal motivation.

I know there are countless people out there that feel like I do, and I would love to hear your story.

And next time you think you are an invincible bad-ass, think about why people even care about you to start with.

Behind the show, there are some amazing people that you will never hear about. There are people that put in hours upon hours of unglamorous work, and they are often the people that keep it all moving.

Michelle Tigard Kammerer is a great example of this type. I hope you have the chance to meet her; she’s one of the good ones.

Michelle works for Creative Artists Agency (CAA) in Nashville. CAA is one of the top talent agencies in the world, working with everything in the entertainment industry, including: Music, TV, Movies, Broadway, Marketing, Literary, Branding, Gaming, etc. Michelle works in the music department and more specifically, the Country Music Department in the Nashville office. There she works with a roster of over 500 artists worldwide, but specifically focuses on 100+ of CAA’s Nashville Country Roster.

Under Stan Barnett & Marc Dennis, she has personally been involved with: Lady Antebellum, Montgomery Gentry, Billy Currington, Rodney Atkins, Joe Nichols, Kellie Pickler, Bill Engvall, Randy Travis, Travis Tritt, Keith Anderson, Trent Tomlinson, Heidi Newfield and the Lost Trailers. She has helped book shows in Arenas, Coliseums and Amphitheatres in the Midwest and Western Canada, plus Fairs and Festivals throughout the entire US.

Clore: How about a quick intro, in your own words?

MTK: I’m a twenty-something (emphasis on the “something”) country girl from small-town Kansas, who’s been in love with Country music since I was old enough to listen. I had a dream to work with the music I loved, and help get that music to as many people as possible. So, after college, I packed up everything I owned and without knowing a soul in Nashville (or ever actually having been to Nashville), moved here. Sounds like a Country song, doesn’t it?

Clore: During your time in the music industry, you’ve seen (up close) artists with huge teams around them, and artists that no one seems to care about, at all. Especially considering personal relationships you have with artists of both sort, how do you mentally and emotionally approach working with these different types of artists?

MTK: Personally, I work with every artist the same way. Whether they are making a million dollars a night or playing for tips, they’re all talented and special, or we wouldn’t be working with them. One of my mentors once told me, “Follow the music and the money will come.” That’s one of the coolest things about the music business, the guy who was working for peanuts one day can have a hit song and be the biggest thing in town the next week. So, I guess it goes back to the golden rule: “Treat everyone the way you’d want to be treated” (whether they’re making you money or not).

Clore: When a musician has the urge to “make it” in the music world, what are your recommendations on where to start? Do you need to be in a particular geographic location, know certain people, have certain talent, have a certain drive?

MTK: Everyone’s journey is different. But I would say, use every resource you have. If you have something to say musically, go find a place to play in front of an audience. If you know people in the music industry or radio, go talk to them. If you have Pro Tools on your computer, record some stuff. If there’s a talent competition, enter it. There’s no set “career ladder” to climb. I’ve seen artists become huge overnight because of MySpace and YouTube, so use those too. You have to be driven and never stop. Sometimes it takes years. You just CAN’T give up. Basically, find a way to make enough noise that someone listens.

Clore: For the younger generation of music industry types, what would you say to them is the most important topic/subject to be knowledgeable about today?

MTK: I think the digital media world is a MUST right now. It used to be a side note in the music business blueprint, but now it’s front and center. Know how to use MySpace, iTunes, Facebook, YouTube, iLike, Twitter, cell phone ringtones, and anything else you can find. As an artist, using those digitals tools, you can build a fan base, sell your own records & merchandise, and, if you’re going after a record deal, can show the label you have a loyal following that will purchase the music you’re wanting to make with them. As a music business person, you need to know the best way to market your artist and that is digital media, hands down. The game has changed and it’s going to the be the most creative and digitally savvy that are going to win.

Clore: You have been involved with creating and/or implementing many great events in the Nashville area (where you call home). What have been some of your highlights, and learning moments, during said events.

MTK: I think working with Lady Antebellum from day one was a real learning experience. The first night I saw them, there were about 12 people in the room. Being part of the launching process, and watching them grow as artists, has been a true honor. Seeing them sing in front thousands of people now, just makes my heart smile. Also, I’ve been blessed to work with a company that believes in giving back. I’ve headed up the CAA Supports Our Soldiers Campaign, where CAA and our clients send care packages every month to US soldiers overseas; Red Cross Blood Drives, where managers, promoters, clients and others in the music industry donate their blood to make a difference; and the Young Nashville Party, which is an annual charity event hosted by CAA for Nashville’s “most influential young industry professionals,” including CAA clients, music industry executives and young entrepreneurs. Being able to help artists give back to their fans and show the same love they are given is a true highlight.

Clore: What is it about music that keeps you going? Did you always “know” you would land in this industry?

MTK: Music is in my soul. It’s the language that brings us all together. It’s the song that comes on the radio that makes whatever you’re going through ok. I’ve had music in my head for as long as I can remember. It’s a part of me. There was never really a choice whether I’d go into the music industry or not. I came to Nashville not knowing a soul, but knowing I had to be a part of what I loved. So, I worked hard, networked my way in and have been learning and growing ever sense. Truly, I don’t know where my road will lead, but I know there’s way too much good music out there, and as long as I’m here, I’m going to try it.

Like it or not, technology is continuing to change the game.

I will sit at my home tonight in Nashville, and enjoy U2’s Rose Bowl show, live, basically for free via YouTube.

This is not ground-breaking, from a technology standpoint.

According to a BBC article, U2 has actually already done this, back in 1997 on its PopMart tour, they streamed the Boston show. But, let’s be clear: in 1997 most people were still figuring out what the Internet was, let alone be ready to stream a full U2 concert (and isn’t that when U2 almost fell off the pop map?). Anyway, back to 2009, tonight’s streaming really is a big deal. It’s a sign of the times. It’s symbolic that the next era of technology has officially, finally and firmly come into our living rooms.

I’m going to enjoy tonight’s U2 show, as it’s happening, without buying a concert ticket, gas, parking, stadium food/drinks or paying ridiculous (in)convenience fees on the tickets. No, it will not be the same as actually being in Pasadena; but I’ll take it.

Oh, record label.

It seems to be all your fault. All your fault that we are where we are. You royally screwed it up for us, way back, and now we are left to deal with your ruin. Our industry is hurting, reeling actually, and if only you had made some different moves back in the day. If only you hadn’t invested that money, that time, those resources. If only you hadn’t done such things, we all would be way better off now.

Why were you trying to make a profit? Why were you trying to run a business? Couldn’t you see that the day would come when we wouldn’t need you anymore? When your money and services would lose their value? It would have been so much better if you had just stopped while you were ahead.

But you kept going. Artists kept coming to you. The rest of the industry continued to put their eggs in your basket, often paralyzed if you weren’t at the party.

And what was it all for? Did you really think your popularity would survive?

Did you think we would really need you in 2009?

Yes, I work at a record label. Yes, I am being extremely sarcastic. Yes, I may have somewhat of a slanted view. Yes, you may think I am crazy, old-fashioned, leaving out lots of dirty details and altogether misrepresenting history.

But, especially if you work in the industry, look me in the eyes and tell me the record labels have not played a huge role in building any sort of industry out of this crazy mess. Tell me your job is nary a result of one, or many, record labels that were in-motion far before you ever came around. Tell me about your superstar that never had label-backing.

Yeah, I know things are pretty f’d up right now, but so goes the world. Yes, I know record labels do things wrong. Keep in mind though, you don’t.

Remember, all of your decisions have been made with the purest of intent; never for money, never for career advancement, never for personal gain or fame.

As we all attempt to figure out the future, try to have some semblance of respect for a part of the equation that is still sought after, but rarely credited.

*Kudos to my buddy Ben Brown (@_benbrown) for helping me formulate this post.

—————————————————————-

I know the music industry is changing, and I’m glad it is.

But it can’t all be free.

With everyone that is overjoyed to “stick it to the record labels,” this misunderstanding that it can all be free, is quite disconcerting.

Some things can be. I get that. And I support that.

The problem, however, is that if everyone expects it all to be free, that at some point it runs out.

Let’s consider some basic things that cost money, across the music industry:

• gas/airfare to get to the rock show (for your favorite band)
• instruments / gear
• most artist support staff aren’t (can’t) work for free, no matter how much they love their artist
• computers aren’t free, nor is the Internet service (in most cases) needed to help spread the word about the new (free) music
• those really cool clothes you expect your favorite band to be wearing
• lighting and other production at the concert
• insurance (on countless things): vehicles, people, venues, etc.
• that guy checking your ID on the way in to the show
• those often annoying, but necessary, people wearing the yellow shirts (security)
• food, to keep your favorite musician alive

I can’t tell you how much I wish cars were free, considering the ridiculous actions/greed of the vehicle industry. But I digress…

In the documentary Festival Express, which I highly recommend, The Grateful Dead’s Jerry Garcia at one point is on-stage speaking (calmly) to an out-of-control crowd at a 1970 festival that is demanding the show be free. Let’s keep in mind the line-up consisted of The Grateful Dead, The Band, Janis Joplin, and other music megastars.

But, after Woodstock (especially) in August 0f 1969, which ended up being a free concert (wasn’t intended to be), there was an expectation of free.

Garcia stood on the stage and tried to explain that they were doing all they could to accommodate everyone’s (free) request, but there were still expenses on the back-end that needed to be covered.

Nearly 40 years ago, a precedent had been set, and fans were demanding the rock show be free. But wait, that’s the primary saving grace of 2009’s music industry, right? (the live touring business)

Ten years ago, a program called Napster set another precedent of free.

It was the final chapter of one of the most pivotal decades in modern history. The political and cultural shifts that occurred in the decade of the 1960s redefined social roles, political viewpoints and worldviews in general. The final year delivered event after fateful event that could not have been better scripted by Hollywood.

As we enter the final few months of its fortieth anniversary, I felt it a fitting juncture to look back on, and truly ponder some of these momentous occasions. My rhetorical question through all of this, is how have these events impacted the world you and I live in right now?

The following is my non-exhaustive list of some album releases during the year nineteen hundred and sixty-nine. If you’re like me, and still trying to go back and catch up with decades upon decades of great music, I highly recommend Lala.com. You can listen to anything in their entire library, one time through, for free.

As you go through (and hopefully listen, and re-listen) to this list, try and comprehend that all of this music came out in 1969.

Before 2010 begins, I will be posting many more blog posts that go deeper into various aspects of the cultural and social significance of the year 1969.

A Non-Exhaustive List of 1969 Album Releases:

Abbey Road – The Beatles

The Allman Brothers Band – The Allman Brothers Band

At San Quentin – Johnny Cash

Ball – Iron Butterfly

Ballad of Easy Rider – The Byrds

The Band – The Band

Bayou Country – Creedence Clearwater Revival

Bless Its Pointed Little Head – Jefferson Airplane

Blind Faith – Blind Faith

Blood Sweat & Tears – Blood, Sweat & Tears

The Brothers: Isley – The Isley Brothers

Chicago Transit Authority – Chicago

Clouds – Joni Mitchell

Concerto in B. Goode – Chuck Berry

Country Folk – Waylon Jennings

Crosby, Stills & Nash – Crosby, Stills & Nash

David’s Album – Joan Baez

Deep Purple III – Deep Purple

Doing His Thing – Ray Charles

The Doobie Brothers – The Doobie Brothers

Dusty in Memphis – Dusty Springfield

Easy – Marvin Gaye

Elephant Mountain – The Youngbloods

Ella – Ella Fitzgerald

Empty Sky – Elton John

From Elvis in Memphis – Elvis Presley

From Genesis to Revelation – Genesis

Get Down To It – James Brown

Grand Funk – Grand Funk Railroad

He Ain’t Heavy, He’s My Brother – The Hollies

Hot Rats – Frank Zappa

Instant Replay – The Monkees

I Say A Little Prayer – Aretha Franklin

Kick Out the Jams – MC5

Led Zeppelin – Led Zeppelin

Led Zeppelin II – Led Zeppelin

Let It Bleed – The Rolling Stones

Live/Dead – The Grateful Dead

Love Man – Otis Redding

Mothermania – The Mothers of Invention

Mott the Hoople – Mott the Hoople

My Cherie Amour – Stevie Wonder

My Own Peculiar Way – Willie Nelson

My Way – Frank Sinatra

Nashville Skyline – Bob Dylan

A Natural Woman – Peggy Lee

Pretties For You – Alice Cooper

Rhymes and Reason – John Denver

A Salty Dog – Procol Harum

Santana – Santana

Say It Loud, I’m Black and I’m Proud – James Brown

The Soft Parade – The Doors

Tommy – The Who

Touching You, Touching Me – Neil Diamond

Turtle Soup – The Turtles

Ummagumma – Pink Floyd

The Velvet Underground – The Velvet Underground

Volunteers – Jefferson Airplane

Wanted Dead or Alive – Warren Zevon

Yellow Submarine – The Beatles

Yer’ Album – James Gang

Yes – Yes

Billy Joel did a killer job of summing up the life of a (professional) musician in the song, “The Entertainer,” from his 1974 album, Streetlife Serenade.

The song provides lots to think about for those who are, or are considering, pursuing the music business. It’s not “death and destruction,” but juxtaposes the lure of the industry, with the truths that are just around the corner. For example,

I am the entertainer, And I know just where I stand

Another serenader, Another long-haired band

Today I am your champion, I may have won your heart

But I know the game, You will forget my name

I won’t be here in another year, If I don’t stay on the charts

Ahh, it all looks so good when you see the flavor of the month being treated like royalty. But, when your “success” starts to diminish, you better have a good back-up plan in place. All of those that “loved you” will be gone.

“He set the bar for what rock drumming could be…Every rock drummer since has been influenced in some way by Ginger – even if they don’t know it.”

-Neil Peart, in Jay Bulger’s Rolling Stone article (1085; 8/20/09) entitled “The Devil and Ginger Baker”

I often get tired of people talking about “how good it used to be,” but sometimes it’s simply true.

Bulger’s story on Ginger Baker in Rolling Stone is by far one of the most intriguing articles I’ve read in that magazine for a while. And I’m thrilled to see them include a story on such a guy. If music is still producing Ginger Baker-types, it’s hard to find them. 

Ginger Baker is 70 years old. He was born in August of 1939. 

Baker hasn’t been part of a “big hit,” or a “big band,” since the 1970s. And in an ever-fickle music industry, that often equates to “doesn’t matter anymore.”

That’s a big part of why this blog exists; to help bring attention to those that have slowly, quietly, sometimes-accidentally been pushed off the stage, and in a lot of cases, out of the venue entirely.

From Anthony DeCurtis’ essay on Eric Clapton, found in the book Rock and Roll Is Here To Stay: An Anthology, by William McKeen, 

“Formed in 1966, Cream’s impact on the world of pop music was immense. Rock bands to that point had played almost exclusively before crowds of screaming teeny-boppers – a major reason why live performance was beginning to seem pointless to bands whose music and ideas were becoming more sophisticated. Discussing rock and roll in musical terms was a joke to the mainstream media, and alternative media had not yet sprung up. Cream was a primary catalyst in transforming rock and roll into music that could be performed in concert before adults and analyzed with the same rigor that blues or jazz could be. The declaration implicit in the band’s name was itself a demand to be taken seriously. In Coleman’s (Clapton biographer) terse summary, ‘They made musicianship hip.’ Clapton forever defined the role of guitar hero at this point, and with Bruce on bass and the redoubtable Ginger Baker on drums, Cream defined the power trio.”

Quite an important time-frame in rock and roll, and Ginger Baker was an integral part of it.

Following Cream, he was in Blind Faith. Then Ginger Baker’s Air Force. Then Baker Gurvitz Army. Then he became a well-known drummer in Africa.

To some, that’s a dimishing sequence.

For others, they simply see one of the greatest.

“In 1983, CDs made the US record industry just $17.2 million. In 1984, that figure would jump to $103.3 million – an increase of more than 500 percent.”

From the book, Appetite For Self-Destruction, by Steve Knopper.

Some ten years in to the post-Napster era, I agree that there is no obvious, fatted-cash-cow on a silver platter.

Either way, hopefully some of us are still here for the music.