An important race relations moment occurred in 1986. It was a newly-recorded version of a song called “Walk This Way,” written by Steven Tyler and Joe Perry, originally recorded by Aerosmith (1975; Toys In the Attic), but in 1986 released as a record from Aerosmith and Run-DMC. The song appeared on Run-DMC’s multi-platinum album, Raising Hell.

It’s easy to see some segment of the racial divide being brought together through this song and its subsequent music video (below), but let’s consider how disproportionately-slanted the mainstream music market of 1986 was towards the white population, and who needed who more in this pairing.

Rick Rubin, co-producer of Raising Hell and co-founder of Def Jam Records, along with Jam Master Jay, DJ of Run-DMC, conjured up and sold the idea of Run-DMC remaking the song for the Raising Hell project.

The “DMC” in Run-DMC, Darryl “DMC” McDaniels, initially responded to the idea as such:

“Motherf*^ker, this is hillbilly gibberish, this is f*^king bulls*^t.” (quote from Andy Greene’s 10/15/09 Rolling Stone article on “Walk This Way”)

Prior to Rubin introducing Run-DMC to the music of Aerosmith, they didn’t know who the band was.

Rubin, trying to genuinely aid the creation of progressive art, and simultaneously bring it profitably to the masses, shared the following in the above-mentioned Rolling Stone article:

“The album needed one more element. I thought there had to be a way to present this to rock fans so people would think, ‘this really isn’t that different than the kind of music I like’.”

But who was really more in need of who? The all-white rock band, or the all-black hip hop group?

From the book Are We Not Men?: Masculine Anxiety and the Problem of African-American Identity, by Phillip Brian Harper:

“…Rolling Stone critic Mark Coleman suggested that, rather than benefiting from the ‘innovative’ quality of Aerosmith’s 1970s composition, Run-DMC’s cut actually modernized the rock band, ‘dragging guest stars Steven Tyler and Joe Perry into the Eighties, kicking and screaming’….Barry Walters (1986) has made a useful point by way of explicating Rick Rubin’s claim that his black classmates were more musically ‘progressive’ than their white counterparts: ‘The music industry treats white music as an ongoing history, and black music as just the latest thing. Many record companies will keep in print the entire catalog of white acts that don’t sell big numbers and delete product by all but the biggest-selling black acts…In other words, black kids are “progressive” because they’ve got no choice. (p. 23)’.”

Was the teaming of Run DMC and Aerosmith in the mid-80s “progressive”? There’s little question that it was. But it wasn’t all roses, and is still far from it.

This combination of musical styles, forms and audiences was a big step forward to truly bringing black and white together to appreciate, respect and enjoy their diversity, while also helping all to see that the melding of the collective creativity could be enjoyable to all.

Especially for those of us who weren’t alive or there, the original Woodstock festival continues to take on a mythologized utopianism. Forty years later, it’s as strong as ever, and due to where its arrival fits in the continuum of time, it may be set for good.

It’s almost in and from this odd, time immemorial phase of the music industry as it’s become known today.

No, 1969 is not technically that long ago, but there were a lot of drugs used back then; and let’s face it, a lot of the people that fit the “target market” of the Woodstock of 1969 can only tell us how good it all was. Therefore, studying Woodstock is not going to get any easier. So as we live in this fortieth anniversary year of the original event, I’m reminded to learn more about August 15-18, 1969 on Max Yasgur’s Farm in New York State. That combined time-frame and location clearly changed the music industry for all of us.

To me, it’s tough to separate Woodstock and politics. There is something special about the way you can still hear culture’s voice from that era through the (thankfully) recorded music we have access to.

From his book Remembering Woodstock, by Andy Bennett.

In the original 1969 Woodstock, rock music rode on the back of the politics and not vice versa. The event was envisioned as participatory, non-commercial and counter-cultural, with music being the cultural prism for already existing social movements. Abbie Hoffman, notorious political activist of that period, saw it as epitomizing a part of an ongoing social revolution which was ‘not something fixed in ideology, nor is it something fashioned to a particular decade. It is a perpetual process embedded in the human spirit.’ Yet, of course, there were issues specific to the period: at that time, ‘the civil rights and anti-war movements engaged millions of people in the politics of direct action primarily on the strength of the issues themselves.’ In turn, the politics influenced the style and form of the music itself.

The Zac Brown Band rocked the crap out of Charlie Daniels’ classic “The Devil Went Down To Georgia” at this past Wednesday’s (11/11/09) CMA Awards. (video below)

This is one of those songs that will stand the test of time. It is also one of those songs that it is tough to categorize, which I believe is part of why it has, and will, stand the test of time. Some consider it Country, others Rock N Roll, others simply know it from their local Classic Rock radio station, and others put it in the ever-widening category of Southern Rock.

The Charlie Daniels Band originally released “The Devil Went Down To Georgia” in 1979, on the album Million Mile Reflections. Side-note: the title Million Mile Reflections is a reference to the band surpassing one million miles on the road.

Here is the Zac Brown Band’s performance of the song from the 43rd Annual CMA Awards.

In researching for this post, I came across a very interesting music video from a song called “The Devil Came Back To Georgia,” released on the 1993 album, Heroes, by Mark O’Connor. Included in the song and video are: Charlie Daniels, Johnny Cash, Marty Stuart and Travis Tritt.

Johnny Cash once told me, ‘Hag, you’re the guy people think I am.’

From Merle Haggard’s Rolling Stone interview, by Jason Fine, in the October 1, 2009 edition.

Pop Culture has made the last 5-10 years pretty easy to view Johnny Cash as an original outlaw, one of the original “bad” dudes. And he is. But how about one such as Merle Haggard, who Cash told, “you’re the guy people think I am”?

Oh, and when Johnny Cash was doing one of his famous live prison albums (San Quentin; 1958), Haggard was an actual inmate at the prison, and was in the crowd.

Merle Haggard has 40 #1 hit songs, is a member of the Country Music Hall of Fame, and was pardoned by Ronald Reagan (CA governor at the time) for his criminal past. Together with Buck Owens, he helped found the Bakersfield Sound. And according to the aforementioned Rolling Stone article, “The Grateful Dead named their 1970 album Workingman’s Dead in tribute to Haggard, and the Rolling Stones were influenced by Haggard, most directly on 1968’s Beggars Banquet.”

As I read through this Rolling Stone article yesterday, one common theme kept coming to mind: Merle really doesn’t care what most people think. Maybe he’s not made the most marketable decisions at times, but his integrity can not be questioned.

Haggard is a legend, and I’m convinced that the following sentiment is a big part of why. From the Rolling Stone article.

‘I’ve shot myself in the foot plenty,’ Haggard acknowledges. ‘I don’t even have to look back at my career to see that – I can look down at my foot. But I’m just not one to give a lot of thought to the brilliant ways to make money. I guess you’d call me a lazy thinker in that particular area, but I think more about good songs and catching a big bass than I do about how to make money. I can sit down and spend two, three weeks and make enough money for you and me both for our entire lifetimes. I’m not stupid. But I just don’t find all that much satisfaction with what the money might bring. I’d just rather do what I want to do.’

Haggard sees his maverick approach as a form of self-preservation. ‘If you compare my life to some other people who were ready to do anything they were asked to do, look where they are now,’ he says. ‘You take people who did anything to get on the Grand Ole Opry. They thought the Grand Ole Opry was the pinnacle of their life. Well, it was.’

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.

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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.