The “6 Chair Pickin’ Party”
Three things happened yesterday which, if I can adequately weave the path through them, attest to the current state of music, address the current debate on the subject and, ultimately, gently, point a way into the future…
FIRST: I had a moment on that antiquated old medium called “radio.”
As I was getting out of the shower yesterday morning and making the bed, I turned on WPLN (Nashville’s NPR affiliate) and heard a promo bumper for “On Point,” the program out of Boston that follows “Morning Edition.” I heard the show’s host, Tom Ashbrook, announce that he would be discussing the streaming music royalties debate that has taken on new strength in the past week since some guy in a band called “Radiohead” (irony abounds) announced that he was pulling his music from Spotify and other streaming services, on the pretext that “it doesn’t pay new artists enough…” or some such nonsense.
As soon as the show came on the air and they announced the call-in number, I dialed in. Wonder of wonders, I was quick enough to get a ring instead of a busy signal (this might have been the second or third time I tried to call that program, parts of which I hear almost every morning). A producer picked up the line a few moments later. I told him what I had in mind to say and he said, “OK, if Tom takes the call, say ‘Hi Tom…’. Don’t say “good morning” because the show is rebroadcast at different times during the day…”
Commence heart pounding.
Then I went about making breakfast, and sat down to eat it, while listening to the discussion on my telephone headset. And then in between a bite of eggs and grapes I hear, “Paul from Nashville, you’re on the air…”
Gulp.
I then proceeded to verbally fall off my breakfast barstool. You can hear the whole embarrassing episode here, but since this is digital retrospect, I will repeat it more precisely as I would have said it if my heart had been pumping at something closer to a normal rate:
1) When this guy Tom Yorke says that he’s pulling his stuff off of Spotify because it doesn’t pay new artists enough, that is an “altruistic red herring.” He’s really not concerned about new artists so much as he is about the apparent decline of revenue inherent in the shift from unit sales (i.e. 99c per download regardless of how many times you listen to a track) to fractions-of-a-penny payments per stream per listener (where you only get paid by how much a song is listened to – and then, not very much).
This professed concern for “new artists” strikes me as a smokescreen, and actually contrary to what new artists need. As I did manage to point out on the air, I’m much more likely to become interested in a new artist if I can actually hear their music, which is a lot harder to do if their music is not on a service like Spotify.
Actually, I really don’t know Radiohead all that well… maybe I should go listen to some of their music on Spoti….oh, wait…
2) Behind the smokescreen of his concern for “new artists,” I think that what Mr. Yorke and his ilk are really professing is that the industrial-age model of selling music in discrete units – that bear a high price because of their relative scarcity – should some how be preserved in the digital era – when the quantity of ‘content’ that is now available approaches infinity. Well, get a clue buddy. Buy a vowel. You cannot drag the old model into the new reality. Let go of the nuts, silly monkey, and you can at least keep your hand…
Anyway, that’s what I meant to say; Instead I made some clunky allusion to buggy whips. I’m pretty sure the cliche police will be knocking on my door any minute now…
3) If these jokers really want to make an issue of something that is unfair in the music biz, they should join the crusade to get terrestrial radio (i.e. “broadcast” radio – which is actually radio; “internet radio” is just an oxymoron, and destructive one at that, because its use compels us to think that the medium is something that clearly it is not…) to pay royalties for the recordings that they broadcast.
As it stands, broadcast radio pays royalties only for the compositions – the songs – that are broadcast on the public air. The United States is one of the very few countries in the world that pays nothing to the artists or labels who produce the actual recordings.
if you want parity between analog and digital, if you want more money from the use of your music… start there. Of course that’s assuming you can actually get your music on radio. Good luck with that…
Anyway, that’s more precisely what I was trying to say in my 15 seconds of fame on the radio yesterday. Thanks to whoever heard that and is now reading this for the opportunity to indulge in perfect 20/20 verbal hindsight.
SECOND: I direct your attention to a blog post by the erudite and pithy Kidd Redd, a partner at Nashville’s Flo Thinkery – which figures because he is clearly something of an original thinker in his own right. In his “Stylerant” post yesterday, Mr. Redd addressed the same issue that “On Point” addressed that morning. Follow the link to read the whole thing; In the meantime here’s the paragraph I thought was pertinent (scroll down to Starving Musicians):
So listeners download, and they stream. It is only natural for artists like Thom Yorke to suddenly stop dancing weirdly and say, wait a minute, I need to do something to make people understand that this making of music really is hard work, it has enormous value, and you can’t have my album for free. Slow clap, Thom. I’ve always thought that artists who don’t like the deal should simply pull their music. Good for you. Only thing is, no one will care. NO ONE, except music biz peeps and your Mama. People have lives in which music is only a part. Maybe a big part, and a part we would all be sad to live without, but then again, we won’t have to. We can gather, and we can sing.
“We can gather and we can sing.” As anybody who has followed my musings on these subjects over the years will recall, that premise is central to my thesis, my as-yet unwritten “Grand Nebulous Theory of the Future of Everything, Music in Particular.” Which goes something like this:
At some point in the not-too-distant future, we will look back on the era of industrialized music – wherein music became a product, packaged and shipped and sold like soap – as a brief, anomalous period in the annals of human history.
The ultimate, end result of the disinter-mediation of the digital era is going to be a return to something more akin to music as it was before there were recordings: less as an expression of popular, mass culture, and more a manifestation of community spirit. We are going to stop expecting that music is something that somebody else – the Tom Yorkes of the word – does for us, and something that we do for ourselves. Music not as something that you buy, but something that you make.
THIRD: That point was graphically – and aurally – driven home last night at a home in the hilly and leafy West Meade neighborhood of Nashville where a small congregation of hand-made music and song lovers gathered… and sang.
The event was the the revival of a tradition that was very much at the heart of my Nashville experience for the first 8 years that I lived here – Mike Williams “6 Chair Pickin’ Party” – where Mike and his wife Kathy would invite a half-dozen songwriters into their home – along with typically 40-50 guests – to swap songs and stories around a faux electric camp fire.
Another view of last night’s “Pickin’ Party” – photo purloined from Kate O’Neill’s Facebook page…
In the late 90s and early aughts, Mike’s Pickin’ Party was a Nashville institution. Three Wednesdays of almost every month (the exception being when Mike and Kathy spent a month in Kerrville, TX, doing pretty much the same thing in the open late night/early morning air), some of the best singer/songwriters in the world would climb the steep hill to Mike and Kathy’s house, past the sign that said “Park on street… Sing on key…” to play their hits and their personal favorites for an enthusiastic audience tightly huddled in the living room.
The parties were discontinued in 2003 when Kathy was chosen to serve as CEO of the whole international Girl Scouts organization, and she and Mike took up residence in a loft in lower Manhattan. They tried to host similar parties there, but that effort was discontinued when the other residents objected to all the traffic in the one small elevator that served their entire building.
On a personal note (as if this whole blog post is not personal notes?) and as I explained to one of the performers last night, the best thing I’ve done since I’ve been in Nashville started at Mike Williams’ pickin’ parties, when I asked a few people I’d met there, “what would you think if I tried to sell some of your CDs on the Internet…?” That was in the spring of 1995 (yikes!), so of course I had to explain to most of the people I was talking to just what the Internet was (and once they figured it out I sold the business to them…).
Mike and Kathy are back in Nashville now – they had the foresight to hang on their house here for the decade that they were in NYC – and they’re cranking up the Pickin’ Parties again with a series of events every other week in July and August. They travel a lot in a big ol’ motorhome that was their retirement gift to themselves, but when they’re in town, Mike says, there will be parties.
And if you could have been there last night – as you are welcome to be at the next three parties, on July 31, August 14 and 28 (contact me for info) – then, I believe, you would have seen the real future of music.
If you had been there, you would have been part of room filled with talent and heart and whimsy and laughter, great playin’ pickin’ and singin’, an audience that did not hesitate to sing along and oh…did I mention heart? I heard some of the best songs I’ve ever heard last night. Songs like Whit Hill’s “Stethoscope”, a song that you would likely never hear on the radio but nevertheless fires a harpoon right into your heart. Or Laurie McClain’s “My Heaven.” Here, listen for yourself:
So yesterday was an intriguing, unpredictable confluence of events and musings that, taken together, somehow demonstrate the trajectory that we’re somewhere in the still-early or maybe middle stages of: The real future of music is not about downloads, streaming, radio or “American Idol,” or who gets paid how much for what. The real future of music is like its distant past: people… gathered and singing.
