DF 17 - Extremely long amongst other things (August 2000)
Pardon my absence but the sun is an elusive little devil in England, so I've been chasing around a bit. Well not exactly chasing around, more like walking on the beach, the Algarvean experience was trance-like. Montreux came as a serious 'Hello Good Morning' after how long was it since yodelling in a blizzard at Kleine Scheidegge. After an initial shock to the system at rehearsals the show went well and the vibe was very good. 'Funky' Claude Nobs was as usual the perfect host and there was the added bonus of having a young guest. Fifteen year old 'Nawfell' joined us for 'Smoke' and again at the end on 'Black Night'. He did a great job, good sound, good presence, nice smile……one of the new generation. Steve coped very well with his broken hand. He had a skateboarding accident a week earlier and had the cast specially engineered so that he could get at the neck of his banjo. I thought he did a brilliant job; what a pro.
We had a free day on the Sunday and enjoyed a cruise on Lake Geneva which Claude laid on for many of the twelve hundred staff and helpers who had kept the Jazz Festival running smoothly for three weeks. Needless to say I ended up in the water. Whilst I was dripping on the dockside, waiting for my friends to disembark, an old man stood close by, staring at me with a strange smile on his face. After a few minutes he gave me a sunflower and this prompted a flurry of photographs. If anyone should come across one of these 'damp-hippy' snaps, maybe they should find their way to the dark room.
After the cruise I took my wife and a couple of friends to L'Hermitage, a restaurant which has a waiter who's attitude was presented as a souffle of xenophobic superiority rivalled only by the most expressive English football, er, fans. In any event he enlivened an otherwise moderate dinner. Taking the view into consideration, I think we agreed that, at US$500 for four, it was a once in a lifetime experience.
The next morning it was au revoir to family and friends and on to Vigo (via Madrid) with the band. Two unexpected assaults by women with trolleys left me bleeding and limping in Geneva airport. I was rammed from behind first. My pained expression quickly faded as I caught on to the fact that it was entirely my own fault, at least that was the implication to be drawn from the 'you idiot' expression of my assailant. I soon forgot about that though, as a second trolley ran over some toes on the same foot. This time I made my apologies without delay, only to be figuratively kneecapped by Shuppli 'the Third Harridan' in the Iberian lounge, she used to work at the Hotel Grief, say no more.
Sometimes I am confronted and comforted by my own perversity. It pleases me to let it leak out occasionally; for example, when it's my round and I've ordered six pints of beer, three scotch and cokes, two vodka-tonics and a glass of wine from a disinterested barman in an indifferent pub. Nodding cheerfully as I count the change, he is prompted to mumble 'wanna tray?' 'Oh no thanks mate, I think I've got enough to carry don't you?' I only mention this because of another airline moment….
Settling into 2A on the Iberian MD-87 (DC-9 with a makeover) my nasal receptors bristle as the olfactory early warning system kicks in just too late to shut out a brutal assault from the galley. I've dealt with fish before (in a previous DF veggie tirade) but it is worth repeating en precis. I generally don't admit to eating fish; the three governing principles are:
One of my ancestors was at the court of Louis quelque chose, and, whilst there, had a vigorous flirtation with the kitchen staff, all of them. Never did things by demis did old Monsieur Shudder. He was luridly introducing himself to Madamoiselle Mabel, at the kitchen table, whilst the sous-chef was dumping the fish-heads, tails, bones and other nasty stuff into the slop-bucket which, for reasons connected with thrift, had started life as dish-water (that would be the slop, not the bucket).
M.Shudder was just forming the mantra 'J'arrive Mabel', which in it's usual form is repeated thirteen times, thereby completing the tantric cycle which requires every possible phonetic contortion, ending with the guttural (and bewildering omission from my F.E.D.) 'uuuuuuuuunnnnnnn ggggggaaaaaaggggaaaahhhaaaa hhaahahahahahahaaa' Coincidentally, Shudder arrived into Mabel's loins and had a concomitant heart attack. In his exquisite death-throes he kicked the bucket (yes that is where the expression was born). Unbelievable, non?
The slop-bucket, or carafe d'entrails as it was euphemistically known in the trade, was put into motion along the slippery floor by the involuntary convulsions of the almost delightfully dead M.Shudder. It ended up at an entirely different station and the contents were mistakenly poured into a cauldron by the commis-chef, and rapidly heated to lukewarm. With not a moment toulouse (that one never caught on) the substance was despatched to the dinner table and served to the assembled aristocracy. Blind obeisance it was that led them to assume that these porringers contained some element of the nouvelle cuisine; part of the fabric of the insidious 'etiquette' (or 'the way to go' as it was known in the garden) which had migrated indoors. They drank the lot. Someone said quietly to a neighbour 'what is this delightful soup that features all the 'pieces de fish' that are useful only to the fish itself, and so cleverly undercooked in rancid dishwater?' 'Oh, I believe it is to be called bouillabaisse, by the way have you seen Shudder, he's late again'. All this triggered by a dodgy niff from the kitchen d'avion.
I arrived sans baggage in Vigo, which was just as well because there were some moustachioed women hiding behind the pillars near the carousel and, without a trolley of my own, I found it easy to skip out of their way as they went for my ankles. Four hours after the show I got up and flew home to England via Barcelona and Geneva (don't ask) slept solidly for ten days and woke up with a terrible thirst.
The Napster paradox is a conflict of ideologies: Free Music v. the Music Business, two absolutes. I've seen this fight before on a different battleground. In the '70s there was a powerful, if short-lived 'Free Music' movement. Anybody remember the Edgar Broughton Band? Well Edgar was big on 'free music', a bit of a rabble-rouser he whipped up a lot of support (and free publicity, particularly in Germany) for the cause. 'Music should be free' he litanised, '..but' I was told by a promoter, 'he wouldn't go on stage until he'd been paid. I told him I had no problem with free music but he had to understand the implications; that meant no money.' 'That' replied Edgar, 'is your problem'. I mention this, not to have a pop at Edgar, who I liked, but to illustrate the difficulties faced by both sides. Matt Johnson (TheThe) puts the case against Moronica very articulately (see the end of this DF). Where will it all end? It makes me thankful for the unbelievable support we get at our live shows; which we couldn't do without you.
Finally I have to report the sad news that my old friend Dave Hier lost his battle against the cancer which finally took him this summer. On behalf of his family and friends I'd like to thank those of you who sent messages of support through these pages.
Now where's my passport? Patagonia, Tierra del Fuego, Buenos Aires, Sao Paulo, Mexico City and then on to Europe. All these dates can be found at the 'gigography' albeit they are at the end of a very long itinerary. I'm wondering if forthcoming gigs should be listed separately and then archived when they're done did. Whatever.
Love and peace, ig
THE THE VERSUS THE CORPORATE MONSTER
After much deliberation I have decided to offer track by track, week by week free downloads of my latest album 'NakedSelf' from my official website: www.thethe.com
This decision has not been taken lightly and below I explain the reasons why. As the tensions between artist and merchant are rising very fast I also want to stress the positive in this statement as I think this is an exhilarating time to be involved in music.
I'VE SEEN THE FUTURE, AND IT WILL BE ........
A battle between the powers that be versus the powers that will be.
Through their short sighted arrogance and greed, the major label media conglomerates are sowing the seeds for their own destruction. New technology, both in cheap, high quality recording equipment and the tremendous potential of the Internet, mean that it's possible for musicians to fund their own recordings, own their own copyrights, distribute their own music and control their own careers. The audience will begin to deal with the artist direct and the middle men will be cut down to size.
MEET THE THE NEW BOSS
I've been in bands since I was an 11 year old kid and I've been earning from music since the age of 15 when I started working for a publisher and recording studio. I have seen the industry from many angles and through many eras. I'm also blessed with a solid and loyal global audience of approximately 750,000 for each of my 7 albums, a sales figure that was once enough to keep artist and Record Company in bread and jam, though not any more it seems. Obviously the sales potential of TheThe is not in the same league as the Limp Bizkits, Offspring and *NSYNCs of this world, yet each label has (or had) a dozen artists like TheThe, each with a solid and loyal fanatic audience, each selling many CDs and each serving as a creative beacon attracting other artists, some who go on to sell millions of albums of their own.
Once these artists made sense to the shareholders.
Although the range and diversity of music being created and performed has never been wider, the traditional outlets for music have never been more restrictive.
In the blue corner: the threat (real and perceived) of MP3/Napster, digital piracy and the subsequent debates about copyright laws and intellectual property rights.
Deep in the red corner: the rampant corporate greed of the media conglomerates, major labels and radio stations which is marginalising more and more artists by the week and forcing them to look at alternative ways of distributing their music.
All the above events are converging and have placed us on the threshold of a watershed in the music business that I believe will dwarf the punk revolution in its ultimate significance.
MEET THE NEW BOSS
Vivendi have just swallowed Seagrams who took over PolyGram and merged it with Universal who had bought Interscope who'd purchased nothing Records (home to Nine Inch Nails, Marilyn Manson and TheThe)
In order to get the green light for the Universal/PolyGram merger, Seagrams promised their shareholders a return on cuts, not profits. They have a huge artist stable raped from three established major labels and two thirds has got to go, bringing it down to a trim, wealthy machine made up of just the plump ripe sellers. Millions of sales are now required to cover the increasing overheads at these labels. Overheads increased through ludicrous executive bonus payouts, inflated expense accounts and the quest for the Porsche. The artist is put to work harder and faster, in order to feed the machine.
VivendiUniversalSonyAOLTimeEmiWarnerBMG, all represent a basket of share dividends to holders who are quick to move on when the coming gets tough. Oasis Brand may be less appealing than Heinz Beans right now.
After a 7 year lay off I recently released 'NakedSelf', an album that is generally considered one of the best of my career to some of the best reviews I've ever had (check the website). I've also been on tour since November 1999 selling out shows by word of mouth across Europe and America to fantastic audience response. Yet the reaction from Interscope/Universal has been destructive and negative in the extreme. Their utter dependence on the radio means that the good ship TheThe is abandoned as soon as the fear of no-play takes hold. They can think of no alternative and why should they when they can swiftly move on to the next act on the plank (step forward Beck, whoops! step forward Nine Inch Nails..oh dear, No Doubt..Ouch! Chris Cornell....?) One act after another has fallen into the ocean. Being signed to the Universal conglomerate has been like being trapped on a cruise on the Mary Celeste. The lights are on but nobody's home.
THERE'S NO POINT IN ASKING, YOU GET NO REPLY
I know what questions to ask in order to find out when people are doing their jobs and when they're not. Artists are often able to gain the confidence of record company employees who'll tell us things about their company they won't admit to their bosses or co-workers. Though most are afraid to admit it publicly, morale is now very, very low at the Universal conglomerate (at least 6 people I've worked closely with on my new album have walked out on the company and I know of several more who are planning to follow soon). The Seagrams takeover and subsequent merger of Universal and PolyGram was very traumatic, not only for many artists on the label, but also for many of the employees. There are many decent hard working people in this company who wanted to work in the music business for all the right reasons but now find their hands are tied behind their backs as they are not allowed to get behind the projects they really believe in. Seagrams bottle drinks and music using the same machine and the sheer incompetence of this conglomerate just beggars belief. To fully list all the cock ups that have utterly undermined and ruined the release of 'NakedSelf' would take all day and I'd like to stress the positive changes I'm anticipating in the industry rather than whinge and whine about the past year's mistakes. Suffice to say it has been the most disastrous episode of my entire career.
THE REAL QUESTION IS THIS
The million dollar question for all artists associated with this bloated company, and this is where it gets interesting, is this: Is this really just sheer incompetence or is this willful neglect? Because it does seem that Interscope/Universal can be very aggressive and successful with a certain type of popular music, so it begs the question that is it not really the fact that to pay for that preposterous merger, and in order to pacify their shareholders, Seagrams had to promise to make cutbacks rather than investments for future profits? Was an executive decision taken to only back acts that they thought were 'sure-fire' instant commercial hits palatable to corporate radio stations, rather than take a chance on any artist that doesn't conform to this bland criterion?
SOMETHING FOR NOTHING
I loathe censorship even more than piracy and increasing numbers of artists are now becoming victims of censorship by apathy and neglect. They just cannot get their music heard through the traditional channels.
As Universal/Interscope seem either incapable or unwilling (or both) to distribute and promote my album properly, and as they've refused to give it back to me, then I've been forced to consider alternative ways of reaching my audience. After much deliberation I have therefore decided to offer free downloads of 'NakedSelf' on a song by song, week by week basis from my official site: www.thethe.com. By doing so I hope more people (including the bulk of my audience) will finally get the chance to hear this album and hopefully support me by purchasing this CD and future releases. For me to just walk away from 'NakedSelf' now would be like leaving a baby on a doorstep and I just can't do it. I believe in this album too much.
This is not a decision I've taken lightly, because as some of you may know, I've been widely quoted in recent months regarding my opposition to Napster. As musicians and songwriters, as in other professions, we have dedicated our lives to our art and craft and now face a situation of people stealing our work and passing it around the world for free. No one who has ever done a hard days work for a days pay would expect others to work for free, why should musicians? It's also a sad fact of life that the general public are still fairly ignorant as to how unfair most record company contracts really are. The artist pays for everything yet owns nothing. To receive fair and accurate royalty accounting he/she has to be able to afford to send in a team of auditors every few years to examine the books and this costs thousands of dollars to do properly. Most artists with more than a couple of years experience now sadly accept that the industry is run by principles of institutionalised corruption. The record company position is this: If you want your money you can come and find it. If you can afford to find it then you've obviously earned so much that we can afford to give you some.
THE ONLY THING THAT STAYS THE SAME IS CHANGE
This weird period we're going through in our industry right now feels both daunting and exciting and in a way reminds me of where I came from. As a teenager I was turned down by every indie and major label in the UK at least three times before I finally got a recording contract, so in the meantime I started producing and selling my own cassettes at the various gigs I attended. It was a liberating and empowering experience and taught me how to stay positive in the face of apathy. When you get knocked to the floor you have a choice, you can either curl up in the foetal position and die or you can climb back onto your feet and fight.
The above piece was sent to me by my friend Michael Lee Jackson.
Peace & love,
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