Tag Archives: musicians

Musicians, Fans and Mutual Support

Photo from Pixabay.

Musicians and fans are sharing common feelings in the midst of a pandemic: fear, anxiety, isolation, depression, sleeplessness, and daily visions of what potentially might be the worst-case scenario. And from my daily contacts with friends around the globe, it appears that we’re all waiting for the next shoe to drop. I suggest we let Leonard Cohen soothe our souls for a few minutes before we go forward. Why? Because that’s how it goes, everybody knows.

As a music writer I am in touch with a vast network of musicians, as well as those who run concert halls, clubs, festivals, and house concerts. Please pardon my language, but from all of the communiques and pleas I’m receiving, they’re all fucked. No other way to put it, but the fragile economy and supporting ecosystem of artistic creation in whatever form it takes has been shattered to pieces in a matter of days. From the most popular and successful musicians out on the road with a half-dozen 18-wheelers of equipment and luxury tour buses to the person who barely makes a living playing bar mitzvahs and weddings on the weekend, this viral scourge is completely indiscriminate.

Over the past week my inbox has been filled daily with requests to help support musicians. There are livestreamed concerts popping up with tip jars, websites to donate to money to non-working musicians, and of course reminders that you can and should buy merch. Our editor here at nodepression.com, Stacy Chandler, published a super helpful article titled “How To Help Roots Music Artists” that I would encourage y’all to read. Nevertheless, all of these solicitations and cries for help have left me feeling guilty for my inability to participate. I’ll share part of what I posted on my Facebook page after reading Stacy’s suggestions:

While people who are in the creative community have little or no safety net, there is an assumption that those of us with day jobs have the wherewithal to assist. The reality is that we too are hunkering down, worried if we can pay the rent, if we will get a paycheck next week, can afford food and medical care, and on and on. So I guess that while there are some things I can do — like not requesting a refund to a canceled concert, of which I currently have $350 invested — l simply can’t be made to feel guilty because I won’t buy your T-shirt.

My heart breaks every minute that I get a message or see a social media post from a musician who’s lost all their source of income, lost money on preparing for travel they can’t get refunded, or have invested every dime in a new project set to release when the world is too overloaded with worries on survival. So no answers here, and this article touches on significant ways to at least think about or consider.

If you thought that the headline of this column was insensitive or perhaps simply a grasp for clicks, you’re wrong. The roots music community is fortunate in that we’re small enough that musicians are close to their audience. Years on the road have created relationships and established bonds, and social media opens the door for personal communication. It’s not simply the music that connects us, it’s the spirit of being part of a community. And words matter.

Ana Egge, who recently released an album and had to cancel shows in Texas opening for Iris DeMent, posted this simple message that gave me some perspective as well as some comfort:

“While these are scary and crazy days, let’s not forget that these are also days that we are living to have more of. Especially those of us lucky enough to be stuck at home with the people we love. We can’t let ourselves be overrun by fear and anxiety and miss out on this time that we have together. To love each other and share our lives. If you’re not in the same house or apartment with those you love, call them and tell them.”

Jason Isbell tweeted: “Sitting here thinking of folks who might be stuck in a house that isn’t safe. Maybe if you have a friend who has a potentially aggressive spouse or parent, be as aware as you can right now. Check in.” and he posted the link for the National Domestic Violence Hotline. Brandi Carlile shared a helpful list of things people can do to protect themselves and their community, and Rosanne Cash wrote, “I got home off the road last night & am self-quarantining until the CDC gives the all-clear. I was on a lot of planes & in a lot of airports, hotels & venues. I don’t know if I’ve been exposed, & I don’t want to expose you. Let’s do this together, apart.”

These are just a few examples of musicians using their thoughts and words to help and connect with their audience, and I know there’s plenty more. Personally, it means a lot and touches me deeply when the people who enrich my life with their music take the time to let me know they are thinking about me as much as I’m thinking about them. Y’all have a big voice, and we all appreciate it when you use it in these troubled times. Stay safe.

This was originally published at No Depression: The Journal of Roots Music’s website, as an Easy Ed’s Broadside column.

Many of my past columns, articles, and essays can be accessed here at my own site, therealeasyed.com. I also aggregate news and videos on both Flipboard and Facebook as The Real Easy Ed: Americana and Roots Music Daily. My Twitter handle is @therealeasyed and my email address is easyed@therealeasyed.com.

 

Tossing Quarters In The Jukebox

Wikimedia Commons CC 3.0

My two sons, our relatives, and most of the people who know me are well aware that when it comes to holidays, birthdays, and other momentous occasions, I’m a loser. Sometime after my second divorce I stopped buying greeting cards. I don’t set up a Christmas tree, I turn the lights off at Halloween, and I have generally never been able to remember any dates of importance. It’s gotten to the point that my first wife has taken on the responsibility to notify me via email of every significant event in my life that I need to know about, and she and I split up close to 40 years ago. And if it wasn’t for her and my very first girlfriend from back in my high school days, I probably would forget my own birthday. But this week is different, and nobody knows the significance other than me.

Ten years ago this week I published my first article on the No Depression website. The title was “The Value of Creation”and it was a pity party for myself, having just ended a successful career in music distribution that began in 1972 and withered away with piracy running rampant and national record store chains and wholesalers filing bankruptcy one after another. Finding myself unemployed in the midst of the greatest financial meltdown of modern times, I had time on my hands to walk the dog, listen to a lot of music, and stare at a screen for hours.

All that coincided with the original magazine going out of print after 15 years and shifting to an online community content site; I was among the first group of 500 to sign up, log in, and participate. For several months I was probably spending half my day on the site, joining a lot of the discussion and interest groups we used to have here, watching the videos that were posted, reading reviews, and making online friends. As we’ve recently shut down the comments’ section with the new web design, it’s nice to see a lot of the ND OGs migrating over to my Facebook page so we can continue our seemingly endless discussions on roots music and HoJo fried clams. (Don’t even ask.)

Our first community manager, Kim Ruehl, encouraged me to start posting my own articles and on March 3, 2009, I took the plunge. With an educational background in journalism but absolutely no experience beyond writing memos to my staff, I was pretty green. For those who have been following me all these years, you are either masochistic or really enjoy watching a grown man make a fool of himself. Unlike my fellow contributors, who actually appear to have the skill sets in writing that I lack, after 482 articles, essays, and columns under my belt, I’m still just a guy who just likes to listen to music and enjoys sharing it.

If y’all are still wondering what I perceived as the “value of creation” ten years ago, it’s interesting that not a lot has changed. Here’s a brief excerpt:

I’m beginning to think that the value of creation is zero. Be it newspaper or song, information or entertainment…it’s free for the taking. I sit on the computer most of my days now and although I was looking for a second life in music, I can’t figure out a way to do it anymore. 

Look…I have always shunned all the free and illegal ways to acquire music, as it struck both my income and to the artists who were being ripped off. But the dirty admission I make here is that a few weeks ago I started to research why 90% or more of the music downloads on the internet are illegal, and the answer is because it’s both free and easy. Duh….I know…..kind of late to the game. So in trying to see how easy it was, I started to experiment and see what’s what.

And the envelope please….everything is out there and it’s all yours to take. From Steve Earle’s show in Madrid last month to the entire Dylan catalog, from the most popular of today’s music to the third (not the first nor second) Ultimate Spinach album…I find it with a click and a search, and get it free…for not even a cent. I’m sorry to sound so surprised…but it’s unbelievable. The value of a song is now nothing. Zip. Zero.

Ten years later and we’ve legitimized digital streaming and/or downloads of almost everything: music, TV, films, books and apps that can do anything we need done. Hell, yesterday I saw a new app where you can buy fruit and vegetables so damaged and ugly that even the local markets won’t sell it and you only have to pay $30 for 20 pounds. Music? Not even close to that type of revenue.

While I haven’t hunted down the latest numbers, last year CNBC reported that one of the digital streaming platforms paid out “$0.006 to $0.0084 per stream to the holder of music rights. And the ‘holder’ can be split among the record label, producers, artists, and songwriters. In short, streaming is a volume game.” That calculates out to one million streams of one song yielding only $7,000.

I wish I could report that all the problems that musicians and other creatives faced a decade ago have been solved, but we’re still stuck. What is truly surprising is that while the ability to earn a living without a day job has become more elusive to most folks in the game, the quality of what’s being produced continues to grow and thrive in other ways. While the monetary “value of creation” may result in small revenue, the value to our culture and well-being is astronomical. I know this sounds like a bumper sticker from the ’60s, but maybe we should all hug a musician today and buy them a meal. Fried clams sounds about right.

This was originally published as an Easy Ed’s Broadside column at No Depression: The Journal of Roots Music’s website.

Many of my past columns, articles, and essays can be accessed here at my own site, therealeasyed.com. I also aggregate news and videos on both Flipboard and Facebook as The Real Easy Ed: Americana and Roots Music Daily. My Twitter handle is @therealeasyed and my email address is easyed@therealeasyed.com.

Many Musicians Make Millions. Most Don’t.

Photo by Thomas Loyens/CC2.0

A few months ago MusiCares, a nonprofit organization that provides a range of safety net resources for musicians, partnered with the Princeton University Survey Research Center to publish a report highlighting the challenges and opportunities that musicians face. The 1,277 musicians who responded to the questionnaire were asked not only about their financial state, but also about topics that included health issues, discrimination, and sexual harassment. Take this as a spoiler alert, because I’m going to jump right to the conclusion of the report:

The survey findings described in this report suggest that many professional musicians face a multitude of problems, including high levels of depression and anxiety, high rates of substance abuse, relatively low incomes, and work-related physical injuries. And while many musicians find features of a musical career particularly alluring, the life a musician presents many challenges … and the rather disturbing findings call for further monitoring of the conditions faced by many musicians, and support for those musicians who suffer from severe emotional, physical, and financial hardships.

When you’ve chosen to follow your artistic passion, hopes, and dreams, this report reads like the directions to a highway from hell. I’ll bullet point a few of the statistical findings:

* The most common income source is live performances, followed by music lessons and performing in a church choir or other religious service.

* The median musician in the U.S. earns between $20,000 and $25,000 a year.

* Sixty-one percent of musicians said that their music-related income is not sufficient to meet their living expenses.

Many musicians shared that they most liked the “opportunity for artistic expression, performing, and collaborating with others,” as well as the “aspirational and spiritual aspects” of being a musician. So much for the good news.

Performers have higher rates of depression, anxiety, and substance abuse than the general population, and 72 percent of women musicians — who are already disproportionately underrepresented throughout the music industry — report that they have been discriminated against because of their sex. Sixty-seven percent report that they have been the victim of sexual harassment. And 63 percent of non-white musicians stated that they have faced racial discrimination.

While Americana-branded music and all its various “inside the big tent” sub-genres has grown in popularity over the past dozen years, my personal unscientific observation is that for the majority of musicians there is a marked deficiency in the nine‐factor analytic model of conceptions for the desire to be famous. That’s a fancy way of saying they don’t necessarily strive for “superstar” status and financial success and even if they did, it’s doubtful they’d be very happy if they accomplished it.

Edward Deci, a professor at the University of Rochester who was speaking about his research into success and happiness in 2009, put it like this: “Even though our culture puts a strong emphasis on attaining wealth and fame, pursuing these goals does not contribute to having a satisfying life. The things that make your life happy are growing as an individual, having loving relationships, and contributing to your community.” (This man clearly has never flown on a private jet to Paris for a lunch date at the Guy Savoy restaurant with 21-year-old billionaire Kylie Jenner to munch on whole-roasted barbecued pigeon, oyster concassé, and monkfish among aubergine caviar with sautéed ceps.)

Let’s flip the switch and talk about what it looks like to be defined as successful by many people: money. Take a look at Forbes‘ list of the wealthiest musicians for the year 2017, beginning with the top ten:

1. Diddy ($130 million)
2. Beyoncé ($105 million)
3. Drake ($94 million)
4. The Weeknd ($92 million)
5. Coldplay ($88 million)
6. Guns N’ Roses ($84 million)
7. Justin Bieber ($83.5 million)
8. Bruce Springsteen ($75 million)
9. Adele ($69 million)
10. Metallica ($66.5 million)

Bruce is probably the closest thing on this list to a down-to-Earth working-class-value folkie musician (cough, cough), and if you want to find the people who occasionally wear cowboy hats you’d find Garth at #11 with an annual income of $66 million, followed by Kenny Chesney at $48 million. Going deeper on the list, the elder generation are represented by Elton John, Sir Paul, and the Red Hot Chili Peppers. (Both Flea and Anthony Kiedis turn 56 this year.) Hip-hop artists dominate the rest of the top 25, along with a few women who are best defined as pop singers that can dance like crazy and have superb social media skills.

Almost every musician in the survey reported that 75 percent of their income is from live performances, but there should be a giant asterisk next to Jimmy Buffett’s name, since most of his $50 million annual take was not directly from music but rather his chain of restaurants, hotels, and casinos. In discovering that Buffett has a net worth of over half a billion dollars, I’ll never look at a parrot, lime, or bottle of tequila the same way. And ditto with Diddy: He made $70 million by simply selling his Sean John fashion line and cashing out.

When I consider many of the musicians I know who travel by car or van from gig to gig, hang out at the merch table after their show to make a couple extra bucks selling stuff, and either crowdsource or borrow from friends and family to record an album, pigs are likely to be seen flying across the sky before they make the Forbes list. And with the exception of maybe three dozen Americana performers that I can think of, they’re destined to stay mainly in the world of small venues, house concerts, and, if they’re truly lucky, a slot on the festival circuit and a month or two each year in Europe and Scandinavia. They likely won’t be making a fortune, but success is best measured by your heart rather than a bank statement. Keep on truckin’.

This article was originally published as an Easy Ed’s Broadside column over at No Depression: The Journal of Roots Music.

Many of my past columns, articles, and essays can be accessed here at my own site, therealeasyed.com. I also aggregate news and videos on both Flipboard and Facebook as The Real Easy Ed: Americana and Roots Music Daily. My Twitter handle is @therealeasyed and my email address is easyed@therealeasyed.com.

Musicians Work For Peanuts Without Shell Corporations

640px-street_musician

This was originally published on October 6, 2016, a month before the last presidential election. As we all know, the Republican candidate won. 

These past few days and weeks have been pretty rough out there on the American political landscape for the Republican nominee for president. Putting aside having had his clock cleaned in a televised debate in front of 84 million people, tweeting disturbing early morning rants about a Latina beauty queen he calls Miss Piggy — and lying about her making a sex tape — he’s also accusing his opponent of marital infidelity and his charitable foundation is being investigated for fraud. Now comes news that he used a tax loophole to avoid paying personal income tax for close to 20 years.

And who knows for sure; maybe he’s never paid a dime. Ever. He is the first and only modern presidential nominee who refuses to share his income taxes with the public. I think my late father would probably say something like, “Where there’s smoke, there’s fire.”

Now I don’t know about you, but I have been filing and paying my taxes for close to 44 years. I’m not alone. My friends, relatives, co-workers, and neighbors pay their share too. And while we all complain and wish we could pay a lot less, most of my people are considered middle-class wage earners, and we’re not able to take advantage of the tax laws and loopholes that are given to the wealthy folks. My entire life, I’ve heard politicians tell me that they’ll fix it once elected, but it hasn’t changed. If you want to talk about a rigged system, you can start right there.

Back in the early 1990s, Donald Trump’s hotel-airline-casino empire fell apart and he filed bankruptcy four times. He laid off thousands of people, stiffed contractors and suppliers, stripped the value of his holdings to leave his creditors with staggering losses, and he took money off the table for himself. He proudly calls himself a “brilliant” businessman. He claims he’s the best candidate to fix the system since he is a genius at ripping it off. To me, that’s the equivalent of putting Charles Manson in charge of overhauling our criminal justice system.

Now, before I go too far off on a tangent here, let me pull it back a little bit. Since this is a music website, lets talk about musicians. For the sake of this conversation, lets exclude those on the level of Bruce or Bono, Madonna or Taylor. Let’s be real: for every Snoop Dogg, there are probably 25,000 players barely making minimum wage.

Your favorite Americana-folk-blues-jazz-bluegrass picker-singer-songwriter-indie-alt-whatever musician might crowd source 20 thousand dollars to record and market an album, go out on the road and perform at clubs, coffeehouses, house concerts and maybe some festival dates, travel for the most part on four wheels in a crowded vehicle, eat whatever food is offered to them, take time to do benefit shows every so often, and then spend some serious dough to go to trade shows and conventions to drum up even more dates. If they’re lucky, at the end of the year, they’ll pull in somewhere between 20 to 80 thousand dollars a year. Just an un-educated guess. Maybe more, maybe less.

Reaching out to some of my friends who actually make their living playing songs  for you and me, I asked them how they earned their dough, kept track of expenses, and managed to run a business while staying creative. Not surprising, it ain’t easy.

For those at the low end of the range, there are some tax laws that allow for them to keep most of what they earn. Moving up the income level, they balance obligations and deductions just like most other creative types and independent contractors. Without a day job, there’s nobody contributing a portion of their check into social security, so they pay the full amount. There’s no employer providing health insurance, so that’s another expense. It’s a little easier to do that today with the Affordable Care Act, but healthcare is still pretty expensive for many people and you’ve got oodles of Republican politicians trying to take it away altogether.

On the other hand, musicians and other independent contractors can write off some expenses that people with regular jobs cannot: travel expenses, meals on the road, clothes for the stage, music to listen to, lessons to hone their skills, concert tickets and instruments. If they have an office in their home or a studio, there might be other deductions available.

A musician has to document business-related spending by keeping track of daily receipts, expenses, and a detailed  travel log, and it helps if they keep separate bank accounts and credit/debit cards for business expenses. Many have an accountant and probably just as many don’t. It basically comes down to feeling confident with their financial literacy, and balancing that with the complexity of their musical endeavors.

And at the beginning of each year, musicians gather up their 1099 forms, figure out what they earned, calculate what they paid out, and guess what … they pay their taxes. Just like me, just like you.

There’s an argument to be made that paying your “fair share” is a patriotic act. But there’s also another way to look at it, and it’s about millions of people chipping in a portion of what they earn to help all of us enjoy a decent life. Not just the one percent who make the most money, but each of us.

In closing, I went over to the website for the Center on Budget and Policy Priorities to see exactly how our tax dollars are spent. Here’s the breakdown:

25%: Health care or long-term care to about 72 million low-income children, parents, elderly people, and people with disabilities.

24%: Social Security for 40 million retired workers, 2.3 million spouses and children of retired workers, 6.1 million surviving children and spouses of deceased workers, and 10.8 million disabled workers and their eligible dependents.

16%: Defense and security-related international activities.

10%: Safety net programs to individuals and families facing hardship.

8%: Benefits for retired federal workers and veterans.

6%: Interest debt.

4%: All other expenses.

3%: Education.

2%: Science and medical research.

2%: Transportation infrastructure.

In the case of Donald Trump, this list is what he didn’t contribute to. We did, but he didn’t. Nothing for our vets, our military, our kid’s education, the elderly, the sick, those in need of a helping hand, highways, bridges, airports, trains, or border security.

Thanks for nothing — and I do mean nothing.

This article was originally published as an Easy Ed’s Broadside column over at No Depression: The Journal of Roots Music.

Many of my past columns, articles, and essays can be accessed here at my own site, therealeasyed.com. I also aggregate news and videos on both Flipboard and Facebook as The Real Easy Ed: Americana and Roots Music Daily. My Twitter handle is @therealeasyed and my email address is easyed@therealeasyed.com.