[Part 2 of a 3 part post--"Occupy Artist Rights"]
By Chris Whitten
So let’s briefly look at a few other, shall we say ‘misunderstandings’….
• The new economy for music is in live performance.
Actually, that was the old economy. You earned a little income from selling records, you might also make a bit from playing live, put it all together and most musicians could earn enough to keep playing. The pirate economy removes income from recordings. So in fact, there is no new way of making money, we’ve just taken one income source away. In addition, the recording is a product in of itself. It isn’t a promotional tool. After Sgt Peppers was released, The Beatles didn’t tour, and yet we can all still enjoy the music today. I was too young to see Jimi Hendrix in concert, but I have always enjoyed listening to Electric Ladyland. In a country like Australia, you often can’t support artists via their shows without literally going the extra mile. If you live in Darwin, even Albury Wadonga, the only way to see most bands is to travel. International acts just don’t play outside the major Metropolitan centres. The easier way to support artist’s output is to buy the record. Records and shows are two equal products with equal creative value. Recordings capture a moment in time. In recordings from ‘Kind Of Blue’ (Miles Davis) to ‘Smells Like Teen Spirit’ (Nirvana) it’s a moment of magic you can’t replicate in live performance now some of the players are gone. In the end, does anyone suggest actors appear in movies to promote theatre?
• You should play music for love not money.
Yes, but instruments, music lessons and rehearsal spaces don’t come free. And if you want to attain some level of excellence you need to invest a lot of time and money in your music. Besides, why are there all these rules for musicians that don’t apply to anyone else? I’m sure Sam Stosur would play tennis just for grins, but we apparently have no problem with appearance fees and prize money. It’s obvious Tony Abbott would LOVE to be Prime Minister. When he finally achieves that goal should we take away the $260,000 a year he’s enjoyed as opposition leader, pay him nothing and recommend he “have fun”?
If you add the suggestion to play for the love of music, to the suggestion musicians play more shows, the cracks in these theories start to appear. Putting on a show doesn’t come cheap, there are rehearsals, travelling expenses, equipment costs. So are musicians to fund these costs through professional musicianship, or accept the dreaded day job? If like others in society your ambition is to rent or own a home, start a family and provide for your kids, you’ll likely need to get a regular job. The bank manager doesn’t understand “I work only for love”.
The average holiday entitlement in regular employment is four weeks per annum. That hardly meets the demands of modern touring. So the post piracy band would only tour for one month each year, and every band member would have to co-ordinate the same month off. Then work the remaining eleven months without a break. When do they find time to record the album, or shoot the video?
When I toured globally with Dire Straits in 1991, we spent six weeks in Australia alone. You can forget seeing most international acts grace these shores ever again if those acts have to balance the needs of regular employment with their careers in music.
See Part 1 “Occupy Artist Rights“
See Part 3 “The Attack of the Homework Eating Dogs“