So You Wanna Be A Rockstar?: unpretty

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2/7/10

Vol 3, The Grand Finale: A Few Parting Words & Pieces of Advice

Well my friends, it has come to that time of year again when we are forced to say goodbye, but unlike previous years, we will NOT be reacquainted come September. After three years of providing you all with advice and insight based on my experiences in the music biz, along, of course, with the occasional rant, I’ve come to the decision that, like so many great artists of the past, it is “better to burn out than fade away.” With that said however, there’s no need to despair, as I promise you that all of my articles will remain accessible (in full) online (right here under your pretty little nose!), and anytime you wish to field questions my way via email, I’ll be more than happy to respond.

In what seems like a short time together, we’ve covered everything from finding the right bandmates, to booking your first gig, to generating press coverage, to music piracy, to album sales certification, to Canada’s grant associations, and even drug use and sexism in the music biz. I’ve done my best to answer all of the questions that I once had when I first began my musical journey as a wide-eyed naïve 15 year old with rockstar aspirations. It only seems appropriate, as I lay my column down to rest, to revisit some of the initial pieces of advice that I offered in “So You Wanna be in a Rock Band?’s” very first issue. I feel these words hold just as much, if not more, truth today than they did when I initially wrote them. So, if you truly wanna be in a rock band, I suggest that you take them to heart.

In the words of one highly respected industry expert with whom I had the pleasure of speaking earlier this year, “the world doesn’t owe you anything, and being a musician is supposed to be hard. If your stuff isn't good enough, or if the public chooses not to like it, there's nothing you can do about it,” (Alan Cross).

1) There is no such thing as an educational program that can ever prepare you for the harsh reality of how the music industry actually functions.

2) You may be the greatest innovator and songwriter since John Lennon, but if you can't sell 10,000 CDs without label support, good luck and God-speed.

3) If you want to be successful on any level in the music biz, the first thing you need to realize is that NO ONE, and I mean no one, will work harder than you on promoting your music and/or band. So, if you don't have much of a work ethic, I suggest you pursue other interests.

4) One of the biggest misconceptions about the music industry is that once you are signed, your work ends. Wrong....it only gets harder, because now you are competing in the big leagues with bands who are not only signed, but have full time publicists and booking agents working around the clock to get their name out there. Oh wait... I'm sure you thought that a label would provide you with a booking agent and publicist once you signed a contract with them right? Wrong again!

5) If you think that being a musician will lead to immediate gratification and financial remuneration, you couldn't be more off, especially if you are an original act. Believe it or not, in general, cover and tribute acts (without representation) are compensated about 10 times that of an original act for a single show.

6) Further on the subject of making money…in order to attain a position of financial and career stability (of course, it can never be entirely stable), musicians often work for 10 - 15 years and then finally, just when they think they've had enough, they break. In other words, there is NO such thing as an “overnight success”.

7) There is always the risk of becoming a one- hit-wonder. Labels, plain and simply, just want to make money, and musicians are a dime-a -dozen. Don't think for a second that they care about your integrity, dignity, or the longevity of your career. If a label can make the most profit off of one single, than that is the route they will take.

8) The word "fair" does not exist in this industry, nor does "honesty." Promises are broken everyday, and as I said before, I cannot stress enough how important it is to realize that the music industry functions as any big business.

9) If you are not marketable, you will not be successful. Music industry execs don't want to take risks with something that may or may not sell. Hence, the reason why you see trends constantly regurgitated, and why next to every band on the radio sounds the same.

And finally… and MOST IMPORTANTLY!!!!

10) Please, if you wanna be in a rock band, do it for the right reasons: a love of music, because you want to inspire others, or so that you can act as a positive rolemodel for future generations.

I wish you all the best of luck in your musical journeys, and remember, music saves lives.

About the Author:

Rose Cora Perry is the former frontwoman of Canadian hard rock bands ANTI-HERO & HER, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services for female rock musicians.

Her bands toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest, and achieved label status.

Voted “Best Rock Act of the Year” by numerous industry publications, ANTI-HERO's critically acclaimed debut album, "Unpretty" is available worldwide for purchase. Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.

1/6/10

Vol 3, Issue 21: The Ins & Outs of Music Videography

ANTI-HERO: Unpretty (2005)

Video is undoubtedly a powerful medium, and in the view of many entertainment critics, “the ultimate medium of the future”. From a cultural perspective, it The business point of view also points out, that perhaps one of video’s most beneficial attributes, is that it has the ability to evoke emotion, and illustrate complex meaning through imagery and representation.allows audiences to link an artist’s work with his/her image and name. The popularity of even poor quality “home-mades” on sites, such as Youtube, once again reaffirms video’s social significance.

As society becomes ever more encompassed in the “Digital Age”, the growing importance of video promotion, among musicians, cannot be understated. Back when I was still a rambunctious munchkin, video taping devices were known by their full name, camcorders (hard to believe, I know) and a foreign sounding version of the video tape that went by the title of “Beta”, was all the rage.

Things, suffice it to say, have changed considerably since my childhood, and instead of having to rely on film, and the mucky business of hands-on editing, digital methods have made video taping and production accessible and understandable to virtually anyone in the general populus. Accordingly, with this newfound ease of video manipulation came the novel expectation that all musicians should have promo videos as part of their professional portfolio. Lucky for all of you, turning this prospect into a reality has never been easier, or for that matter, cheaper. But just so we’re clear from the get-go, cellphone clips do NOT count, and should not be used, under any circumstances, for marketing your band. Their image quality sucks, their audio is even worst, and if you are looking to make a professional impression, well you lost me at “cellphone video.”

In terms of a starting point when it comes to making promo vids, the following things should be considered:

1) Video Type
Should you go live or traditional music video? Both versions, obviously, have their advantages, and if possible, I say do both. However, if you are restricted, for budgetary reasons, to invest in only one form, your decision should ultimately be based on your band’s career direction.

Whereas live videos have the ability to showcase your band in action, and demonstrate to potential talent buyers why your act should be booked over comparable others, music videos work to expand a band’s fanbase because of their ability to be aired on a variety of programs (both online and via mainstream media). In addition, the release of a music video often accompanies that of an album/single, making it an easy means to generate publicity for your band.

A final version of the promo video that your act may choose to undertake is that of the “on location” (ie: in the studio or on the road) or “behind the scenes” footage reel. Not only can these vids be shot for an extremely inexpensive cost (ie: usually filmed completely with handhelds), but as well, hardcore fans absolutely revel in this kind of up close and personal encounter with their favourite bands, while such videos also allow industry execs to get a taste for your personality and band dynamic. With that said however, generally this last version of the promo video is typically not released unless your band has already established a fairly substantial following.

2) Budget
Although making a flashy million dollar production would surely be quite the experience, I understand that it is not realistic for the vast majority of indie bands. You’ve got to use the resources that you have at your fingertips, and that’s why again, I recommend taking advantage of Fanshawe’s (or your local college's) multi-talented student body.

One of my very first music videos, for an acoustic track off of one of my demos, was shot and edited by a friend of mine who was studying MultiMedia and Design Technology. Not only did I get great promotional material out of this venture, but she was also able to submit the work as a project for one of our classes; hence, it was a mutually beneficial arrangement.

If, for whatever reason, you are unable to find a student who is able and/or willing to assist you in making a vid, never fear as there are a variety of freelance music video makers in and around town that are indie-friendly. Checking postings on boards such as craigslist, or kijiji, and/or resources like overhear.com and mygiglist.com is definitely a good place to start.

Remember that your video’s budget should reflect your opportunities for airplay. As we learned last year, the likelihood of submitting a video to MuchMusic and achieving airplay, without a pre-existing contact, is extremely low. Therefore, your vid’s quality should be geared towards online. With this in mind, I do not recommend spending in excess of a couple thousand dollars. It’s not worth it, and because of internet compression, the extra quality that you paid for will most likely NOT even be noticeable.

It’s also important to keep in mind, that if your video requires extras, the vast majority of people are willing to volunteer.

3) Content
Last, but not least, what should your video (if a traditional music video) be about? As mentioned in my intro, video has the capacity to tell a story, and to relate your musical expression to who you are/what you’re all about as an individual act. I’ve seen far too many generic videos, from indies, strictly constituted of jam sessions in dimly lit warehouses complimented by sporadic zoom-ins and excessive head-banging. For the sake of my own personal sanity, please, do not use this plot (or lack thereof) as your video’s storyline – it’s overdone, out-dated, and does nothing to set your act apart from others. The best (and most memorable) music videos, in my view, relate directly to their song’s lyrical message; they’re emotional, and reflective, and balanced out by the perfect amount of rocking out.

With my band’s debut video, “Unpretty”, our vision was clear from the start. The song, beyond its references to the fashion industry, is essentially about overcoming obstacles, and challenging conformity. To visually promote this ethos, each of the members in my band played out a role in which they reached a breaking point, and literally were confronted with a wall they had to smash. The “breaking through to the other side” was symbolic of one achieving and expressing their genuine identity, without having social limitations imposed upon them. In the video, the plot comes to a climax when I jump on stage, and the song concludes with the crowd screaming for more.

In telling you this story, whether or not our track or accompanying storyline strikes your fancy, is not the point. Rather, I am merely trying to impress upon you the importance of taking risks, and sticking true to who you are as a band. Beyond receiving extensive worldwide airplay, our video has been nominated for numerous creative awards. I can safely say that had we gone the generic “indie rock band” video route, this certainly wouldn’t have been the case.

11/14/09

Vol 3, Issue 20: Touring Riders & Paying Your Dues: But I Don’t Wanna Play Just for Beer

I’m sure all of you are familiar with the frequently expounded three word expression, “paying your dues”. Though the phrase found its origins in the Industrial Revolution, in reference to the fees one had to pay in order to remain a member of his/her trade union (and therefore receive protections from employer exploitation), in modern times, it is most commonly used to describe the situation in which rookies find themselves, upon entering the job market for the first time. In the industry of music, specifically, it is typically expressed as a piece of advice to aspiring amateurs, from vets and industry professionals alike, who are all too eager to see their names in lights without having done any of the leg-work to get there. As we learned just a few short weeks back, in our discussion with three label reps, although talent and marketability are essential qualities for any band to get noticed, so too is work ethic, and without it, you won’t get very far. It is with this notion, in mind, that I will be writing on this week’s topic; that being, touring riders.

Long before you are in the position to be making any demands from promoters and/or club owners, you have to, as you may have guessed from my intro, “pay your dues”. What exactly this constitutes will vary slightly from band to band dependent upon your territory and/or genre, however, all band start-up stories involve playing countless shows, at dives, to crowds of ten people (if you’re lucky) for which you do not get paid, and are not appreciated. If your home-base is located in a big city such as Toronto, or Los Angeles, because such places are already oversaturated with wannabes and has-beens, this poor treatment is taken to the extreme; something you’ll get a brief taste of, when you tour these metropolises.

For instance, many clubs, in booming cities, actually expect indie bands to rent tour buses, and fill them with their hometown fans in order to bring a crowd to their out-of-town gigs. Further, rather than providing newcomers with opening spots so that they can work on expanding their followings, several major venues expect said bands to rent out their spaces in order to put on their own shows.

It is of my personal opinion, that both of these practises are absolutely ludicrous, as, typically, indies don’t have that kind of money to spare, and neither method will help a band in improving their attendance rates for future shows. However, this just scratches the tip of the iceberg in terms of the kind of b.s. a band must endure in order to establish themselves, and gain respect among industry professionals – all of which must be done, need I remind you, while maintaining a smile on your face! Perhaps a personal story, at this point, will be illuminative.

Aside from having countless promoters rip us off by leaving mid-way through our sets to avoid fronting our bills, not to mention being electrocuted by our microphones each time we attempted to play and sing simultaneously due to improper grounding, when my band ANTI-HERO first emerged on the scene, our rise through the ranks was anything, but easy.

Upon the release of our album Unpretty, we were invited to play out in Northern Ontario (about a 10 hour drive) at what was supposed to be a massive sporting event. As we were promised to play to 10,000 people, we agreed to cover all of our own expenses (which included renting an additional vehicle) because we were under the impression that we’d be able to break even through merch sales. When we arrived however, we were led to the stage which we learned was completely separated from the sporting event, and charged an additional admission price. Not surprisingly, the crowd wasn’t very keen on this; thus our audience ended up consisting of the other bands who were given the same line, and our significant others.

So in telling you all of this, what is the point I’m trying to get at?

Well, as much as it will suck and cause you endless frustration, realistically speaking, it will be AT LEAST a year before you have established yourself and your following, to a point where you can play semi-regular gigs to decent sized crowds. Usually to get to this stage, you will have had to have released an album. For the sake of your own career, DO NOT even think (and I mean it) about creating a touring rider until you’re at this point as it will not be honoured, and may potentially prevent club owners from offering you future shows.

Okay, but once I get there, what should I include in my rider? Because it’s no surprise that most musicians have a penchant for booze, club owners often try to pawn off beer tickets, to bands, in lieu of payment. While this may satisfy the tastes of some, it fails to assist you in profiting from your gigging enterprises. You need to ensure, above and beyond your booze requirements (if any) that your gas expenses, parking costs, and accommodations (if required) first and foremost are covered. Anything extra on top of that is “just gravy”, as they say, and that way, all earnings you obtain from merch sales or cover charges will be straight profit that can assist you in making it to your next destination.

Should I make any other special requests along the lines of Ozzy Osbourne and his bowl of 2000 brown M&Ms? Clearly, this is something that is up to your personal discretion, but keep in mind, your demands will only be met if you’ve got the star power to back ‘em up. Beyond payment concerns, if you are touring to unfamiliar territory, I do strongly suggest that you include in your touring rider that popular local acts are to open your show. Your ability to do promotions in new areas will be limited as you will not be knowledgeable of the scenes, and quite simply, you cannot rely on the clubs, themselves, to make your special appearances known. With this in mind, you may also wish to include in your rider that venues, upon confirmation of booking, are to provide you with lists of their local media for your publicist.

As your career develops more and more and you prove yourself worthy of the rockstar designation, it will result in bigger stages, better sound, more rawkin’ audiences, and, of course, “celebrity treatment”.

With that being said however, I hazard you to remember two things:
1) never forget where you came from and
2) don’t convince yourself, for a second, that it’ll be an easy climb.

You’ll undoubtedly have to deal with a lot (and I mean A LOT) of shit, at first, but don’t let it turn you into a pushover, or cause you to bend your standards, once you’ve attained some bragging rights of your own. Most importantly, you must remember, in the music industry, there are certainly no second chances, and to protect your own career, you most definitely should never concede on territory you’ve already conquered.

Catch Rose Perry appearing as a special guest speaker at this year’s Jack Richardson Music Awards’ Seminar Series this Sat April 4^th! www.jrma.ca for more details. Youtube link available here: http://www.youtube.com/watch?v=KRwAH8Gx_Qg

About the Author:

Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase. Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.

9/7/09

Vol 3, Issue 19: EcoArtists, 10 Quick Steps to Make Your Music More Green

In any profession, with the good comes the bad. While music has the potential to be inspirational, even life-changing in some circumstances, part of what goes along with one’s artistic professionalization is an emphasis on touring (which involves travelling great distances in gas-guzzling vans) and shifting units (ie: the selling of mass manufactured non-biodegradable materials that may or may not end up in the trash). From an environmental perspective, it’s pretty easy to see how neither of these practises are sustainable nor eco-friendly. But, it’s NOT exactly like we can give them up either, if we are intent on making it in this business. So, in the spirit of going green, though I can’t provide you with any definitive way to eradicate these “necessary evils”, below I’ve compiled a list of suggestions from eco-aware artists on how you, as an aspiring rocker, can reduce your own footprint on this great planet we call home. Starting with the most obvious…

1) Go Strictly Digital
Though still being affected by illegal P2P programs like Limewire, legitimate online sales are growing slowly but surely, and industry experts predict that the cd, as a media format, will likely go the way of the cassette, eight-track and so many of its earlier predecessors. So why not get yourself out of the manufacturing game now? You’ll save yourself the unnecessary hassle of trying to shift physical product in a time where retail is open less and less to indie artists, not to mention you’ll cut down expenses enormously. Plus which, there are the trees, whose lives will be spared, to think about as well.

2) Say Yes to Recycled Materials & Green Technology If you are really still set on having a physical product for consumption, there’s no need to despair - more and more companies including: St. Thomas’ Second Records and Toronto’s Indiepool are going green with their manufacturing technology. Offering disc booklets printed on recycled materials with soy-based inks are just the tip of the iceberg. Other companies, primarily in the US, are in the works of revolutionizing their screen printing technology to make it more eco-friendly. There are options out there (though a bit more pricy), you just have to dig a little deeper, but it’s definitely worth it.

3) Paper Press Kits – Make Em a Thing of the Past In congruence with the previous suggestions, go online with your promotions and publicity – it’s easier, more convenient and will save you money (not to mention the world!) in the long run. There are great sites like Sonicbids which can help you design flashy online professional portfolios, but really it’s as easy as simply building a press page right on your official website. If again you really can’t tear yourself away from the hard copy real deal, then use recycled paper, at the very least.

4) Employ Online Media Solicitation Though the dinosaur model of the music industry is admittedly outdated and in desperate need of a massive overhaul, efforts are being made to stay in tune with the issues of our day. One of these winning solutions is a little known (to indie artists) piece of technology called the Digital Media Delivery System (DMDS for short). To summarize quickly – essentially it’s a digital file transfer system that allows artists to send their high quality music and video files to various media broadcasters without having to deal with messy (and expensive) mail outs. While still in its formative years, its popularity among broadcasters is exponentially increasing. I recommend getting on board!

5) Cut Your CarbonThough some bands in Europe have opted to tour entirely by bicycle (no joke), I realize that for you four piece rockers who employ extensive drum-kits and Marshall stacks, clearly this is not an option. While a van, in said situations, is clearly a necessity, there are ways to reduce its harmful emissions. Hardware shops, like Canadian Tire, carry special devices that help improve your vehicle’s mileage, and there’s always the option of using biofuels, if possible. More simply, keeping your tires inflated and carpooling as often as you can are easy solutions that anyone can do.

6) No More MapquestingEvery band at some point in their career will travel to foreign territories for which they require directions. Though by no means would I ever suggest simply winging it, instead of wasting all of the paper and ink that goes into printing countless pages of maps and city street routes, one simple investment can be the answer to all your directional problems: that being, a GPS system. Clearly an investment that one will have to save up for, but a good one nonetheless.

7) For the Ladies & the Emo Boys – Go Mineral & NaturalAs I said only a few weeks ago: image is everything and you’ve got to play the part. Accordingly, having a solid stock of makeup and hairdye (and other hair products) are undoubtedly important for many bands, particularly those of the goth or glam genres. But environment-wise not to mention heath-wise, it doesn’t really make a lot of sense to spend oodles of cash on products that are toxic and synthetic if you looking for longevity in regards to either of the aforementioned points. Lucky for you, mineral cosmetics and natural hairdyes are becoming more commonplace on the market. Go look for yourself!

8) Cool Finds for Cheap Along with the last point, wardrobe is clearly an investment, for any performer, that needs to be taken seriously. While wearing ripped jeans and flannel shirts worked for the grunge rockers, not every genre has created such a staple in terms of fashion. However, it’s important to realize that looking good means being noticed and resultingly, most professional artists have signature styles and unique attire that CANNOT be found at just any Old Navy. One of the best ways to find one-of-a-kind pieces, beyond having a personal fashion designer, is to visit vintage and second hand clothing stores. Not only will you get the best bang for your buck, but you can pretty much guarantee you’ll find at least one very out-there piece on every visit.

9) Purchase More PawnI often feel sorry for the countless guitars hanging in the windows of pawn shops longing for the day when someone will come in and allow them to wail once again. Though society has allotted terms like “used” and “pawned” with pejorative connotations, I can honestly say I've seen some of the most incredible objects hidden away in the corners of these so-called “hock shops”. Though it may take a bit of extra digging, I truly believe it is well worth the effort. The first step, however, is to change perceptions about these sorts of stores and the items they have for sale. Instead of thinking of pawn as someone else’s garbage or attempt to pay off a debt, I prefer to term them simply as “pre-loved”.

And finally…

10) A Charity of Your ChoiceWhen you get to the point at which you have begun to profit with your music sales, nothing demonstrates your appreciation to the public, for your successes, more than donating some of your proceeds to the charity of your choice. There are clearly tons of great eco nonforprofits out there including the WWF. Not only will supporting such agencies help heal the world, it will also be great for your public image and did I mention that you can claim it on your income taxes as a writeoff? Sounds to me like a win-win situation all around!

About the Author:
Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase. Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.

7/15/09

Vol 3, Issue 18: Entrepreneurial Artists: Three Canadian Rockers Who’ve Successfully Married Commerce with Craft

When it comes to art and the assignment of qualities such as “authentic”, “genuine”, “original”, and the like, Romantic ideologies are still largely responsible for informing the public’s sensibilities. There remains a wide-held belief, extending to all creative endeavours, that mainstream success necessitates corporate exploitation, and formulaic expression, while true art is obscure, and can only be produced by the marginalized and tormented. Put more simply, it is still chiefly the case that if one succeeds in this business, both in terms of achieving economic remuneration and popularity among the “unwashed" masses, they will be labelled a “sellout”, and almost invariably, as a result, their once loyal underground following will dissipate.

While this conviction maintains a certain degree of truth value, at least in regards to the increasingly limited realm of major labels, the same cannot be said of the independent sphere. As I hope to demonstrate through the following discussion, moreover dissection of today’s music industry, with three highly successful musician-cum-label owners, art and commerce do not have to be at odds. In fact, in the case of G7 Welcoming Committee Records, the independent label owned and operated by Manitoba-based politically charged punk rockers, Chris Hannah and Jord Samolesk, of Propagandi fame, promoting a subversive anti-capitalist agenda would actually work in one’s favour in terms of getting signed.

As the subject matter of the following discourse primarily revolves around the indie music scene, providing an overview of how each of my interview subjects got started, along with their definitions of what constitutes an indie label seems, to me, an appropriate point at which to begin.

Robert Calder, trumpet player for Vancouver pop band The Salteens, and co-founder of Boompa Records, which includes, Matt Sharp (Weezer), among other notable acts, on its roster, established his label in 2003. Driven by what he characterizes as both ambition and naivety, despite the fact that The Salteens had already successfully acquired label representation for their studio releases, Calder was interested in creating his own company that kept, at its forefront, practises that are sustainable from both a business and artistic point of view. In his own experiences as a professional touring musician, he remembers, all too often, moments, in the heat of business, in which it was forgotten what artists require to be generative.

With this in mind, it’s no surprise, that Calder defines a true indie label as one that is not founded solely on the premise of achieving profits. In fact, he goes so far as to state that if a project is proposed to one of his artists that is highly lucrative, but has the potential to be draining for them, it is this latter factor that will be afforded more weight when it ultimately comes to making the decision. In his own words, “the plight of the struggling artist should be about growth and development, not unmet expectations.”

Though, Tim Potocic, drummer of 90s-inspired Hamilton rock band Tristan Psionic, like Calder, had established a recognizable degree of acclaim within the indie scene, the impetus fuelling the development of his independent label and distributor, Sonic Unyon, was rooted more in necessity than aspiration. Contesting that both he and his bandmates perceived the music biz as a larger entity than it is in actual fact, Potocic, put rather simply, “didn’t really think that [any labels] would be interested in helping [him take his band to the next level].” As a musical group whose mentality very much centred around the D.I.Y. mantra, coupled with the fact that all of Tristan Psionic’s members were schooled in either business, economics, or admin, even though he openly admits that initially they didn’t really know what they were doing, Potocic always had faith that they’d be able to handle whatever came their way; Sonic Unyon’s near-20 year (and counting) stint is certainly a testament that this was true.

Like our next guest, Chris Hannah, Potocic is hesitant to designate a single business model as being definitively “indie”. In his view, what makes Sonic Unyon artist-friendly fundamentally comes down to having a good team, working with like-minded people, and splitting everything (both expenses and profits) 50/50 between his artists and the label. While Potocic strongly believes in giving his performers free reign when it comes to the creative process, he also appreciates the perseverance and drudgery that goes into making a band successful. For that very reason, when it comes to scouting new talent, it’s the acts that demonstrate the strongest work ethics that really grab his attention.

Chris Hannah and Jord Samolesk’s go at the business side of things, frankly, can be chalked up to artistic impulse. While the urge to create, among artists, goes without saying, so too does the appetite for experimentation, and in some cases, the desire for world domination. Identifying with the mid-80s underground zine, metal tape-trading, and punk rock scenes, Chris and Jord were, “encouraged [by and looked up to] the bands who got their hands dirty.” Not only seeing the act of creating their own label as a means through which they could stay productive and engaged in the industry while wearing different hats, but as well as an alternative platform where they could register and promote their complaints about the system, shortly after its launch, G7 became home to a smorgasbord of politically radical bands and speakers. American linguist and political activist, Noam Chomsky, is but one of the controversial figures who releases his material via Hannah and Samolesk’s collective.

While, as mentioned, Hannah does not subscribe to using the term “indie” to denote any organizational scheme within the music industry because, in actuality, “everyone releasing music – in the form of a physical/digital product to the public – is [in some way] dependent upon the infrastructure of the music-industrial-complex,”, he does feel that, “within that framework, organizations can act more or less ‘independently’ if they are not beholden to shareholders and/or if profit is not their prime directive.”

As illustrated by the above responses from all three of my interview subjects, whereas the form the business itself may take remains considerably up for grabs, there seems to be consensus, among indie label founders, that the creation of one’s own label should be conceived of as a labour of love, not a money-making machine. Credence to this fact comes in the form of Potocic’s own struggle for success.

Although Sonic Unyon, today, is cited regularly as one of Canada’s most influential music makers, it wasn’t until Tim was in his seventh fiscal year that he was able to take home his very first paycheck. Calder, similarly, isn’t shy about Boompa’s humble beginnings. Long before he knew they got it right, he recalls numerous failures, poor decisions, hiatuses, and regroupings. But, rather than reflecting on these experiences unfavourably, Calder, like Potocic is able to recognize the wisdom he gained, as a result.

Naturally then, both founders concur that one of the biggest blunders any band can make is to set unrealistic expectations. Contrary to what the media would have you believe, nothing, in this business, happens overnight, and you certainly cannot expect to attain any sense of glory, without first being willing to display your guts. Accordingly, all three of my guests highly recommended that bands maintain other ventures, while pursuing their musical careers. For one thing, cash flow will likely become an issue if you are solely relying on your gigs to front your bills, and secondly, having other goals in life makes you well-rounded. Speaking from his own experiences, Potocic resolves that, “if you have many skills [in life], then you will always land on your feet.”

When it comes to illegal downloading, Calder, Potocic, and Hannah’s views are somewhat more lax than what one might assume of label owners. In Calder’s eyes, “a fan is a fan no matter how they get their music,” and Hannah is quick to point out that for every one person who illegally obtains your tunes, undoubtedly there are five others who get to hear something they would not have otherwise. Moreover, while Potocic accepts the fact that illegal downloading has affected everyone’s business on some level, he strongly contests that, it alone, cannot be blamed for the awful state of the music biz. Rather, he suggests, “people still love music and people still support artists. The traditional model [just] doesn't apply anymore. We are in the middle of more than just a format change – but a change in thinking of the consumer and a shift in consumer spending.” Taking it a step further, Hannah, like myself, cites the industry’s downfall in its foisting of terrible records, upon the public, for far too long: “if labels would stop trying to make money by pawning off garbage, maybe people wouldn’t be so quick to think that [music] didn’t hold any value.”

Despite his attribution of blame however, Hannah remains hopeful. While he agrees illegal downloading, “is not good for [big] businesses that have invested all of their money [into] shiny plastic discs,” he does believe, in all sincerity, that, “it could be good for music.” To this Calder adds that, “true fans support artists in many ways,” and he truly hopes that, “the whole concept of signing bands and throwing crap loads of money at them, to see if they [can] sell a ton of assets in the first week of release, goes the way of the dodo bird.” As made evident through the above discussion, whether or not the corporate structure fails is irrelevant – most indie artists, let alone indie labels, do not align themselves with the traditional music biz’s point of view.

As our three week long examination of what it takes to start your own label comes to a close, I’d like to share with you one final offering of advice. As I’ve attempted to impress on you in this piece, as in others, carving out a career for oneself in the music biz, whether as an artist or label owner, is not for the faint of heart, and it is for this reason that a love of art must supersede all other potential motivating rationales. To leave you with a quote that I feel aptly summarizes the indie label owner’s point of view, in the words of Hannah: “if you believe in the transformative potential of music, [I encourage you to] go for it, [but] if you're looking for anything else, just take the job at your dad's business that he's been offering you. Please.”

5/19/09

Vol 3, Issue 17: Starting up Your Own Label Pt #4: Designing Your Label’s Look & Branding Its Identity

To appropriate a successful marketing campaign, of Sprite’s, which could have as easily been applied to the record biz as it was to soft drinks, “image is everything”, and if you want your label taken seriously, you need to create an identity for it that speaks to your mission, audience, and potential roster list. Last time, we went over the importance of establishing one’s label infrastructure and maintaining business savvy communications from hereon out. Following along the same lines, this week, we’ll be discussing how to create the “right” image for your business.

You’ll notice that I put right in quotations because it is a qualifying word of a subjective nature meaning that there are a multitude of ways that you can approach your business, and its presentation, but, it will be up to you to uncover what you feel works best for your mandate.

For example, while both labels were born of the 1980s’ D.I.Y. grassroots mentality in order to support independent alternative, rock, and punk bands, Sympathy for the Record Industry, and Epitaph Records present vastly different images to the public and to their potential clientele – a quick look at both of their websites is demonstrative. While Sympathy’s online presence appears amateur, is difficult to navigate, and their official site’s frontpage sarcastically insults the label itself, its founder, as well as any supporters of its artists, Epitaph, maintains a sleek, and flashy appearance comparable to that of any major label. In fact, without knowledge of Epitaph’s founding history (it is the brainchild of Bad Religion guitarist Brett Gurewitz), one could easily mistake it for just that. Though Epitaph, undoubtedly, has the upper hand in terms of creating a professional look that would be well-respected in the business side of the music world, Sympathy’s homegrown anti-corporate ethos, evident in its self-presentation, is arguably responsible for attracting and subsequently launching the careers of many notable artists including Hole, The White Stripes, and The New York Dolls.

So which label has it “right”? Well, there really is no single answer. Both Epitaph and Sympathy have been extremely successful, as indies, carving out reputations for discovering hit acts, while maintaining artistic integrity, for all of the bands they sign, at the forefront of their operations.

As stated in my introduction, the choices you make in regards to the marketing of your label are ultimately a personal choice, but regardless of whether you decide to paint yourself as pro or foe, an arsenal of the following tools will assist you on your road to success:

Number One: A Slogan
Why did you form your label? What’s its purpose? What makes your label different from the thousands of others already in existence? - are all questions that you’ll need answers to. The easiest way to synopsize exactly what your company is about is by creating a memorable one-liner in the same fashion as those of the following labels: Sonic Unyon Records claims to “transcend mainstream mediocrity”, while G7 Welcoming Committee Records states proudly that they’ve been, “uncooperative since ‘97”. In order to expand on your label’s history, and mandate, devoting a page on your website detailing a mission statement and/or an about us section is also something worth considering as many bands, when debating to whom they will solicit their material, make their decisions purely on the nature of said things.

Number Two: A Logo
Sometimes as simple as just finding the right combination of font, and colour, your logo doesn’t have to induce psychedelic mind-trips, or have satanic affiliations, but it should be an artistic representation of your company that again, speaks to what you’re about and has memorable qualities. If you’re not skilled in the graphical arts, I highly recommend finding someone who is – even if only a student – to come up with an aesthetically pleasing design for you, as there is nothing worse than a makeshift cut and paste job if you’re trying to market yourself as a professional. Once designed, all promotional materials issued, including press releases, business cards, cds, websites, posters etc. should bear an invariable version of your logo (ie: don’t constantly change its colours) like a badge of honour to demonstrate to your affiliates and fans that your company is consistent in its image, as well as what it offers.

Number Three: Business Cards
Just as I noted last time, in regards to websites, there is nothing that I, as a music journalist, hate more than coming across something in which I’m interested for which there is no appropriate contact information. Similarly, considering that networking is such a crucial component of establishing business relations, and reputation building in the music biz, it is equally aggravating, for industry professionals, to come across bands and/or aspiring label owners who are not adequately stocked with handfuls of business cards at shows, and industry conferences. You need to be prepared for anything in this industry because you never know who you just might meet, and having business cards on you, at all times, is certainly a step in the right direction.

In terms of design, maintaining the same colours and fonts that you use for your website, and logo, on your cards will work to solidify your label’s image. Make sure that you include all necessary contact information (ie: postal address including country, phone, fax, email, website), your slogan, and where applicable, the roster list of the bands you represent and/or a list of your top five acts. Including all of this info is essential as at any given gig, an industry rep could meet upwards of a hundred people trying to get his/her attention, you need to ensure that they’ll remember exactly who you are, and what you’re about, come time for the follow up.

As a side note: A newer trend that I’ve witnessed on the band promotional front is the creation of “postcard” style business cards in which the band is presented in full colour photographic form on the front, while label contact information, and selected quotes about the act are depicted on the reverse side. If done properly, these can be quite eye catching, but it’s important to realize that they are much harder to carry around as they don’t easily fit into pockets, and the last thing that you want to do, with your promotional materials, is to inconvenience the very person to whom you are trying to sell up your business.

One last note on business cards: Please, I beg you, actually spend money on getting these things printed professionally. I know that they can be expensive, both to design, and to print, but trust me it’ll be worth while, and there are lots of services out there willing to give you good deals, if you make the effort to look. You will not fool anyone with cards produced from your at home laser printer or worse, those printed on Kodak photo paper. They look like shit, and make you, in turn, look like shit, and I’m sure that’s not the image you’re going for.

Number Four: Press Kit(s)
Press kits are your means of getting “the good word” out about the bands you represent to venues, bookers, media reps, and other industry professionals. While their look will vary from label to label, standard components, all of which should be tucked neatly into a crisp folder, include: the band’s biography, a “stat” sheet (which lists, in point form, notable accomplishments, and/or awards) an 8 by 10 photo (often black and white, with 1 – 1 ½ inch white framing) that depicts the entire band with their logo overlaid, upcoming tour dates, press quotes (about the band in general, their live performances, or their latest release), a copy of their latest disc, and of course, your label’s business card. Just as your website, business card, and slogan work to “brand” your label, your bands’ press kits should follow suit.

Each one of your bands will, of course, have their own distinctive look, but the packaging (ie: the style of photography, the kind of folders used, the general layout of materials etc.) in which they are presented should work to draw an association back to your label, and ensure continued business dealings, even if one of your bands decides to jump ship. A simple means by which to accomplish this is by including your label’s logo as the header, and contact information as the footer on every page included in the kit. Not only will this establish part of the standard format in which you represent your bands, but it also makes your contact information easily accessible should someone accidentally misplace your business card.

In conclusion to my series on starting your own label, I would like to leave you with a final bit of advice derived from my own experiences. People often get caught up in the excitement of their own ideas, and convince themselves that they have superhuman capabilities. They take on more and more and more, but eventually they reach their breaking point, and had they just set out a sensible plan of attack from the beginning, they never would have found themselves in that situation. Take it from someone who once attempted (successfully, if you don’t count my consequent mental breakdown and physical fatigue) to book all of her own shows, do all of her own publicity, negotiate all of her own business deals, while performing several times a week, working part time, and attending school- you cannot do it all of your own, and even if you can, it will eventually catch up to you. Creating a successful business not only takes time, and perseverance, as well as band of reliable associates willing and able to help you with everything that it entails. Do not underestimate how hard it will be (hundreds of indie labels go defunct every year), and do not overestimate your own abilities. Do your homework, start out slow, and do not rush success. After all, everything that is worth fighting for is always a challenge.

4/11/09

Vol 3, Issue 15: Starting up Your Own Label Pt #2: It’s All About the Money

After you’ve assembled your army of professional business alliances (which you should endeavour to continue growing throughout your career), the next step is to get your money in order. With any business, start up capital is an absolute must as there will be many expenses, both planned and unexpected, that will pop up along the way. Considering that, aspiring musicians, rarely come fully endowed with thousands of dollars in inheritance money bestowed upon them by deceased relatives (in other words, we’re usually just barely scrapping by), learning how to budget and save up all of your pennies for rainy days, early on, is definitely a smart move. Under NO circumstances do you want to resort to taking out a loan from a financial institution as there are no guarantees in this industry (ie: though many will travel the path, few will succeed), and the interest rates alone are enough to solicit heart palpitations. Plus which, in all fairness, it’s fairly likely that you haven’t really established that great of a credit record at this point anyhow, so getting approved for a monetary advance from a bank is probably not going to happen. So, where are you gonna get the goods?

Well, whether you’re in a collective, or you’re a solo performer, instead of boozing it up after gigs, I highly recommend reinvesting, at least some, if not all of the money you earn from your appearances, both performance fees and merch sales. If you’re not quite at the level at which you are getting paid for professional gigs, no problem, instead, to get things moving, each of you can contribute a nominal amount (say $10 - $20) into your startup fund on a weekly basis from the salaries you earn at your current menial jobs, and honestly, you’ll be surprised how fast it’ll add up. If you don’t currently have a job, go out and get one, even if just at a fast food joint, you’ll need a steady source of income coming in.

A third option you have is to, as we did, find an investor for your company, but be warned, this is not an easy venture. Just as when you approach a company for a potential sponsorship, you need to have something to offer them in return, and as much as I support your dreams of being a revolutionary rockstar, that sort of pitch doesn’t fly with business people. Investors are interested in one thing, and one thing only: that being, to maximize their returns. Sometimes, they will have a soft spot for helping out artists, however, you will still need to have a professional pitch, a profit-sharing contract worked out, as well as a contingency plan for the worst case scenario. You also need to keep in mind that if you do choose to involve an investor with your company, that it is only fair that after profits have been attained (ie: you are no longer trying to break even on your expenses), they get paid first. Afterall, they were willing to sink funds into your dream when you had nothing, and if it weren’t for them, you wouldn’t have been able to bring your baby to life.

One last note on investors: please, if you take anything away from this piece, let it be this: do NOT, and I truly mean it, do NOT involve family members. As much as they love you now (and I’m sure they do), money changes people, and relationships. Though sex has been said to be the quickest way to ruin a friendship, I’d argue that disputes over money wreak havoc way worst than anything you’ve ever seen.

The final option you have for getting together the necessary start up monies for your business is to apply, through the provincial government, for a young entrepreneur’s business loan (see http://www.cybf.ca/ for more details), however, be aware that if your loan is approved, the government, until you have paid back the loan in full, will have authority as the primary shareholder (ie: they will own a larger percentage of your company). Additionally, similar to a bank loan, you would be expected to pay back the loaned funds, plus an agreed upon interest rate, within three to five years depending on the arrangement.

So I’m sure at this point you’re wondering, well what do I need all of this money for? Though I previously explained that there will be many expenses along the way, I agree, a more specific overview of what these expenses may entail, is necessary. Tune in next week for just that!

3/29/09

Vol 3, Issue 14: Key Steps to Starting Your Own Successful Indie Label Pt #1

Back in 2003, when I was still a teenager, and when I was convinced that being in an all girl band was a good idea (how we learn as we age), I devised the plan to create my own indie label, HER Records, in order to release our debut album in a more professional manner, in hopes of attaining major label attention. Taking note of the fact that competition in the indie world (well the music industry, in general) is ridiculously steep, I wanted to create a package - something to sell the record labels that would stand out from the rest of the pack. Several years later (but with a different band mind you), after a great deal of learning, growing, and touring, this dream of mine finally became a reality.

But after years of enduring abuse, and a lack of support from our so-called record label, it is clear to me now, more than ever, that self-representation is really where it’s at (and I’m sure you’re aware that I’m not the only artist who states this case). But you learn through experience right? And had it not been for our “getting signed” (and “selling out” as they call it), I wouldn’t be where I am now, and I certainly wouldn’t be able to offer you the insights that I’ve learned.

Taking into account the current climate of what many foresee as the very crumbling of the music industry’s infrastructure, it only makes sense to consider the viability of going indie. At this point in time, because of the widespread accessibility to artist-friendly services, it is more feasible (and cost effective, and beneficial in so many ways - I could go on and on) than it’s ever been in the past. But, before you decide to go out and choose a name, logo design, and a MySpace url for your new cutting edge independent label, if you want to be taken seriously and as a professional, there are a few essential steps that must come first.

Step Number One: Network, network, network
As an indie artist, funds, as we know, are limited, and so it is essential, right from the beginning to establish loyal and mutually beneficial relationships with various providers of services (ie: photographers, publicists, producers, distributors, web site designers, instrument repairmen, entertainment lawyers etc) which you will require at different times in your career. If you are able to learn any of these crafts yourself, all the power to you - it’ll save big time on expenses, and is one last thing that you’ll have to worry about.

Now approaching a high end service provider that typically works for major label artists won’t get you anywhere, BUT that does not necessarily mean that you’ll be forced to sacrifice on quality. There are tons of extremely talented people out there that are working to establish a name for themselves just as you are, and if you can create long-standing alliances with these people, it’ll be one of the best things you’ll have going for you.

For example, when my band ANTI-HERO first got going, we, obviously, didn’t have a lot of cash on hand, but desperately needed professional photos for our website and for promotional purposes. We hooked up with an aspiring photographer (fresh out of Fanshawe’s photography program, in fact) that was willing to work with us for a reasonable price, and to this day, I can honestly say that he produced some of our favourite images of ourselves. After establishing his portfolio by working with bands such as ours, he has gone on to become the head photographer and editorial designer for Loreal.

In this relationship, we each helped each other: he gave us fantastic photos at a low cost, and we helped him build his portfolio and get other jobs through referrals. But taking advantage of the very talented student community at Fanshawe isn’t the only way to work the connections, attending concerts, and talking up established bands, as well as, building a rapport with local venues is also strongly recommended. In fact, if it weren’t for my long standing relationship with Call the Office, we wouldn’t have been offered so many jealousy-inducing opening spots throughout our career, nor would we have been able to shoot our music video, on location, with a full staff at our disposal (free of charge, I might add!).

The most important key to establishing these networks of individuals is 100% sincerity. If they scratch your back, you better make damn sure that you scratch theirs back. It’s all about creating a relationship, much like a romantic one, that serves both partners, and fulfills some sort of need. To put it bluntly: keep the promises that you make, and make absolutely sure that you always (and I mean ALWAYS) thank those who help you, especially when you reach a certain degree of fame. Put in other words, never forgot those who helped you get your start, you never know what those relationships may do for you in the future.

Case in point: to make a long story short, if it weren’t for my befriending of a small indie band when I was 15, I would have never gotten certain touring spots for my later band ANTI-HERO, nor would have I been introduced to our awarding winning producer who in turn hooked us up with the talented man responsible for our mastering. When ANTI-HERO first came out, and had yet to establish a rep and fanbase, it was strictly by “name dropping” our producer that we got our first major gigs.

3/18/09

Vol 3, Issue 13: The Booking Monopoly & Its Consequences for Concert Goers

As we learned over the past few weeks, the industry’s growing power, in the arena of booking, has major consequences for the indie musician. However, the effects of this latest attempt at monopoly do not just end there. Because booking agencies are able to limit and dictate the kinds of venues at which indie artists can play, as well as the level of bands with whom they can get booked, this also means that, from a crowd perspective, bookers, very much, have a direct role in informing our musical tastes and allowing access to the musical trends that we may or may not chose to consume.

Suffice it to say that this relatively small group of people are, resultantly, able to wield an unsettling amount of power within pop culture itself. Of course, one could rebut that the internet has broken down a great deal of the traditional barriers faced by the indie musician (ie: it’s no longer necessary to tour in order to form a following that spans continents) and in doing so, has allowed fans more autonomy in terms of developing their own music preferences (ie: by providing easy access to the obscure and the underground. It’s important to realize that, at one point, “out there” music could only be found at UK import shops).

However, despite this newfound access to original tunes and innovative acts, fandom, any musician will contest, still remains largely solidified through the concert going experience, and since booking agencies ultimately determine which concerts we are able to attend at convenient locations for reasonable prices, booking agencies are therefore directly involved with either condemning indies to become “flashes in the pan” that are only popular at their hometown venues, or accelerating their careers into super rockstardom. All of this, of course, from a music consumer point of view, greatly affects the concert going experience.

Result #1: Higher Ticket Prices
Money, just as in every other aspect of this industry, plays a huge role. Bookers want to make money, as do the venues at which the acts perform, but touring costs, especially if one’s show consists of elaborate pyrotechnics and multiple stage backdrops, are ridiculously high. How to solve this problem? Charge more for tickets, of course (ie: make the fans pay). But, as we saw with The Police and The Spice Girls’ latest reunion tours, this plan of attack can sometimes backfire. If ticket costs skyrocket, no one can afford to go, nor should anyone be expected to pay hundreds of dollars to see an act perform from the nosebleed section when you could get a better view from your tv set at home.

Result #2: Last Minute Cancellations Due to Poor Ticket Sales
Directly related to point number one, some folks simply cannot afford to pay triple digit figures for concert tickets, and well, some are just too damn smart to pay that much because they know, as well as you and I do, that a good chunk of that money doesn’t even go to the bands themselves. To be perfectly honest (and I’m sure I’m not alone on this), I’d rather see a band perform solidly without all of those bells and whistles that hike up their concert production costs. It’s of my humble opinion that if a band’s got to rely on serious special effects to make their show entertaining and action packed, then they likely aren’t that great at performing in the first place, and that’s not an act that I want to check out live. Technology, for better or for worse, has allowed far too many subpar musicians the ability to put out critically acclaimed music that said musicians cannot even come close to pulling off live.

Result #3 Mismatched Musical Pairings
This phenomenon, as I’m sure you’ve figured out already, relates to how bookers construct their concert bills based on the acts available on their roster and/or that of the label who has hired them to put together the show. As already mentioned, even if you’re a member of a great local act and your biggest influence comes to town to play at the JLC and you know that your music would be incredibly complementary to theirs, there’s little to no likelihood that you’ll be the ones warming up the crowd. Case in point: My Guns’N’Roses concert experience. Considering that London’s a mecca for truly talented hardcore, punk, and metal acts, it’s beyond my comprehension that I had to be subjected to a full 30 minutes of Mix Master Mike prior to seeing Axel in the flesh. But, on a rather sardonic note, it was somewhat amusing to see the poor D.J. get booed off the stage by a bunch of jacked up bikers sporting mullets. Though I’m sure, in a different setting, with a different crowd, the Mix Master could have “rock it like a hurricane”, but just as the above points have illustrated, the bookers really got what they deserved. They may be in the business of making our pop culture, but, as the saying goes, you’ve gotta give the people what they want, and rap at a hard rock concert just ain’t cutting it.

And Finally, Result #4: A Lack of Fresh Faces
Ever wonder why bands like The Stones, Aerosmith, & ACDC haven’t just accepted retirement already? Hey, don’t get me wrong, they are all still going strong, and in my experience, have put on some of the best concerts that I’ve ever had the privilege of attending, but I think, at a certain point in one’s career (well life in general), you gotta know when to quit, especially considering that there’s such an enormous new crop of artists who are dying for their 15 minutes of fame. I know our parents, especially, are thrilled to see their favourite teen idols living out their golden years still up on stage in the same leather pants they wore 20 years ago, but it kinda reminds me of how I felt when I heard about Ontario’s mandatory retirement law being eradicated. If we continue to allow the geezers of r’n’r to entertain audiences until, quite literally, they drop dead, when it finally comes to the time for the next generation to take over, they will be ill-prepared, inexperienced, and unable to live up to the same standard. Personally, I’d rather see a gracious passing of the torch.

As our discussion of booking agencies has revealed, not only are indie musicians victims, but as well, music lovers, in general, are increasingly suffering from the blow. If you, as music consumers, want to continue to be able to have choice and not have your preferences dictated to you, do us all a favour - show your local indie musicians some support, and that my friends, consists of more than just sleeping with them.

1/18/09

Vol 3, Issue 9: Sexism in Music Pt II: Dissecting Discrimination Toward Women Rockers in Its Many Forms

As revealed last week, despite serious efforts made by both artists and industry professionals alike, unequal treatment, offensive stereotyping, and degrading presuppositions regarding their musical abilities remain current challenges confronting women who venture into the male-dominated ranks of rock’n’roll. Not only are fem artists faced with a lack of acceptance from many of their male counterparts who are intent on maintaining their exclusive hegemony over hard-hitting musical genres, but as well, record execs, in general, have a fairly singular version of how to market women in rock bands which usually consists of an unruly amount of emphasis placed solely on their sex appeal. While Chad Kruger, frontman of Canada’s Nickelback, can get away with being voted, “The Ugliest Rockstar” by several publications and still achieve album sales in the millions, the same cannot be said for any women rocker of similar calibre.

Some “chickrawkers”, in an effort to battle these issues head-on, advocate playing down their difference in order to achieve admission into the all boys club of rock, while others have taken a stand, embracing their femininity as a source of strength. Both positions, in my opinion, are equally justified, but clearly, as this problem persists, neither offers the complete solution.

To elaborate on why sexism in the music biz seems to have such staying power, I’ve invited fellow rocker, former music critic, and my dear friend with whom I’ve shared the stage many times, Ash Keenan, frontwoman of Toronto’s hardcore punk project Warbride (formerly Bukkake Katholik), to share her thoughts. Here is what she had to say:

Aspect One: Gear & Technical
One of the fastest ways for a female band member to get dismissed as vacuous eye-candy is to not know her gear. And truly, from experience, that know-how doesn’t come as readily to the ladies. Speakers, wattage, Ohms, DI’s, mixers – it feels like a foreign language. When I hear the menfolk talk, it’s as if they went to a secret rock band camp. In fact, I have a theory that this fantasy isn’t far from truth.

Consider this: there aren’t a lot of moms out there with music tech experience but there are a whole lot of dads, and while, girls, as teenagers, are looking to get laid and doing so successfully with older guys, the awkward, sexually-repressed, pizza-faced boys have cloistered themselves in the ‘cool’ parents’ basement where they form bands and talk shop. It’s no wonder that by the time rock boys and rock girls are getting serious about forming and succeeding in a bitchin’ rock outfit that there is a very distinct and divisive difference in technical knowledge. And since it’s both easier and more advantageous to exchange knowledge than to teach it, the dudes continue to talk amongst themselves, unknowingly but effectively ostracizing the dude-ettes. And by that point, why shouldn’t they? It’s obvious they’re not interested in that stuff anyway. A very wise and worldly soundguy I know sums up the male attitude thusly: “teach a woman to fish and she’ll go buy shoes.”

Aspect Two: Composition
Compared to other aspects of the industry, writing is probably the area where men and women are on the most level playing field. However people still associate female songwriters with the more accessible, laid-back, love (or hate) obsessed ‘feminine’ singer/songwriter. A handful of times I have walked in on a conversation where a guy is complimenting one of my band members on his songwriting. When said band member explains that I’m the one he should be complimenting, it’s always been the same weird reaction: the compliment flees the conversation, replaced by a facial expression somewhere between confusion and contempt. It’s so strange. I mean guys, let’s keep in mind that rock ‘n’ roll evolved from the music of slaves, and if, to quote John Lennon, “woman is the slave of the slaves,” shouldn’t women be quite capable of rock composition? Is it that hard to conceive that the fairer sex can express the gravitas of the human condition in the aggressive manner it deserves? Hey, by that logic, aren’t white males the least likely to be able to truly rock? But enough of semantics; let’s move on to the third, and possibly most difficult category.

Aspect Three: Performance
A female performer must be significantly better than a male counterpart to garner the same amount of praise – believe it, it’s true. Like with the other areas discussed, there is an audience assumption that the woman just isn’t gonna cut it. When a guy onstage is impressive it’s par for the course; applause & shouting, some throwing of the goat, a post-gig pat on the back. When a woman kicks ass, there’s a required suspension of disbelief. When people are not willing to do that, well, they just don’t believe it. Often they’ll find any reason to defend their position: “yeah that band is okay, but it’s only getting attention because of the hot chick lead singer (or the like)” is a favourite rock-crowd sound bite. The worst part is that often this petty logic is actually true.
There aren’t enough women in rock bands to get a true percentage, but from what I’ve seen and heard I can formulate with some confidence that the greater the amount of tit-shaking, the lesser the quality of music. Why this is, I can’t really say. It’s as if the endowed band member realized that the band sucks, but if she takes the twins out for a stroll, the audience will still react as if they are decent musically. I know I’m pretty spellbound by the heaving, undulating onstage cleavage. I mean who knows when you might catch some nipple. All hail rock’n’roll becomes hooray for boobies.

If you pit a great song against a nice pair of jugs in a predominantly male audience, put your money on the jugs. It’s not that a woman shouldn’t have the right to dress like a five-dollar crackwhore whenever she pleases, but we’re talking about music here, arguably the greatest thing on earth. When it’s great it requires no distraction and should be treated with the utmost reverence.

The fact that an article on sexism in the music biz ends with a discussion on tits may indicate how far we haven’t come. But all in all I hope, like so many other professions, it is getting better. Even if women still have to press their ear to the door of the boys’ club, maybe one day they’ll have a key that they can pass down to their daughters. Imagine, a mere few decades from now, a rock’n’roll culture where gender is equally represented - a sea of sleazy female tech dudes, a bunch of skirts grab-assing in the dressing room, perhaps even a phenomenon of hot male groupies. Ah, that’s a world I want to be a part of.

To that I say, Ash darling, I couldn’t agree more.

10/27/08

Vol 3, Issue 4: Writing to Vent, but also Inspire: The Duality of Songwriting for the Public Arena

Continuing on from last week’s discussion regarding making a difference with your music and associated celebrity, this week, I thought it appropriate to touch on the art of writing songs that hit social/political chords. Though everyone, myself included, has a handful of cheesy love songs that they secretly indulge in, these days, I find myself cringing at the very thought of listening to the radio because it’s so heavily laden, to steal a line from Aerosmith, with, “the same old song and dance.” In other words, the love thing (and the hate thing too) have been done to death, and unless you’ve got the poetic skills that could take on Steven Tyler himself, I suggest that writing about other issues of concern is in your best interest.

After all, as we learned last week, music does have healing power, so instead of being cliche, why not write about something that could sincerely make a difference in a listener’s life? Moreover, if we analyze your potentiality for success strictly from a commercial standpoint, as much as the industry may seem to be about homogeneity, artists who really speak out for issues that they believe in do get recognized, even if sometimes it takes the music industry a while to catch up with their already established cult followings.

From my own personal experiences, I can tell you, with the upmost sincerity, that there is nothing more fulfilling in life than knowing your words, your art, have helped someone get through a tough time. Though in the grand scheme of things, Unpretty, my band’s debut album, may never go platinum, land a spot on the Billboard charts, or likely get listed as one of Rolling Stone’s “must haves”, it fulfilled its purpose when it inspired its first listener, and acted as a healthy outlet for their emotional expression. And so, in my eyes, it was every bit as successful as an album that profits millions.

However, it’s important to recognize that there is no way that I, nor could any other artist, ever write an album composed of socially inspiring and/or politically charged songs without having gone through turmoil themselves and learning from those experiences. As my history of rock’n’roll professor, Mr. Evans, always said, “the best artists are, undoubtedly, the hurting units”.

This anecdote brings me to the point that I want to make about the act of songwriting and its duality: although an artist’s initial inspiration to immortalize their feelings into music comes from a personal place, and is primarily motivated by the act of catharsis, when an artist decides that a piece they have written is going to be distributed to the public domain, no longer can that piece retain that same degree of private intimacy if a) said artist wants his/her music to be relatable (and therefore successful) and b) if said artist wants to be able to take any form of criticism (whether constructive or not).

Now, this is not to say that the songs that one intends to release to the public should be composed of fluff or that massive rewrites of all of your works are in order- quite the contrary really. What I’m merely trying to express is this: yes, you should write about things that have and continue to personally affect you, but, if you want your music to make sense to the rest of the world, you need to do this in such a way so that your lyrics can be related to a bigger picture (not just your own existence), and remain open enough for personal interpretation on behalf of your listeners. Most importantly, I think it is absolutely essential to leave your listeners with something to hope for and strive towards. Bitching about how the world has done you wrong because its various institutions are discriminatory is merely the first step, inspiring people to take their anger, frustration, fear, or sadness and turn it into a positive emotion, one from which they can learn, grow, and take action is what art is supposed to be about.

On the other side of this argument however, I do understand that, as a fellow artist, having someone potentially misinterpret your work, especially if a piece is particularly significant to you, can be very frustrating, if not infuriating, and so I suggest the following: if you write a piece that is sacred to the core of your essential being, do NOT release it - keep it for yourself because once you put it out there, if it becomes a victim of criticism, it won’t simply be your work that they are insulting, but rather a piece of your soul, and that is a harshness from which no one can easily recover.

About the Author:

Rose Cora Perry the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase.

Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.For more information on Rose Cora Perry and her band's accomplishments, please visit

http://www.anti-hero.ca/ or http://www.rosecoraperry.com/