“Live concerts (or any live events) are built on a fan-base, so if you have no fans you have a limited chance of attracting an audience. This holds true for a pub band as much as it does for a purveyor of experimental sound art. Any performer needs to build an audience if they want to have an audience.
Now I do appreciate that there has been an aesthetic of writing with no thought for connection with listeners, but seriously people, if you write with no consideration of how you are building your audience you can hardly be surprised when you don’t have one.
And yeah, it’s your audience. It’s not the audience for ‘new music’ or ‘experimental music’ or ‘art music’. It’s the group of people in your neighbourhood, community, workplace, internet forums, facebook groups and twitterfeed who are interested in what you do. That’s what an audience is: it’s a bunch of people who care about your work so much that they want to participate. By being there. By being close to the action. By giving you money so you’ll keep doing what you do.”
To The Point News – ROCKING RUSSKIES: “Now consider the Finnish rock band called The Leningrad Cowboys. A little while ago, they held a concert in Russia, in which – to the screaming applause of Russkie teen-agers – they got the Red Army Choir to join them on stage for a performance of “Sweet Home Alabama.” In English. You couldn’t make this up.”
Even the MPAA and its member companies can’t avoid violating copyright. The MPAA’s own CEO personally ripped off Kirby Dick, pirating his film “This Film is Not Yet Rated” using the MPAA’s duplicating facilities. The studios regularly hose writers, painters, composers and performers, nicking their creative labor without compensation, and sneeringly invite them to sue if they don’t like it. Even the web-development departments get in on the act.
Is it any wonder that everyone with a computer is practically guaranteed to be a copyright criminal?
A pretty cool idea from bassist Rueben Radding…release a new album length project as free downloads every month in 2007. The first one lands in the abstract, somewhat-noisy, free-improv space.