Archive for July, 2009

Martin Sexton, "Hey Joe"

This clip has been around for a while, but it is worth coming back to again and again. What a great reminder of the pure joy of a good song being played well. Can you feel it? Have you been healed?

Wanduta Featured Artist: Deena Goodman

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We recently had the pleasure of catching up with Deena Goodman. A fabulous singer-songwriter in her own right, Deena also heads up Rebel Spirit Music, an NYC-based organization assisting independent musicians. She wears several different hats, all of them quite impressively, and was kind enough to tell us more about both her creative and community endeavors:

Where are you from?
Raised in Teaneck NJ, live in Manhattan

How did you get started in music?

My dad played his favorite records on our road trips, including all artists listed above, plus a little jazz and standards for good measure, I have been singing every since. After graduating NYU’s Tisch School for the Arts I began to pursue a recording career, writing songs with big name songwriters and playing shows nationwide. I eventually realized the need for community involvement amongst independent artists, that the notion of doing this together was more savvy then the notion of doing it yourself, so I started Rebel Spirit Music, an effort to promote all artists music, hand in hand.

Speaking of promoting music, what’s the most creative/shameless way you’ve seen a musician publicize themselves?

Hate to say it, but the Naked Cowboy has it down to a science. I am also a big fan of artists who set up accounts devoted to producing records that fans donate money to, giving fans a hand in the making of their favorite artists’ record is a great way to maintain loyalty and camaraderie amongst musicians and fans alike.

Whats next?

Continued work towards bringing new musics to music lovers, through Rebel Spirit Music, live music at Canal Room and perhaps producing some more of my own.

Where can we catch the next Rebel Spirit showcase?

August 5th: The Rebel Spirit Music Series Presents: Garrison Starr, Abby Payne, Jon Solo and Jerzy Jung @ Rockwood Music Hall/196 Allen St (btwn houston and stanton), 8 pm, FREE.

Check out Deena performing “Follow You Down”:

Follow You Down

Check out more of Deena’s tracks on Wanduta Radio

Tunecore-Universal Partnership

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For those of you who didn’t see it, Tunecore and Universal announced a joint-venture that could mark a change in how the major labels interact with independent artists. It isn’t clear yet how the services will be priced by Universal, which could make a big difference on whether this has the impact the article suggests. What strikes us as significant is the possibility of independent artists getting big label support without any big label pressure to have a hit. One of the core concepts that drives Wanduta is the fact that musicians can sustain their careers, and have a quality and meaningful existence, without ever having a hit. We know that it takes a lot of hard work, but no real artist and especially not one whose art must cross the line into commerce has ever had success chasing what is easy. It takes a core fan base being fed with regular live performances combined with continued work on your craft and smart decisions off the stage along the way. That is the basic model for a more sustainable kind of success. And it is the kind of success that allows you to remain truly independent in all ways.

From Jon Wiley

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It was truly a privilege to be involved in the We are the Wiley benefit concert. Rather than trying to describe the magic of the evening ourselves, Jon Wiley’s touching words of gratitude best capture the significance of the night both for himself and the community of musicians at large.

Jon, Yael, and Liane- It was a pleasure to have worked with you. We hope this is just the beginning of a long-lasting and fruitful partnership.

July 16, 2009

Dear Friends,

Well, it happened. My friends threw a concert for me. I still can’t even really believe it! The whole thing was a very long, emotional build-up to a frantic, hectic, beautiful, rewarding day.

I hazily remember back in March, as I was lying in a hospital bed, hearing whispers of a benefit concert floating around the room. I dismissed it as a nice gesture of worry over my welfare and ability to take care of the hospital bills. At the time, I don’t think I was in any kind of state to be able to process the idea of someone throwing a benefit concert for me.

As the weeks went by, I slowly realized that this was more than just a fleeting notion: people were actually beginning to plan this thing. I heard rumors of meetings being held and ideas being tossed around for bands, venues, and whatnot. Meanwhile, I was still dealing with what had happened to my body—the loss of motion on my left side and loss of feeling in my hands and feet. I didn’t have the capacity to consider what was happening outside of my immediate setting.

Eventually things got better for me. I began to walk normally again after a few weeks and tried my best to stay active. After a couple of months, life started to seem normal again, except for a numb pinky finger and a bit of awkwardness in my gait. I was going out with friends, playing music (sort of), generally engaging in most of the same activities I was before my hospitalization (not all of which were the healthiest of choices, but there is a certain amount of denial that accompanies the diagnosis of a life-altering illness).

As the benefit approached it became clear that this was turning into a pretty significant event. Great bands had been added to the bill; and people all over the place were donating time, energy and resources to make this thing as big as it could be. It was inspiring to see this happen. Wait, inspiring isn’t even the right word. On many occasions, contemplating the sheer volume of generosity and love being poured into this endeavor, I was moved to tears.

How is it possible that a community of musicians, artists, lawyers, bartenders and professionals could come together and rally around one person in need? Not just any person, but me? At a certain point it was obvious that I had to become more involved. Although it felt a bit awkward, at times, being directly involved in the organization of an event to benefit myself, I learned to accept that I was not only the beneficiary, but also a catalyst. I wanted this event to be about more than me, especially when I began to see how much people can be moved to help a friend in need. I decided I wanted to direct this energy and momentum back out into the world and make it bigger than me.

That’s about when Wanduta came into the picture. Their organization reached out to our benefit committee after one of their interns noticed the We Are the Wiley page on Facebook. They contacted us immediately and asked if they could meet with us. We held a meeting with them only a few weeks before the show, and within half an hour knew that this would be a good partnership.

Wanduta is an organization that is dedicated to making life a little easier for the independent musician. They set up an online concierge service to help guide musicians and artists toward affordable healthcare (as much, anyway, as can be gleaned from the profit-driven, corporate insurance magnates that we are forced to reckon with). They also help musicians establish credit and are working on other ways to help independent musicians remain independent, so as not to sacrifice their talent and goals. It is too early to say for sure, but hopefully, in the not too distant future, we’ll partner to host a benefit concert for another musician in need. I hope that some of you can be involved again.

I want to thank all of you who helped make this happen. First, my mother for coming to my rescue and nursing me back to health in the depths of my illness. I want to thank all of my friends for being there when I was down and out, and for continuing to be there throughout my recovery. I want to thank all on the periphery who reached out, made calls, pulled in favors, and greased your elbows. This never would have happened without you.

I want to thank my dad for making a surprise visit just days before the event. He became the ballast we needed during our days of shopping for the event, helping us lug fans and bins and beer around all day. He also cleaned the bathrooms at the Shank, with a heart of gold, when everyone else kind of avoided the subject.

I want to thank Dev Hynes (Lightspeed Champion) and Adam Green. I’ve had the privilege of touring and recording with both of them, and have become very close to both. I greatly value our friendship and respect the sacrifice they made to bring this event to its full potential.

I want to thank Charilift for coming out and supporting a great cause. I’m so happy to have met all of them and hope that this is not the last time that we will work together, even though it hardly felt like work. You guys are great!!

Thanks to everyone else who made this happen: DJ Johnny Tropical, you played the best shit! Sameer Naseem, thanks for your help. Carly James, Sara Copeland, Anastasia Browning, Shea Preuger, Darren Will, Patrick Bower, Chris Egan, Steven Mertens, Omer Shemesh, Chrissy Barnes, Ryan Duffy, Jin Moon, my great, great friends. Thanks to Death By Audio and Taco Chulo for contributing to the raffle. You have all humbled me with the work and dedication you put in to making this happen. Thanks for being amazing, true friends!!

Yael and Liane, you girls carried this benefit torch for months and never dropped it, even when it seemed too heavy to bear—and at times it did. I want to thank you both from the furthest reaches of my soul. You not only accomplished our financial goals, but you kept hope alive in me, and re-charged my spirit when I was all but drained.

For those of you who don’t know, over $10,000 was raised from the night of the benefit and online donations. This is basically a third of my hospital bill, which is paid now because of the hard work and resilience of all of you wonderful people. Beyond that, we organized a beautiful evening that will be remembered by many for a long time to come. Thank you!!

JW
Lightspeed Champion Chairlift
Wanduta's Jason and April

Eddie Vedder interviewed by David Lynch

We posted this two minute interview of Eddie Vedder by David Lynch, because in it Vedder talks about having given himself a time table with his music. We don’t know if he would have stopped pursuing his music if the time table actually ran out, but knowing what we know now it would have been a true loss if he had. Wanduta is based upon the concept of stretching the time tables of its members by enabling them to keep at it just a little bit longer. If you don’t need a job to get your health care and if the money you make can stretch a little further, then maybe you can extend whatever your time table is. It sounds hokey to say that we want to save music one musician at a time, but if Eddie Vedder had a time table maybe it’s not that hokey. Think about the loss of the entire Pearl Jam catalogue or just the loss of Vedder’s presence in the music scene. So, if we can help keep even one artist going long enough to make it, and prevent that musicians music from being lost in the pile, then this thing will have been worth it.

We are the Wiley

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So what’s this all about? A circle of Brooklyn-based friends have joined together with Wanduta to throw a benefit for beloved, local musician, Jon Wiley. Long story short, On March 5, 2009, professional guitarist, bassist, and keyboardist, Jon Wiley awoke without feeling or mobility in his arms and legs. He was subsequently diagnosed with multiple sclerosis and incurred more than $30,000 worth of medical bills for his week-long hospital stay. After a lengthy recovery process, Jon has regained most feeling in his limbs and has gone on in recent months to record and perform with Lightspeed Champion, Adam Green, and his solo project, SpaceCamp. However, he is still without the means to afford his own healthcare.

Join us to celebrate the extraordinary talent of Jon Wiley, and raise funds to cover the expenses of a musician in need. This is a concrete opportunity to help a friend who, like so many artists and musicians in the United States, lack affordable healthcare.

Wanduta will be there. You should be there. It will be great fun for a great cause, and a hell of a lot of good music.

Pandora Submission Controversy

Yesterday Pandora announced that it would no longer accept open submissions for unsigned artists (one used to simply be able to send in a burned CD for Pandora submission). Now, in order to be considered for airplay, bands/artists must have their music available for sale as a physical CD on Amazon.

Naturally, this was greeted with some outrage. Words like “Payola” and “Back-scratching” and “Major-label exclusivity” (no one actually used that, but as the new restriction specifically barred unsigned music, it’s a fair summary of many sentiments) were thrown around. People thought everything from Pandora being in bed with Amazon, to Pandora being in bed with the majors, to Pandora just plain shitting the bed with regard to independent music. Check out the full story with comments.

Being the warmy communicative Web 2.0. executive that he is, Pandora founder Tim Westergren took the time to respond to his dissenters. An excerpt from his statement:

Pandora remains intensely focused on providing a level playing field. Our aim is to find the best music we can – indie, major or otherwise – and to add as much of that as we can. Given our sole focus on quality, we’re looking for folks who have a demonstrated seriousness about their craft. Just as investing the time and money to create a professional sounding CD is a strong predictor of quality, having invested or being willing to invest in an online distribution mechanism is another signal.

What exactly does it cost to register physical CD’s with Amazon, and therefore be eligible for Pandora? A whopping 29.95 PER YEAR. So Westergren has a point in arguing for a sense of financial proportionality among musicians- why invest countless hours and considerable expenses in the studio, rehearsal room, and on gear, and neglect to spend a nominal fee to complete the final phase to deliver your musical product? In the case of Pandora, and judging by many of the user reactions, many feel some sort of righteous indignation towards the alleged cohoots with Amazon, refusing to pay the fee out of principle. But why doesn’t this same shrewdness apply to my broke guitar player friend, who feels perfectly comfortable buying his 10th effects pedal (~$100), but refuses to foot the modest bill for online distribution of his music?

But that’s not the point. Besides, we are finding the new generation of internet-saavy, DIY industrious musicians to be more than willing to pay a fee to utilize worthwhile services. Look at the success of fantastic artist-enabling digital tools such as Tunecore and Sonic Bids. If us musicians see these services as worthy of our buck, than we will pay for them. So back off.

The curious thing about the whole situation is not the price, it’s the PHYSICAL CD qualifier- you don’t just have your tracks registered with Amazon (again, a service Tunecore can perform), you have to physical distribution set up. Westergren makes a obscure and incomplete attempt to explain this by saying that “not all downloads have a UPC (barcode)- so it will be a lot more hit or miss”. Last time I checked, barcodes track purchase routing and history. Don’t we have analytics for digital transactions that far exceed the days of UPC barcodes?

Additionally, why is Pandora getting behind Amazon’s edict for a physical CD, when it knows that the industry is moving away from the album/CD concept of musical delivery to the CONSTANT STREAM of artists delivering tracks to their fans? Why, oh why, Pandora, keeper of the most robust music discovery technology, once-hailed as the great mediator of the music industry, are you moving backwards rather than forwards?

Because Pandora is a venture-backed enterprise. The same VC cats are behind Topspin Media, an incredibly saavy and promising digital music service (they would disagree with this terminology, but I don’t have time to explain their nuanced services). The goal behind Pandora is to make money. It’s easy to lose sight of this, given the heady musical association and discovery one undergoes listening to Pandora Radio. It really is a fascinating service. To his credit, Westergren in forthcoming in such intentions:

“We believe it’s very important from a user-experience standpoint to have functioning ‘buy’ links… It’s clearly the right choice from the product/user experience perspective.”

Pandora is attempting to monetize something that may be lucrative in the temporary (though I doubt anyone will actually opt to buy the archaic physical CD, when a digital Itunes download is most likely available as well). They are neglecting the way we consume and distribute music in the here and now, which, for a service as preeminent in its technology as Pandora, is upsetting.

To read Westergren’s full letter, click here