Friday Music

Here we go again, some of the stuff that’s been kicking around my headspace recently.

Been listening to a bunch of my 2 Tone ska stuff again — curse of being in one’s forties, I suppose. You dig out the music of your misspent youth. My favorite group was always The Beat (although, I’ll admit that I still think of them as The English Beat, as they were known here in the US). I loved other bands from the movement — The Specials, The Bodysnatchers, Madness — but none (for me) had the unimpeachable cool of The Beat. The Beat – “Mirror In The Bathroom.”

We’ll stick with the sad-old-bastard nostalgia for a moment. I heard this track again recently, and I was surprised at how little airplay it gets now. Olivia Newton-John was pretty much on constant pop radio rotation in the late-70s (along with the Bee-Gees), but (like the Bee-Gees), only a couple of songs appear to have made the “officially approved nostalgia playlist”, despite the popularity of her other stuff. This song is a great example — heard it *constantly* in 1979, and have barely heard it since. I unabashedly love this tune. Oliva Newton-John – “A Little More Love.”

A big part of my listening of late has been FAR WEST-related. I have a playlist of (good lord) nearly 700 tracks which I listen to as I work on the project, and that list is constantly growing as I discover new tracks, either on my own or suggested by fans. Here’s a couple of recent additions:

A track by a pair of Australian singers that appeared in the soundtrack to an episode of AMC’s western series HELL ON WHEELS, which immediately grabbed me: Kasey Chambers & Shane Nicholson – “Rattlin’ Bones.”

A very spaghetti-western-ish intro leads into a piece by the UK band The Heavy (best known over here for “How Ya Like Me Now?”), which I like quite a bit: The Heavy – “Short Change Hero.”

Here’s a piece that I’m slightly ashamed to say wormed its way into my brain via a commercial for Internet Explorer 9. A pop track with just the right amount of dubsteppy goodness added to it, from a London-based singer-songwriter. Alex Clare – “Too Close.”

And lastly, Slash has a new album coming out at the end of May, in collaboration with vocalist Myles Kennedy and his backing band The Conspirators, called “Apocalyptic Love.” The first single is getting pretty heavy rock radio play, and damned if it isn’t a nearly-perfect slice of “Use Your Illusion”-period Guns n’ Roses. I’m sorry… Axl who? Slash, feat. Myles Kennedy & The Conspirators: “You’re a Lie.”

There ya go, kids. See you next time.

Insurgent Creative: Examples in the Wild

Insurgent Creative

Insurgent CreativeAs more and more creatives start to realize that the walls that separated them from their audience are crumbling, and that the traditional gatekeepers are risk-averse and prefer to recycle the same safe properties and methods over and over again, you’re starting to see a real movement towards insurgency, not only from new independents, but from ‘traditional-model’ creatives as well. From time to time I will spotlight these efforts — because

  1. It’s always good to realize that it’s not just you, that other people feel the same way and are going through the same things you are;
  2. Some of these will undoubtedly inspire you towards your own efforts and ideas; and
  3. Without the weight of studios behind us, we can all use some promotion, so we should share each other’s efforts whenever possible.

Darren Bousman (a fellow graduate of the Shawnee Mission School District) is a director, best known in Hollywood circles as the man behind three films in the Saw franchise. Among a smaller niche, however, he’s known as the producer and director of Repo! The Genetic Opera, the 2008 cult movie musical that mashes up horror, sci-fi and rock-opera (a favorite of mine).

Bousman teamed up with many of his co-creators from Repo! and has created The Devil’s Carnival, a short horror/musical that serves as the opening episode to an ongoing series. The trailer:

Hollywood, of course, had no idea what to do with this. The strange subject, the short running time, the future episodes, etc. — so Bousman and company decided to take the show on tour, themselves. He wrote a blog entry today about how it’s been going.

“This tour, this whole experience is a drug. And I can 100% with conviction tell you, as a filmmaker and artist, I am addicted… It fuels me… it keeps me wanting to fight. I am Popeye, and this is my spinach.

Gone are the days that we have to accept the fate handed down to us… If I can get into a van with 6 of my friends, and create what we have created, then so can anybody else…

Gone are the days where I bitch about lack of support, or ‘the man’. There is no man… There is only ME standing in front of MYSELF…

The only thing stopping people from seeing my films is ME…”

The tour rolls through the Kansas City area on the 5th of May, at a theater a stone’s through from Bousman’s old high school. I’ll be there.
 
 
Daniel Knauf was the creator of the amazing HBO series Carnivàle, which mixed gnostic mythology with the 1930s dustbowl… and carnies (noticing a theme here?). Cancelled two years into its proposed six-year run, it entered the all-too-long list of “strange wonderful things cancelled because they didn’t appeal to a mass audience.”

Now, Knauf has jumped into the realm of transmedia, with his new company, BXX. PBS has an interview with him, titled “Carnivàle Creator Bypasses Hollywood.”

His new effort, Haunted, is a fictional story that follows paranormal investigators working inside an abandoned house tormented by supernatural events, and is experienced via multimedia elements such as research documentation and investigators’ blogs, multi-camera video, and a navigational timeline allows viewers to manipulate how they view the story.

Knauf is trying to make internet-based entertainment more than just TV on a different screen, by experimenting with how a narrative can be delivered:

“The traditional entertainment industry is not known for their humility. They tend to think they are the end all. You don’t take a TV show and put it on Hulu and call it Internet content. No, it’s not. It’s a TV show you’re watching on your computer. Hulu’s not really Internet, Funny or Die is not really Internet; those are just TV being watched on a different screen. For me, I wanted to invent a narrative that there was absolutely no way you could have done it if the Internet wasn’t invented. That was the goal I set myself.

In the end, I just got tired of trying to convince them this lives and breathes on the Internet. I got tired of explaining finance models to them and I thought, let’s just do an inexpensive version of this and show them.”

The interview is worth reading, and touches on crowdfunding, audience building and more.

The ground continues to shift. Get out there and create.

Insurgent Creative: Amazon, Ebooks, and Conspiracy

Insurgent Creative

Insurgent CreativeI need to get better about updating here, especially in this particular category. Things in the realm of 21st-century media move very, very quickly — if I don’t take the opportunity to comment or point your attention towards something, the chance is soon gone, the World having Moved On.

Occasionally, though, something big happens — big enough to stick around for a bit, to make a splash outside of the creative community. Such an instance is the current Department of Justice suit against Apple and 5 of the Big 6 Publishers for collusion and price-fixing. The main result of this story has, to date, been the counter-offensive waged by the defendants’ Fellow Travelers — traditional media outlets, various proxy mouthpieces in blogs and such — all beating the “OMG AMAZON IS EEEEEEVIL” drum with the ferocity of a coked-up Gene Krupa. Pay no attention to the Collusion and Price Fixing behind the curtain — Look over there!

There’s been some push-back, though, in the form of some particularly insightful articles featured in today’s post.

Steve Windwalker has pretty much everything you need to know about the case, how we got here and where we’re headed in the lengthily-titled “The Gang That Couldn’t Shoot Straight: How Apple and 5 Big Publishers Almost Got Away with a Massive Price-Fixing Conspiracy to Try to Turn Back the Kindle Revolution, and What It Will Mean for Readers, Authors, and Publishers Going Forward.”

One of the points made in the article? The illegal collusion actually failed:

“On April 1, 2010, the day that the agency model went into effect for its proponents, there were 480,236 ebooks in the Kindle Store, and 23% of them were priced at $10 and up. As of April 15, 2012, the total Kindle catalogue had almost tripled, to 1,356,286, and fewer than 14% of those titles were priced at $10 and up. At that same point on Sunday, April 15, only three of the top 20 bestselling titles in the Kindle Store were published by the Defendants (two by Hachette and one by MacMillan), and two of those three were priced at under $8.

With trends like these, it’s probably fair to say that the agency model would have died, eventually, even without Dept. of Justice intervention. Apple’s failed iBookstore never grew to a point where it would have provided real cover for the Defendants if Amazon had called their bluff and started picking them off one at a time. By most accounts the iBookstore accounts for no more than 10% of the ebook market, and our anecdotal impression is that the Kindle App accounts for far more reading on the iPad and other Apple devices than iBooks. The Google books initiative that was touted (however ludicrously) as the savior of indie bookstores just a couple of years ago is dead.

One of the rich ironies in all of this is that the Defendants actually lost money by switching to the agency model.”

There’s a lot more there, including excerpts from the court documents. Well worth reading.

Eric Hellman has a look at how Amazon’s Web Services shows their corporate mindset rather clearly, and what that means when applied to publishing, in “Publishing’s Amazon-Powered Future.”

The killer take-away:

“The nightmare narrative being spun by the publishing echo chamber is tragically unaware of how Amazon works. Maybe it’s because publishers imagine that Amazon will do what they would do if they had Amazon’s market power. But Amazon won’t extort huge sums of money from powerless consumers. Instead, they will ruthlessly bring efficiency to every process involved in publishing. And then they’ll invite everyone to use their ruthlessly efficient services.

Just like Amazon Web Services have enabled thousands of scaleable web startups and has made thousands of established companies more efficient, I predict that Amazon Publishing Services will enable thousands of new publishers and make thousands of established publishers more efficient.”

This is especially obvious to those of us who were early adopters of digital publishing, and have the benefit of seeing the improvements that such efficiency has brought, over a period of time ranging from before the ‘Publishing Echo Chamber’ was even paying attention.

Guy LeCharles Gonzalez has an interesting post over on his blog, where he draws the comparison between ebooks and video games — with the Kindle as Steam, and Amazon as Valve:

Based on the steady increase in ebook sales over the past few years, it’s reasonable to conclude that the average reader doesn’t really care too much about DRM. They’re apparently bigger fans of the platforms Amazon, B&N, and to a lesser degree, Apple, have built to purchase and read ebooks, and the ebooks themselves don’t have the same emotional connection as those they buy in print to keep on bookshelves. As such, legitimately or not, from the consumers’ perspective, “lock-in” isn’t the factor many think it is, or desire it to be.

More importantly, though, beyond the shiny gadgets and apps, readers are fans of authors and genres (and, sometimes, even publishers), and while selection varies amongst the major e-tailers (especially Apple), there’s an interesting comparison to video games that I’ve been mulling over for a while now.

[…]

In console gaming, exclusive first-party titles are often among the perennial best-sellers (especially on Nintendo’s platforms), while third-party games fight it out for gamers’ limited time, attention, and disposable income. The biggest sellers often spawn successful franchises and spin-offs, but even more frequently, a ton of copycat, rip-off shovelware, similar to the mobile space where, pre-KDP, Apple successfully leveled the playing field for independent game developers and the app store has been flooded with me-too apps.

In PC gaming there’s a bit of a twist, where Valve’s Steam platform is effectively the Kindle, DRM included…”

It’s an eye-opening analogy — especially coming in a field where the biggest critics decry DRM and “walled gardens” like the iPad and the Kindle. It’s pretty evident that the consumer doesn’t really care about that as much as the critics do — and the example of console gaming is a pretty clear indicator.

As always, things are changing constantly — what’s true today may not be true down the road, and it is always in the best interest of an Insurgent Creative to know as much as they can, to be better able to react: Think big, be small, move fast.