I agree, that's why I mentioned "sustainable." I wasn't trying to criticize UR, but just looking at the facts that markets change and you have to make enough so that folks can eat. And I have to solve this problem too, because I'm a musician myself in the current market.
~David On Fri, Oct 19, 2018 at 12:34 PM Fred Heutte <ph...@sunlightdata.com> wrote: > There is a basic misunderstanding here. Getting paid enough to > cover the bills and have a reasonable life is important. > > Making as much money as possible is not the purpose. > > Detroit techno is all about retaining that difference. > > Twenty years ago, Sony Japan issued its crappy unauthorized and > uncompensated remake of Jaguar. We all understood what that > represented, and UR made the right choice. > > Detroit techno is far more than just UR (and it's also true that > "the D in Detroit stands for Drama"). But also remember, leadership > is shown by action, not just words. > > fh > > > ----------------- > >Fred, > > > >I don't scorn UR they are my heroes. > >I just WANT THEM TO MAKE MORE MONEY!!! > >I'm being realistic about how well the business model is doing. > >You can't solve a problem by pretending it doesn't exist. > >Making money is a problem for musicians right now--not just UR, but > changes > >in music as a whole might be hitting their business model hard. > >The move from streaming to owning hurts some underground business models. > >This is just reality. > > > >Likewise, yes, you are right, it's amazing that an email list from 1994 > >exists at all. > >But be honest, the list today is nothing like what it was in its prime. > > > >Anyway, you are missing the point. As a musician, I care about the music > >and the community around music. > >My job is to act to help the community grow in positive ways, and make > kick > >ass music. > >I'm trying to do that within the reality of 2018, and streaming. > >I have no interest in CRITIQUING shit out of the past. I only care about > >finding ways to do shit that work, now. > >And that includes Submerge being able to sell records. > >I want them to succeed and I want to develop resources to help all local > >community initiatives and cooperatives and grassroots cultural efforts to > >succeed. But that requires strategy and actual new ideas. > > > >Traditions are built over generations, but something I learned as a jazz > >musician, is that each generation is responsible for moving the music > >forward, and each individual. Not only that, we inherent a responsibility > >as caretakers when we become participants within a tradition. I'm > >interested in how I can get better at doing my job as a participant in > >three living musical traditions, jazz, classical, and techno. You > >participate in the tradition, FYI, by working with people in the tradition > >and gaining their blessing, not just be declaring yourself to be a member. > >I played with Detroit drummer Djallo Djakate's group, and recorded > >keyboards with Alton Miller (it's supposed to come out on a Sound > Signature > >album eventually), so I'm actively involved with Detroit musicians > recently > >and have more projects in the works. So I have a direct stake in all this. > > > >I'm starting a record label, so I need to know, for instance, if I put out > >a record by a talented Detroit cat, how can I help him sell more records? > >And if people won't buy records, how can I get my artists paid??? > > > >~David > > > > > > > >On Fri, Oct 19, 2018 at 11:34 AM Fred Heutte <ph...@sunlightdata.com> > wrote: > > > >> For those who haven't seen it: > >> > >> > >> > http://daily.redbullmusicacademy.com/2017/06/drexciya-infinite-journey-to-inner-space > >> > >> fh > >> > >> > > > >
