stop predicting music\'s future: the next pixies, white stripes or adele will come from the indie ranks

If you want to believe in yourself today, I think you have seen the future.
Experts claim to imagine a mobile device system through which music flows as a utility funded by subscriptions similar to European public television.
Tomorrow\'s audience will consume music like water, they say.
Just like the water in the faucet, the old catalogue will be legally available in the online library.
Picky ears will pay a little extra for premium music, just as sensitive ears prefer bottled mineral water.
In short, imagine a musical utopia where technology makes us happier and richer.
Open your eyes now.
When imagining any perfect system, the common mistake is to underestimate the deception, shenanigans and obvious vandalism of lawyers, lobbyists, teenagers and other hooligans in the machine.
For about a decade, we have been told by technical experts that artists will sell themselves directly to the public --
Because their bodies can.
Keep in mind that in the 2005 s or so, we all praised MySpace as a revolution, and even though it had a promising start, MySpace quickly degraded into the cardboard jungle of the garage band,
Today\'s expert predictions about the future of music are a bit like astrology;
You can\'t help it, but if you believe it, it\'s stupid.
The truth is that the survivors of the CD crisis are no longer trying to look to the future.
Take Jeff Travis as an example, and Janet Lee, her record-breaking woman, managed to fix the rough deals in the Beggars Group.
\"The operator\'s problem pales in comparison to the content,\" he argues . \".
\"All I care about is finding music and finding ways to bring it to people. ” Another die-
Daniel Miller, a hard-line recently freed from the remains of EMI, paints an equally simple picture.
\"People are just doing it.
There\'s a lot of good music out there, and that\'s what drives us.
\"Simply chasing the Muse into the big open sums up the cosmic trading of the recorder.
As Jac Holzman said, \"We are not an industry.
Everyone is for themselves.
Today, not only is the market quietly recovering, but the advantages of the market have returned to the past.
School recorder
\"God bless the Indian islands!
Seymour Stein exclaimed that he, like other Warner tycoons, never forgot his origins.
\"Since rock and roll, even before rock and roll, they have introduced every new trend.
You can say that, it all started in India.
\"At the top of the independent community, the well-known last mohigan is Martin Mills, who now hosts a record that includes 4AD, bullfighter, XL and shoddy
He is big enough to see a repeat of history.
Mills recalled: \"In 1987, when the house explosion really started to happen, it looked like a punk explosion a decade ago to us. . .
Obviously, to be a successful brand, you have to catch the continuous wave.
Although you can\'t catch every one, the way to compete with a professional is not a positive competition
But find a niche and go beyond it.
\"This philosophy brings a lot of interesting fish to his team: gary Nuoman, Bauhaus, cult, deathmeet dancing, Pixies, Prodigy, White Stripes, Bon Iver liberals and the largest in the United States --
Adele, the sales artist of 2011 and 2012.
Mills insists on the simple business of finding great music and has not accepted the latest US stunt-the so-called 360 deal --
Ensure the artist\'s rights to everything including recording, publishing, merchandising, live streaming, etc.
Since most signatures will lose money, Mills predicts that these \"land-grabbing\" contracts will lose money and, in exceptional circumstances of great success, will cause the artist\'s discontent.
He proved right.
At first, total merchandise sales were a lawyer\'s solution to the decline in profits, but it created a market that Tom Silverman called \"full of fear \".
\"The risk return is so low that professionals have to raise the average number of hits to the point where they don\'t want to sign any agreement.
\"Silverman also pointed at the lingering ghosts of independent radio propaganda.
\"It\'s in the United States now,\" he continued, \"although the independent label represents 34.
Out of 5% of all singles and album sales, they only get about 10% airplay on commercial radio. . . .
There is still a huge difference between what people want to buy and what is played on the radio, which can only be explained by a problem in the system.
He left his colleague recently.
Five years after the presidency of Columbia University, Rick Rubin confirmed, \"today\'s professionals are sure to realize that they have to go back to a more independent model.
\"This is the model for the beggar group and its affiliated crude stores.
Over the past 15 years, Martin Mills has carefully observed the rise of the Internet, and he has carefully adjusted the business structure to adapt to the changing environment.
Throughout Europe, he considered big and cautious, designing a \"nested system\" in which his overseas branches handle local promotions from independent dealers of his choice.
These records are filled out by the employees in charge of the plant and do not have the risk cost of running the distribution system.
With the closure of traditional large shopping malls, Rough Trade shops are opening in big cities to cater to groups of professional music lovers.
In many ways, beggars are moretentacled deep-sea creature.
Mills, who spent nearly 40 years foraging underground, learned that survival requires a fast-moving ability while maintaining a slow metabolism.
He looked forward to the banquet for a long time.
Mills has a reputation for frugal spending in the record industry, but those who know him think he is nothing but greed.
He\'s millions, though.
Having achieved a dollar success with Adele, he spent weeks debating with himself whether he really should be at 4-door Maserati.
He finally gave in to temptation, but it was a rare enjoyment.
Former colleague and founder of 4AD Ivo Watts speaks at the hideout of the New Mexico wilderness
\"Martin Mills is definitely not for money,\" Russell said.
Maybe security, but not money.
If you are killed with a few strangers, Martin is the one you want to be responsible for water and rations.
\"In today\'s struggling Indian community, this is the role he plays.
With the help of Alison Winham, he set up an independent trade agency AIM and then brought the idea to the United States with its similar product A2IM.
He also came up with Merlin, a digital copyright platform that allows Indians and lonely producers to sell their music through all online MP3 stores. Old-
Old-fashioned, pragmatic, and highly principled, Mills simply refused to adopt a dazzling, stylish
Corporate culture in the enterprise era.
For 20 years he turned down the main offer of acquisition because \"I\'m not going to trade a bunch of money for what I do.
I like what I do, and I don\'t like money very much.
Still, Mills believes that true independence is financial.
\"Whether it\'s a borrower or a lender,\" he said with a smile . \".
\"Another proverb I grew up with is: eat with a long spoon when you eat with the devil.
To be honest, I always thought that the debt lender was a devil.
When we set out at the Earl\'s Court, there was a Lloyds bank around the corner.
I can still imagine the bank manager. Mr.
Clark is his name.
I\'m sure he\'s dead now, but I \'ve always appreciated him because he won\'t let us overdraw.
These days, we have been in Coutts for 20 years.
But we achieved growth without bank loans.
Debt is a dangerous slope for Mills to go bankrupt because \"you have to come up with business forecasts and cash --
Flow chart, this is always a complete waste of time in the industry we are in.
\"Life in the music industry tells Martin Mills that money should be greatly feared in general.
Whether it\'s an artist or a business partner, \"Money is the source of all evil . \"
\"When the way people behave makes you feel unacceptable, money is often at the root of the problem.
\"The purist values that underpin the Beggars Group are a welcome reminder that some survivors of record-breaking crises live well.
\"Martin Mills is probably the best --
Round Holzman pays tribute to the Round recorder who practiced today.
\"He has never lost confidence in the industry.
\"Maybe the huge collapse of the record industry in the past decade is just a long process --
For the most part of 20 years, overdue cleaning of all cynical and wishful thinking financial logic hindering the development of the industry has been carried out.
Those who have suffered the most serious blow can be said to have been hit.
This brings us back to the few special groups that discovered and nurtured most important music in the last century: musicians, a species that is very rare in the corporate era --
A generation of smug executives believe that if they think about it in business, their fashionable products will sell better.
Rick Rubin believes that what exactly makes the record company \"has much to do with why we are doing what we are going to do first \".
\"I don\'t think that\'s always the case for people who like music to make money.
I always do the best music I can, no matter what it leads to, it\'s OK in the end.
I think I am an art collector, not a gambler.
I always find it\'s like falling in love.
This is not what you can get out of it.
This is not a business adventure.
It could turn into one, but it\'s a by-product. product.
It is hardly aimed at it, because the intention behind it is pure, so it can happen.
Or as great John Hammond said, \"I \'ve seen hundreds of times trying to make buyers more commercial . \".
I tell my people that no matter what you are, you stand up or fall. Be yourself.
\"The A & R process operates on many levels, but one quality that the largest producers have in common is depth
A firm belief in one\'s own judgment
So sure, so able to recognize it in the bud of genius, they often find themselves standing alone to appreciate what others don\'t get.
John Hammond continued: \"I have found every great musician and I have never doubted it.
I can hear the sound wonderful.
This quality always seems obvious. Lights flash. Rockets go off.
It always surprised me why everyone didn\'t listen.
To achieve such clarity requires years of study.
John Hammond\'s Blues
The son of the same name testified: \"[My father]
Is a complex person who performs tasks.
He didn\'t go in for the money.
He considered himself an independent rich man, but he was penniless.
He has never collected royalties for any artist he created. . .
He\'s a straight shooter.
He is very picky about everything he does.
If you sent him a letter, he replied, get dressed and don\'t drink.
He can play Viola, music, and five languages.
He is a rebel because he wants to know something about himself.
He could read classical Greek and Latin, and he had thought about entering the seminary.
Shoddy founder Jeff Travis is also a bookworm and a dedicated humanitarian who describes the profession as a form of news.
\"I don\'t think people know what you have to do to make the key judgments clearly,\" he explains . \".
\"I think all of us who run record companies are listening to music all our lives.
Because to judge what is special, you must know everything outside.
This is like Ezra Pound\'s famous saying about the first person to compare his love with the rose, most likely genius, and the second idiot.
Then think about the volume of music these days. . .
The job of being an A & R person is to hear everything.
It\'s not a chore, it\'s part of the excitement, but it\'s a real job;
Study for a few hours a day and go out to perform every night.
The only way to run a record company is to trust your judgment.
However, your judgment must be understood through a lifetime of work.
\"Curious, close to the street, open to people and their stories --
All these qualities also make it relatively easy for artists to find the recorder.
Bob Dylan cleverly stepped onto Hammond\'s radar as Robert Johnson appeared at the counter at Henry Spier.
Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis are all on the doorstep of Sam Phillips.
Bob Marley asked for Chris Blackwell.
Smith guitarist Johnny marl, pretending to be an employee, bluffs into the rough trade warehouse and waits for Travis to show up from the door.
Such events are not unique in the history of music.
Great artists have a strong sense of their own destiny, and they tend to choose midwives.
The modern recorder had an ancestor in the noble houses of Europe.
For centuries, classical music tracks have relied on the recognition and financial support of the composer\'s wealthy customers.
There is a patron who enters the gate of the opera house, theater and cathedral.
By raising these art mirrors, customers try to inspire society from top to bottom.
Rock music, jazz kids, juggling grandkids, simply adapt this ancient system to the modern.
The most astute record in the business world is aware of this tradition.
Seymour Stein spent 50 years flying hits on both sides of the Atlantic, noting the comics
Opera composer Gilbert and Sullivan are missing.
\"I believe that we should attribute the beginning of the American Iron Pot Lane to the scene of the entire concert hall at the end of the 19 th century --
Century Britain, \"he said.
However, \"we became a world power due to World War II.
Elvis is a bit like Joshua and Jericho.
When he went bankrupt in 1956, rock music was born, and it lasted until today because it was a mixture of music that could reshape itself.
Stan believes that the rich results of British post-war pop music can be explained by an inherent time difference.
\"1960, the British are about 1952 for the United States.
We are ten years ahead of England in rock and roll because-
We started!
Since the Beatles, the UK has been bouncing drama tilt on old records in the US: skiing, R & B, Chicago blues, punk, dance, hip-hop—
The list is long.
\"Like the stage;
A few years later, the British had Broadway or the West End.
Due to schools and traditions, they do have an advantage in performing.
They also have great writers.
\"In his 60 s, Jerry Moss, A & M boss, often flew from California to London to find talent, and he began to notice something similar.
\"The Americans are a little depressed, except for a few bands, and the dramatic effect of the Stone, who, oh my God, is classic!
Like Shakespeare\'s actor.
This is what the British think should happen. complete drama.
Everything is done in a vigorous manner.
Unlike the United States, Britain has a deep-rooted class system.
\"In the early days of EMI,\" explains George Martin, \"producers should wear suits and ties, just as they were in the office. \".
\"Engineers wear white coats to distinguish them from the lower class.
Recording artists are also considered inferior in society.
Kind of like an actor, not very decent people, are tolerated because they bring money, but always considered a bit suspicious character.
Even in the progressive Indian islands of modern times, this heritage has continued.
When Tony Wilson, the learned owner of the factory record company, asked educated John Carr to make a dysfunctional working group --
Class asked, \"What kind of people are they\", \"the best way I can describe them,\" Wilson said with a smile, \"is scum.
They\'re fucking scum.
\"Britain\'s somewhat mischievous interest in social comics dates back to Shakespeare at least, and Britain still loves its class until today --division pop—
Although it is largely non-output.
Our music world is a melting pot of nations with only a few core elements. For the Irish-
Dave Robinson grew up, \"The UK has always been weird because its music has always been drama.
Local music in Britain and Ireland is indeed folk music, but to a large extent the British people do not think so.
It bought a kind of drama pop music.
It is very different from the United States, where music has gone through the filtering of several races and cities.
Robinson pointed out that rural music centered on East Tennessee is deeply influenced by Scots --
Traditional Irish music
Like a folk scene in Greenwich Village.
In fact, there are three main genres of modern music: African blues, Irish folk songs and British juggling.
Robinson explained: \"If you mix all of this together, that\'s where the great songs are, that\'s where the great rhythm and lyrics are.
Jimmy Hendricks is there.
At the end of the day, that\'s where most rock music comes from.
Robinson, however, suggested, \"If you want to get to know the industry, you have to get to know the whole side of the Jews.
The music industry is Jewish.
It\'s always been, it\'s still.
He also admitted that he had been wondering why Derek Green, A former London boss of A & M, said with A smile, \"Sometimes you negotiate with everyone in the room, on both sides, Jews. ” The half-Jewish, half-
Green, Ireland, concluded that \"Jews are good at taking risks.
There is a saying in Israel that everyone thinks he should be prime minister.
The stock of Jac Holzman is an intuition.
\"Many Jews came here because it was something that serious money merchants would not do.
They won\'t take risks.
Jerry Moss, founder of A & M, pointed out that in the past, the main Jewish end of the record business was issued independently, and the Jewish team there was relatively scarce compared to radio, for example.
\"Purchase goods, order goods-
That\'s what the Jews do, \"Moss himself is the cause of the Jews.
Seymour Stein believes that this phenomenon begins with the ban on Jewish immigrants from certain colleges, occupations and influential social clubs due to old Wasp restrictions. Because wide-
Stan pointed out from his personal experience that open industries such as music publishing, record production and film do not need qualifications, \"Jews are attracted to these new businesses \".
Behind the stereotype of Jewish stockbrokers and businessmen is a more interesting psychological field.
Jac Holzman, the son of a wealthy Manhattan Eastern European doctor, recalls the painful memory of \"My parents are Jews.
I thought the synagogue was a prison.
I am there four to five days a week to prepare for my mitzvah. I resented it.
He was obsessed with seeing every new picture.
\"Movies are where I really live,\" he explained . \"
Then, as a student cut from the New York cinema, he devoted himself to folk music, which made him \"rooted \".
From American folklore to what we now call world music, Holzman finally began to look at his origins from a more humane perspective.
He said: \"I am not interested in Jewish liturgies, although some of them are really beautiful.
I was moved by constant sadness, which is a kind of pressure in Jewish life.
Some of them were inherited from those who had to flee Russia or experience a massacre in Poland.
But coming out of Israel, there is a feeling of hope and possibility.
So I\'m interested in recording Israeli songs on 1955.
Actually, Israel likes singers.
Due to the entire kibbutz incident, the songwriters were much earlier than we were in the United States.
The 80-year-old Holzman realized that in the process of evading religious beliefs, music became his own, outstanding brand of prayer.
\"I am an agnostic Jew but culturally compassionate.
Not believing in God doesn\'t mean I don\'t believe in anything.
I believe in music.
I have been trying to protect it and do it well.
I am a madman on this issue;
Always music-
This is the most important thing.
The rest is business. we want to understand it so that we can continue to do it.
Holzman\'s story is similar to that of Jeff Travis, another teenager wandering around in search of his own art mecca.
Travis admitted: \"When I was very young, I went through a stage of taking Jews very seriously . \" Travis\'s family observed the traditional interpretation of Judaism.
\"I spent half of my time at night school, Hebrew class, and all the other classes, so they had a lot of opportunities to attract me.
We used to have lunch with other people in different places, so there was always some separation.
I have to say, I just don\'t believe in religion very much.
I \'ve been instilled a lot since I was a little boy, and I just thought it was really a bunch of crap.
However, as you get older, Travis does recognize that \"you can definitely make arguments for music replacing religion.
I would definitely rather listen to the underground velvet than the rabbi.
The other Jewish rebel is rikrabin.
\"I have no religion, but I am very spiritual.
\"I was lucky to have learned a priori meditation at the age of 14,\" he explained . \".
\"This and my interest in Dao may be the reason for keeping me grounded throughout the roller --coaster ride.
As someone who has been thinking about creativity for a long time, Rubin instinctively wants to know why so many of the major players in the record industry are from Jewish families, and this puzzle should not be extended to another obvious good --
Representing ethnic minorities.
\"Similarly, there are a lot of very talented black musicians,\" Rubin mused . \"
\"Both cultures have a strong history of suffering.
Maybe both use music as a means of escaping genetic pain.
Perhaps a deeper understanding of music, a deeper insight, because of suffering, \"the cornerstone of Jewish culture is a powerful story of escaping slavery, as stated in Exodus, passover is one of the most sacred rituals of Jews --
It may be why so many humanists from Jewish backgrounds so strongly agree with the uplifting music that has been circulating from African slaves. “[Chris Blackwell
Always tell me about Rastas in connection with Judaism because 13 tribes have disappeared, \"admitted Jewish friend Lionel Conway.
\"He is very proud of the relationship. . .
He always told me they were Jewish.
\"Sam Phillips, the founder of the rock band and former cotton picker, is another person who has a deep understanding of black people.
Since Elvis Presley, perhaps what has attracted several generations of interest is that rock music is immersed in the black gospel ministry under its carefree energy.
\"Even the most pious [white]
People in the South have an hour or an hour. and-fifteen-
He said, \"but black people, their service will last four hours or even a whole day.
It\'s fascinating to me.
These people never seem to be really upset.
I wonder why.
I think their comfort comes from their faith in God and somehow everything will be fine.
Almost every new type of modern music has evolved from these ancient forms of drama and religion, which are known to the top.
Beggar boss Martin Mills quoted his favorite black punk Don Wright as saying: \"I always think what we do is propaganda, crusades . \"
\"If music is a religion, then my church has always been a rough trade.
\"It is unjust to chase the Muse, The Independent Hunter, to hear our top 40 airwaves, acting as the midwife of the neglected, suppressed genius.
4 ad founder Ivo Watts retired and went to northeast New Mexico.
Russell spends one day a week taking seized dogs from local animal shelters and running in the desert wilderness.
\"Poor thing,\" he sighed.
\"While waiting for the forever home, volunteers will not really see their beautiful surroundings unless they go for a walk.
I have never had a child, but I have gone from raising a musician to saving a dog.
I think there are similarities between the three.
As an old man who considers the historical importance of African-American music, Sam Phillips believes that \"we have learned a lot from some of the people we think are ignorant, they never had any responsibility other than chopping cotton, feeding mules or making sorghum syrup.
When people come back to this music in a hundred years, they will see that these are all master painters.
They may be illiterate.
They can\'t write a book about it.
But they can sing a song, and in the three verses you will hear the greatest story you \'ve ever heard in your life.
Folk and Blues have been handed down wisdom for centuries.
\"Think about the complexity of the music we get from difficult times, but simply, from the sky, the wind, and the earth,\" Phillips said.
If you don\'t have a foundation, you won\'t know what I\'m talking about.
\"His proudest discovery is not Elvis Presley, not even Johnny Cash, but the wolf of the Blues shaman Holin.
Whether in a dense city or in an open country plain, the search for Divine Comedy is an eternal art, and it just adapts to different circumstances.
In big cities, isolated from the elements, the record has become our folklore, our spiritual medicine, our last sacred connection with the head of the tribal gods.
In a game with snakes as the main body
The oil salesman, the real recorder is the one who sells the magic potion that really works.
Music is one of several areas.
Sports, politics, movies, books and fashion --
This will always be controlled by tribal genes inherited from the campfire.
Thousands of years of technological progress, where are we still, squeezing together in glowing places at night, trying to understand it all --
Imagine our life as a star.
You\'re looking, you\'re looking.
Cowboy and India: Epic History of the record industry from Gareth Murphy.
All rights reserved©2014 written by the author, reproduced with the permission of Thomas Dunn.