Freetard Freemium Frequencies
Freetards and Fremium frequencies are destroying the past, present and future of music itself.Multilevel Magic Genius Whitey finally got tired of TV producers asking for his music on the cheap, or just for free.Philippe posted his email exchange with Betty TV - creators of such genius as Promzillas, Country House Rescue and Shopaholic Showdown on our Page and you should share it too. Eloquent, passionate and very restrained - Whitey details the disdain now normal in the rest of the industry, and world for musicians. Looks like this tartlett tried to get him to give away a record for some dire TV show for "exposure" as no budget was committed to music.Which means eventually there will no longer be professional musicians, just rich kids, kids of famous people, bedroom teens and wierdos with fake finger pianos to support glue habits. This is slowly happening to journalism, fiction writing and all kinds of art - you can't make a living from it. So you need to be independently wealthy somehow, or else able to live so frugally that eating your own toenails would seem a decadent act.Music and musicians have ceased to have any value in cash terms for many people and organisations that were, or should be the customers which pay for things to be created.Imagine a world where people could make a living just through being a musician, or any kind of creative artist. It never was easy or lushly lucrative for most, but you could get by.So before we come right back up to the present with Whitey's war on the freetards who want to vamp his art for nothing, lets trace back the root causes of why music has become cheap, free and generally less worthy of cash and respect than a comedy plastic trumpet found in a gone off fucking Kinder Surprise.I remember when free music felt fundamentally cheap.My first experience with free music was via sticking a Radio Shack C60 into a Fisher Price Kiddiecorder thing and shunting it in front of a Panasonic mono radio in the damn kitchen, tuned to DC101 which was blasting out mainstream arena rock, nude wave and AOR. The results were risible, sounding like a walkie talkie placed in the bogs during a Rolling Stones stadium gig, interspersed with the sounds of washing up and a troubled boy exclaiming "Rock and Roll!".These tapes destroyed themselves, thankfully, after a few careless plays and the tape recorder then found its way to the front of the television as a ghetto Betamax alternative. Any real music was on vinyl or then CD, and it mattered. You could make a tape of it, but it was cheap and nasty - a secondary alternative like having a filling station packet sandwich instead of sushi.Why am I sharing this pointless little anecdote? Because what was child's play for me was already happening in the international movie business. Before the internet and mass global "culture", piracy was not just the hustle of street stalls complete with Xerox covered tapes of The Best of Fucking Madonna.Movie producers in Turkey, Taiwan and other less famous bits of the globe helped themselves not only to footage of hollywood schlockbusters, but music as well. On a such a major scale that classic non-productions such as Turkish Star Wars and Turkish Rambo can only be seen in private by academics given the millions of dollars in back royalties that would be due given the inclusion of massive mix of stolen tunes and scenes. In Taiwan, the Triad controlled Tinseltown was a lot more elaborate, getting engineers to sit two or more turntables side by side filled with Can, Neu!, Cluster, Eno, Debussy, and Barry - sometimes even backwards - to create the strangely irrelevant sound backgrounds to limp chop socky nothings like Eunuch of the Western Palace.What they have in common is not being broke, but total contempt for music and artists. It would not have been tough to hire some local musos to play whatever the producers wanted, or even compose something new. Or even licence some library tracks, and more. But music is not music to these Z movie mashers - its just a series of somewhat pleasing, pacey or necessary sounds in some kind of order. Why pay for the carpet no-one even notices, much less feels.Now the tastes of every normal consumer worldwide are about getting cheap, free and fast - quality, craft and care are as obsolete as horsedrawn portable toilets. But Whitey's point cuts deeper. These are not ordinary street or garden variety sheeple - these are TV types who will pay for the "talent's" spray tan but not a music track. It's not lack of cash, its lack of care. And we'll be back next week for the detail on it all.