Statement President Nixon was to read in case the astronauts were stranded on the Moon, July 18, 1969 (via reddit) http://t.co/aBKdmlyf — Doug Coupland (@DougCoupland)
Tropes vs. Women in Video Games by Anita Sarkeesian » OMG! 1000 backers! (and about that harassment stuff) — Kickstarter
I’ve backed this Kickstarter because I think it’s an interesting topic and one that is relevant to me. To read about the abuse this person has suffered as a result of wanting to undertake this project is astounding.
So, recently, there’s been a lot of fuss about Amanda Palmer (& The Grand Theft Orchestra)’s kickstarter/album launch/project. ‘Fuss’ is probably a little negative sounding, what I meant is there’s a lot of people talking/writing about it. Let’s play catch up:
Amanda Fucking Palmer is a musician who left commercial music labels behind in 2010 and never looked back, being much happier writing, producing and distributing on her own terms.
Leaving the traditional industry behind hasn’t slowed her productivity at all. She’s released 2 albums, collaborated on 2 more, had a couple of singles since, and been touring too. AFP’s methods often involve crowd sourcing, from finding transport, to borrowing instruments and stage clothing, to finding local places to eat. It cuts the cost of touring, and adds a more personal connection with fans.
Hers is most certainly a more exciting and interesting independent route to take.
Palmer’s recent releases have been enabled through bandcamp, a site for musicians to release and showcase music directly (receiving ~90% of any profits), allowing listeners to ‘pay what they can’. Sure, Radiohead did that recently with In Rainbows (2007), but that’s one album – Palmer has done that with EVERYTHING since she left Roadrunner Records in 2010 (excepting her ukulele Radiohead tribute album and a cover of Nirvana’s ‘Polly’, which have a minimal charge to cover royalties.)
Palmer is all about putting the artist in charge, and it takes a strong, driven person to succeed, no doubt. Being out there on your own, putting yourself in charge of your dreams and destiny, making it happen is no mean feat. That brings us to what’s going on at the moment: THE FUTURE OF MUSIC. Amanda Palmer: The new RECORD, ART BOOK, and TOUR on Kickstarter.
This is EXCITING, because it’s a chance to help a musician to put out a major album – funded by us, the fans, internet people, music lovers, people just sick of the music industry – and to get what will undoubtedly be a great album. Check out the first single ‘Do It With A Rockstar’ for free, naturally.
With her Kickstarter project, you can pay upfront for the album (released September 2012). For a mere 1 US dollar, you’ll get a digital copy of the album. For a little extra, you can pre-purchase the download with added extras (‘rewards’) such as bonus tracks, or a hard copy CD or Vinyl. If you’re in the market for something a little more unique, check out some of the $100+ packages, including house parties, dinner with AFP herself, and a photoshoot with the band.
All the money goes towards mixing, marketing, promotion, distribution (which a traditional music label would normally handle) and fulfilling the rewards. As of writing, you’ve got 10 days left. Funding closes at 23:59 EDT, May 31st 2012.
Whilst the album will be made available to the world in September, this is a chance to get in from the start, to get something awesome and special, to say I WAS THERE.
My name is Kerstal Wubz, and I’m an Amanda Palmer backer.
Gregor Hildebrandt, ‘A Forest (Cure)’ 2007. Cassette tape on canvas.
Phillips de Pury auction estimate: £1,000-1,500
“This fascinating, brilliant 20-minute video narrates the history of the “Amen Break,” a six-second drum sample from the b-side of a chart-topping single from 1969. This sample was used extensively in early hiphop and sample-based music, and became the basis for drum-and-bass and jungle music — a six-second clip that spawned several entire subcultures. Nate Harrison’s 2004 video is a meditation on the ownership of culture, the nature of art and creativity, and the history of a remarkable music clip.”