Scroll down for trailer: http://www.chapmanproductions.ca/revival69
This is a fantastic movie. One that you will see if you were alive and conscious back in ’69, and one you will see even if you were not. Because it contains John Lennon. When he took the stage my heart skipped a beat.
But it also shows how the music and the business used to be different. Two twentysomething concert promoters flying by the seat of their pants. They concoct an oldies festival and ticket sales tank but instead of canceling the show, they go to the head of the local motorcycle gang for the money, who appears all warm and fuzzy fifty five years later, and doesn’t remember much, but he coughs up the dough.
And they’re off to the races.
Only they’re not. The 25k they got from the kingpin was for the Doors, but Jim Morrison got arrested for indecent exposure right after the deal was made and tickets still don’t move.
So the local deejay said to fly in Rodney Bingenheimer and Kim Fowley to scare up business. But that doesn’t work either.
This is not only the days before mobile phones, never mind smartphones, but faxes, everything was done by the landline. And the promoters are told the only way they can save the gig is by getting John Lennon.
Yeah, right.
Benefit shows are de rigueur these days. If you haven’t been approached to play for free, you’re not a star. But everybody on the inside knows the linchpin comes last, the superstar is not going to commit unless their fellow superstars are in. Then the dam falls.
But this Rock and Roll Revival is headlined by people playing clubs, they were stars once, but Chuck Berry and Bo Diddley and Gene Vincent and Little Richard are not a draw for the boomers now hooked on FM rock. Believe me, no one from that demo cared, these performers were oldsters who truly didn’t get respect for at least another fifteen years. But John Lennon was older, these were his heroes.
So the promoter calls Apple.
Just imagine it, someone you don’t know calling the Beatles’ camp and his proffer being considered realistically, a pipe dream. Two nobodies from the Great White North are going to get John Lennon?
No one believes it, not CHUM radio, not even the outlaw biker.
But Lennon comes.
How do I know this? This was news back in ’69. And ultimately there was an album, entitled “Live Peace in Toronto 1969,” which was most notable for a version of “Cold Turkey,” which got radio airplay. But in an era where you had to buy it to hear it, I didn’t, but a friend did, and I listened. I can still see the cover in my mind’s eye, the cloud in the sky.
But I had no idea there was footage.
Oh, they’ve combed the vaults for a zillion rock documentaries. Oftentimes giving them the imprimatur of life-changing when that’s questionable at best, like “Summer of Soul,” or even the recent “The Greatest Night in Pop.” Both great flicks, worth seeing, but not the essence of rock and roll, they say they capture the zeitgeist, but they don’t.
“Revival ’69” does.
This is what young ‘uns can’t understand, how it used to be different. Not only were promoters young renegades, the acts were their contemporaries. Everybody was making it up as they went along. There was no VIP, food was hot dogs and popcorn. Hell, the music was enough. No production, just the act on stage. And watching this film you get it.
So there are two stories, the backstory, about putting on the concert, and the concert itself.
And the concert itself… Chuck Berry. This is not the bitter man of later years, sure, he’s employing a pickup band, but he’s smiling, he’s into it. And up close and personal you can see how good-looking he is.
And there are no tape recorders on stage, never mind hard drives. Meaning the music is imperfect, which bothered no one back then, it was expected, we didn’t want a movie, we wanted a one of a kind live experience, that lifted us into the stratosphere.
I saw Bo Diddley at a dance back in ’66, with his square guitar, did not move me, I wanted to hear the cover band, which played a killer version of the Beatles’ “I Want to Tell You.”
Gene Vincent? He died in 1971. I don’t think young ‘uns even know who he is.
But Little Richard. Man, you get it. He won’t go on stage until the lights are right. Because he understands it’s showbiz, a performance, it’s more than the music. As do all the performers. Their sheer will, along with the music, is employed to get the audience into the palm of their hands.
Little Richard has got his pompadour, and he hits the keys…
And I’ll never get over that exposé on Jerry Lee Lewis in “Rolling Stone” back in the day, but people forgot the contents of that article and he was recast as being warm and fuzzy as opposed to a hothead who was dangerous. But this performance? Absolutely incredible. He comes on stage looking like he’s ready for a golf tournament, he speaks with a Louisiana accent most attendees have never been exposed to, but when he tickles the ivories…
And then comes Lennon.
Oh, there’s a bunch of fake gravitas at the end of the flick, saying Kim Fowley invented the tradition of holding up matches and lighters during a show, and that this is the gig that broke up the Beatles. Fowley had to get the idea from somewhere, then again if he were still here Kim would take credit, that’s the kind of guy he was. And there was tension in the Beatles long before this gig. Then again, it’s the first live gig for Lennon in so long, and it’s solo. You get it, he doesn’t have to worry about anybody else, he’s the star, he’s in control, and it’s palpable how freeing that must have been.
But in any event, this was a Beatle on stage. Before “Abbey Road” was released. Before the band broke up. One cannot fathom how big the Beatles were unless you were there. Statistics don’t tell the story. It was all about mind-set and mindshare. EVERYBODY knew the Beatles, and most everybody knew their songs. It was a phenomenon, it was mania, and to have a Beatle live and in person right in front of you on stage? That’s equivalent to seeing God.
And this was back when we still believed. I must say, watching Mick Jagger on stage at Jazzfest… I mean come on, you’re 80, can’t you act your age? Instead of dieting down to nothing, working out and moving like you did fifty years ago? We aged, why can’t you? Mick’s frozen in time.
But he’s not the only one. It’s a rare musician who is not. Bowie tried, and let’s be clear, not everything he did resonated with the audience. Do you remember Tin Machine? Did you even listen to Tin Machine?
People have success and they’re afraid to change, and they end up becoming caricatures. I hate to say it, but Trump is a bigger rock star than anybody making music today. Because he does what he wants and thinks the rules don’t apply to him, like all the stars of yore. They were beacons, against a hypocritical, moribund society. No, don’t see this as an endorsement, but one can analyze and see truth. Kind of like Jon Stewart at the Greek Theatre on Friday night:
“‘I know liberals say, “Don’t say Joe Biden is old” — don’t say what people see with their own eyes! You can say it, he can’t hear us,’ he joked. I know you know how f*cking old he is, and I know you don’t want to say it because Trump is so scary, but he’s so f*cking old,’ Stewart said, adding, ‘When you watch him on television, you’re nervous, aren’t ya? ‘”
“‘I’m not saying that Biden can’t contribute to society, he just shouldn’t be president,’ Stewart continued, acknowledging that Trump is just as old, but commenting that his supporters don’t live in reality, and he can lie his way out of most things.”
That’s how bad it’s gotten, you can’t even speak truth. My inbox is going to go wild now, you can’t go against the team. But that was the thing about the rockers of yore, each was an individual beholden to no one, they did what they felt, what they wanted to, and that’s why we believed in them.
And the music.
Now how many times have you seen “Woodstock”?
Certainly more than once. And you’re going to watch “Revival ’69” more than once. At least once it hits the flat screen. It opens on June 28th. Will you go to the theatre to see it? People won’t even go see “Fall Guy” in the theatre, and that’s got Ryan Gosling and good reviews!
Yes, lockdown is in the rearview mirror. It killed magazines, “Rolling Stone” is monthly and marginal, behind a paywall. “Businessweek” went from weekly to monthly, “Entertainment Weekly” stopped publishing all together. I’ve stopped renewing my magazines, I’ve been burned too many times when they’ve gone out of business, or become digital only.
The theatre is passé, expensive appointment viewing of cartoons that don’t move the culture? Hell, the roast of Tom Brady on Netflix had more cultural impact than “Fall Guy,” than almost any recent picture, because it was raucous and real.
But it wasn’t rock and roll.
And it certainly wasn’t John Lennon. Who showed up in Toronto on a whim. Even Allen Klein his manager said he wasn’t coming, after all, wouldn’t he know?
The truth is we all knew back then. If you wanted to know which way the wind blew you turned on the radio and listened to a record. And if you wanted the ultimate visceral experience you went to see your favorite acts live.
Did you create a Spotify playlist for these? Did I overlook it? Can’t find a link on your blog or in Spotify search.
Thx!
____________________________________________
From: Dan Stuart
Subject: RE: Streaming Pays
Hey Bob,
This has been happening for years. In August of 2020, Kobalt’s founder/CEO Willard Ahdritz was quoted as saying “hundreds of AWAL artists have made this $100,000 annual revenue earning very quickly with us” in this MBW article: https://www.musicbusinessworldwide.com/hundreds-of-artists-are-now-earning-100k-per-year-via-kobalts-awal/. (Kobalt owned AWAL in 2020.)
It should be no surprise to learn that there’s a long and growing list of artists who own their sound recordings and generate 3,000,000+ streams per month (a rough benchmark to net $100k/year). I’m lucky enough to know the names of dozens of these artists and, guess what(?), most of their music is excellent!
For independent artists who are truly making high-quality music (capable of resonating with a reasonable chunk of the public), and who understand how to build and maintain connections with fans in the current world we live in, there are multiple paths to earning a good living (and more).
The renaissance of the music business is well underway, and has been for about ten years.
Dan Stuart
____________________________________________
From: CHRIS LONG MGMT
Subject: Re: Streaming Pays
The artists who get streams get paid. I managed one who – 20 years after their debut album- still has 4 million+ monthly listeners on streaming platforms. We had to do a forensic audit of their first album – the huge one- and since that lp has been considered re-couped for 17 years now the band earns several hundred thousand from publishing and a lot but less from the label each year.
I interact with 100’s of unsigned/indie artists per month who just do not get that in order to earn people have to care enough to listen a lot more than 10k times to one song.
When you break it down to them- and compare the pool of money that goes to artists per stream to how radio stations pay a % of their advertising income to every song spin …. they start to rage about how radio is fixed– something that is now a lot harder to argue with.
But a large % of these people who think that they should be making $.01-$.10 per stream from folks paying $11 a month- or listening for free with ads- from streaming services- make terrible music. The talented ones- for the most part- get it. Not all of them- but I rarely run across a really talented person who is “protesting” streaming services by only having a bandcamp page. Sure- great artists have them too but it seems only the whiners just use that platform.
Someone has to be the boogeyman that is preventing them from realizing their dreams. It used to be A&R guys and radio stations- now it is streaming platforms. And judging from the scuttlebutt in the circles where I meet these artists AI is lining up to be the next machine that they will rage against. Even though they can all get amazing looking AI videos made for $200- sometimes less- for each minute of the song.
Chris Long
Los Angeles
____________________________________________
Subject: Re: Streaming Pays
Your article is 100% correct. It’s supply and demand. If consumers want the artists’ music, they will consume it. But at 60,000+ independent song uploads a day, we now seem to have more artists than fans. The artists who focus on marketing and promotion do far better than the artists who just throw their music out there and hope to become famous overnight. Someone somewhere must be lying to artists and telling them that their talent is enough. It ain’t. Talent is very easy to find. Work ethic coupled with talent is much harder to find. That’s who is making money in music.
—
Wendy Day
Rap Coalition
____________________________________________
From: Tim Halperin
Subject: Re: Streaming Pays
Bingo Bob. I’m one of the 2,000 (though not with the Orchard as they take way too high of a commission). I’m with Distrokid, who takes 0%. A decade ago while everyone was complaining about streaming, I had lunch with a friend who worked at Capitol and he informed me that they’d hired 2 full-time employees to solely focus on Spotify playlisting. So I decided it’d probably be worth my while to focus on connecting with users who had large playlists. Turned out that was the right move…I ended up in Spotify editorial playlists as a result. It seems to me that usually when tectonic shifts occur, opportunities are out there. Maybe I’m biased since I’m in this group, but I believe there’s never been a larger middle class in music, and I kinda love flying just under the radar.
____________________________________________
From: Steve Lukather
Subject: Re: Streaming Pays/ personal mail
Streaming is the best thing to happen to our band!!
Africa is 2.2 Billion now and our other hits will get there. 66 Million a month with more to come.
I/We Love Spotify.
It pays to manage yourself if you are a classic rock bands. Period!
Luke
____________________________________________
From: Jim Griffin
Subject: RE: Universal/TikTok Settlement
As the Teamsters would tell the newspaper owners, “Them papers ain’t gotly no wheels.”
Shortly after a strike began, newsstands selling scab papers were firebombed. Soon no papers were getting out.
The wheels have the juice, the power. Same with music — it ain’t got no wheels.
Distribution is King. Universal once owned music distribution. No more.
The juice is gone. No power! No wheels! Cannot reach the audience … TikTok owns the crowd.
Taylor knows it. Jim Urie knew it. Lucien has learned the lesson.
Jim
____________________________________________
From: ed harris
Subject: Re: Cigarettes After Sex (The Band’s Manager)
Hi Bob,
I’m the band’s manager and I’ve followed your letter since 2002 when my manager Gary Kurfirst used to send my band excerpts of your writings as one point of view on the crisis the music industry was experiencing at that time.
With Cigarettes After Sex the same thing that happened on Tik Tok during the pandemic also happened globally on You Tube in 2015. The fans made the music their own. The band is doing MSG level venues all over the world now. In many places where there’s been very little a label can even do to market a record. There’s a lot more that you’ve missed including the emails I sent you about them back in 2016 and 2018. But I figured I’d be seeing you do a piece on them eventually as they are your dream come true in terms of how their success has come about. And you’re pretty spot on for the information you have. But it’s much much deeper than what’s happened since the Tik Tok explosion.
Ed
____________________________________________
From: Allison Moorer
Subject: Re: Michael Cuscuna
Dear Bob,
I have never written to you before, but felt compelled to shout an amen to your piece on “Give it Up.”
I was about 15 when I first heard Ms. Raitt in 1988. I found out about her through my older sister, the singer and songwriter Shelby Lynne, who’d found her through a friend who’d discovered Bonnie in real time, in the early 1970s. When I heard her voice, her songs, and realized she was a player, some huge pieces of the musical puzzle fell into place for me. Without going into the minutiae of why, I discovered Bonnie Raitt as a vital missing link between my country music raising and what I was being drawn to as a questioning and tiny bit rebellious teenager — more confessional lyrics, more intimacy in the way the vocals were recorded, and a graceful rawness that was allowed to exist on albums that contained zero filler material. It wasn’t entertainment, it was real expression. I woke up to the concept of a singer-songwriter because of Bonnie Raitt. Overestimating her importance to legions of female roots singers and musicians would be difficult. She has always been the coolest person in the room.
I can play “Give it Up” in my mind too. I can hear the earthy guitar tones and even the bass flub at about 3:04 on Nothing Seems to Matter right when she’s singing about being out there on the road. I’m not one of those people who complains about forward movement in music, or believes that rawness equals goodness because it doesn’t, but the details that you mention are the ones that make a record stick with you. It’s the human element that always hooks us, because we’re always looking for ourselves in art, and the best art helps us connect our pieces. “Give it Up” showed us there was a space in between Carole King and the blues.
Thanks for doing what you do.
Allison Moorer
Nashville, TN
____________________________________________
From: Paul Rappaport
Subject: Re: Re-Taylor Swift Backlash
Often I tell young artists there is “old school,” and there is THE SCHOOL. Yes, the music business is different today and we all have to adjust. But, SOME THINGS NEVER CHANGE, especially when it comes to human nature. During my days at Columbia we often talked about resting an artist to make sure there would always be a demand. When we didn’t pay attention to our own words, i.e. THE SCHOOL, it came back to bite us in the ass.
Such was the case with Men at Work. They were huge, EVERYONE loved them—their music and their videos. But on the heels of their breakthrough album, videos, and tour we rushed release a second album. Before we knew it there were “No Men at Work” weekends on radio and it was downhill from there. We couldn’t even get traction on Colin Hay’s wonderful solo album Looking for Jack because of said backlash. And, Colin Hay is one of the best artists to arrive in the 80’s. He still tours and is a blast to see.
Often when artists reach fame on the level of Taylor Swift they fire their managers, think they know it all, and live in a bubble full of YES men and woman. I suspect that Taylor manages whoever is pretending to manage her now.
THE SCHOOL dictates to all performers from years ago to the present. Whatever kind of show you are doing, edit it, make it crisp, and leave them wanting more. Perhaps in our new era artists down times can’t be as long as back in the day, but downtimes are essential and I am not surprised at the backlash. And PS. What else does THE SCHOOL teach us? When you get to the top that’s when everyone starts shooting at you. That means you have to be extra careful.
They say a sports manager has to manage different during the season, the playoffs, and for a championship. It’s clear that NO ONE is managing Taylor to help her through these inevitable times. She would be wise to seek advice from someone from the “old school” who also knows THE SCHOOL.
Paul Rappaport
____________________________________________
From: Bradley Parker
Subject: Re: Soft Festivals?
Bob,
I always enjoy your perspective. Writing to you from my flight as I head to Charleston, SC for my second festival of the year for our busy C3 team before getting ready to spend a few weeks on The Farm in Manchester, TN for Bonnaroo.
Our industry is in a very interesting period at the moment. I was just discussing the other day the unique issues that brands like Lolla, Bonnaroo, Coachella and ACL face that most festivals never get the chance to, and that is they have successfully cycled through an entire if not multiple generations of fan. The list of 20+ year festivals these days is a short one. In order to survive these brands have had to adapt. Bonnaroo’s name literally comes from a French-creole slang term meaning “the best in the streets”. In 2004 the best in the streets was the likes of Phish, Dave Matthews, Radiohead, etc. We now have to pivot to service a new fan to which the definition of “the best in the streets” is much different. Not to say the artists I mentioned aren’t still relevant but the fan that got us through the first 20 years is NOT the fan that will get us through the next 20 years. It’s just the reality of aging and growing up.
What a unique and special problem to have.
I do agree with you that we’ve seen increasing success on our more “boutique” festivals with more narrowed and thematic programming. Next weekend our High Water festival is essentially sold out for the 5th time in its 6th iteration. Noah Kahan and Hozier are our headliners. A home run pitch right down the middle for a certain fan. When we “overserve” a fan in a certain lane it’s proven to pay its dividends.
So what does that mean for these multigenre giants? Well , personally I sit on calls every day trying to figure that out.
Could you create one of these megafests in today’s festival economy? Absolutely not.
But there is something to the legacy of these shows and the brand affinity that has seemingly passed on from fan to fan over the years.
For now;
Adapt. Survive. Advance.
Hope to cross paths soon!
Cheers,
Bradley Parker
Festival Director
C3 Presents
____________________________________________
From: Joseph Bongiovi
Subject: Re: Musicares
Hi Bob, (Love saying that re: Bob Newhart, who I manage),
Yes, the evening was amazing and gratifying and the performances where stellar to say the least.
One little known fact. 45 years ago an unknown kid named John Bongiovi was the front man for a band called Atlantic City Expressway, playing Springsteen and The Jukes songs for the New Jersey faithful. One Sunday evening at the Fastlane in Asbury Park, The Boss decided to come see them and jumped on stage to sing The Promised Land with Jon and the band. I was there and it was mind-blowing for us all. So they both decided 45 years was long enough to wait to do it again.
Thanks for always keeping it real.
Joseph Bongiovi
Monarch Entertainment Group
____________________________________________
From: “Michael T. Strickland”
Subject: Re: The Jimmy Buffett Tribute At The Hollywood Bowl
Bob,
Sorry I missed you at the show. I didn’t see you backstage, but it was crowded.This was the end of 38 years of working with Jimmy for me. I was at the Superdome with Garth on Labor Day when Jimmy passed. It left me breathless. I knew it was imminent, but simply didn’t belive it.
A world without Jimmy was not possible. Until it was.
Most of us have been in denial since Labor Day. It was not real. Until last night.
It was indeed a great night and a wonderful celebration in the manner Jimmy wanted. He was smiling, I am sure.
Seeing Mac and the amazing Coral Reefer Band deliver the hits was pitch perfect. But there was a hole center stage. Jimmy.
Last night it became real for those of us that worked with Jimmy for years. He was simply beyond description, and now he is gone.
I was numb and silent all night. Slowly, song by song, the wave rolled over me. Jimmy is gone. But, he will never really be gone, as he lives on in his amazing music and lifestyle.
I spent four loney days in a brown LA haze, but come Monday, it’ll be alright.
God Bless Jimmy Buffett.
Michael T Strickland
Bandit Lites
____________________________________________
From: Mike Ramos
Subject: Re: The Jimmy Buffett Tribute At The Hollywood Bowl
Thank you Bob for recognizing Mac McAnally, who was the musical director last night and really pulled everything together. Together with his co-daddy Mike Utley (their Coral Reefer children are married to each other), they ran Jimmy’s band for many years and definitely deserve adulation for their commitment to Jimmy, his music and the Parrot Head community. I was lucky enough to ride the same wave with Jimmy Buffett for 35 years as his right hand man, travel companion, surf buddy and tour manager. After four months of piecing this show together, I’m pretty sure Jimmy has a big smile on his face looking down on us after last night’s show. It was proof (not that anyone needed it) that Jimmy was loved by so many people from artists to actors to managers, agents and talent executives. Jimmy has left an indelible mark in the entertainment world and all of us, in memory of the way he lived, should strive to “keep the party going.”
Mike Ramos
Jimmy Buffett Tribute Concert Producer
Coral Reefer Band Tour Manager
____________________________________________
Subject: Re: The Jimmy Buffett Tribute At The Hollywood Bowl
I started working for Irving Azoff and Howard Kaufman at Front Line Management in 1979. For the next four decades after 1982, Howard ran the ship. Throughout that time, Jimmy Buffett’s day-to-day manager was Nina Avramides. She was there before me. She was invaluable to Jimmy’s career. Anyone who knew HK Management, knew this to be true. Jimmy’s death was an especially great loss to Nina. She passed away two months ago. The memorial service was last Friday.
In addition to Jimmy, she also handled the day-to-day management of Dan Fogelberg, Whitesnake, Coverdale/Page, The Cult and many others.
She was a rare and treasured executive and friend, very loved by all who knew and worked with her.
I’m sure she also would have loved last night’s concert.
RIP Howard, Jimmy and Nina.
Laurie Gorman
____________________________________________
From: Jack Tempchin
Subject: Steve Poltz
Great interview.
A lot of the questions were trying to determine why he has such a gigantic fanatic worldwide audience without ever having a hit record.
Well, the answer is..his live show. It’s who he is. The energy is unbelievable.
I’ve seen everybody and his solo show is so unique and amazing.
I HAVE NEVER SEEN A SOLO ACT ANYTHING LIKE STEVE POLTZ.
Nobody has.
You have to see it to believe it.
thanks
Jack Tempchin
____________________________________________
From: Steve Weiss
Subject: Re: Steve Poltz-This Week’s Podcast
Holy crap weird Al’s Albuquerque is based on one of this guys songs??? I paused the podcast to listen to Dicks automotive on Spotify and I’m laughing out loud on the sidewalk.
Made my day.
____________________________________________
Subject: Steve Poltz was fascinating!
Thanks for great interview. What a personality. Frankly I had never heard of him before.
Derek Morris
____________________________________________
From: Pharper24
Re: Steve Poltz-This Week’s Podcast
Loved it! What a character! Thanks to Steve for the laughs and the lessons.
____________________________________________
Re: Steve Poltz-This Week’s Podcast
What a life, what a total dude and what an episode!!! Awesome stuff.
Ben Webster
____________________________________________
From: MARK LAFOND
Re: Steve Poltz-This Week’s Podcast
I was a fan before hearing this interview but now my fandom ( if that’s a word) is over the top.
I’m fortunate to be able to see him in a couple of weeks!
____________________________________________
From: Colleen Wainwright
Re: Steve Poltz-This Week’s Podcast
Yaaaaaaaaay, Steve Poltz!!!!
One of the top-10 live shows I’ve ever seen. Leaves NOTHING on that stage—nothing!
____________________________________________
From: Mike Vial
Re: Steve Poltz-This Week’s Podcast
“National treasure.”
Well said, Bob. Seeing Steve Poltz one time turns a music fan into a Poltz fan. A songwriter seeing him once—forever changed.
When I saw him live at Folk Alliance, maybe ten years ago, I had no idea how much the show, from story to song, could be done by one person.
I’m so excited to listen to finish your interview with him. “The stories are like tortillas you nail to a wall, mold grows on them—that’s the stories.” I’m chuckling. Then the “bath” story. I’m spitting out my pop, full belly laughs.
Thanks, Steve: I needed to laugh today after a long day at work.
Vial
____________________________________________
From: Regan Rath
Re: Steve Poltz-This Week’s Podcast
Bob!! You nailed it!! Poltz has been one of my favorite humans on this planet ever since the first time I saw him do his “thing” in San Diego back in 1997. He’s a true one of a kind, and your interview style – giving him the space and room to run with his stories – proved to be the perfect catalyst for the gems you were able to uncover. Thank you for getting his Poltzian-goodness out to the masses! Everyone’s life will be a little better once they experience the wonder of SJJP!
Regan Rath
____________________________________________
From: Mickey Quase
Re: Steve Poltz-This Week’s Podcast
He IS the best entertainment experience out there—and he is Out There — hope you know his spoken word piece about he and his sister bicycling to the airport and meeting Elvis.
In a league of his own.
Greetings from Nova Scotia where Poltz can sell out any number of shows he can squeeze into the Carleton every year.
cheers
Mickey Quase
____________________________________________
Re: Steve Poltz-This Week’s Podcast
Just saw Steve at the Kent stage. Riveting authentic performance. He will be playing Oregon country fair this summer the weekend after the high sierra festival. Country fair will eat him up like candy
Bliss,
Brento
____________________________________________
From: Tim Hallam
Re: Steve Poltz-This Week’s Podcast
I have probably seen Steve Poltz in Australia on 15 of his 22 tours.
Absent music, your podcast captured the essence of a Steve poltz show, part stand up comedy, part story telling, part seeing a man spiral in and out of insanity.
I’ve seen him create songs from scratch on stage based on a line from the crows, ive seen him play answering machine messages from his phone, ive seen him call his father from the stage, you never know what you are going to get from one show to another, but you always know he will have the small crowd eating out of his hand in whatever club he is playing
Once i was travelling Sydney to Melbourne on a plane with my 4 yo daughter, whose favourite song was Kicking Distance (yes, I did and still buy CDs from his merch table). At the seat in front of us was Steve and his agent (Milan?). I said “Steve, i saw you last night at the Basement, this is my daughter, her favourite song is Kicking distance”. The smile on his face was something to behold, and on his next tour he remembered me and called me “plane guy”
The world needs to be exposed to Steve Poltz, but I think he will remain the insiders wonderful little secret
Thanks for the interview, it was great!
Tim
____________________________________________
From: Mike Campbell
Re: Steve Poltz-This Week’s Podcast
Hey Bob,
I’ve been booking Steve Poltz for almost 20 years now. Just finished listening to your podcast with him and have to say it was great! You did an excellent job of getting the good stories out of him and I even heard a couple I hadn’t heard before, and that’s saying something! Thanks for sharing the Spotlight and one of the most criminally under-appreciated artists on this or any other planet.
Mike Campbell
Programming Director
The Carleton
____________________________________________
From: KC Turner Presents
Re: Steve Poltz-This Week’s Podcast
Loving your Steve Poltz episode.
Thank you for supporting him and getting him to really open up!
Cheers,
KC Turner
Founder | CEO
KC Turner Presents LLC
____________________________________________
Re: Steve Poltz-This Week’s Podcast
My old band Ghoulspoon came up at the same time in the same San Diego music scene as Steve but we ran in different circles. We played with Jewel and all of the other bands he mentioned, but never got a chance to hang with Steve. I had always heard how talented and funny he was, but had no idea what I was missing until listening to this episode today!
He may be the most entertaining guest in history.
But how did you not ask follow up questions to the Elvis and Joe Strummer stories?!
Keep em comin’.
—
Zach Goode
Smash Mouth
____________________________________________
From: Ronald Hill
Re: Steve Poltz-This Week’s Podcast
Steve has been my favorite current artist for a long time. When I started getting into creating music seriously he was a great inspiration as his music is quirky like mine and I love the fact that he is still kicking ass and writing great songs at an older age. And he is in the top 1% of people that are so positive and great at bringing people together. One of the only acts where I have seen him twice in a week and he did entirely different songs.
You are right: a national treasure.
____________________________________________
From: Phil Einsohn
Re: Steve Poltz-This Week’s Podcast
listening now
1:22 in and wishing it would never end
love hearing his stories
living legend!
____________________________________________
From: Milan Crncevic
Re: Steve Poltz-This Week’s Podcast
Hi Bob,
Listening to this at 6am from Australia.
I’m not even halfway through the episode and I don’t want it to end.
Despite being insane, Steve’s amazing!
(So far) your deep dive has been fantastic, the perfect questions to learn about a loveable madman like Steve
Can we get a weekly Lefsetz and Poltz podcast? This is addictive 😁
Best,
Milan
____________________________________________
From: Dan Navarro
Re: Steve Poltz-This Week’s Podcast
Steve is the fricking bomb. My first encounter with him was at Folk Alliance maybe 2007. We met, and I said, “Female singers been bery bery good to us.” He shot back, “Yeah, but I’ll bet you didn’t get to f*** yours on the beach in Rosarito!”
Mic drop.
____________________________________________
From: steve poltz
Subject: This might make ya smile
After I did your podcast I thought it would be cool to combine the magic mushrooms story with a John Prine story. Otis Gibbs filmed it for his YouTube channel.
“She says The Orchard model is working for acts of all sizes and quotes numbers to support this. Their five biggest artists ‘are making eight figures’ and 127 are ‘making over seven figures.’ Around 2,000 acts distributed via The Orchard made over $100,000 in the past 12 months.”
The “She” is Colleen Theis, President and COO of The Orchard. Who also says:
“Streaming is not, she asserts, broken (“streaming, by nature, is inherently democratic”); but she feels the narrative around streaming is.”
https://t.ly/LPcot
2,000 acts distributed by the Orchard, the independent company now wholly owned by Sony, made in excess of a hundred grand on streaming alone? I haven’t been able to get this statistic out of my head. Never mind the 127 making single digit millions and five making double digit millions (for those who have trouble with the math).
This is contrary to the narrative. Isn’t streaming unfair? Isn’t it breaking the back of independent artists everywhere? Doesn’t the game need to be fixed? Don’t we need legislation making sure independents can earn a living wage?
Hell, if you can’t live on 100k… You’re already a star, making money from verticals other than streaming, actually, if you’re making a 100k from streaming the opportunities for further compensation are rampant.
This is just one company. If you ask me, if 2,000 acts are making all this money I don’t think there’s a problem in the streaming world. You probably can’t even name 2,000 acts, and isn’t that exactly the point? How many musical artists can one person support, how many can the world support?
Of course the devil is in the details, who exactly is signed to the Orchard, if it’s a label how much money ends up in the hands of the artist themselves, but still…
I read this in an article from Music:)ally, I get an e-mail every day. You probably don’t, it’s behind a paywall. You probably get your information from friends, or frustrated musicians who aren’t good with math, never mind the business.
As a live exec once told me, it’s a small minority who bitch loudly about ticket prices, and they believe they’re entitled to sit in the first row for fifty bucks. In other words, they’re delusional. Just like so many artists who put their music up on Spotify, et al, and expect to get rich, or at least pay the rent. This doesn’t happen in any other sphere, there’s no guaranteed income for someone who gets a product in a grocery store. As a matter of fact you have to pay a slotting fee just to get on the shelf, and if your product doesn’t sell, they remove it.
In every other walk of life, if there’s no demand you make no money, or very little. Why is it in music those with little demand expect to earn a living? Yes, it’s all about demand. Doesn’t matter what you think about your music, it comes down to what the public thinks about your music. Do they like it enough to continue to stream it?
Music is now no different from politics. Truth no longer matters. Never mind the truth that most acts of yore never even earned royalties. Sure, they got advances, but most of the money was eaten up in recording. Why is it everybody wants to go back to a past which wasn’t so good to begin with?
People don’t like the truth. Facts don’t matter. Emotion rules.
Believe me, my inbox will be filled with people complaining they just can’t get paid, or not enough. They will completely ignore the above. Because it doesn’t fit with their narrative.
Music is a hard game. No one needs your music, they can exist just fine without it. How do you make it a necessary part of people’s lives, that’s the question. And no one wants to listen over and over again to bad music, even mediocre music, you’ve got to WANT to listen to music. That’s the challenge. And if you don’t rise to it and succeed…
