Pete Townshend - 10 January 2001 = Napster

From: Subject: Pete Townshend - 10 January 2001 Napster Date: Wed, 14 Jul 2004 00:25:23 -0600 MIME-Version: 1.0 Content-Type: multipart/related; boundary="----=_NextPart_000_0000_01C46939.0D5CE2A0"; type="text/html" X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1165 This is a multi-part message in MIME format. ------=_NextPart_000_0000_01C46939.0D5CE2A0 Content-Type: text/html; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Content-Location: file://F:\My%20Files\1%20My%20Documents\Sort%20these%20files\Chylon\Music%20Business\Board%20Postings\Pete%20Townshend%20-%2010%20January%202001%20Napster.htm Pete Townshend - 10 January 2001 = Napster

10 January 2001
Napster

I checked out the site yesterday with my son. I was = amazed how=20 quickly one can gather together good quality tracks. This is = because=20 a lot of people in the USA have their Internet service = provided by=20 cable companies, and their lines are open pretty much all = the time.=20 It's usually possible to find a copy of what you want to = listen=20 to.

My son regarded what we did as illegal. He kept saying it = was=20 wrong to steal the music. I told him we were listening to = it, just=20 that. When we were finished we could trash it if he = preferred. If he=20 wants to fight for my rights he could call up BMI and ask = them why=20 my broadcast-related payments were so low during the years = The Who=20 were in the top 10 AOR playlists. He might ask them why = during the=20 1989 Who tour, when we paid a huge sum of money to BMI for = the right=20 to perform songs I had written, they eventually paid me = (after a lot=20 of complaining from my manager) a tiny portion of that sum, = excusing=20 themselves because their main payout area that year was=20 Nashville.

Two things struck me looking at Napster. One was hooray - = at last=20 I might as well say fuck BMI. They are not protecting me any = more,=20 if they ever did.

The other was ..... now I have BT openworld ADSL (which = runs at=20 about 500kbps at its best) everything seems easier simply = because=20 it's so much faster. When your computer hangs, you know = about it=20 sooner. When you've connected to a server you know straight = away.=20 Even if some downloads still take time, getting hooked up in = the=20 first place seems so much quicker.

What is immediately clear is that the future is Broadband = entertainment. There is now no question in my mind. I wonder = who=20 will be the first artist to offer a daily live performance=20 programme?

The second fact was that when I typed in my own name = there was=20 such a lot of stuff. Even very obscure material was there. = This=20 raises an interesting hypothetical point. Supposing a = bootlegger=20 gathered up rare tracks and put together some interesting = artwork,=20 and - with a limited edition - managed to sell say 2000 to = Japanese=20 collectors. Does the involved editorial and graphic creative = work=20 (necessary to make the package interesting enough to sell) = justify=20 the rip?

As things stand I think there is enough for everyone. = Many=20 bootleggers do better work repackaging than record = companies. That's=20 because they are often fans. But many bootleggers are not = fans. They=20 produce conterfeit CDs in huge volume. Mo Ostin admitted as = much to=20 me once back in 1982 when WB were chasing Pacific rim = bootleggers=20 who were producing better quality vinyl than they were.

Ultimately, in the face of all this exploitation of my = art,=20 whether by fans, criminals or incestuous and lazy = institutions like=20 BMI, I do feel gently forced into reliance on what only I = can do -=20 that is, to perform live, and to constantly produce new = work.

If everything I do is immediately used by others for = their own=20 collateral will there be an inevitable fall in quality in = what I do?=20 By turning out too much, will I fail to honour my audience? = I think=20 not. As things stand I am aware I rarely do enough. And, as = so many=20 artists have said, radio stations, newspapers and magazines = have=20 freely used and abused the reputation, work and images of = pop=20 artists for the last 50 years. Artists cannot control = over-exposure=20 of their image. They can only run with publicity and hope = for the=20 best.

What's my reality? My reality is that because of the = certain=20 knowledge (gathered in the main from the internet) that = people want=20 to hear my music, I am writing today. I run a web site. I = give away=20 some of my music. If it is packaged well I sell it. I was = armed with=20 information gathered from the internet when I approached = last year's=20 Who touring work. I was certain we would sell out wherever = we=20 played, and barring the loss of a ticket here or there, we = sold out.=20 (How nice for BMI).

There may be a fall in quality if I try to do too much. A = performance on the web every day might be a little crazy. = But many=20 pop and country artists have played hundreds of shows a year = all=20 their lives. An album release every week is too much. But = most=20 musicians play constanly, and as I have found, generate a = huge=20 volume of recorded material that is never released. This is = not=20 always because it bad. Sometimes it is not released because = it is=20 not properly targetted, or is ill-timed, doesn't fit the = mood of the=20 day.

When you spin live televisual webcasting into this soup, = and only=20 universal Broadband will make this financially feasible, = everything=20 starts to look even more challenging for the artist. When to = write,=20 work and rest will be an even tougher question when any = market gap=20 you leave is filled not only by copycat artists, but also by = bootleggers.

Seriously, can I expect an organisation like BMI, who are = merely=20 assigned collectors (and sometimes distributors) of cash to = protect=20 me? I think not. It seems that if I rest today, I may be = exploited=20 by bootleggers, but at least I am not forgotten. The way it = used to=20 be was that if an artist took two or three years out, they = might=20 never get back, not without a huge touring audience behind = them.=20 Today the problem is a different one. If I wish to take time = out,=20 how can I influence the way my work is exploited by others? =

Answer - I can't. But in fact I have never been in = control of=20 that.

Diary

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