Stream of consciousness blog post coming in 5 … 4 … 3 … 2 …

Friends, Romans, Tweeters, lend me your ears!

Jay Z took to Twitter yesterday to defend his new streaming music enterprise TIDAL, an attempt to counter criticisms and what he claimed to be a heavily sponsored smear campaign labelling the venture a flop. It was a rare sight, prior to the so-called rant (didn’t seem like a rant to me) the @S_C_ account had only tweeted 215 times since 2008.

Jay Z who NEVER tweets actually turning to Twitter to try and connect with people (which he – not that I mean to be cynical – may only see as connecting with the ‘market/customer’) garnered your typical internet trolling reactions, a lot of insightful opinions, and even business advice.

“TIDAL is for all” … No?

Jay Z’s tweets re-emphasised TIDAL’s selling points: it aims to empower artists, connect them directly with their fans (cutting off the middle man) and give music lovers more and better music. TIDAL is pro-artist and fan.

For now, it seems most people aren’t buying it. Among the many rebuttals three popular opinions stood out to me:

  1. At $20 per month TIDAL is too expensive.
  2. We see what TIDAL will give to the artist but we don’t see what it will give to the fans/audience.
  3. Even if I wanted to spend that amount of money, today’s mainstream music isn’t worth it.

These opinion reflect a deep disconnect in the relationship between artist and audience, which, in my opinion, has been present for a long time but masked by systematic marketing.

Is it worth it? Did I put enough work in?

The artist-fan relationship is founded on a special bond. Though one (artist) delivers a service (music) in exchange for capital ($) from the consumer (audience/fan) what actually connects artist and audience is sharing the experience of art.

This shared experience is amplified by the cultural ties of a music genre to its fan base. Thus the value of country music, hip hop, punk rock etc, extends beyond just music. (This is one reason why some artists despise referring to audiences/fans as ‘customers’ or ‘the market’.)

For the most part, people don’t mind paying for music so long as in return they receive an experience they consider equal or superior in value. This return in value is extremely important because it is the pivot around which the business of show business revolves.

Though a portion of audiences have for long expressed discontent with the value of mainstream music, producers and (in some cases) artists have been able to ignore the pressure to create music with more value. Two reasons why this was possible: 1) the proliferation of free music on the internet 2) marketing developed to such a systematically efficient state that sub-par products/services (the music) could be sold successfully despite discontent from the buyers.  

Once the pressure to create great music was no longer a motivational factor for mainstream success, a disconnect was inevitable. In this light, one key problem facing TIDAL is that it is trying to cash in on an artist-audience connection which no longer exists.

Devaluation

Take rap music for example, back in the ‘80s and ‘90s rap music wasn’t just music, it was a movement, a voice for a generation. The heavily ideological music of rappers like Tupac and Nas were an affirmation of the African American identity. Even the ‘I’m flossing like a boss’ music of rappers like Jay Z and P.Diddy were essential parts of the movement – they affirmed financial success as part of an African American’s identity.

However, the music, in its mainstream form, did not keep up with the shift in priorities of the audience. The music stopped listening to its fans. The audience’s value-needs expanded but the music stayed narrow. And when it realised it could still make money without listening to its fans, it happily jumped into that pool. (This circumstance is not unique to rap, it has manifested in rock, R & B and, yes, even pop music.)

While this circumstance offered short-mid term gains for artists and producers, it always threatened to backfire in the long-run. People have spent so long asking the music to care about them but it couldn’t give a rat’s ass. Today we have TIDAL asking people to care about it but they can’t give a rat’s ass.

Show me the money movement!

Consider the refusal to identify with TIDAL in comparison to the cult-like followership with which people received enterprises like Wu Tang’s WU WEAR or Jay Z’s ROCAWEAR. In those cases people weren’t just buying into a brand, they were participating in a movement. More importantly, they felt they were contributing to a vision.

I reiterate: the business of show-business revolves around a healthy artist-audience relationship. When selling any piece of performance art (music, film, theatre etc) the superior producer aspires to create an artistic experience which transcends the financial cost of that art.

If after listening to that album or watching that film or play, the fan/audience is still ruminating on how much was spent then the producer and artist are doing something wrong. The least aspiration is to have the audience feeling it cost a little too much but it was still worth it. The highest aspiration is to have the audience feeling it underpaid for the art.

The greatest respect a person in show business can show an audience is return artistic value for their financial loyalty. Sadly, there’s not much respect for the fans in mainstream music and honestly even the fans show a lack of self-respect. This is one reason why Jay Z, an artist renowned for his skill in business is, at least for now, being disrespected for his business.

I for Indie

Is TIDAL doomed? I don’t know. Personally, I hope not. The music industry definitely needs a structural revolution. Even if its present format fails, I hope and trust Jay not-a-business-man-but-a-business-man Z will return to base and resurface stronger.

People do want to support platforms like TIDAL it just has to offer something to the people. And so does the music. Believe it or not some people take pride buying their music rather than downloading it. But when the system seems to be exploiting them, well, torrent sites are only a click away, no?

TIDAL needs to be pushed by the RIGHT FACES and super-star-rich Jay Z, Madonna, Beyonce ARE NOT THOSE FACES. Surprise-surprise but people don’t identify with mill(bill)ionaires asking for more money. Surprise-surprise but upcoming artists aren’t excited about bigger artists eating out of their pie.

I think, as do others, that TIDAL needs to have independent artists more at the forefront. I can’t figure out if Jack White, Jason Aldean and Arcade Fire are suitable or if they’ve been tainted by being part of the TIDAL 16. What independent artists would bring to the face of TIDAL is relatability; they’d bridge the disconnect in the artist-audience relationship.

To the audience their involvement would mean/suggest TIDAL does truly have benefits for indie acts. The impact of seeing indie artists being (sort of) backed by a Jay Z, Madonna or Jack White would also help break down barriers from the artist-audience disconnect.

Another advantage indie artists would bring is using the right language in trying to get people to connect with TIDAL. From day one Jay Z’s language has been wrong, wrong, wrong, wrong, wrong. It sounds like bullet points from a business proposal. Even reading about TIDAL is a bore. Nothing to get one excited about having better access to music. It’s all money, percentages, shares, subscriptions … egh! It should be about the love of music, the shared experience of art.

And just to reiterate, the artist-audience disconnect means that the super-star-rich likes of Jay Z and Madonna are not the right people to be talking about sharing the love of music (for $20 per month).

Niggas in Paris, Cousins in Nigeria

A quick word must be said on Jay Z’s comment about his ‘cousin moving to Nigeria to discover new talent. First off, his cousin moved to LAGOS, not Nigeria. Don’t get the wrong idea now, Lagos is in Nigeria (No, CNN it’s not the capital, and neither is Nairobi) but that cousin is highly unlikely to have any impact beyond specific vicinities within Lagos. Heck, beyond specific offices.

Secondly, that cousin is highly unlikely to discover any new talent. And no, not because there is no new talent but like any industry, those at the top will place a stranglehold on the cousin going beyond them – if said cousin even intended to search beyond them in the first place.

Indie artists in Nigeria are likely to gain nothing from the presence of Jay Z’s cousin, while a few already at the top will be presented to the global market as new talent. Indeed, to the global market they are new talent but it would be a deception to present rich Nigerian superstars as TIDAL’s contribution to Nigerian music.

Vulnerability: the art of empowerment

My final thought on TIDAL is this: I do believe Jay Z would put TIDAL in a better position to gain more patronage if he made himself vulnerable. Jigga maybe needs to just put himself out there, financially, reputably  – sometimes the safe card is your enemy.

If Jay Z set TIDAL up in a way that he (and all/some of the TIDAL 16) are taking some sort of pain or loss in order for new artists and music lovers to have a better artist-fan relationship (which actually means more patronage for TIDAL) people would be more willing to back the enterprise with massive support.

Vulnerability is a reverse way of being in control. It’s an art no other artist knows better than actors. In order to gain control of the audience, the actor makes him/herself vulnerable by opening up completely. This forces the audience into an emotional and psychological corner from which they capitulate by giving themselves over completely.

The rule of thumb is: all things being equal, if two actors are in a scene and one is naked, that is the one who is in control because he/she is more vulnerable. However, that’s not to say I’m suggesting Jay Z should get naked on TIDAL, especially not when Alicia ‘Aphrodite’ Keys is in the building.

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