Archive

Posts Tagged ‘Blake Morgan’

MTP Interview: #irespectmusic Tour Advocacy with @theBlakeMorgan

April 18, 2018 Comments off
An interesting interview with artist, songwriter, small business owner and advocate Blake Morgan about how he mixes his advocacy and touring as an artist, leveraging tour press for his advocacy work.
Castle:  You just came off of a West Coast tour with Tracy Bonham, how did that go?
Morgan: Honestly one of the best tours I’ve ever experienced. The audiences were amazing––we sold out almost all of the shows on the run––everyone was so engaged and energetic. And working with and alongside Tracy is a total thrill and an honor. The East Coast leg of our 2018 Tour kicks off in Boston in just a few weeks. I already can’t wait.
Castle:  There’s a balance between doing the music work for the fans and doing the advocacy work for what’s right.  How do you combine the two?
Morgan:  That’s true, it is a balancing act. But recently I’ve begun to see and experience it differently. I now see how my art and my advocacy work are related to each other, instead of different from each other, and I find myself welcoming the balancing act. I feel my job as an artist is to captivate my audience for however long I’ve asked for their attention. In my advocacy work I’ve found “justice” to be a pretty captivating force. So I bring my #IRespectMusic advocacy to my shows, on stage and off, and I now bring my guitar to Capitol Hill when I meet with members of Congress. I find that each––the art and the advocacy––underscores the other now, and I’m happy to be seen wearing both hats at the same time. 
Castle:  I noticed that you were getting questions in your tour press about your advocacy work.  How often did that subject come up?
Morgan: It comes up every time. With press, and with fans. People at shows bring #IRespectMusic signs, or ask me questions after the show about something music-related that they’ve read about this past week. They’re excited to talk to me about both my music and my music advocacy, and I’m excited to talk to them too. Same with music press––they want to talk about what I’m working on, musically, and about music rights, and what the new tour is about as well. I really love the blend.
Castle:  How did you handle those questions and how did the journalists feel about it?  Were they knowledgable?
Morgan: Well I handle them by telling the truth (as Mark Twain said, ‘it’s the easiest thing to remember’), and that makes it simple. Whether the question is about a new piece of legislation, or my recent criticisms of Spotify, or the launch and growing arc of #IRespectMusic, I try to remember that many people who will read the article may be new to these issues and I have an opportunity to reach them for the first time. For example, that artists have never been paid when their work has been played on AM/FM radio in the United States still shocks and horrifies those who are still unaware. In a funny way, it’s like voter registration (which I’ve done too) in the sense that one is getting people involved on the ground floor. It’s like you’re deputizing people––music lovers and makers alike––to the cause when they haven’t been aware of these fundamental injustices. The journalists often are knowledgeable, but they recognize that many of their readers may be new to these issues too, so they often give me the opportunity to bring those readers up to speed. I’m really grateful for that opportunity. I think the journalists are often eager to interview me about these issues because in their day-to-day music coverage of bands and artists on tour they don’t always get the chance. It’s interesting.
Castle:  I know you’ve had an over two-year sold out residency at Rockwood in NYC.  Do you think there’s a difference between how a Rockwood fan relates to you as an advocate and how someone new coming to the show for the first time reacts?
Morgan: That’s a great question. The Rockwood Music Hall audiences are also New York audiences, and that makes a difference too. But I think mostly, those shows are like “home games,” and the 100-150 shows I’ve done on the road over the past two years are obviously “road games.” The difference is simple: on the road I want to give everyone in the audience a sense of who I am and what I’m about (artistically and otherwise), and I have about 60-75 minutes to do it. I have to come at the show as if people in the audience haven’t seen me before, but with a nod to those who are coming back too. In New York, I can sort of jump in the middle of things a bit more, as that audience knows me and has been coming to other shows in the residency presumably. Plus my footprint in New York is just bigger in general, so the New York people are pretty up to speed. When I get back from a tour (I’ve traveled over 75,000 miles these past two years), I find I have a whole bunch of emails waiting for me to catch up on as fans I’ve just met or made write to me and get on board with #IRespectMusic. I see it on Twitter and Facebook in real-time when I hit a city too. It’s amazing. 
Castle:  West Wing Spoiler Alert:  Do you think there’s a grassroots value in making tour advocacy an every day thing as opposed to having “Big Block of Cheese Day” once a year in Washington?
Morgan: Ha! (You’re talking to the biggest West Wing fan you’ll ever meet, so I’m smiling at the reference in your question!) Listen, the more our leaders hear from us, every day, the more they act. It’s cliché but it’s true: Congress acts when people make them do so. In my opinion, Congressional lobbying events are important and I’m glad music has them. However, they are––at best––only part of the equation. No real hearts or minds are changed on the Hill at such events. Those events are important because we need to show strength in numbers and strength of organization. But there’s nothing more effective in my experience than one-on-one meetings with Congressional members and their staffs, because those hearts and minds can be won––and are––in such settings.
During one such meeting of mine on the Hill, a member of Congress sat up when I mentioned how badly middle-class music makers need reform. I said it was because like all middle-class Americans, we have health insurance and mortgages to pay, families to support. He said, almost with wonder, “You have a mortgage.” He shook his head with a smile of disbelief. Before I could respond––and very much to his credit––he added, “Blake I apologize for how naive that sounds. But I hope you understand: that’s not something we hear up here. The term “middle-class” when applied to musicians. Or that you, and musicians like you, have mortgages. Of course you have a mortgage, and health insurance, and a family to help support. We just don’t hear that message when we meet with the Grammys or the artists they bring here.”
He was disrespecting nobody, including the Grammys, he was simply having an “A-ha” moment in real time about what I’d said. “We talk about the American Dream and the middle class everyday in Washington, and now here you sit, representing both, talking to your representatives in Congress about what would be more fair for your profession. This is how it’s supposed to work. I’m really glad we’re talking about this.” We talked for another 30 minutes. I was genuinely moved, and I haven’t forgotten that moment…nor will I ever. It’s an example of how grassroots advocacy, propelled by grassroots support, can make the difference in getting through to our leaders. There’s nothing like it.
Castle:  Do you think that your approach to crossing over your advocacy work with your music work is unique to you, or could other artists do something similar?
Morgan:  I think the way I do it is probably unique to me, but the crossover itself is anything but unique. Artists of all genres and stripes and styles are standing up now. In their interviews, on stage, with their songs and records, on social media and through their representative organizations. All towards the same end: it’s time for American music makers to be paid fairly. Our audiences get it. Our families get it. Our friends get it. We all owe a debt of gratitude to those musicians who paved the way for us to get to this moment (Mr. Ulrich, if you’re reading this…you were first and you were right and everyone knows it now!), and we owe it to ourselves now to keep up the pressure and work harder than ever before. I have no doubt we will, and we’ll do it together.
Castle:  I remember that the first #irespectmusic show at the Bitter End had a voter registration element to it, including a speech by Rep. Jerry Nadler.  Is that something you’re planning on replicating?
Morgan: Yes. Hold on to your hats, and stay tuned. 

The Slippery Slope of Censorship: @HuffPost Pulls Story Critical of @Spotify Ahead of IPO — The Trichordist

January 9, 2018 Comments off

Artists Rights advocate Blake Morgan (#IRespectMusic) published a story in the Huffington Post this morning critical of Spotify. The story was rapidly gaining traction when it was suddenly deleted and Morgan received this email from the Huffington Post telling him he’d been censored From: Bryan Maygers Subject: Spotify’s Fatal Flaw Exposed Date: January 8, 2018 at 11:43:41 AM EST […]

Here’s Blake’s piece in its entirety.

Spotify’s Fatal Flaw Exposed: How My Closed-Door Meeting with Execs Ended in a Shouting Match

I love streaming.

I love making playlists, I love being able to download streamed music so I can listen when I’m offline, and I love being able to bring that music with me. In short, I think it’s a great distribution method.

What I don’t love is how little musicians get paid for all that streaming. It’s not fair––not even close. What’s more, middle-class music makers are the ones who are hit hardest, whose businesses are threatened, and whose families are put at risk. So how can I be against the way streaming companies treat musicians but not be
against streaming itself?

The same way I’m against the electric chair, but not against electricity.

Read the complete post on The Trichordist:  The Slippery Slope of Censorship: @HuffPost Pulls Story Critical of @Spotify Ahead of IPO — The Trichordist

@krsfow: @theblakemorgan on The Future of What Podcast Talks #IRespectMusic

December 8, 2017 Comments off

A real treat, Portia Sabin talks with Blake Morgan about the #irespectmusic campaign and more, two of my favorite people on the best music business podcast!

 

Successes in Artist and Songwriter Advocacy Show the Importance of Fighting Back

October 22, 2017 3 comments

“Why does Rice play Texas?”

President John F. Kennedy, Sept. 12, 1962, Rice University

Google White House Meetings

It should be clear by now that when it comes to sheer lobbying power expressed in terms of money and access, Big Tech has put the creative community up against it.  And not only has Big Tech put their collective boots on our necks, they have joined in the MIC Coalition cartel for the express purpose of crushing any opposition.

We must properly and grimly assess the opposition and our resources.  I would not say that the odds are in our favor, but the odds are what they are and I don’t think any of us are ready to roll over and show the belly in surrender.

We actually have made significant progress over the last few years with both legacy types of lobbying as well as grassroots organizing.  Both are absolutely essential.

The music community’s “value gap” campaign in Europe started when Google had a lock on the White House and Congress.  It should not be surprising that the value gap campaign has gained traction with these countries that historically support their culture and independence from American multinational neo-colonialism and are not afraid to strike back against Google’s monopoly.

Blake Morgan and the #irespectmusic campaign was the foremost grassroots organizing effort in the music industry and has become a case study for doing it right.  As Blake told me for this post, “Again and again, when we music makers––and our representative organizations––take action by rolling up our sleeves instead of wringing our hands, we win. Individually and together, when we continue to stand up and speak out, we demonstrate how powerful we really are.”

Another example of creators fighting back is the Recording Academy’s recent “District Advocacy Day” in which more than 1,000 performers in all 50 states visited their Congressional and Senate offices to advocate on the Fair Play Fair Pay Act (artist pay for radio play), the CLASSICs Act (pay artists on digital royalties for pre-72 recordings), the AMP Act (pay producers for digital royalties) and other legislation.

#irespectmusic and District Advocacy Day should put to rest forever the myth that the music industry only exists in New York, Nashville and Los Angeles.  This is a common trope that our opponents use against us.  Leveraging the grass roots is a long term process.  Members of Congress outside of the “centers” are discovering for the first time that songwriters and musicians actually live in their districts.  Creators are discovering, some for the first time, that they will be heard if they show up.

The Content Creators Coalition is still another example of artists joining together and working to make their voices heard in Washington.  C3 President Melvin Gibbs articulates the artist and songwriter perspective to defend the encroachment by the massive multinational corporations in the MIC Coalition specifically and Big Tech in general.

 

I’ve also been impressed with how artists rally to each other’s aid when attacked, the most recent example being the artists who came to the defense of Miranda Mulholland after she was gratuitously slimed by Google in Canada.

Artists and songwriters have made great strides in getting their voices heard over the corporate insiders and crony capitalists in the connected class.

This is not the time to give up.  It’s the time to dig in.

IRMAIV Large

Guest Post by @theblakemorgan: Music’s Mentors and Heroes Get the Day They Deserve

July 20, 2017 Comments off

IRM blake jerry

This is great day, and a huge victory for music makers. In a bipartisan move, Rep. Nadler (D-NY) and Rep. Issa (R-CA) have just introduced the “Classics Act,” H.R. 3301, which finally guarantees that music recorded before 1972 would receive payments from digital radio services. (Currently only sound recordings made after 1972 receive payments from digital radio services under some interpretations of federal law.)

This issue has been at the very center of the #IRespectMusic campaign, and I’m thrilled to see this bill come to fruition. It’s happened in great part, because of you. Each and every person connected to this campaign has had a hand in this victory, because the grass-roots pressure that continues to be put on our leaders is what wins the day, every time. So if you’ve signed the I Respect Music Petition, if you’ve taken a selfie with the hashtag, if you’ve written your representative, hosted an #IRespectMusic event in your town, shared posts, tweeted, any and all in between…you’ve helped win this great day.

This is such a powerful moment for two important reasons:

(1) All music makers should be paid for their work––but especially recorded music’s founding generation of music makers. These are our legacy artists of Jazz, Blues, R&B, and so many other genres. They’re our mentors, our heroes––artists who are now in their seventies or eighties––who’ve been incomprehensibly denied their right to be paid for their iconic contributions to our society. As many of you know, the great Lesley Gore was not only one of those iconic artists, she was my godmother, and it infuriated me to no end that she was denied payment for her priceless work. This crusade is not simply ideological or professional for me, it’s personal.

(2) This moment is also significant because for the first time, a major Congressional bill that benefits music makers is being endorsed by an entity from “the other side.” In this case, internet-radio giant Pandora. Many if not most of you know my own history with Pandora (if not, start here).

It would be hard to find anyone, anywhere, who’s been more consistently critical of them than I’ve been. However, by standing up for this bill and standing with music makers, Pandora is doing the right thing and, I congratulate them for that. As a smart person once said, “You don’t make peace with your friends, you make peace with your enemies.” So, if this is a sign that Pandora has seen the light and will move forward in partnership with the people who make their only product––music––then I’m grateful, and I welcome them to a new future. A future where each of us understands that music isn’t created in a vacuum. It’s created by music makers. And each of us music makers has the right to expect from our profession what others expect from their professions. That through hard work and determination, perspiration and inspiration, we’ll have the same fair shot to realize our dreams, answer our callings, support our families.

Ours is a profession built on commitment. And respect.

Our music mentors and heroes have known that for a long time. They’ve deserved this day for a long time.

I’m going to honor them by fighting for this bill with everything I have.

I respect my mentors. I respect my heroes.

I respect music.

@IRMPodcast #2: @RadioCleveKKG Interviews @theblakemorgan about #irespectmusic — Artist Rights Watch

June 25, 2017 Comments off

#irespectmusic and #savesoho Join Forces in London, Tuesday, April 18!

April 17, 2017 1 comment

IRM London

BBC 6 Music’s Matt Everitt hosts this very special event.

The Save Soho pop-up venue returns to The Union Club for a special meeting bewteen two artists, both well known for their activism in the music sector. Blake Morgan, from New York – founder of #IRespectMusic and Tim Arnold from London – founder of Save Soho.

This will be a chance to hear both artists perform as well as hear each of them discuss their passion for protecting the rights and freedoms of the creative communities in the UK and the U.S with their campaigns.

The Reservation continues the Soho tradition to support emerging artists.. For this event we are delighted to welcome singer Sara Strudwick in her debut London show.

Make your reservation now….

http://www.seetickets.com/event/save-soho-the-reservation/the-union-club/1064413

%d bloggers like this: