In a post titled “The End of Quiet Music,” Alina Simone discusses her dive into a solo venture to promote an album, failing, and learning what went wrong. Her story is interesting because she found a voice, later, through writing. She begins:
Not long before my first album was released in 2005, I spent a summer in Russia interviewing small business owners. An American microfinance organization had sent me there to gather rosy statistics and uplifting stories about how their loans had improved the lives of this new crop of entrepreneurs.
Instead, I would arrive in some city with a recently gutted economy, only to have men and women selling knockoff jeans or fruit from Uzbekistan tell me the same thing: they missed the factory. That is, their old jobs working at some inefficient Soviet enterprise. They didn’t like the financial uncertainty of their new jobs or the longer hours. They missed being able to check out at the end of the day. Many of them were less happy with the work itself. I heard the same thing again and again: Not everyone wants to be an entrepreneur.
At the time, I felt confused — what was so bad about being your own boss? Their words only resonated with me years later, when I abandoned my music career.
The realities of forced entrepreneurship in the music business hit me when, in 2010, the label that released my previous two albums went bankrupt. By the time its Web site vanished without warning one day, I was already done recording a record. Rather than cast about for another struggling indie label, I decided to go the route of so many other bands and put the album out myself.
Alina mentions that she’s been friends with Amanda Palmer (who raised more than $1.2 million on Kickstarter) since middle school, but that even Amanda has
worried publicly about what the future will hold for the artists who refuse to roll up their sleeves and join the self-promotional melee — tweeting, fund-raising and “incentivizing fans” to run “jampaigns.”
Her conclusion is a strong one:
We’ve placed the entire onus of changing-with-the-times on musicians, but why can’t the educational, cultural and governmental institutions that support the arts adapt as well, extending the same opportunities to those whose music provides the soundtrack to our lives? If they don’t, Darwinism will probably ensure that only the musical entrepreneurs survive. I can’t say if the world of music will be better or worse off if that happens, but it will certainly be a lot louder.