I lost my day job today. And my right shoulder hurts like hell (yay muscle tension) – typing is only bearable thanks to Ibuprofen.
I am heartbroken. I liked this job, and I want to stay in Freiburg. I crave bourgeois security and stability, and I’d like so much to be a little more well off. I got informed of my dismissal in the most friendly manner. It hurts anyway. Continue reading
Yes. After one week of sickness, my voice is finally back. Not in great shape yet, but I can sing again. YEEAAH!
Somehow, this 50/90, I’m doing very “dirty” stuff. My recordings are raw, unpolished, even more than usual. I’m taking little time for my music, that may be why. In the last weeks, I spent about 45 min. on weekdays practicing singing and guitar (with a day or two off now and then – I need to not let music feel like an obligation), which eats quite an amount of my available time; that doesn’t leave much time for recording. On weekends I may get to do a wee bit more, but not that much. That may reflect one aspect of 50/90 that I actually like: Unlike FAWM, where you can put a “Do not disturb” sign on your door (figuratively speaking), in 50/90 music has to be integrated with daily life. You can live one short month in an exceptional state; can you do it for 3 months? Well, I could, but I don’t want to. Not even for music. Continue reading
No, I’m not talking about software here. Or, I am, but not about text editors or the like.
I’ve repeatedly complained to friends that my lyrics don’t rhyme. And so far, this summer, I haven’t put much effort into my lyrics. Mostly hastily thrown down, just to have something to sing, although that doesn’t necessarily mean they’re bad.
I’d like to write lyrics off my usual beaten track: Continue reading
(Crossposted from my 50/90 profile.)
I’ve mostly done short-ish songs so far. Skirmishes, impros, quick sketches, most recorded in one sitting. I’m not saying they aren’t good, but… I somehow need to do some things with extended work involved. Improvisation is fine, but it’s not the whole picture. I want to do elaborate, longer things, too.
I don’t earn money with music (now), but I’m not a pure hobbyist. I’ve got academic training, and I consider myself as an ambitioned amateur at least. Some time in the future, there might come gigs and maybe more ambitioned recordings. Some time in the future, I might look into selling my music.
Friends of mine are trying to make some money with music. I have been in an independent metal band before, and later, I organized a small series of non-profit low-to-no-budget disco events with friends – so I’ve seen some of the plights of musicians as well as music users. I totally see that music rights management societies could be a good thing for musicians.
Unfortunately, the only German music rights management society, GEMA, is broken, unfair, intransparent. A lot of musicians feel being a GEMA member would do (or does!) them more economic harm than good.
But there’s hope. The Cultural Commons Collecting Society (C3S) wants to become an alternative. A fair, flexible, Creative Commons-aware European music rights management society.
The foundation of C3S would topple the German “GEMA-Vermutung” (the assumption that any music used in public is subject to rights management by GEMA unless proven otherwise – which GEMA makes as hard as they can; that means even for playing Creative Commons licensed music only at your event they can send you a nasty bill) by the way.
And the good thing is: you can be part of it. C3S is currently running a crowdfunding to raise the money needed for founding, but also for developing the software for a more exact and fair calculation of royalties.
I’ll be supporting this initiative. Because music rights management in my country is broken and needs to be repaired.