Vol 3, Issue 18: Entrepreneurial Artists: Three Canadian Rockers Who’ve Successfully Married Commerce with Craft

When it comes to art and the assignment of qualities such as “authentic”, “genuine”, “original”, and the like, Romantic ideologies are still largely responsible for informing the public’s sensibilities. There remains a wide-held belief, extending to all creative endeavours, that mainstream success necessitates corporate exploitation, and formulaic expression, while true art is obscure, and can only be produced by the marginalized and tormented. Put more simply, it is still chiefly the case that if one succeeds in this business, both in terms of achieving economic remuneration and popularity among the “unwashed” masses, they will be labelled a “sellout”, and almost invariably, as a result, their once loyal underground following will dissipate. 

While this conviction maintains a certain degree of truth value, at least in regards to the increasingly limited realm of major labels, the same cannot be said of the independent sphere. As I hope to demonstrate through the following discussion, moreover dissection of today’s music industry, with three highly successful musician-cum-label owners, art and commerce do not have to be at odds. In fact, in the case of G7 Welcoming Committee Records, the independent label owned and operated by Manitoba-based politically charged punk rockers, Chris Hannah and Jord Samolesk, of Propagandi fame, promoting a subversive anti-capitalist agenda would actually work in one’s favour in terms of getting signed.

As the subject matter of the following discourse primarily revolves around the indie music scene, providing an overview of how each of my interview subjects got started, along with their definitions of what constitutes an indie label seems, to me, an appropriate point at which to begin.

Robert Calder, trumpet player for Vancouver pop band The Salteens, and co-founder of Boompa Records, which includes, Matt Sharp (Weezer), among other notable acts, on its roster, established his label in 2003. Driven by what he characterizes as both ambition and naivety, despite the fact that The Salteens had already successfully acquired label representation for their studio releases, Calder was interested in creating his own company that kept, at its forefront, practises that are sustainable from both a business and artistic point of view. In his own experiences as a professional touring musician, he remembers, all too often, moments, in the heat of business, in which it was forgotten what artists require to be generative.

With this in mind, it’s no surprise, that Calder defines a true indie label as one that is not founded solely on the premise of achieving profits. In fact, he goes so far as to state that if a project is proposed to one of his artists that is highly lucrative, but has the potential to be draining for them, it is this latter factor that will be afforded more weight when it ultimately comes to making the decision. In his own words, “the plight of the struggling artist should be about growth and development, not unmet expectations.”

Though, Tim Potocic, drummer of 90s-inspired Hamilton rock band Tristan Psionic, like Calder, had established a recognizable degree of acclaim within the indie scene, the impetus fuelling the development of his independent label and distributor, Sonic Unyon, was rooted more in necessity than aspiration. Contesting that both he and his bandmates perceived the music biz as a larger entity than it is in actual fact, Potocic, put rather simply, “didn’t really think that [any labels] would be interested in helping [him take his band to the next level].” As a musical group whose mentality very much centred around the D.I.Y. mantra, coupled with the fact that all of Tristan Psionic’s members were schooled in either business, economics, or admin, even though he openly admits that initially they didn’t really know what they were doing, Potocic always had faith that they’d be able to handle whatever came their way; Sonic Unyon’s near-20 year (and counting) stint is certainly a testament that this was true.

Like our next guest, Chris Hannah, Potocic is hesitant to designate a single business model as being definitively “indie”. In his view, what makes Sonic Unyon artist-friendly fundamentally comes down to having a good team, working with like-minded people, and splitting everything (both expenses and profits) 50/50 between his artists and the label. While Potocic strongly believes in giving his performers free reign when it comes to the creative process, he also appreciates the perseverance and drudgery that goes into making a band successful. For that very reason, when it comes to scouting new talent, it’s the acts that demonstrate the strongest work ethics that really grab his attention.

Chris Hannah and Jord Samolesk’s go at the business side of things, frankly, can be chalked up to artistic impulse. While the urge to create, among artists, goes without saying, so too does the appetite for experimentation, and in some cases, the desire for world domination. Identifying with the mid-80s underground zine, metal tape-trading, and punk rock scenes, Chris and Jord were, “encouraged [by and looked up to] the bands who got their hands dirty.” Not only seeing the act of creating their own label as a means through which they could stay productive and engaged in the industry while wearing different hats, but as well as an alternative platform where they could register and promote their complaints about the system, shortly after its launch, G7 became home to a smorgasbord of politically radical bands and speakers. American linguist and political activist, Noam Chomsky, is but one of the controversial figures who releases his material via Hannah and Samolesk’s collective.

While, as mentioned, Hannah does not subscribe to using the term “indie” to denote any organizational scheme within the music industry because, in actuality, “everyone releasing music – in the form of a physical/digital product to the public – is [in some way] dependent upon the infrastructure of the music-industrial-complex,”, he does feel that, “within that framework, organizations can act more or less ‘independently’ if they are not beholden to shareholders and/or if profit is not their prime directive.”

As illustrated by the above responses from all three of my interview subjects, whereas the form the business itself may take remains considerably up for grabs, there seems to be consensus, among indie label founders, that the creation of one’s own label should be conceived of as a labour of love, not a money-making machine. Credence to this fact comes in the form of Potocic’s own struggle for success.

Although Sonic Unyon, today, is cited regularly as one of Canada’s most influential music makers, it wasn’t until Tim was in his seventh fiscal year that he was able to take home his very first paycheck. Calder, similarly, isn’t shy about Boompa’s humble beginnings. Long before he knew they got it right, he recalls numerous failures, poor decisions, hiatuses, and regroupings. But, rather than reflecting on these experiences unfavourably, Calder, like Potocic is able to recognize the wisdom he gained, as a result.

Naturally then, both founders concur that one of the biggest blunders any band can make is to set unrealistic expectations. Contrary to what the media would have you believe, nothing, in this business, happens overnight, and you certainly cannot expect to attain any sense of glory, without first being willing to display your guts. Accordingly, all three of my guests highly recommended that bands maintain other ventures, while pursuing their musical careers. For one thing, cash flow will likely become an issue if you are solely relying on your gigs to front your bills, and secondly, having other goals in life makes you well-rounded. Speaking from his own experiences, Potocic resolves that, “if you have many skills [in life], then you will always land on your feet.”

When it comes to illegal downloading, Calder, Potocic, and Hannah’s views are somewhat more lax than what one might assume of label owners. In Calder’s eyes, “a fan is a fan no matter how they get their music,” and Hannah is quick to point out that for every one person who illegally obtains your tunes, undoubtedly there are five others who get to hear something they would not have otherwise. Moreover, while Potocic accepts the fact that illegal downloading has affected everyone’s business on some level, he strongly contests that, it alone, cannot be blamed for the awful state of the music biz. Rather, he suggests, “people still love music and people still support artists. The traditional model [just] doesn’t apply anymore. We are in the middle of more than just a format change – but a change in thinking of the consumer and a shift in consumer spending.” Taking it a step further, Hannah, like myself, cites the industry’s downfall in its foisting of terrible records, upon the public, for far too long: “if labels would stop trying to make money by pawning off garbage, maybe people wouldn’t be so quick to think that [music] didn’t hold any value.”

Despite his attribution of blame however, Hannah remains hopeful. While he agrees illegal downloading, “is not good for [big] businesses that have invested all of their money [into] shiny plastic discs,” he does believe, in all sincerity, that, “it could be good for music.” To this Calder adds that, “true fans support artists in many ways,” and he truly hopes that, “the whole concept of signing bands and throwing crap loads of money at them, to see if they [can] sell a ton of assets in the first week of release, goes the way of the dodo bird.” As made evident through the above discussion, whether or not the corporate structure fails is irrelevant – most indie artists, let alone indie labels, do not align themselves with the traditional music biz’s point of view.

As our three week long examination of what it takes to start your own label comes to a close, I’d like to share with you one final offering of advice. As I’ve attempted to impress on you in this piece, as in others, carving out a career for oneself in the music biz, whether as an artist or label owner, is not for the faint of heart, and it is for this reason that a love of art must supersede all other potential motivating rationales. To leave you with a quote that I feel aptly summarizes the indie label owner’s point of view, in the words of Hannah: “if you believe in the transformative potential of music, [I encourage you to] go for it, [but] if you’re looking for anything else, just take the job at your dad’s business that he’s been offering you. Please.”

Vol 3, Issue 10: Sexism in the Music Biz Conclusion: Working from the Inside Out, Spotlighting Three Female Forces Who’ve Made a Difference

When life throws opposition in your direction, you can either stand your ground or sulk in a corner, and though expelling angst has its proper time and place, I’m sure you’ll all agree that very little has ever been accomplished, in terms of progress, from the mere shedding of tears. 

In choosing to pursue the former resolution, that being to challenge the barricades which are poised before you, there are two distinct methods one can undertake: 1) to bulldoze through the front gates with weapons a-blazing or 2) to unassumingly gain entry through the backdoor and to change things from the inside out. Of these two strategies, though I’m all for putting up a strong front, in the business world, it is the savvy and perceptive individual who is able to recognize that the latter plan of attack will bring into fruition the most desirable results.

Though the “sexism-fighting” contributions of popular artists such as Sarah Mclachlan and Shiragirl with their Lilith Fair and all girls Warped Tour stage respectively, are commendable and have worked to carve out niches for female artists in performance venues, neither endeavour did much in the way of shaking up the industry’s male-dominated infrastructure. At the end of the day, these artists were still left playing within a man’s game. Further, often times, in-your-face efforts, such as these, have perpetuated negative “man-hating” (and lesbian) feminist stereotypes, rather than actually addressing the real issues that feminists fight for: those being; equal access and rights for all, irrespective of race, gender, or any other minority difference. Consequently, over the years, as one can imagine, the fem rocker has garnered what Joan Jett refers to as a bit of a “bad reputation”.

Taking note of their own industry battles as former “rockstars-in-the-making” and learning from efforts such as those aforementioned, three fiery ladies from the US recognized that change needed to work with, not in obstruction of the prevailing music marketplace. Frowning upon cattiness, and instead, encouraging female friendly communities and collaboration, the real forces behind a move towards ending gender discrimination in the music biz are unsung business women: Tish Ciravolo, founder of DaisyRock Guitars, the first ever guitar manufacturer to specialize in creating lightweight and manoeuvrable instruments with female physiology in mind, Carla DeSantis, creator of RockRGrl Magazine, a national music rag strictly devoted to featuring female rockers as its name suggests, and in fact, the very first of its kind, and finally, Madalyn Sklar, the brains behind the online female artist community, GoGirlsMusic, which assists artists in establishing networks, generating exposure, and obtaining performance placements at some of the world’s top annual music conferences. Not only have these three women managed to gain greater respect and recognition for “chicks with picks”, but as well, they have empowered females not to be afraid to pick up an electric and rock it with the best of them. For my final instalment on sexism in the biz, I was lucky enough to catch up with all three of these inspiring women. Below is a compilation of some of our significant points of discussion:

When asked whether they still felt sexism was still a relevant issue facing contemporary female musicians, Tish, Carla, and Madalyn responded in unison with a resounding yes. Though they all agreed that the indie market allows for more freedoms, and acceptance, amongst the majors, the beliefs concerning how to market women artists, in their eyes, have remained relatively unchanged, and the ever increasing global conglomeration of these labels is only making the problem worst.

In Sklar’s view, the male label reps aren’t interested in taking on anyone that is over 21, and unwilling to market herself as a sex kitten. However, she believes, that the labels aren’t exclusively at fault. In fact, Sklar contends that female artists, often just as much as the male reps, buy into the “sex sells” mantra, and consequently, it’s proving more difficult to disrupt than one would have hoped. But, this is not to say that a woman shouldn’t embrace her sexuality and be proud to flaunt it like Madonna. All three ladies, admittedly, purport Ms. Ciccone as being highly influential, and groundbreaking in terms of her business skill and staying power. The difference, as DeSantis points out, “is that you know that Madonna is in charge – she’s not anyone’s puppet.” On that note, all three ladies chimed in that the most important thing for any artist, whether male, female, independent, or major, is to remain true to themselves, stay positive, and to listen to their inner critics.

As for the business side of things in the music biz, Carla and Tish offered their own personal examples as corroboration that sexism is still alive and kicking. When the first issues of RockRGrl were launched, DeSantis explained, that it was automatically assumed that the magazine was aimed at the gay community, and was anti-men. In fact, some female rockers outright refused to be interviewed because they didn’t want this sort of association hanging over their heads. Likewise, when DaisyRock introduced its product line, Ciravolo received a seemingly unending mountain of hate mail that blasted her for having the “ridiculous” idea that girls should have their own instruments. Seven years later (and after a great deal of success I might add), she quips that the very guitar companies that criticized and lauded her for conveying the myth of the pink guitar have now ripped off her ideas…Go figure. But enough of an introduction:

The point behind these stories that I want to emphasis is this: rather than dwelling on the adversity that each of them has had to overcome due to their visionary efforts, Tish, Carla, and Madalyn’s dialogues were full of hope, strength, sincerity, and compassion; skills that are praiseworthy for both rockstars and corporate suits alike.
Though eradicating sexism (and building a female-friendly music community in doing so) is clearly at the forefront of each of their enterprises, Tish, Carla and Madalyn’s efforts expand to encompass helping all independent artists by offering up the knowledge that they’ve acquired from their own experiences. As spokeswomen at several important music festivals, all three women are concerned additionally with the bigger issue at hand: that of the crumbling music industry. But, instead of evaluating the music biz’s current climate of illegal downloading and industry corruption as a downfall, Sklar believes that the “music industry has been headed down the independent, do‑it‑yourself route for sometime now, and [with the changes that are being forced to take place], the playing field is becoming increasingly levelled each day – you don’t [necessarily] need a label to get noticed anymore.” For Sklar, it’s an exciting time to be an indie artist, and though the future of the music industry’s infrastructure is uncertain, both Tish and Carla agree that music will always be around, with or without the bigwigs. To this, DeSantis adds, that essentially the record labels are getting their just desserts: “they pissed off their consumers by demanding that we buy expensive albums that only contain one or two tracks that we actually care about. The labels didn’t work with what the customers wanted and now there’s a karmic debt to be paid.”

As evident by this statement, DeSantis clearly feels that the major labels’ lust for capital has been the most detrimental force in deconstructing the industry. She went on to note that the fact that contracts in which artists are only entitled to a mere 2% of their albums’ takings, yet are required to entirely fund their own touring operations, can exist, acts as further evidence supporting this assertion.

For Ciravolo, the biggest sin ever committed against artists by the corporate music biz falls into related territory: that being, the lack of regard for artistic development and creative growth. In her view, we’ve gotten to a point where musical talent and/or merit are not considered prerequisites to superstardom. It’s become all about pre-packaged marketing ploys meant to play to the lowest common denominator, and generate a quick buck.

However, in saying all of this, DeSantis is quick to reiterate that, “the industry sucks, but it has always sucked, and the key to success is simply to find likeminded, trustworthy individuals, and to build your own community of support.” She was also adamant about explaining that due to the current predicament with which the music industry is entangled, “complaining about how bad things are for women is like trying to save the people on the 4th floor of a building that is on fire. The system is so broken and in flux that it is not necessarily any worse for women than men [in the grand scheme of things]. Everyone is facing a hard time [which can definitively] be routed to bad business practises.”

As some final offerings of advice for the aspiring artist, Sklar encourages to not be afraid to take advantage of every opportunity that comes your way, and Ciravolo endorses being proud and confident of your art, however “un-mainstream” it may be.

In closing, it’s interesting to consider that all three of my interview subjects were unable to name just one female in rock history whom they deemed as being the most influential which indicates to me that they are tons of great examples out there, you may just have to dig a little deeper. In my opinion, this makes perfect sense, because if life’s taught me anything, it’s that things that are the most rewarding, fulfilling, and worthwhile never are obtained without a challenge. In relaying the views of these three rather impressive ladies, I hope to leave you with the promising thought of a future in which musicianship is judged purely based on one’s talent, and nothing more. I know that this is a goal these women and others are working towards; and an admirable one at that.

Vol 3, Issue 5: Talking Shop with Alan Cross: An Exploration of Music, Making it, & Canadian Mass Consumption

When inquiring among music consumers as to why they enjoy particular “popular” tracks, I all too often hear the heart-sinking reply that it’s because they find said tracks “catchy and easy to dance to.” We’ve gotten to a point in music listening in which lyrical content has sunk to such minimal importance that artists such as Katy Perry (aka Katy Hudson) who began as bible-totting “holier than thou” gospel singers, can take on new last names, and start singing about lesbian affairs. Worst yet, despite these blatant hypocrisies, and obvious marketing ploys, no one seems the wiser. 

Back in the hippie days however, musicians, such as Bob Dylan, were not merely considered the producers of a consumable art form, but rather the people looked up to them to be their voice, and to address issues, in their lyrics (among other places), that needed addressing.

This apparent debasement of the musical craft has left me contemplating how it is possible that we have come so far technologically, and globally, yet lost so much of the dignity that the music industry once had, in the process? The only person I felt capable of taking on the challenge of responding to this query of mine was music history guru and host of the infamously popular radio show, The Ongoing History of New Music: the one, the only Mr. Alan Cross.

Though our discussion with each other regarding the music industry’s current state of affairs did enjoy a fair amount of bantering and debate (including a dissection of the character, that is, Madonna) as he took the position of the industry and business expert, and I, the one of the lowly indie rocker, out of our, at times, heated discourse, we came to the conclusion that we have at least three convictions in common:

1) there is no easy or quick solution to the current illegal downloading situation 

2) the ease of access with which people can obtain music as well as the over-saturation of the music marketplace has led to a devaluing of the art form coupled with superficial music listening, and finally,

3) the Canadian music industry really needs to bone up and acknowledge all of the talent that it has given birth to, otherwise we are going to continue to lose our best acts to the US of A.

On that final point, Cross went so far as to say that Canada has an inferiority complex when it comes to its artistic offerings; hence the reason why so many Canuck acts have to break in foreign markets, before they get recognized in the True North Strong and Free. He feels our national preference for “egalitarian mediocrity” (as opposed to elite excellence) is also the driving force behind industry standardization regimes such as Cancon which force radio djs to spin a certain percentage of Canadian content on a weekly basis in order to honour quota mandates. Such programs, in Alan’s view, prevent Canadian artists from ever being taken seriously on the world stage. 

For those of you unfamiliar with the colossal CV that Mr. Cross has managed to amass for himself, before we get too deep into our interview, I feel it’s necessary to provide a brief (and hopefully entertaining) overview of some of the highlights of his life, thus far:

Alan grew up in a small rural Prairie community in which FM radio ceased to exist and one of the few venues that actually sold music, in a consumable form, was a clothing store named Robinson’s, of all places. It was 1974 and The Ramones hadn’t yet formed. The Beatles had fallen out of favour, and Led Zep and The Rolling Stones were far too exotic for someone who was secluded from urban life, and reared in the sticks. Contrary to the alterna-head image with which Cross is now notoriously linked, the first album that Alan ever set his sights on was the work of, perhaps, the industry’s most ultimate diva.

It wasn’t Madonna (she didn’t launch until ‘83), Cher was still doing her thing with Sonny, Celine Dion was, likewise, still ”in the making”, and though Tina Turner would have been a viable option for the prelude to Alan’s remarkable career, the credit goes to a Sir Elton John and a certain dance variety involving crocodiles who like to rock.

From that point onwards (well perhaps, after puberty set in), Cross bounced from radio joe-job to radio joe-job acquiring as much technical, and media know-how as possible, as well as endeavouring to expand his musical horizons to include everything from highly experimental jazz to bands he describes as psychedelic versions of Jesus & The Mary Chain to straight up unapologetic fuzzy alt- grunge rock like that of, whose origins have been credited to, Nirvana. In fact, Nirvana’s very existence marks a rather important juncture in Cross’ career.  

As one of the radio djs burdened with the task of delivering the news of Cobain’s tragic end back in 1994, it is clear that this is a band to which Cross will forever remain emotionally attached. Though he is the first to acknowledge that Nirvana were, in actuality, a fluke, and that their success can largely be attributed to the fact that the world was ready for a bunch of “hard rocking cynical anti-stars”, he is also the first to defend the brilliance of Nevermind, and the important lasting effects of Nirvana’s influence.

According to The Edge 102.1‘s official website, Alan’s flagship show, The Ongoing History of New Music, debuted in February 1993, and since then, has aired more than 600 episodes, all researched, written and produced solely by Alan, himself. The Ongoing History is currently syndicated through almost a dozen stations across Canada, has spun off four books and more than a dozen CD compilations, and currently holds the title as the longest-running music documentary in Canada. Alan has additionally appeared as a guest on various TV and radio shows, written official biographies for a variety of rock bands including The Making of NIN’s Pretty Hate Machine & Downward Spiral, narrated TV shows, documentaries and info-mercials, and written articles for both newspapers and magazines, alike.

In other words, if radio djs were allotted the same degree of celebrity as rockstars, Alan Cross would undeniably be the media world’s James Brown sharing the joint title of the “hardest working man in showbiz”. It’s this astonishing work ethic, and sea of accomplishment, together with his personal ascend from humble roots, that formulates the basis for his perspectives regarding today’s indie musician.

When asked what advice he had to offer to the current independent artist, Alan, unfalteringly, began with “the world doesn’t owe you anything”. Admiring bands such as Oasis, who triumphed despite arising from hidden backdrops of familial abuse, poverty, and alcoholism, Alan believes that being a musician, “is supposed to be hard, and if your stuff isn’t good enough, or if the public chooses not to like it, there’s nothing you can do about it.” However, in saying that, Cross still maintains an optimistic, if somewhat idealistic, view.

Although for any musician (and media personality like Cross), one’s relationship with the internet is ambivalent at best, Cross acknowledges that the net has provided today’s musicians with a power that none of their predecessors could’ve ever dreamed of experiencing. Without leaving the comfort of one’s home, musicians are now able to record, disseminate, and exploit their art to global proportions. But, there is another side to this coin: because production technology, that is capable of making even the most tone-deaf drowning cat-esque vocalists sound melodic, is so widely available, and because the vast majority of the social networking sites that bands use to campaign themselves are free, the competition is beyond steep. And so, in Alan’s eyes, if you truly want to get the attention of a larger label (which he feels is necessary for success), you need to provide them with a turnkey solution: that being, a product that is pre-packaged and ready to export to the grand stage. The only way to do this (and I can contend) is to work your ass off playing lots of gigs, developing your fan base, and making sure that all of the people who come out to support you are always taken care of so that their loyalty sustains.

Though I think Cross makes a valid point regarding how so many musicians underestimate the work involved in “making it”, I personally believe that he’s missed a central feature to his provided equation for success: as talented and as marketable as your act may be, whether you like it or not, there is still an element of luck involved, and often (more often than they should), connections trump everything.

With his expansive musical knowledge, I’m sure that Cross could list tons of bands that haven’t made it that should have, and equally on the other side of things, tons of bands who did make it who shouldn’t have. But, in his defence, Cross would argue my rebuttal by stating that we require the bubble-gum mainstream artists to appeal to the masses in order to generate new capital that can be invested in underground acts that are really doing something interesting. The problem with this formula however, is exactly the fact that it has become too formulaic, and almost invariably, once a unique indie gets picked up by a label, they are transformed into the hit making machine that began the whole process, therefore never allowing mass consumption of, in my opinion, “good” music. But obviously, this is clearly a matter of tastes, and neither one of us can be more right than the other.

Putting our differences aside for the time being however, I think its important for me to express my high degree of respect for Mr. Cross and to acknowledge, that myself, as well as all of you, my fellow musicians, could learn a great deal from what this man has to offer, and so we ought to respond to his benefactions in the only way that is appropriate in the realm of wireless telegraphy: that being, all ears.

Mimicking the aims of the great musicians of the past who made this industry what it is today, Cross himself is an artist in his own right as it is clear that his mission is both to educate and inspire.

Taking this into consideration, his loyalty to the radio waves makes perfect sense because when people need to know if things are safe, and/or want to keep in touch with the rest of the planet without having to be tied to the computer, it is the FM dial to which they naturally turn.

Though he’s been almost 30 years “in the making”, I think its fair to assert that Alan Cross has most certainly made it. Long gone are his days of broadcasting out of what he terms an “elevator-music” radio station situated between a wheat field and a mental hospital. Cross has worked diligently throughout his career to open up our minds to music that would have otherwise gone unnoticed, he has resurrected lost artists from the past, and embraced new artists of the future, he has sparked debate regarding the music industry, and Canada’s place within it, all while managing to stay true to his homeland roots giving hope to the rest of us that are proud to call this great nation our home.

And with that said, I, on behalf of Alan, have but, one final note that deserves to be said: Alan Cross believes that, “headphones, in public, are a blight on the development of society” further contributing to the modern-day phenomenon of “ego-casting”. According to Cross, “technology now allows us to shut out any material, concept, sound, or sight that we find disagreeable so much to the point that we can cocoon ourselves in a warm bath of just the things that we like, unencumbered by the stuff we don’t.” With this kind of control and impenetrable mindset, he begs the question, how will people ever grow as music fans? This is a question, I will leave all of you to contemplate.  

*For more information on Alan Cross, check out the Edge’s official website located at and be sure to catch the debut of his latest buzz-generating endeavour about which he remains tightlipped: ExploreMusic (launching Oct 6th). *

Vol 2, Issue 17: “Hear it From the Pros” Pt 1: Teeing Off, A One on One Discussion with Post Modern Philosopher Henry Rollins

Though a man of infinite words (and calculated profanities) in the public limelight, in private, as my one-on-one discussion disclosed, Mr. Henry Rollins is unassumingly nonchalant; something I can only attribute to the fact that he clearly prefers to be the one holding the microphone. As an industry veteran notorious for his wild stage antics in both Black Flag & The Rollins Band, his hard hitting and unabashedly honest spoken word performances, his countless written works including several volumes of poetry, fiction, and prose, and most recently, his incredibly entertaining weekly talk show, The Rollins Show, hosted on IFC, it only seemed fitting to begin my new featurette interview series, “Here it from the Pros”, with the man himself. In conjunction with his latest worldwide spoken word tour, “Provoked”, I had the amazing opportunity to interview Mr. Rollins. Here’s what he had to say: 

Growing up as a teenager in Washington, DC., Rollins’ musical awakening transpired when a friend of his first lent him a copy of a rare Ramones’ album. Finally finding an outlet for his pent up animosity, and aggression, Henry discovered punk, D.I.Y. ethics, and never looked back. Fast forward several decades later to present day, and I’m sure it’ll come to no one’s surprise that, “Do it Yourself” remains his mantra. As depicted by the numerous accessories including iron-on patches, and stickers worn by his kind: punk is for life, and it will never die.

When asked about his current outlook on the music industry and whether he felt the damage that ensued (and continues to unfold) from all of the illegal downloading could be repaired, Rollins indicated clearly his disconnection from that world. Though a seasoned performer and top selling artist himself, he’s never been one for the big business side of things, and to that he noted, “that even if it [the music industry] fell over tomorrow, most of the bands he checks out would be still be doing their thing. DIY keeps you from some of the dangers of the bigger parts of that mechanism”.

Undisputedly, a supporter of indie rockers, Henry feels that the biggest sin committed against musicians by the industry, was the disconnection between music and the people. In the heydays of the hippie era, prior to the commodification and commercialization of music as nothing more than a product for sale, music used to mean something to the people – it wasn’t merely a form of entertainment, but rather a voice for the generation. Like myself, Henry wonders when art will be restored to this dying form of expression?

Sticking true to his unconventional nature, Henry Rollins is a man who is very difficult to characterize. Perhaps he intentionally safeguards himself from others as a means of self-preservation, or more likely, he enjoys keeping people guessing. Not one to personally advocate the use of labels to describe himself or his friends, though Rollins, himself, purports a rocker identity, he is a striking example of why it is bad to assume.

Contradictory to the sex, drugs, and rock’n’roll lifestyle promoted by all too many rockstars, commendably, Henry Rollins is against substance abuse – just another reason as to why he’s such a great role model. In fact, amidst all of his ongoing endeavours, the only part that he finds truly fulfilling is interacting with his fans. His chronic workaholic nature is something that he chalks up to the fact that he doesn’t ever want to find himself submitting to “the man” and forgetting all that he has to be grateful for.

Though this may come as a surprise to some, as a music listener, Henry doesn’t pigeonhole himself simply to punk. A devoted admirer of the late greats James Brown and Miles Davis, Henry supports any artist so long as he/she is hard-working and his/her music has meaning (I hope you guys are taking notes here). In fact, an artist he advised me to check out was Dax Riggs (http://www.myspace.com/daxriggs ), a dreary blues-rock musician from Louisiana, who seems to combine a more sophisticated version of Kurt Cobain’s emotional angst with Jimi Hendrix & the Experience’s solid blues backbeats infused with a modern take on the British garage band sound. Very strange, but cool – cool enough to reaffirm my belief that there is still good music out there somewhere (Thanks for that Henry! I especially liked the acoustic tracks).

Understandably, someone in his position is indefinitely bombarded with opportunities for exposure, and though this is the kind of lifestyle most of you crave, Henry applies one fast and simple rule to dealing with these offers that I think all of us ought to embrace: not to consider something an opportunity, if it requires you to sacrifice who you are or what you believe in. Rollins proudly admits that IFC has never instructed him to “tone it down”, and if they did, I can state with absolutely certainty that he’d have something to say about it (or better yet, someone’s ass to kick).

Though I know it can be difficult to reject a offer because it may just be “the one to make or break you”, I’ve got to side with Henry’s view on this, because I truly don’t believe in “selling out” just to become the next flavour of the week. As both his and my hard work demonstrate, earning your accolades of success through your own dedication and merit is not only more rewarding, but as well, you will earn respect for “sticking to your guns” in the long haul, from both fans and industry professionals, alike. In his own words, if an opportunity requires you to change who you are, “then it’s not really an opportunity, now is it?” To this he adds that, regrets are not something he feels he can afford.

In the space of the three hours of his performance, Henry compelled a packed house of a widely varying demographic to intense laughter, tears, and serious contemplation. His performance came to its finale with the only possible conclusion: an obligatory standing ovation. If one man has this much of an impact, just think of what we all could actually do. A man of humble roots, but great ambition – someone I admire that I think all of you could learn from.

The most intriguing moments of his lengthy soliloquy revolved around re-tellings of his own “starstruck” moments in which his defiant powerhouse persona crumbled when in the presence of the likes of Iggy Pop, and numerous other childhood idols of his. Though his exterior is lined with layers of thick skin, I appreciated his willingness to expose his vulnerable side; something you rarely see from men, let alone rockstars. Additionally, appealing to my personal sentiments, Rollins offered a seal of approval “shout-out” to feminists and equal rights activists further affirming how much he truly is a man for all people.

To hopefully leave you on a comic note, taking a page from the man himself, if you asked me why I love Henry Rollins, my response would be quite simple: because he’s exactly the kind of asshole that this world needs. Oh yeah, and if he were elected president, aside from kicking Bush’s ass, he says that he’d basically undo everything that has occurred over the past eight years – something for which, he thinks he’d get shot.

To learn more about Henry and his never ending list of accomplishments and the causes that he advocates, check out his official website http://www.henryrollins.com/

From the bottom of my heart, thank you Henry – I needed that.