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Rody back in 2004 with his short-lived Danzig-inspired haircut. Photo © Kieran Meyn

It’s odd, as a journalist, to interview someone you’ve known for nearly a decade.

I’ve known Rody Walker in some capacity since I was 14. Two years older than me, Rody was the long-haired, shredded jean-wearing frontman of Ontario’s fastest growing punk band. It was 2003 and Protest the Hero, formerly Happy Go Lucky, were riding the momentum of their first real release A Calculated Use of Sound. Sure,  Search for the Truth existed, and yes, “Silent Genocide” defined my teen years, but it’s a release everyone, the band included, discarded pretty quickly once ACUoS came out.

For a lot of angst-ridden Southern Ontario teens their EP was the shit. It had it all—verbosity, technicality and political eccentricity. Drummer Moe Carlson free-flowed in a way he hasn’t since, and Rody’s passionate if shrill delivery caused many of us to lose our voices at their frequent gigs.

I was 14 when all this happened. Rody was 16. I’m closing on 23, Rody on 25, and Scurrilous, the band’s third full length, is the first time his name’s been on a lyric sheet since. Understanding Rody’s lyrics means understanding Rody, and for some that’s not easy. The reason for this intro, as long-winded as it seems, is to preface such an understanding.

Ever since Kezia came out, Rody’s been known as the loud-mouth of the band, with good reason–he is, after all, a loud-mouth. But as he shows on Scurrilous, there’s more to him than shit jokes. Reading this interview, which is for better or worse comically long, you might need some context. There are links strewn about, but some things just need a back story.

You’ll hear me mention Space Wars, which was an audio-story Rody voiced entirely by himself a few years back. A trailer for Space Wars was played before one of their legendary, smelly shows at the now defunct Dungeon and to this day I wish I could hear the whole thing. I don’t remember much about it, only that it was the story of suburban robots who fall in love. “They feel it in their mega-hearts,” was the tagline.

The other thing you need to know is that while Rody swears a lot, probably more than anyone else I’ve talked to, it’s just part of how he speaks. He’s actually a pretty soft-spoken guy. The stage-antics–wearing women’s underwear at the Kool Haus, a shark-suit at Warped Tour–those are just part of the personality of a guy who, more often than not, spends his free time watching sci-fi and recording silly skits and songs. He’ll always be a bit of an asshole, just don’t let that define him.

Read our review of Scurrilous here.

SputnikMusic: My recorder died literally, like, two minutes ago, so we’re off to a good start.

Rody Walker: You don’t really need to record what I say, you could probably just guess.

SM: Yeah, at this point you’ve probably…how many of these have you done today alone?

RW: Um, not that many. I did three, and then I did one e-mail interview.

SM: You’ve always been known as sort of the boisterous loudmouth of the band, is it a lot of pressure to always be “on”?

RW: Kinda. Dudes… I did this… I told you I did this Israeli radio show this morning and they were like, “you can say whatever you want, man. You can be as wacky as you want,” and then we got to talking and I was like, “yeah, I’d love to come to Israel,” y’know, fuckin’ talking like a regular human being and they were just baffled by how unstimulating it was.

SM: How’s your voice doing? It still like it’s a little…

RW: It’s fucked.

SM: …coarse

RW: I just fuckin’ got a specialist… an ear, throat and nose guy… and I’m going to see him tomorrow. I made an emergency appointment, so… I’m sure he’s just going to inject some adrenaline into my asshole but we’ll see.

SM: Did it just die when you were in Australia? Did you just blow it out?

RW: I don’t know what fuckin’ happened to be honest with you. We did those 18 shows in Europe, like 18 days on the road with no day off and it was fine, but the last day there was this intense pain in my throat. When I got home my voice was kind of fucked up and then I got over to Australia and the flight kind of fucked with it a little and then after the second show I couldn’t even fuckin’ speak. It was such a bummer.

SM: And then you had to come home and play the Bovine

RW: Yeah… it was just non-stop fuckin’… all it is is fatigue. I did too much and then fuckin’… couldn’t do anything about it. It’s fuckin’ fucked up and that’s the end of it.

SM: What was it like playing the Bovine? It’s been a while since you’ve played such a dump.

RW: Dude, the Bovine was fucking awesome. I had such a good time. It’s been such a long time since we’ve been able to play in an intimate environment like that. It’s such a better feeling. You know, it’s what we were raised on, and now we’re on these big ass stages where we feel compelled to perform bigger and we kind of fall into ourselves, we think into ourselves when we’re on those big stages. So it’s never as fun for us to do and it’s never as fun for people to watch.

SM: So I guess you miss playing those then. I mean, I remember the old Dungeon shows and while they were awful, they were great.

RW: Well it sounds like shit but it’s so much fun. There’s that certain element of crowd participation that you just can’t get in those big environments.

SM: Is that something you’re going to try and do? I mean, I don’t know how you’d do it since it goes against you guys getting bigger, but…

RW: I’d love to. If there was a way to keep it in small venues but still acquire the cash you make from playing bigger venues, that’d be the best, but it’s also not possible to pay my rent playing for $50 a night.

SM: Well at least you’ve got some time to rest your voice now, other than all these interviews.

RW: Yeah. I haven’t even touched a beer since [Friday the 11th] at the Bovine and [my voice] is just not coming back to me. I think I’ve got something, maybe strep or bronchitis.

SM: So I’ve got to ask you the standard album questions. How did it come about working with Chris Hannah? Was he just around, or… I mean, I know you toured with Propagandhi…

RW: Um, it was kind of a funny, actually. One of the guys who works at Jukasa was mixing, what’s his fuckin’ face, the singer from Deep Purple. Ian, uh….

SM: Ian Gillan.

RW: Yeah. He’s mixing his new solo thing, and started tossing around the possibility of having him on the record for a part in “Sex Tapes” and obviously that didn’t happen. That was a ridiculous idea and we were fuckin’ shooting for the moon. Then we just started tossing around ideas. We were just like, “we want a fuckin’ feature on the record,” and then Luke and I were just piss drunk one night and I was just like, “let’s fuckin’ send Chris an e-mail,” ‘cuz it’s, y’know… being for us, who could we possibly find in the fuckin’ world that would mean more to us on the record, and he responded in like ten minutes and was like, “yeah, let’s fuckin’ do it.”

SM: Ha…

RW: Which was hilarious because we put together this massive e-mail where we were like, “these are the song lyrics, these are several different interpretations of what the lyrics mean and why they’re so gratuitous,” and he responded and was just like, “you really didn’t have to send me that shit that’s really difficult to decipher. I’ll do it.”

SM: That’s awesome, though.

RW: We were stoked.

SM: You’ve got Jadea Kelly back on this, too. How’d that come about. Did you just get in touch with her and want to bring her back because it worked so well the first time?

RW: Yeah. With Fortress, and as proud of Fortress and as happy as I am with it, there was something missing. I think it was the female counterpart. I’ve always been a big fan of male and female vocals counter-acting with each other. I think Jadea’s got a great voice and it’s really contrasting to my own, so having her in the mix is just a fuckin’ hilarious and weird thing to do. Also there’s a bit of a nostalgia factor so the fans have something to be like, “ah, a throwback to this old fuckin’ piece of junk.”

SM: How do you think it is… it’s weird to me, because I know that AOL or one of those sites just put the album up streaming and now you’ve got people saying, “oh, I’m still playing this a lot” and I mean… it hasn’t come out yet.

RW: Initially when it leaked it was hard not to comment on. All these kids sending me fuckin’ Facebook messages being like, “hey man, great work on the new record.” There’s a little part of me that just wants to be like…”fuck you,” but you can’t. It’s weird. There’s something very annoying about it, like one of the very first comments on the stream is some kid saying, “oh, I’ve already had this for a month.” I understand the nature of a leak, I know it’s going to happen, but there’s something so arrogant about these kids coming and taking something that took us so long to make and just stealing it in no second flat.

SM: I’ve also noticed the reaction is in keeping with your last few – people either love it or they really, really don’t. How come you guys are so polarizing?

RW: For some reason we have a very black and white appeal. I think it’s a good thing. We elicit reactions from people, very passionate reactions, be it whether they absolutely adore it or they fuckin’ despise it from the very core of their being. I think it’s wonderful to see both sides.

SM: It seems like a lot of it extends to you, especially now that you’ve penned a lot of the lyrics. It’s like people have taken it as a personal offence that you’ve written some lines about… it’s hilarious that people are taking it personally.

RW: It’s true. I knew there was going to be some kind of negative backlash regarding me taking over the lyrics because Arif has such a specific, poetic style and when it comes to me it’s like… I just tried to write about things that I knew about and make it rhyme a little, y’know? Obviously it’s going to piss people off.

I think the funniest is with “Sex Tapes.” A lot of people are pissed off at me about that and it was Arif who wrote that. I think that song served its purpose so well. He wrote it with this very specific, gratuitous nature. I’ve gotten messages from kids being like, “I don’t want to fuckin’ hear you singing about jerking off” and it’s like… the very nature of the song is based on people’s negative reactions and the idea of the language that was used in that song to kind of portray the vulgarity and the disgusting nature of it all. As much as it kind of backfires on itself, it works perfectly.

SM: People would be surprised to know I’ve heard Arif say some things that are far more disgusting than I’ve ever heard come out of your mouth.

RW: That’s true. Because he’s cursed with a silver, or a golden tongue. He’s got such a vast vernacular on him that he can produce some of the most beautiful and some of the most putrid things that have ever been said.

SM: How does it help singing your own lyrics. I know it changes the songwriting approach, but does it engage you a little more?

RW: It definitely does. It certainly makes me feel a lot more passionate about the words that I’m singing. Not that I had any problem with any lyric Arif’s ever written, but it gives me a certain sense of identity that I feel I’ve never really had before. The songs, these ones certainly mean a lot more to me than they ever have.

SM: It’s funny, too, because like I asked earlier, you’re always… people are always expecting you to be “on” and when you give them that, in part in your lyrics, they’re pissed off. They can’t make up their minds.

RW: Eh… fuck ‘em all anyway.

SM: It’s funny now, too, that people are going through trying to find all the Star Trek references. That’s something you couldn’t do before… it’s a different element. Obviously “Dunsel” is the most blatant one, is that a reference to the record industry in relation to how the word is used in the show? Like a redundancy?

RW: Absolutely. I was watching that episode for and I had had those lyrics all written out. I think that was the first song on the record that received a title. I was watching that episode for the millionth time and that one part where the Admiral calls him ‘Captain Dunsel’ really stuck out to me. It really hammered a point home even though they just fuckin’ made the term up. That wasn’t actually a piece of a naval ship. They just made that shit up. I think anyone who knows Star Trek gets that reference immediately, which I’m sure you did.

SM: It’s the first one that stuck out to me.

RW: I think when you realize the song is about industry, that connection is very blatant. Very blunt… almost harsh.

SM: With the ‘cocaine cowboys’ lines… is that a reference to the documentary or do you just really like Matt Mays?

RW: Hah… no, neither. None of the above. It’s really more just bullshit, it’s common. Everyone is so aware of the idea of cocaine cowboys… it’s not necessarily in relation to the cocaine issue in Miami in the 1970s or whatever. It’s more a reference to people making money off our backs and spending it on partying their brains out.

SM: Which happens a lot. How has your your fanbase changed over the years? You’ve gone from having snotty teenage punks to some wiener kids to some… now you’ve got Star Trek kids. Have you found your fan base has evolved over the years, or have they just stuck with you?

RW: It’s turned into a weird group of people and maybe that has to do with us being kind of a strange band. I find it’s hard to define them under one specific, all-encompassing term. You can look at a lot of fuckin’ bands and be like, “oh their fans are these kind of people, their fans are these kinds of people,” but it seems to me that the longer we go and the more we put out, it seems to be such a smattering of different groups of people enjoying the music for different reasons. So, I don’t know. The fan base has evolved into this grey-matter of just… a faceless thing… entity of some kind. I think that’s the best way to be because we try our best not to fuckin’ define ourselves, so why should the fans be any different?

SM: You guys have already shot a video. Can you say what it’s for yet?

RW: Yep, it’s for “C’est La Vie”. I think it’ll be dropping the same time the album does. It’s a fuckin’ super quick turn-around time.

SM: Is it going to be in the theme of your sillier videos, or is it going to be more blood sucking vampires?

RW: Oh fuck. You had to bring that one up, haha. It’s got a more serious tone than the last few that we’ve put out. It’s basically… it follows the lyrics almost exactly. The very interesting thing about it is really how it looks as opposed to what it looks of. Essentially it’s just a bunch of people fuckin’ killing themselves in different, wonderful ways.

SM: Do you guys have to have a disclaimer on that? Like what Papa Roach used to have?

RW: That’s the thing that I don’t know. I’ve been wondering if at the end they’re going to be like, “Kids Help Phone,” and the list the number. I don’t want that because I think that anyone that would be influenced to commit suicide by a music video is a fucking idiot and probably doesn’t deserve to be on the Earth anyway. That may be a little too harsh, but I just don’t think that there should be an advisory, because it’s not gratuitous. It’s done in a very artistic way. You don’t see people fuckin’ spraying blood or anything like that. It basically cites the examples of what’s listed in the songs, in the song rather, so I don’t think that a parental advisory is necessary, I think it would be so lame if they make us do that.

SM: But you don’t know yet?

RW: No. I think there’s a pretty good chance that you’re going to see that fuckin’ Kids Help Phone come up at the end, hah.

SM: I’ll let you go rest your voice in a minute….

RW: It’s all good, I’ve got like three more fuckin’ interviews to do, I might as well just kill it.

SM: Just before you go, are you still doing anything on the side? I know Arif’s got his country thing, but do you have anything on the side? As one of the few people who’s actually paid to see Cheddar Cheese & the Mouse Trap, I’m wondering if you guys going to be doing anything?

RW: Yeah. I think Arif and I are going to start working on something a little more serious than Cheddar Cheese, but very much the same amount of fun. I’m not really sure what it’s going to shape up to just yet, but…

SM: You’ll be seeing lots of each other so I’m sure you can come together with something.

RW: Exactly. We’re hoping to get an actual fuckin’ side-project of some kind together, if not just write a couple of fun songs to have a good time with. I think Cheddar Cheese is just… hah

SM: It’s done, you think?

RW: We did our one major tour and it was a major flop.

SM: It was fun, though.

RW: It was kind of fun.

SM: Are you going to do any more of those… I remember you used to do skits, you had Space Wars, which I’ve unfortunately still never seen. Anything like that?

RW: Ah! I think about that all the time. I’ve recently become a bit of a Flash specialist and I think about animating short little things but I never really ever get it fully started. Probably one day before this album is dead and gone.

Scurrilous is released on March 22 via Vagrant Records/Universal Music Canada.





Willie
03.17.11
Awesome interview. I guess that explains why I thought that the lyrics seemed so different on this one compared to their last album.

AngelofDeath
03.17.11
"Rowdy" Roddy Piper > "Rowdy" Rody Walker

Tyler
03.17.11
yeah because that's obviously a relevant comparison

Scoot
03.17.11
look at that haircut hahaha

Tyler
03.17.11
I think that 'do lasted less than a month.

Deviant.
03.17.11
Seems like an awesome dude, nice one Tyler

AngelofDeath
03.17.11
It's true though. I will say I did enjoy reading this even though I think PtH sucks.

theacademy
03.17.11
OMG I CANT WAIT FOR ABSOLUTEPUNK TO LINK THIS!!!!

theacademy
03.17.11
also, nice interview

bloc
03.17.11
I look forward to see this fool on May 6th haha.

Lovely interview, Ty.

dnor
03.17.11
sweet interview man. Rody is the shit!

Yazz_Flute
03.17.11
I always love reading this fangled interviews.

Iluvatar
03.17.11
do you know rody???

Tyler
03.17.11
We're not best friends or anything but I know him in the sense that I've been going to his band's shows for years and we'll have a drink every once and a while. It's nothing worthwhile but worth noting in the interest of transparency.

Tyler
03.17.11
ps: i know you're just fuckin around mr. hanson

also, "this fangled interviews"? does not compute.

psykonaut
03.17.11
haha that was a great read

Mordecai.
03.17.11
i know rody

AndManyMore
03.17.11
kinda wish i watched star trek now.

DaveyBoy
03.17.11
Great interview Tyler. Well done.

And you see what happens when someone comes to Australia. You get f*cked up one way or another.

Josh D.
03.17.11
Rody is cool.

Tyler
03.17.11
Hah, Davey, a friend of mine was in Australia around the same time and within 36 hours of being there he saw a dead body (OD'd) and had half his shit stolen. But your money is really hard to tear in half, so you've got that going for you.

poweroftheweez
03.17.11
"anyone that would be influenced to commit suicide by a music video is a fucking idiot and probably doesn’t deserve to be on the Earth anyway"
haha! brilliant, nice work tyler

Josh D.
03.17.11
Earth is just ok.

taxidermist
03.17.11
I met Rody. Funny dude. He called Forever the Sickest Kids, Forever the Sickest fags, lol.

Aids
03.17.11
Rody's such an awesome guy. Great job on the write-up, Spuntik >>> other music websites.

bloc
03.17.11
There are no other music websites

Aids
03.17.11
not after this Sputnik EXCLUSIVE. goodbye competition :sunglasses:

AndManyMore
03.17.11
wait. the yeti no longer has a home.

Aids
03.17.11
" but there’s something so arrogant about these kids coming and taking something that took us so long to make and just stealing it in no second flat."

=( sorry Rody. I still plan on buying the CD though, and I'm probably going to see them in Abbotsford so I don't feel too bad about downloading the leak. It makes sense why he'd be pissed though, obviously.

Josh D.
03.17.11
I mean, I've had the shit for like 5 weeks, so...

Tyler
03.17.11
wow josh that's pretty impressive (I've had it for 7 and I didn't even steal it)

IndieOut
03.17.11
for some reason this album just clicked subsequent to reading this awesome review. lyrics can still get pretty gay at some parts though.

IndieOut
03.17.11
interview*

Tyler
03.17.11
The only lyrics I really dislike are bits of Moonlight, mostly the 'turn our questions into answers' part, which was written by Arif, and the 'knife right through your heart' part. Tandem is a bit much lyrically but I don't mind because it's clearly something he's writing from a very passionate place, it's very real and not necessarily the melodrama of an older song like "Led Astray", you can tell it's a big deal for him to say those things. Tongue-Splitter might be my favourite song on the album, both lyrically and musically. Read this interview, intro included, then listen to it again.

Tyler
03.17.11
Also, thanks for the kind words from those who've given them. I appreciate it. I'm not the most confident interviewer so it actually does mean a lot to know I'm not totally butchering it.

IndieOut
03.17.11
my biggest problem with the lyrics is when he ruins the best breakdown on the album by belting "so pucker up those pretty lips of yours and kiss my ass and shut your mouth" on tapestry. sounds like bring me the horizon shit

Aids
03.17.11
"I'm not the most confident interviewer"

this is my shocked face. it doesn't show at all man; your interviews kick so much ass. I guess it helps that you know him well-ish, still, great stuff.

I'm trying to remember, was it you who did the interview with the bassist from The Red Chord?

Tyler
03.17.11
Yeah, that was me. Got to do that one in person, which is a lot less awkward than phoners, which I'm usually stuck doing.

http://www.sputnikmusic.com/feature.php?id=5761

Spec
03.17.11
Very good interview. When I talked to him, he actually seemed like a pretty nice guy although he still had a little bit of an edge to him.

botb
03.17.11
good read tyler


Tyler
03.17.11
He's a really nice guy, I think he just gets fed up playing the part quicker than most.

HBFS
03.17.11
Cool read. my name is rowdy, haha.

Aids
03.17.11
"Yeah, that was me"

confirms my suspicion that 100% of your interviews are boss. I loved that one, and The Red Chord aren't really my thing.

Tyrael
03.17.11
Nice review! He seems like a nice guy.

Tyrael
03.17.11
interview*

Damrod
03.17.11
I seriously never could get into the stuff they put out so far, but honestly: I really laughed reading that interview. Funny guy, seems very nice too.

The Chris Hannah thing is awesome. =D

DoubtGin
03.17.11
dude loves to swear

DoubtGin
03.17.11
38 fucks

Tyler
03.17.11
I took a bunch out, actually, in the interest of flow.

Lambda
03.18.11
Star Trek is awesome.

Aids
03.18.11
-"38 fucks"
-"I took a bunch out, actually, in the interest of flow. "

huge lol. when I saw them live (the time they didn't suck) I'm not sure that Rody spoke a single word that wasn't a swear. he was fucking hammered though so I mean, fair enough

Tyler
03.18.11
It's actually funny listening back to the audio, it's not offensive or harsh or anything, he just says "fuck" in the same way that hockey players say "um" every third word.

fr33convict
03.18.11
This interview made me laugh, cry, and happy. You should release the audio tape and win a Grammy Tyler.

Tyler
03.18.11
I think you're underestimating how awkward it is listening to a 20+ minute phone back and forth.

Insurrection
03.18.11
"Rowdy" Roddy Piper < "Rowdy" Rody Walker

Tyler
03.18.11
Abandon All Ships was probably a business thing. Same management or same representation somewhere down the line. Plus they played a few shows together, so I'm assuming that even though their music is terri-fuckin-ble they might be good dudes. IDK. But see: Dunsel.

Wizard
03.18.11
What a great interview hahaha. Good read Tyler.

HenchmanOfSanta
03.18.11
Great interview. Wish I could see them in Cleveland next month but I'm going to my sister's college graduation. At least they'll be around a few more times.

bloc
03.18.11
It's funny because the Abandon All Ships song with Rody is the worst song on the album.

Sound
03.18.11
Tyler do you happen to know when Rody's birthday is? There's no information to find on the web except the year '86. Of course if it's meant to be private then so be it.

Also, interview was a great read.




Tyler
03.18.11
Not sure why you'd need to know that.

Sound
03.18.11
As I said you don't have to tell it but I think the question isn't why I [i]need[/i] to know it. I'm just curious, as are probably many other people out there. It's Rody from Protest the Hero y'know.



gocsa666
03.19.11
It's May 6, 1986. There.

gocsa666
03.19.11
And yeah he said he's friends with the guys from Abandon All Ships and that's why he did it. Somebody asked him about it on Facebook a while ago, that's where I remember this from.

Sound
03.19.11
Cool. Seeing that he is an extraordinary vocalist, I thought there could maybe be some correlation between other earth signs/May-born people (Devin Townsend, James LaBrie i.e.).



endorphin
03.20.11
When he mentions his voice blowing out or whatever. Was this during Soundwave here in Australia about a week ago?

judgedeath2
03.20.11
"there’s something so arrogant about these kids coming and taking something that took us so long to make and just stealing it in no second flat."

sorry for preordering the whole freakin' deluxe package and THEN downloading the leak. sheesh.

erasedcitizen
03.20.11
Yeah because that's what all pirates do mirite

Tyler
03.20.11
"When he mentions his voice blowing out or whatever. Was this during Soundwave here in Australia about a week ago?"

Yeah, I assume so. When I saw them at the Bovine a few days before this interview they'd just gotten back from Australia, and that was last week.

"sorry for preordering the whole freakin' deluxe package and THEN downloading the leak. sheesh."

You're obviously not who he's referring to. It's more kids who started sending him messages the day it leaked saying shit like WHY U NO SCREM? as well as people using it as a bragging point. The band doesn't have a problem with downloading, per se, but the attitude some people cop about it.

DjentThePie514
03.20.11
i love rody.

KinkyFresh
03.21.11
when i saw pth live last year rody just kept making that hand gesture that looks like you're eating someone out or whatever over and over again and that made me dislike him

judgedeath2
03.21.11
"Yeah because that's what all pirates do mirite"

no, not all, but many fans who know they will buy the record (or are wondering if they should) certainly do download. it just seems like from (rody's) statement that he's dismissing anyone who's downloaded the record as a thief/douche/pirate, even those that are complimenting him.

Tyler
03.21.11
read my comment. you're reading pretty hard into one small quote. i should have pushed him on it, admittedly.

erasedcitizen
03.21.11
He's in a band, I'm sure he gets enough compliments. Praising somebody after stealing their shit is even worse than just not saying anything at all and going on your merry way like everyone else. Imagine somebody steals a radio out of your car and then calls you up and says "Hey buddy, this thing works great!" Fuck that. Get a job.

porch
03.21.11
downloading an album on the internet and stealing something from a car aren't morally or legally equivalent

theacademy
03.21.11
you could hypothetically construct a scenario where they are, though

porch
03.21.11
if i worked for the RIAA or wanted to ignore reality i probably could yeah



erasedcitizen
03.21.11
You're right. Stealing an album that took months or possibly years of effort is worse.

porch
03.21.11
comparing it to physical theft doesn't work because when someone steals something the owner is actually deprived of it and the other person takes possession of it; this isn't the case with downloading music, it helps broaden the bands audience, introduces them to bands they would otherwise never have heard which leads to them going to their shows/buying merchandise etc

the bands themselves are doing fine and will continue to find other ways of making money other than selling albums because most of them realise that the old way of thinking is hopelessly outmoded now that people can get it free. keep crying about it though, make a citizens arrest the next time you see it happening

erasedcitizen
03.21.11
"introduces them to bands they would otherwise never have heard which leads to them going to their shows/buying merchandise etc"

Sputnik users don't make up all of the world's music pirates, believe it or not. They download the album, put it on their iPod, and continue on with life. Have you bought merchandise or gone to a show featuring every band you've stolen from? Do you honestly, truly believe that that's what most pirates do? Do you really think that ticket sales have the potential to make as much money as album sales?



Tyler
03.21.11
It doesn't have to do with making money, it's just the idea that they worked hard on it and people just kind of grabbed it like it was nothing and went "hey i have this already". It's the gloating more than anything.

erasedcitizen
03.21.11
And seriously, buying albums isn't the "old way of thinking". iTunes shows us that. People steal music because it's more anonymous and much safer than say, robbing a record store. Not because it's the future. Downloading things isn't exactly space age material.

porch
03.21.11
"Do you honestly, truly believe that that's what most pirates do? Do you really think that ticket sales have the potential to make as much money as album sales?"

do you think i give a shit? i'm pointing out the simple reality that when music is freely available online, album sales are naturally going to decline. most bands will adapt to it, a few old farts will bitch and moan but they can be ignored. If people like something enough, they’ll invest something back in it one way or another.

“Have you bought merchandise or gone to a show featuring every band you've stolen from?”

i probably never would've even heard a lot of the bands whose shows i go to/LP’s i buy if i hadn’t downloaded their albums first. so if i download something and like it enough, i'll probably buy it eventually. if i don't like it, i delete the file

“And seriously, buying albums isn't the "old way of thinking". iTunes shows us that”

itunes shows us that there are still idiots out there willing to pay exorbitant prices for a low to middling quality version of the original product with no artwork or physical presence. good for them.


theacademy
03.21.11
"do you think i give a shit? i'm pointing out the simple reality that when music is freely available online, album sales are naturally going to decline. most bands will adapt to it, a few old farts will bitch and moan but they can be ignored. If people like something enough, they’ll invest something back in it one way or another. "

this is sound in theory, but keep in mind that the pipeline for producing records is not the same for every band... some band's can't get their music in an episode of bones or on tour with escape the fate... true, their exposure goes up, but recording contracts don't come with health insurance...

theacademy
03.21.11
"itunes shows us that there are still idiots out there willing to pay exorbitant prices for a low to middling quality version of the original product with no artwork or physical presence. good for them."

you're also forgetting how itunes and amazon COMPLETELY fuck over the musicians... something like 3 cents per .99 cent song

theacademy
03.21.11
i mean 3 cents per 99 cent song

erasedcitizen
03.21.11
Most bands will adapt to it? Most bands are mad about it. Same goes for any film maker or anyone who makes media for a living. They have a right to be, because album sales are the core mechanic of being a successful band. Name any band, and if they aren't some local basement project I guarantee you that most of their fans have never been to a single one of their shows. The few bands who do attract millions of peopel worldwide each year already get paid enough to put their kids through college seven times, so they don't have anything to worry about. You know who does? The rest of the industry, the majority. Those old farts may be annoying to a young person like you, but they're right. It's wrong to steal albums. If it weren't, they wouldn't cost anything. It costs a lot of money to make an album, both for the band and the label, the latter most people forget about, and without album sales, they'll be forgotten for forever, which is also bad news for the bands. As for that last comment, I think you have too optimistic of a perception of people.

As for hearing lots of bands you think you never would have heard otherwise, that's cool, and that's one of the few benefits of piracy. Still, not everyone is like you, most pirates just don't buy music if they can help it. There's no reason to. Physical copies of music, movies, that's the past iTunes shows us that digital copy is the way of the future. Free digital copies are illegal and will be impossible to obtain for the same mass of people who download them now once the internet starts privatizing.





theacademy
03.21.11
lol @ how retarded your 2nd paragraph is

erasedcitizen
03.21.11
What's retarded?

theacademy
03.21.11
your 2nd paragraph

iwubmoosik
03.21.11
way of the future

erasedcitizen
03.21.11
What's retarded about it?

theacademy
03.21.11
"There's no reason to. Physical copies of music, movies, that's the past iTunes shows us that digital copy is the way of the future."

this part. iTunes didn't show us shit... in fact, in the sentence that came right before you conclude that there's no reason to pay for something people can get for free.

"Free digital copies are illegal and will be impossible to obtain for the same mass of people who download them now once the internet starts privatizing."

never gonna happen to this extent... government will 100% definitely step in... it has happened at every stage of evolutionary media monopolies... radio, FCC, phones, mobile phones

theacademy
03.21.11
basically your ENTIRE point about iTunes being much better for musicians than pirates.

"marginally better" is much more fitting

you could even make the argument that more 'benevolent pirates' such as porchular has described them would be better for individual artists than itunes could even be

erasedcitizen
03.21.11
There's no reason for pirates to pay for it, is what I meant. Most people really don't mind the price of an album because if you don't work at McDonald's it's not a big deal.

And you're right, the government would step in if it were to become a monopoly. But over a decade ago they started handing off backbone networks to various financial privateers, so to speak. The government's main interest in the internet is commercial prowess. They want telecommunications companies to control the internet.

theacademy
03.21.11
ok time to quit while you're way, way behind

erasedcitizen
03.21.11
Benevolent pirates are few and far between.

iwubmoosik
03.21.11
i didnt know the only thing people who worked at mcdonalds paid for were albums

erasedcitizen
03.21.11
It's not, because they have to worry about other expenses.

iwubmoosik
03.21.11
yeah, but people who work at McDonald's for a full time job are 80% of the time struggling just with bills.

iwubmoosik
03.21.11
woops, redundant me is redundant

erasedcitizen
03.21.11
I know, that's what I mean. I was there once. Except for me it was Burger King.

theacademy
03.21.11
why are you using mcdonanalds/burger king jobs as a benchmark...

don' t you know how many people are worse off than McEmployees

erasedcitizen
03.21.11
They're a benchmark because they're minimum wage and all minimum wage jobs are the same, you clock in, do stupid pointless shit, clock out. If you're worse off than minimum wage you must be in serious debt, but that's a different story.

porch
03.21.11
"The few bands who do attract millions of peopel worldwide each year already get paid enough to put their kids through college seven times, so they don't have anything to worry about"

life is tough.

you seem to be talking specifically about bands who only make music so they can make money from it. so yeah, musicians who just want to make money will quit and others who do it out of a need just to make music will adapt to this/work a dayjob so they can continue. and the world keeps turning.

your points about free digital copies becoming impossible to attain, most fileshares being either unemployed or on the minimum wage and itunes signalling the way of the future are just fatuous bullshit



theacademy
03.22.11
honestly the best solution is just triple everybody's internet bill and say: 'everything is free'

erasedcitizen
03.24.11
You read me wrong, I said being on minimum wage would be the only reason you wouldn't be able to afford buying albums, and I never said anything about unemployment. And while iTunes seems like old hat now, it started a trend when it began: the era of singles. Back before iTunes you'd be lucky to even find singles in your run of the mill cd shops. But now, they're all people buy, because they are a conveniently invisible, extremely affordable computer file. And free digital copies will become much harder to obtain in the coming years, just as they are harder to obtain than they were five or six years ago. I doubt it will ever be impossible, I said it would be impossible for the "same mass of people" that take them for granted now. The internet is too powerful a commodity to have so many loopholes.

And no, I wasn't referring to bands who do it to make money. Piracy affects all bands, especially the smaller ones, since their albums aren't as available as the big boys. Sure, more people are listening to them, but that doesn't put guitars in their amps or food on their plates. Musicians have been working dayjobs since forever, the difference is now they don't have as much of an advantage in doing both. Too much stress for too little pay. Nowadays, it's only easy to be a musician if you either don't release albums and just do it to play local gigs for some extra cash, or if you're already made. The problem is, the middle ground is where the bulk of the industry resides.





shanfresh
04.10.11
I think you're an asshole if you download an album that a band puts so much into an album especially if you even pay attention to the lyrical content in the lyrics Rody wrote and then gloat. I understand to have to constantly put on a show for people it gets old. Anyway I thought the interview was at times amusing and thought you did quite well Tyler!

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