Archive for August 11th, 2007

11
Aug

13 things that don’t make sense

1. The placebo effect
Don’t try this at home. Several times a day, for several days, you induce pain in someone. You control the pain with morphine until the final day of the experiment, when you replace the morphine with saline solution. Guess what? The saline takes the pain away.

This is the placebo effect: somehow, sometimes, a whole lot of nothing can be very powerful. Except it’s not quite nothing. When Fabrizio Benedetti of the University of Turin in Italy carried out the above experiment, he added a final twist by adding naloxone, a drug that blocks the effects of morphine, to the saline. The shocking result? The pain-relieving power of saline solution disappeared.

So what is going on? Doctors have known about the placebo effect for decades, and the naloxone result seems to show that the placebo effect is somehow biochemical. But apart from that, we simply don’t know.

Benedetti has since shown that a saline placebo can also reduce tremors and muscle stiffness in people with Parkinson’s disease (Nature Neuroscience, vol 7, p 587). He and his team measured the activity of neurons in the patients’ brains as they administered the saline. They found that individual neurons in the subthalamic nucleus (a common target for surgical attempts to relieve Parkinson’s symptoms) began to fire less often when the saline was given, and with fewer “bursts” of firing - another feature associated with Parkinson’s. The neuron activity decreased at the same time as the symptoms improved: the saline was definitely doing something.

We have a lot to learn about what is happening here, Benedetti says, but one thing is clear: the mind can affect the body’s biochemistry. “The relationship between expectation and therapeutic outcome is a wonderful model to understand mind-body interaction,” he says. Researchers now need to identify when and where placebo works. There may be diseases in which it has no effect. There may be a common mechanism in different illnesses. As yet, we just don’t know.

2. The horizon problem
Our universe appears to be unfathomably uniform. Look across space from one edge of the visible universe to the other, and you’ll see that the microwave background radiation filling the cosmos is at the same temperature everywhere. That may not seem surprising until you consider that the two edges are nearly 28 billion light years apart and our universe is only 14 billion years old.

Nothing can travel faster than the speed of light, so there is no way heat radiation could have travelled between the two horizons to even out the hot and cold spots created in the big bang and leave the thermal equilibrium we see now.

This “horizon problem” is a big headache for cosmologists, so big that they have come up with some pretty wild solutions. “Inflation”, for example.

You can solve the horizon problem by having the universe expand ultra-fast for a time, just after the big bang, blowing up by a factor of 1050 in 10-33

seconds. But is that just wishful thinking? “Inflation would be an explanation if it occurred,” says University of Cambridge astronomer Martin Rees. The trouble is that no one knows what could have made that happen.

So, in effect, inflation solves one mystery only to invoke another. A variation in the speed of light could also solve the horizon problem - but this too is impotent in the face of the question “why?” In scientific terms, the uniform temperature of the background radiation remains an anomaly.

“A variation in the speed of light could solve the problem, but this too is impotent in the face of the question ‘why?’”

3. Ultra-energetic cosmic rays
For more than a decade, physicists in Japan have been seeing cosmic rays that should not exist. Cosmic rays are particles - mostly protons but sometimes heavy atomic nuclei - that travel through the universe at close to the speed of light. Some cosmic rays detected on Earth are produced in violent events such as supernovae, but we still don’t know the origins of the highest-energy particles, which are the most energetic particles ever seen in nature. But that’s not the real mystery.

As cosmic-ray particles travel through space, they lose energy in collisions with the low-energy photons that pervade the universe, such as those of the cosmic microwave background radiation. Einstein’s special theory of relativity dictates that any cosmic rays reaching Earth from a source outside our galaxy will have suffered so many energy-shedding collisions that their maximum possible energy is 5 × 1019 electronvolts. This is known as the Greisen-Zatsepin-Kuzmin limit.

Over the past decade, however, the University of Tokyo’s Akeno Giant Air Shower Array - 111 particle detectors spread out over 100 square kilometres - has detected several cosmic rays above the GZK limit. In theory, they can only have come from within our galaxy, avoiding an energy-sapping journey across the cosmos. However, astronomers can find no source for these cosmic rays in our galaxy. So what is going on?

One possibility is that there is something wrong with the Akeno results. Another is that Einstein was wrong. His special theory of relativity says that space is the same in all directions, but what if particles found it easier to move in certain directions? Then the cosmic rays could retain more of their energy, allowing them to beat the GZK limit.

Physicists at the Pierre Auger experiment in Mendoza, Argentina, are now working on this problem. Using 1600 detectors spread over 3000 square kilometres, Auger should be able to determine the energies of incoming cosmic rays and shed more light on the Akeno results.

Alan Watson, an astronomer at the University of Leeds, UK, and spokesman for the Pierre Auger project, is already convinced there is something worth following up here. “I have no doubts that events above 1020 electronvolts exist. There are sufficient examples to convince me,” he says. The question now is, what are they? How many of these particles are coming in, and what direction are they coming from? Until we get that information, there’s no telling how exotic the true explanation could be.

“One possibility is that there is something wrong with the Akeno results. Another is that Einstein was wrong”

4. Belfast homeopathy results
Madeleine Ennis, a pharmacologist at Queen’s University, Belfast, was the scourge of homeopathy. She railed against its claims that a chemical remedy could be diluted to the point where a sample was unlikely to contain a single molecule of anything but water, and yet still have a healing effect. Until, that is, she set out to prove once and for all that homeopathy was bunkum.

In her most recent paper, Ennis describes how her team looked at the effects of ultra-dilute solutions of histamine on human white blood cells involved in inflammation. These “basophils” release histamine when the cells are under attack. Once released, the histamine stops them releasing any more. The study, replicated in four different labs, found that homeopathic solutions - so dilute that they probably didn’t contain a single histamine molecule - worked just like histamine. Ennis might not be happy with the homeopaths’ claims, but she admits that an effect cannot be ruled out.

So how could it happen? Homeopaths prepare their remedies by dissolving things like charcoal, deadly nightshade or spider venom in ethanol, and then diluting this “mother tincture” in water again and again. No matter what the level of dilution, homeopaths claim, the original remedy leaves some kind of imprint on the water molecules. Thus, however dilute the solution becomes, it is still imbued with the properties of the remedy.

You can understand why Ennis remains sceptical. And it remains true that no homeopathic remedy has ever been shown to work in a large randomised placebo-controlled clinical trial. But the Belfast study (Inflammation Research, vol 53, p 181) suggests that something is going on. “We are,” Ennis says in her paper, “unable to explain our findings and are reporting them to encourage others to investigate this phenomenon.” If the results turn out to be real, she says, the implications are profound: we may have to rewrite physics and chemistry.

5. Dark matter
Take our best understanding of gravity, apply it to the way galaxies spin, and you’ll quickly see the problem: the galaxies should be falling apart. Galactic matter orbits around a central point because its mutual gravitational attraction creates centripetal forces. But there is not enough mass in the galaxies to produce the observed spin.

Vera Rubin, an astronomer working at the Carnegie Institution’s department of terrestrial magnetism in Washington DC, spotted this anomaly in the late 1970s. The best response from physicists was to suggest there is more stuff out there than we can see. The trouble was, nobody could explain what this “dark matter” was.

And they still can’t. Although researchers have made many suggestions about what kind of particles might make up dark matter, there is no consensus. It’s an embarrassing hole in our understanding. Astronomical observations suggest that dark matter must make up about 90 per cent of the mass in the universe, yet we are astonishingly ignorant what that 90 per cent is.

Maybe we can’t work out what dark matter is because it doesn’t actually exist. That’s certainly the way Rubin would like it to turn out. “If I could have my pick, I would like to learn that Newton’s laws must be modified in order to correctly describe gravitational interactions at large distances,” she says. “That’s more appealing than a universe filled with a new kind of sub-nuclear particle.”

“If the results turn out to be real, the implications are profound. We may have to rewrite physics and chemistry”

6. Viking’s methane
July 20th, 1976. Gilbert Levin is on the edge of his seat. Millions of kilometres away on Mars, the Viking landers have scooped up some soil and mixed it with carbon-14-labelled nutrients. The mission’s scientists have all agreed that if Levin’s instruments on board the landers detect emissions of carbon-14-containing methane from the soil, then there must be life on Mars.

Viking reports a positive result. Something is ingesting the nutrients, metabolising them, and then belching out gas laced with carbon-14.
So why no party?

Because another instrument, designed to identify organic molecules considered essential signs of life, found nothing. Almost all the mission scientists erred on the side of caution and declared Viking’s discovery a false positive. But was it?

The arguments continue to rage, but results from NASA’s latest rovers show that the surface of Mars was almost certainly wet in the past and therefore hospitable to life. And there is plenty more evidence where that came from, Levin says. “Every mission to Mars has produced evidence supporting my conclusion. None has contradicted it.”

Levin stands by his claim, and he is no longer alone. Joe Miller, a cell biologist at the University of Southern California in Los Angeles, has re-analysed the data and he thinks that the emissions show evidence of a circadian cycle. That is highly suggestive of life.

Levin is petitioning ESA and NASA to fly a modified version of his mission to look for “chiral” molecules. These come in left or right-handed versions: they are mirror images of each other. While biological processes tend to produce molecules that favour one chirality over the other, non-living processes create left and right-handed versions in equal numbers. If a future mission to Mars were to find that Martian “metabolism” also prefers one chiral form of a molecule to the other, that would be the best indication yet of life on Mars.

“Something on Mars is ingesting nutrients, metabolising them and then belching out radioactive methane”

7. Tetraneutrons
Four years ago, a particle accelerator in France detected six particles that should not exist. They are called tetraneutrons: four neutrons that are bound together in a way that defies the laws of physics.

Francisco Miguel Marquès and colleagues at the Ganil accelerator in Caen are now gearing up to do it again. If they succeed, these clusters may oblige us to rethink the forces that hold atomic nuclei together.

The team fired beryllium nuclei at a small carbon target and analysed the debris that shot into surrounding particle detectors. They expected to see evidence for four separate neutrons hitting their detectors. Instead the Ganil team found just one flash of light in one detector. And the energy of this flash suggested that four neutrons were arriving together at the detector. Of course, their finding could have been an accident: four neutrons might just have arrived in the same place at the same time by coincidence. But that’s ridiculously improbable.

Not as improbable as tetraneutrons, some might say, because in the standard model of particle physics tetraneutrons simply can’t exist. According to the Pauli exclusion principle, not even two protons or neutrons in the same system can have identical quantum properties. In fact, the strong nuclear force that would hold them together is tuned in such a way that it can’t even hold two lone neutrons together, let alone four. Marquès and his team were so bemused by their result that they buried the data in a research paper that was ostensibly about the possibility of finding tetraneutrons in the future (Physical Review C, vol 65, p 44006).

And there are still more compelling reasons to doubt the existence of tetraneutrons. If you tweak the laws of physics to allow four neutrons to bind together, all kinds of chaos ensues (Journal of Physics G, vol 29, L9). It would mean that the mix of elements formed after the big bang was inconsistent with what we now observe and, even worse, the elements formed would have quickly become far too heavy for the cosmos to cope. “Maybe the universe would have collapsed before it had any chance to expand,” says Natalia Timofeyuk, a theorist at the University of Surrey in Guildford, UK.

There are, however, a couple of holes in this reasoning. Established theory does allow the tetraneutron to exist - though only as a ridiculously short-lived particle. “This could be a reason for four neutrons hitting the Ganil detectors simultaneously,” Timofeyuk says. And there is other evidence that supports the idea of matter composed of multiple neutrons: neutron stars. These bodies, which contain an enormous number of bound neutrons, suggest that as yet unexplained forces come into play when neutrons gather en masse.

8. The Pioneer anomaly
This is a tale of two spacecraft. Pioneer 10 was launched in 1972; Pioneer 11 a year later. By now both craft should be drifting off into deep space with no one watching. However, their trajectories have proved far too fascinating to ignore.

That’s because something has been pulling - or pushing - on them, causing them to speed up. The resulting acceleration is tiny, less than a nanometre per second per second. That’s equivalent to just one ten-billionth of the gravity at Earth’s surface, but it is enough to have shifted Pioneer 10 some 400,000 kilometres off track. NASA lost touch with Pioneer 11 in 1995, but up to that point it was experiencing exactly the same deviation as its sister probe. So what is causing it?

Nobody knows. Some possible explanations have already been ruled out, including software errors, the solar wind or a fuel leak. If the cause is some gravitational effect, it is not one we know anything about. In fact, physicists are so completely at a loss that some have resorted to linking this mystery with other inexplicable phenomena.

Bruce Bassett of the University of Portsmouth, UK, has suggested that the Pioneer conundrum might have something to do with variations in alpha, the fine structure constant (see “Not so constant constants”, page 37). Others have talked about it as arising from dark matter - but since we don’t know what dark matter is, that doesn’t help much either. “This is all so maddeningly intriguing,” says Michael Martin Nieto of the Los Alamos National Laboratory. “We only have proposals, none of which has been demonstrated.”

Nieto has called for a new analysis of the early trajectory data from the craft, which he says might yield fresh clues. But to get to the bottom of the problem what scientists really need is a mission designed specifically to test unusual gravitational effects in the outer reaches of the solar system. Such a probe would cost between $300 million and $500 million and could piggyback on a future mission to the outer reaches of the solar system (www.arxiv.org/gr-qc/0411077).

“An explanation will be found eventually,” Nieto says. “Of course I hope it is due to new physics - how stupendous that would be. But once a physicist starts working on the basis of hope he is heading for a fall.” Disappointing as it may seem, Nieto thinks the explanation for the Pioneer anomaly will eventually be found in some mundane effect, such as an unnoticed source of heat on board the craft.

9. Dark energy
It is one of the most famous, and most embarrassing, problems in physics. In 1998, astronomers discovered that the universe is expanding at ever faster speeds. It’s an effect still searching for a cause - until then, everyone thought the universe’s expansion was slowing down after the big bang. “Theorists are still floundering around, looking for a sensible explanation,” says cosmologist Katherine Freese of the University of Michigan, Ann Arbor. “We’re all hoping that upcoming observations of supernovae, of clusters of galaxies and so on will give us more clues.”

One suggestion is that some property of empty space is responsible - cosmologists call it dark energy. But all attempts to pin it down have fallen woefully short. It’s also possible that Einstein’s theory of general relativity may need to be tweaked when applied to the very largest scales of the universe. “The field is still wide open,” Freese says.

10. The Kuiper cliff
If you travel out to the far edge of the solar system, into the frigid wastes beyond Pluto, you’ll see something strange. Suddenly, after passing through the Kuiper belt, a region of space teeming with icy rocks, there’s nothing.

Astronomers call this boundary the Kuiper cliff, because the density of space rocks drops off so steeply. What caused it? The only answer seems to be a 10th planet. We’re not talking about Quaoar or Sedna: this is a massive object, as big as Earth or Mars, that has swept the area clean of debris.

The evidence for the existence of “Planet X” is compelling, says Alan Stern, an astronomer at the Southwest Research Institute in Boulder, Colorado. But although calculations show that such a body could account for the Kuiper cliff (Icarus, vol 160, p 32), no one has ever seen this fabled 10th planet.

There’s a good reason for that. The Kuiper belt is just too far away for us to get a decent view. We need to get out there and have a look before we can say anything about the region. And that won’t be possible for another decade, at least. NASA’s New Horizons probe, which will head out to Pluto and the Kuiper belt, is scheduled for launch in January 2006. It won’t reach Pluto until 2015, so if you are looking for an explanation of the vast, empty gulf of the Kuiper cliff, watch this space.

11. The Wow signal
It was 37 seconds long and came from outer space. On 15 August 1977 it caused astronomer Jerry Ehman, then of Ohio State University in Columbus, to scrawl “Wow!” on the printout from Big Ear, Ohio State’s radio telescope in Delaware. And 28 years later no one knows what created the signal. “I am still waiting for a definitive explanation that makes sense,” Ehman says.

Coming from the direction of Sagittarius, the pulse of radiation was confined to a narrow range of radio frequencies around 1420 megahertz. This frequency is in a part of the radio spectrum in which all transmissions are prohibited by international agreement. Natural sources of radiation, such as the thermal emissions from planets, usually cover a much broader sweep of frequencies. So what caused it?

The nearest star in that direction is 220 light years away. If that is where is came from, it would have had to be a pretty powerful astronomical event - or an advanced alien civilisation using an astonishingly large and powerful transmitter.

The fact that hundreds of sweeps over the same patch of sky have found nothing like the Wow signal doesn’t mean it’s not aliens. When you consider the fact that the Big Ear telescope covers only one-millionth of the sky at any time, and an alien transmitter would also likely beam out over the same fraction of sky, the chances of spotting the signal again are remote, to say the least.

Others think there must be a mundane explanation. Dan Wertheimer, chief scientist for the SETI@home project, says the Wow signal was almost certainly pollution: radio-frequency interference from Earth-based transmissions. “We’ve seen many signals like this, and these sorts of signals have always turned out to be interference,” he says. The debate continues.

“It was either a powerful astronomical event - or an advanced alien civilisation beaming out a signal”

12. Not-so-constant constants
In 1997 astronomer John Webb and his team at the University of New South Wales in Sydney analysed the light reaching Earth from distant quasars. On its 12-billion-year journey, the light had passed through interstellar clouds of metals such as iron, nickel and chromium, and the researchers found these atoms had absorbed some of the photons of quasar light - but not the ones they were expecting.

If the observations are correct, the only vaguely reasonable explanation is that a constant of physics called the fine structure constant, or alpha, had a different value at the time the light passed through the clouds.

But that’s heresy. Alpha is an extremely important constant that determines how light interacts with matter - and it shouldn’t be able to change. Its value depends on, among other things, the charge on the electron, the speed of light and Planck’s constant. Could one of these really have changed?

No one in physics wanted to believe the measurements. Webb and his team have been trying for years to find an error in their results. But so far they have failed.

Webb’s are not the only results that suggest something is missing from our understanding of alpha. A recent analysis of the only known natural nuclear reactor, which was active nearly 2 billion years ago at what is now Oklo in Gabon, also suggests something about light’s interaction with matter has changed.

The ratio of certain radioactive isotopes produced within such a reactor depends on alpha, and so looking at the fission products left behind in the ground at Oklo provides a way to work out the value of the constant at the time of their formation. Using this method, Steve Lamoreaux and his colleagues at the Los Alamos National Laboratory in New Mexico suggest that alpha may have decreased by more than 4 per cent since Oklo started up (Physical Review D, vol 69, p 121701).

There are gainsayers who still dispute any change in alpha. Patrick Petitjean, an astronomer at the Institute of Astrophysics in Paris, led a team that analysed quasar light picked up by the Very Large Telescope (VLT) in Chile and found no evidence that alpha has changed. But Webb, who is now looking at the VLT measurements, says that they require a more complex analysis than Petitjean’s team has carried out. Webb’s group is working on that now, and may be in a position to declare the anomaly resolved - or not - later this year.

“It’s difficult to say how long it’s going to take,” says team member Michael Murphy of the University of Cambridge. “The more we look at these new data, the more difficulties we see.” But whatever the answer, the work will still be valuable. An analysis of the way light passes through distant molecular clouds will reveal more about how the elements were produced early in the universe’s history.

13. Cold fusion
After 16 years, it’s back. In fact, cold fusion never really went away. Over a 10-year period from 1989, US navy labs ran more than 200 experiments to investigate whether nuclear reactions generating more energy than they consume - supposedly only possible inside stars - can occur at room temperature. Numerous researchers have since pronounced themselves believers.

With controllable cold fusion, many of the world’s energy problems would melt away: no wonder the US Department of Energy is interested. In December, after a lengthy review of the evidence, it said it was open to receiving proposals for new cold fusion experiments.

That’s quite a turnaround. The DoE’s first report on the subject, published 15 years ago, concluded that the original cold fusion results, produced by Martin Fleischmann and Stanley Pons of the University of Utah and unveiled at a press conference in 1989, were impossible to reproduce, and thus probably false.

The basic claim of cold fusion is that dunking palladium electrodes into heavy water - in which oxygen is combined with the hydrogen isotope deuterium - can release a large amount of energy. Placing a voltage across the electrodes supposedly allows deuterium nuclei to move into palladium’s molecular lattice, enabling them to overcome their natural repulsion and fuse together, releasing a blast of energy. The snag is that fusion at room temperature is deemed impossible by every accepted scientific theory.

“Cold fusion would make the world’s energy problems melt away. No wonder the Department of Energy is interested”

That doesn’t matter, according to David Nagel, an engineer at George Washington University in Washington DC. Superconductors took 40 years to explain, he points out, so there’s no reason to dismiss cold fusion. “The experimental case is bulletproof,” he says. “You can’t make it go away.”

11
Aug

courtney does the math

Courtney Love gave a very prophetic speech to the Digital Hollywood online entertainment conference in New York on May 16 2000. The transcript in itself is fascinating reading and opens up the world of the music industry, and is more relevant today than it was then.

If this type of thing interests you, you might also want to check out what the nerds of Slashdot came up with when discussing the online business model for a band.

————————————————————————————————–

Today I want to talk about piracy and music. What is piracy? Piracy is the act of stealing an artist’s work without any intention of paying for it. I’m not talking about Napster-type software.

I’m talking about major label recording contracts.

I want to start with a story about rock bands and record companies, and do some recording-contract math:

This story is about a bidding-war band that gets a huge deal with a 20 percent royalty rate and a million-dollar advance. (No bidding-war band ever got a 20 percent royalty, but whatever.) This is my “funny” math based on some reality and I just want to qualify it by saying I’m positive it’s better math than what Edgar Bronfman Jr. [the president and CEO of Seagram, which owns Polygram] would provide.

What happens to that million dollars?

They spend half a million to record their album. That leaves the band with $500,000. They pay $100,000 to their manager for 20 percent commission. They pay $25,000 each to their lawyer and business manager.

That leaves $350,000 for the four band members to split. After $170,000 in taxes, there’s $180,000 left. That comes out to $45,000 per person.

That’s $45,000 to live on for a year until the record gets released.

The record is a big hit and sells a million copies. (How a bidding-war band sells a million copies of its debut record is another rant entirely, but it’s based on any basic civics-class knowledge that any of us have about cartels. Put simply, the antitrust laws in this country are basically a joke, protecting us just enough to not have to re-name our park service the Phillip Morris National Park Service.)

So, this band releases two singles and makes two videos. The two videos cost a million dollars to make and 50 percent of the video production costs are recouped out of the band’s royalties.

The band gets $200,000 in tour support, which is 100 percent recoupable.

The record company spends $300,000 on independent radio promotion. You have to pay independent promotion to get your song on the radio; independent promotion is a system where the record companies use middlemen so they can pretend not to know that radio stations — the unified broadcast system — are getting paid to play their records.

All of those independent promotion costs are charged to the band.

Since the original million-dollar advance is also recoupable, the band owes $2 million to the record company.

If all of the million records are sold at full price with no discounts or record clubs, the band earns $2 million in royalties, since their 20 percent royalty works out to $2 a record.

Two million dollars in royalties minus $2 million in recoupable expenses equals … zero!

How much does the record company make?

They grossed $11 million.

It costs $500,000 to manufacture the CDs and they advanced the band $1 million. Plus there were $1 million in video costs, $300,000 in radio promotion and $200,000 in tour support.

The company also paid $750,000 in music publishing royalties.

They spent $2.2 million on marketing. That’s mostly retail advertising, but marketing also pays for those huge posters of Marilyn Manson in Times Square and the street scouts who drive around in vans handing out black Korn T-shirts and backwards baseball caps. Not to mention trips to Scores and cash for tips for all and sundry.

Add it up and the record company has spent about $4.4 million.

So their profit is $6.6 million; the band may as well be working at a 7-Eleven.

Of course, they had fun. Hearing yourself on the radio, selling records, getting new fans and being on TV is great, but now the band doesn’t have enough money to pay the rent and nobody has any credit.

Worst of all, after all this, the band owns none of its work … they can pay the mortgage forever but they’ll never own the house. Like I said: Sharecropping. Our media says, “Boo hoo, poor pop stars, they had a nice ride. Fuck them for speaking up”; but I say this dialogue is imperative. And cynical media people, who are more fascinated with celebrity than most celebrities, need to reacquaint themselves with their value systems.

When you look at the legal line on a CD, it says copyright 1976 Atlantic Records or copyright 1996 RCA Records. When you look at a book, though, it’ll say something like copyright 1999 Susan Faludi, or David Foster Wallace. Authors own their books and license them to publishers. When the contract runs out, writers gets their books back. But record companies own our copyrights forever.

The system’s set up so almost nobody gets paid.

Recording Industry Association of America (RIAA)

Last November, a Congressional aide named Mitch Glazier, with the support of the RIAA, added a “technical amendment” to a bill that defined recorded music as “works for hire” under the 1978 Copyright Act.

He did this after all the hearings on the bill were over. By the time artists found out about the change, it was too late. The bill was on its way to the White House for the president’s signature.

That subtle change in copyright law will add billions of dollars to record company bank accounts over the next few years — billions of dollars that rightfully should have been paid to artists. A “work for hire” is now owned in perpetuity by the record company.

Under the 1978 Copyright Act, artists could reclaim the copyrights on their work after 35 years. If you wrote and recorded “Everybody Hurts,” you at least got it back to as a family legacy after 35 years. But now, because of this corrupt little pisher, “Everybody Hurts” never gets returned to your family, and can now be sold to the highest bidder.

Over the years record companies have tried to put “work for hire” provisions in their contracts, and Mr. Glazier claims that the “work for hire” only “codified” a standard industry practice. But copyright laws didn’t identify sound recordings as being eligible to be called “works for hire,” so those contracts didn’t mean anything. Until now.

Writing and recording “Hey Jude” is now the same thing as writing an English textbook, writing standardized tests, translating a novel from one language to another or making a map. These are the types of things addressed in the “work for hire” act. And writing a standardized test is a work for hire. Not making a record.

So an assistant substantially altered a major law when he only had the authority to make spelling corrections. That’s not what I learned about how government works in my high school civics class.

Three months later, the RIAA hired Mr. Glazier to become its top lobbyist at a salary that was obviously much greater than the one he had as the spelling corrector guy.

The RIAA tries to argue that this change was necessary because of a provision in the bill that musicians supported. That provision prevents anyone from registering a famous person’s name as a Web address without that person’s permission. That’s great. I own my name, and should be able to do what I want with my name.

But the bill also created an exception that allows a company to take a person’s name for a Web address if they create a work for hire. Which means a record company would be allowed to own your Web site when you record your “work for hire” album. Like I said: Sharecropping.

Although I’ve never met any one at a record company who “believed in the Internet,” they’ve all been trying to cover their asses by securing everyone’s digital rights. Not that they know what to do with them. Go to a major label-owned band site. Give me a dollar for every time you see an annoying “under construction” sign. I used to pester Geffen (when it was a label) to do a better job. I was totally ignored for two years, until I got my band name back. The Goo Goo Dolls are struggling to gain control of their domain name from Warner Bros., who claim they own the name because they set up a shitty promotional Web site for the band.

Orrin Hatch, songwriter and Republican senator from Utah, seems to be the only person in Washington with a progressive view of copyright law. One lobbyist says that there’s no one in the House with a similar view and that “this would have never happened if Sonny Bono was still alive.”

By the way, which bill do you think the recording industry used for this amendment?

The Record Company Redefinition Act? No. The Music Copyright Act? No. The Work for Hire Authorship Act? No.

How about the Satellite Home Viewing Act of 1999?

Stealing our copyright reversions in the dead of night while no one was looking, and with no hearings held, is piracy.

It’s piracy when the RIAA lobbies to change the bankruptcy law to make it more difficult for musicians to declare bankruptcy. Some musicians have declared bankruptcy to free themselves from truly evil contracts. TLC declared bankruptcy after they received less than 2 percent of the $175 million earned by their CD sales. That was about 40 times less than the profit that was divided among their management, production and record companies.

Toni Braxton also declared bankruptcy in 1998. She sold $188 million worth of CDs, but she was broke because of a terrible recording contract that paid her less than 35 cents per album. Bankruptcy can be an artist’s only defense against a truly horrible deal and the RIAA wants to take it away.

Artists want to believe that we can make lots of money if we’re successful. But there are hundreds of stories about artists in their 60s and 70s who are broke because they never made a dime from their hit records. And real success is still a long shot for a new artist today. Of the 32,000 new releases each year, only 250 sell more than 10,000 copies. And less than 30 go platinum.

The four major record corporations fund the RIAA. These companies are rich and obviously well-represented. Recording artists and musicians don’t really have the money to compete. The 273,000 working musicians in America make about $30,000 a year. Only 15 percent of American Federation of Musicians members work steadily in music.

But the music industry is a $40 billion-a-year business. One-third of that revenue comes from the United States. The annual sales of cassettes, CDs and video are larger than the gross national product of 80 countries. Americans have more CD players, radios and VCRs than we have bathtubs.

Story after story gets told about artists — some of them in their 60s and 70s, some of them authors of huge successful songs that we all enjoy, use and sing — living in total poverty, never having been paid anything. Not even having access to a union or to basic health care. Artists who have generated billions of dollars for an industry die broke and un-cared for.

And they’re not actors or participators. They’re the rightful owners, originators and performers of original compositions.

This is piracy.

This opinion is one I really haven’t formed yet, so as I speak about Napster now, please understand that I’m not totally informed. I will be the first in line to file a class action suit to protect my copyrights if Napster or even the far more advanced Gnutella doesn’t work with us to protect us. I’m on [Metallica drummer] Lars Ulrich’s side, in other words, and I feel really badly for him that he doesn’t know how to condense his case down to a sound-bite that sounds more reasonable than the one I saw today.

I also think Metallica is being given too much grief. It’s anti-artist, for one thing. An artist speaks up and the artist gets squashed: Sharecropping. Don’t get above your station, kid. It’s not piracy when kids swap music over the Internet using Napster or Gnutella or Freenet or iMesh or beaming their CDs into a My.MP3.com or MyPlay.com music locker. It’s piracy when those guys that run those companies make side deals with the cartel lawyers and label heads so that they can be “the labels’ friend,” and not the artists’.

Recording artists have essentially been giving their music away for free under the old system, so new technology that exposes our music to a larger audience can only be a good thing. Why aren’t these companies working with us to create some peace?

There were a billion music downloads last year, but music sales are up. Where’s the evidence that downloads hurt business? Downloads are creating more demand.

Why aren’t record companies embracing this great opportunity? Why aren’t they trying to talk to the kids passing compilations around to learn what they like? Why is the RIAA suing the companies that are stimulating this new demand? What’s the point of going after people swapping cruddy-sounding MP3s? Cash! Cash they have no intention of passing onto us, the writers of their profits.

At this point the “record collector” geniuses who use Napster don’t have the coolest most arcane selection anyway, unless you’re into techno. Hardly any pre-1982 REM fans, no ’60s punk, even the Alan Parsons Project was underrepresented when I tried to find some Napster buddies. For the most part, it was college boy rawk without a lot of imagination. Maybe that’s the demographic that cares — and in that case, My Bloody Valentine and Bert Jansch aren’t going to get screwed just yet. There’s still time to negotiate.

Somewhere along the way, record companies figured out that it’s a lot more profitable to control the distribution system than it is to nurture artists. And since the companies didn’t have any real competition, artists had no other place to go. Record companies controlled the promotion and marketing; only they had the ability to get lots of radio play, and get records into all the big chain store. That power put them above both the artists and the audience. They own the plantation.

Being the gatekeeper was the most profitable place to be, but now we’re in a world half without gates. The Internet allows artists to communicate directly with their audiences; we don’t have to depend solely on an inefficient system where the record company promotes our records to radio, press or retail and then sits back and hopes fans find out about our music.

Record companies don’t understand the intimacy between artists and their fans. They put records on the radio and buy some advertising and hope for the best. Digital distribution gives everyone worldwide, instant access to music.

And filters are replacing gatekeepers. In a world where we can get anything we want, whenever we want it, how does a company create value? By filtering. In a world without friction, the only friction people value is editing. A filter is valuable when it understands the needs of both artists and the public. New companies should be conduits between musicians and their fans.

Right now the only way you can get music is by shelling out $17. In a world where music costs a nickel, an artist can “sell” 100 million copies instead of just a million.

The present system keeps artists from finding an audience because it has too many artificial scarcities: limited radio promotion, limited bin space in stores and a limited number of spots on the record company roster.

The digital world has no scarcities. There are countless ways to reach an audience. Radio is no longer the only place to hear a new song. And tiny mall record stores aren’t the only place to buy a new CD.

Now artists have options. We don’t have to work with major labels anymore, because the digital economy is creating new ways to distribute and market music. And the free ones amongst us aren’t going to. That means the slave class, which I represent, has to find ways to get out of our deals. This didn’t really matter before, and that’s why we all stayed.

I want my seven-year contract law California labor code case to mean something to other artists. (Universal Records sues me because I leave because my employment is up, but they say a recording contract is not a personal contract; because the recording industry — who, we have established, are excellent lobbyists, getting, as they did, a clerk to disallow Don Henley or Tom Petty the right to give their copyrights to their families — in California, in 1987, lobbied to pass an amendment that nullified recording contracts as personal contracts, sort of. Maybe. Kind of. A little bit. And again, in the dead of night, succeeded.)

That’s why I’m willing to do it with a sword in my teeth. I expect I’ll be ignored or ostracized following this lawsuit. I expect that the treatment you’re seeing Lars Ulrich get now will quadruple for me. Cool. At least I’ll serve a purpose. I’m an artist and a good artist, I think, but I’m not that artist that has to play all the time, and thus has to get fucked. Maybe my laziness and self-destructive streak will finally pay off and serve a community desperately in need of it. They can’t torture me like they could Lucinda Williams.

You funny dot-communists. Get your shit together, you annoying sucka VCs

I want to work with people who believe in music and art and passion. And I’m just the tip of the iceberg. I’m leaving the major label system and there are hundreds of artists who are going to follow me. There’s an unbelievable opportunity for new companies that dare to get it right.

How can anyone defend the current system when it fails to deliver music to so many potential fans? That only expects of itself a “5 percent success rate” a year? The status quo gives us a boring culture. In a society of over 300 million people, only 30 new artists a year sell a million records. By any measure, that’s a huge failure.

Maybe each fan will spend less money, but maybe each artist will have a better chance of making a living. Maybe our culture will get more interesting than the one currently owned by Time Warner. I’m not crazy. Ask yourself, are any of you somehow connected to Time Warner media? I think there are a lot of yeses to that and I’d have to say that in that case president McKinley truly failed to bust any trusts. Maybe we can remedy that now.

Artists will make that compromise if it means we can connect with hundreds of millions of fans instead of the hundreds of thousands that we have now. Especially if we lose all the crap that goes with success under the current system. I’m willing, right now, to leave half of these trappings — fuck it, all these trappings — at the door to have a pure artist experience. They cosset us with trappings to shut us up. That way when we say “sharecropper!” you can point to my free suit and say “Shut up pop star.”

Here, take my Prada pants. Fuck it. Let us do our real jobs. And those of us addicted to celebrity because we have nothing else to give will fade away. And those of us addicted to celebrity because it was there will find a better, purer way to live.

Since I’ve basically been giving my music away for free under the old system, I’m not afraid of wireless, MP3 files or any of the other threats to my copyrights. Anything that makes my music more available to more people is great. MP3 files sound cruddy, but a well-made album sounds great. And I don’t care what anyone says about digital recordings. At this point they are good for dance music, but try listening to a warm guitar tone on them. They suck for what I do.

Record companies are terrified of anything that challenges their control of distribution. This is the business that insisted that CDs be sold in incredibly wasteful 6-by-12 inch long boxes just because no one thought you could change the bins in a record store.

Let’s not call the major labels “labels.” Let’s call them by their real names: They are the distributors. They’re the only distributors and they exist because of scarcity. Artists pay 95 percent of whatever we make to gatekeepers because we used to need gatekeepers to get our music heard. Because they have a system, and when they decide to spend enough money — all of it recoupable, all of it owed by me — they can occasionally shove things through this system, depending on a lot of arbitrary factors.

The corporate filtering system, which is the system that brought you (in my humble opinion) a piece of crap like “Mambo No. 5″ and didn’t let you hear the brilliant Cat Power record or the amazing new Sleater Kinney record, obviously doesn’t have good taste anyway. But we’ve never paid major label/distributors for their good taste. They’ve never been like Yahoo and provided a filter service.

There were a lot of factors that made a distributor decide to push a recording through the system:

How powerful is management?
Who owes whom a favor?
What independent promoter’s cousin is the drummer?
What part of the fiscal year is the company putting out the record?
Is the royalty rate for the artist so obscenely bad that it’s almost 100 percent profit instead of just 95 percent so that if the record sells, it’s literally a steal?
How much bin space is left over this year?
Was the record already a hit in Europe so that there’s corporate pressure to make it work?
Will the band screw up its live career to play free shows for radio stations?
Does the artist’s song sound enough like someone else that radio stations will play it because it fits the sound of the month?
Did the artist get the song on a film soundtrack so that the movie studio will pay for the video?

These factors affect the decisions that go into the system. Not public taste. All these things are becoming eradicated now. They are gone or on their way out. We don’t need the gatekeepers any more. We just don’t need them.

And if they aren’t going to do for me what I can do for myself with my 19-year-old Webmistress on my own Web site, then they need to get the hell out of my way. [I will] allow millions of people to get my music for nothing if they want and hopefully they’ll be kind enough to leave a tip if they like it.

I still need the old stuff. I still need a producer in the creation of a recording, I still need to get on the radio (which costs a lot of money), I still need bin space for hardware CDs, I still need to provide an opportunity for people without computers to buy the hardware that I make. I still need a lot of this stuff, but I can get these things from a joint venture with a company that serves as a conduit and knows its place. Serving the artist and serving the public: That’s its place.

A new company that gives artists true equity in their work can take over the world, kick ass and make a lot of money. We’re inspired by how people get paid in the new economy. Many visual artists and software and hardware designers have real ownership of their work.

I have a 14-year-old niece. She used to want to be a rock star. Before that she wanted to be an actress. As of six months ago, what do you think she wants to be when she grows up? What’s the glamorous, emancipating career of choice? Of course, she wants to be a Web designer. It’s such a glamorous business!

When you people do business with artists, you have to take a different view of things. We want to be treated with the respect that now goes to Web designers. We’re not Dockers-wearing Intel workers from Portland who know how to “manage our stress.” We don’t understand or want to understand corporate culture.

I feel this obscene gold rush greedgreedgreed vibe that bothers me a lot when I talk to dot-com people about all this. You guys can’t hustle artists that well. At least slick A&R guys know the buzzwords. Don’t try to compete with them. I just laugh at you when you do! Maybe you could a year ago when anything dot-com sounded smarter than the rest of us, but the scam has been uncovered.

The celebrity-for-sale business is about to crash, I hope, and the idea of a sucker VC gifting some company with four floors just because they can “do” “chats” with “Christina” once or twice is ridiculous. I did a chat today, twice. Big damn deal. 200 bucks for the software and some elbow grease and a good back-end coder. Wow. That’s not worth 150 million bucks.

… I mean, yeah, sure it is if you’d like to give it to me.

I know my place. I’m a waiter. I’m in the service industry.

I live on tips. Occasionally, I’m going to get stiffed, but that’s OK. If I work hard and I’m doing good work, I believe that the people who enjoy it are going to want to come directly to me and get my music because it sounds better, since it’s mastered and packaged by me personally. I’m providing an honest, real experience. Period.

When people buy the bootleg T-shirt in the concert parking lot and not the more expensive T-shirt inside the venue, it isn’t to save money. The T-shirt in the parking lot is cheap and badly made, but it’s easier to buy. The bootleggers have a better distribution system. There’s no waiting in line and it only takes two minutes to buy one.

I know that if I can provide my own T-shirt that I designed, that I made, and provide it as quickly or quicker than the bootleggers, people who’ve enjoyed the experience I’ve provided will be happy to shell out a little more money to cover my costs. Especially if they understand this context, and aren’t being shoveled a load of shit about “uppity” artists.

It’s exactly the same with recorded music. The real thing to fear from Napster is its simple and excellent distribution system. No one really prefers a cruddy-sounding Napster MP3 file to the real thing. But it’s really easy to get an MP3 file; and in the middle of Kansas you may never see my record because major distribution is really bad if your record’s not in the charts this week, and even then it takes a couple of weeks to restock the one copy they usually keep on hand.

I also know how many times I have heard a song on the radio that I loved only to buy the record and have the album be a piece of crap. If you’re afraid of your own filler then I bet you’re afraid of Napster. I’m afraid of Napster because I think the major label cartel will get to them before I do.

I’ve made three records. I like them all. I haven’t made filler and they’re all committed pieces of work. I’m not scared of you previewing my record. If you like it enough to have it be a part of your life, I know you’ll come to me to get it, as long as I show you how to get to me, and as long as you know that it’s out.

Most people don’t go into restaurants and stiff waiters, but record labels represent the restaurant that forces the waiters to live on, and sometimes pool, their tips. And they even fight for a bit of their tips.

Music is a service to its consumers, not a product. I live on tips. Giving music away for free is what artists have been doing naturally all their lives.

Record companies stand between artists and their fans. We signed terrible deals with them because they controlled our access to the public.

But in a world of total connectivity, record companies lose that control. With unlimited bin space and intelligent search engines, fans will have no trouble finding the music they know they want. They have to know they want it, and that needs to be a marketing business that takes a fee.

If a record company has a reason to exist, it has to bring an artist’s music to more fans and it has to deliver more and better music to the audience. You bring me a bigger audience or a better relationship with my audience or get the fuck out of my way. Next time I release a record, I’ll be able to go directly to my fans and let them hear it before anyone else.

We’ll still have to use radio and traditional CD distribution. Record stores aren’t going away any time soon and radio is still the most important part of record promotion.

Major labels are freaking out because they have no control in this new world. Artists can sell CDs directly to fans. We can make direct deals with thousands of other Web sites and promote our music to millions of people that old record companies never touch.

We’re about to have lots of new ways to sell our music: downloads, hardware bundles, memory sticks, live Webcasts, and lots of other things that aren’t even invented yet.

Content providers

But there’s something you guys have to figure out.

Here’s my open letter to Steve Case:

Avatars don’t talk back!!! But what are you going to do with real live artists?

Artists aren’t like you. We go through a creative process that’s demented and crazy. There’s a lot of soul-searching and turning ourselves inside-out and all kinds of gross stuff that ends up on “Behind the Music.”

A lot of people who haven’t been around artists very much get really weird when they sit down to lunch with us. So I want to give you some advice: Learn to speak our language. Talk about songs and melody and hooks and art and beauty and soul. Not sleazy record-guy crap, where you’re in a cashmere sweater murmuring that the perfect deal really is perfect, Courtney. Yuck. Honestly hire honestly committed people. We’re in a “new economy,” right? You can afford to do that.

But don’t talk to me about “content.”

I get really freaked out when I meet someone and they start telling me that I should record 34 songs in the next six months so that we have enough content for my site. Defining artistic expression as content is anathema to me.

What the hell is content? Nobody buys content. Real people pay money for music because it means something to them. A great song is not just something to take up space on a Web site next to stock market quotes and baseball scores.

DEN tried to build a site with artist-free content and I’m not sorry to see it fail. The DEN shows look like art if you’re not paying attention, but they forgot to hire anyone to be creative. So they ended up with a lot of content nobody wants to see because they thought they could avoid dealing with defiant and moody personalities. Because they were arrogant. And because they were conformists. Artists have to deal with business people and business people have to deal with artists. We hate each other. Let’s create companies of mediators.

Every single artist who makes records believes and hopes that they give you something that will transform your life. If you’re really just interested in data mining or selling banner ads, stick with those “artists” willing to call themselves content providers.

I don’t know if an artist can last by meeting the current public taste, the taste from the last quarterly report. I don’t think you can last by following demographics and carefully meeting expectations. I don’t know many lasting works of art that are condescending or deliberately stupid or were created as content.

Don’t tell me I’m a brand. I’m famous and people recognize me, but I can’t look in the mirror and see my brand identity.

Keep talking about brands and you know what you’ll get? Bad clothes. Bad hair. Bad books. Bad movies. And bad records. And bankrupt businesses. Rides that were fun for a year with no employee loyalty but everyone got rich fucking you. Who wants that? The answer is purity. We can afford it. Let’s go find it again while we can.

I also feel filthy trying to call my music a product. It’s not a thing that I test market like toothpaste or a new car. Music is personal and mysterious.

Being a “content provider” is prostitution work that devalues our art and doesn’t satisfy our spirits. Artistic expression has to be provocative. The problem with artists and the Internet: Once their art is reduced to content, they may never have the opportunity to retrieve their souls.

When you form your business for creative people, with creative people, come at us with some thought. Everybody’s process is different. And remember that it’s art. We’re not craftspeople.

I don’t know what a good sponsorship would be for me or for other artists I respect. People bring up sponsorships a lot as a way for artists to get our music paid for upfront and for us to earn a fee. I’ve dealt with large corporations for long enough to know that any alliance where I’m an owned service is going to be doomed.

When I agreed to allow a large cola company to promote a live show, I couldn’t have been more miserable. They screwed up every single thing imaginable. The venue was empty but sold out. There were thousands of people outside who wanted to be there, trying to get tickets. And there were the empty seats the company had purchased for a lump sum and failed to market because they were clueless about music.

It was really dumb. You had to buy the cola. You had to dial a number. You had to press a bunch of buttons. You had to do all this crap that nobody wanted to do. Why not just bring a can to the door?

On top of all this, I felt embarrassed to be an advertising agent for a product that I’d never let my daughter use. Plus they were a condescending bunch of little guys. They treated me like I was an ungrateful little bitch who should be groveling for the experience to play for their damn soda.

I ended up playing without my shirt on and ordering a six-pack of the rival cola onstage. Also lots of unwholesome cursing and nudity occurred. This way I knew that no matter how tempting the cash was, they’d never do business with me again.

If you want some little obedient slave content provider, then fine. But I think most musicians don’t want to be responsible for your clean-cut, wholesome, all-American, sugar corrosive cancer-causing, all white people, no women allowed sodapop images.

Nor, on the converse, do we want to be responsible for your vice-inducing, liver-rotting, child-labor-law-violating, all white people, no-women-allowed booze images.

So as a defiant moody artist worth my salt, I’ve got to think of something else. Tampax, maybe.

As a user, I love Napster. It carries some risk. I hear idealistic business people talk about how people that are musicians would be musicians no matter what and that we’re already doing it for free, so what about copyright?

Please. It’s incredibly easy not to be a musician. It’s always a struggle and a dangerous career choice. We are motivated by passion and by money.

That’s not a dirty little secret. It’s a fact. Take away the incentive for major or minor financial reward and you dilute the pool of musicians. I am not saying that only pure artists will survive. Like a few of the more utopian people who discuss this, I don’t want just pure artists to survive.

Where would we all be without the trash? We need the trash to cover up our national depression. The utopians also say that because in their minds “pure” artists are all Ani DiFranco and don’t demand a lot of money. Why are the utopians all entertainment lawyers and major label workers anyway? I demand a lot of money if I do a big huge worthwhile job and millions of people like it, don’t kid yourself. In economic terms, you’ve got an industry that’s loathsome and outmoded, but when it works it creates some incentive and some efficiency even though absolutely no one gets paid.

We suffer as a society and a culture when we don’t pay the true value of goods and services delivered. We create a lack of production. Less good music is recorded if we remove the incentive to create it.

Music is intellectual property with full cash and opportunity costs required to create, polish and record a finished product. If I invest money and time into my business, I should be reasonably protected from the theft of my goods and services. When the judgment came against MP3.com, the RIAA sought damages of $150,000 for each major-label-”owned” musical track in MP3’s database. Multiply by 80,000 CDs, and MP3.com could owe the gatekeepers $120 billion.

But what about the Plimsouls? Why can’t MP3.com pay each artist a fixed amount based on the number of their downloads? Why on earth should MP3.com pay $120 billion to four distribution companies, who in most cases won’t have to pay a nickel to the artists whose copyrights they’ve stolen through their system of organized theft?

It’s a ridiculous judgment. I believe if evidence had been entered that ultimately it’s just shuffling big cash around two or three corporations, I can only pray that the judge in the MP3.com case would have seen the RIAA’s case for the joke that it was.

I’d rather work out a deal with MP3.com myself, and force them to be artist-friendly, instead of being laughed at and having my money hidden by a major label as they sell my records out the back door, behind everyone’s back.

How dare they behave in such a horrified manner in regards to copyright law when their entire industry is based on piracy? When Mister Label Head Guy, whom my lawyer yelled at me not to name, got caught last year selling millions of “cleans” out the back door. “Cleans” being the records that aren’t for marketing but are to be sold. Who the fuck is this guy? He wants to save a little cash so he fucks the artist and goes home? Do they fire him? Does Chuck Phillips of the LA Times say anything? No way! This guy’s a source! He throws awesome dinner parties! Why fuck with the status quo? Let’s pick on Lars Ulrich instead because he brought up an interesting point!

I’m looking for people to help connect me to more fans, because I believe fans will leave a tip based on the enjoyment and service I provide. I’m not scared of them getting a preview. It really is going to be a global village where a billion people have access to one artist and a billion people can leave a tip if they want to.

It’s a radical democratization. Every artist has access to every fan and every fan has access to every artist, and the people who direct fans to those artists. People that give advice and technical value are the people we need. People crowding the distribution pipe and trying to ignore fans and artists have no value. This is a perfect system.

If you’re going to start a company that deals with musicians, please do it because you like music. Offer some control and equity to the artists and try to give us some creative guidance. If music and art and passion are important to you, there are hundreds of artists who are ready to rewrite the rules.

In the last few years, business pulled our culture away from the idea that music is important and emotional and sacred. But new technology has brought a real opportunity for change; we can break down the old system and give musicians real freedom and choice.

A great writer named Neal Stephenson said that America does four things better than any other country in the world: rock music, movies, software and high-speed pizza delivery. All of these are sacred American art forms. Let’s return to our purity and our idealism while we have this shot.

Warren Beatty once said: “The greatest gift God gives us is to enjoy the sound of our own voice. And the second greatest gift is to get somebody to listen to it.”

And for that, I humbly thank you.





this month

August 2007
M T W T F S S
« Jul   Sep »
 12345
6789101112
13141516171819
20212223242526
2728293031  

What I'm Listening To


Podcast Feeds

  • View in iTunes
  • Any Podcatcher