Know what people do! It can be crucial.

I was talking to a colleague around that artist problem we both had. We were working on the same project and the artist wanted more out things that could be really done. The biggest mistake was that the artist had skipped several good people and went after people that the artist thought where higher up. In reality, it was the opposite around. The persons the artist was going for were hot in the business year ago and now more considered done in the business. So, of course, the results were pretty mediocre, nothing we could really do, in this project the artist could choose themselves.

I guess it's a normal problem that artist have. They don't really know what people are doing and not doing. I got a call from another artist about their problems and in the conversation, we got down to that much of the stuff that was lacking was mainly done by the artist's former label. The artist fired the label because they thought the label wasn't doing anything. In reality, they did exactly what they should, maybe didn't do the extra stuff, but did quite much work and also had a lot of knowledge that now the artist had to figure out.

Suddenly the artist thought that I should help them with all this information. I explained if I should do that I need a contract with them and then after a while, they probably would grow tired of me. The problem was that they didn't understand what these different people were doing. Also how their network that they had built up where structured. A lot of the things that was lacking was done by the network. Then the artist got the brilliant idea to then build their own network. I guess they can do that but it will take years to get what they need and they need that in less than three months.

You really need to understand what people are doing and not doing.

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RIP Ralph Murphy

Today I wasn't supposed to write something. It's a bank holiday in Sweden. But yesterday was a sad day, I got the news that Ralph Murphy died. One of those people you meet at almost every festival. Suddenly they are not there any longer. I had some great conversations with Ralph over the years in several places. Great guy and a great songwriter. RIP.

Please tell me i'm good, the feeback game that now is economy.

"Here is a couple of new songs, please send feedback after you listened to them."

This line I quite often get in demos sent to us, or in other cases as well. I will tell why you don't get so much feedback. And why you are asking quite much. You might think that it's an easy thing and get you something since you have taken the time to send stuff to this company.

I get the feeling that many times this feedback stuff is mainly just for the artist to get someone to say it's a great song, probably the best since sliced bread. Unfortunately, in 99,9% it's never that good. If it was that good I would come back and want to have more or talk about giving that song out. The silence is usllay from the industry that the song is ok, but just ok. Before people actually wrote the bad things they found or gave bad reviews. Today no one really dares to do that. In the blog system, it's more like you get a review that is positive if they like it. If they don't you won't hear anything back.

Why don't we dare? I can just tell how many times I got yelled at after giving some real critics. I have also heard stories from my journalist friend how artist behaves like assholes just because they wrote a negative review on their last single

The second thing and probably the biggest issue of not giving feedback is that I'm very busy. All the tasks that give me money fill out my work day and more. I literally work already from eight in the morning until nine in the evening without any breaks. Then to demand that I should drop that work listens to a song I didn't ask for and write some critic around it. Yes, that is at least 20 minutes out of my work time I won't get any money from. Right now people have set in the system to get money for this feedback. Like Submithub and Music Xray where you pay a small amount to get some feedback from the people, you send to. Fair yes, but the feedback is mainly totally useless. It's just what some random dude that likes kind of strange music says. In one way asking for my feedback is kind of the same. I'm also a strange dude with some weird music taste.

It's another story if it is an artist signed to us. Then it's my job to get feedback. I also know the artist and know what to say or not. if it comes from a random person I really don't feel good giving the hardest stuff to them. Also when you do it, like saying, the recording is not that good, you get answers back around that and suddenly you are in a conversation helping this person to produce a record. And that I really don't have time to answer on

I don't mind listening to the song while I'm doing some repetitive work. Not just give a line back like a receipt that I have listened ( yes we listen to all things that come in, you don't want to miss that 0,1 % good music). But I guess 99% of the answer would be...Cool an ok song.

Excuse me for being successful.

I was in a panel to judge songs the other day. I was judging the songs from a commercial perspective. Of course, since my thinking is that you want to do the song as accessible as possible for an audience. My thought is hat you want as many as possible to listen to your music? Of course not to infringement to much on your artistic vision.

This I a balance. Still, I heard myself excuse me for being commercial when some other judges were more arty farty and saying that it's okay to do a five-minute long epos about how you by mistake tramped on a flower. It was like being commercial is evil.

I don't think it is that evil. What you are doing is adopting your song to fit a larger audience. Yes, feel free to do deliberate noise but don't expect more than 100 people in the world like what you do. In my mind, I thought people wanted to spread their art. In the same way, I want to spread my blog. Yes, I want everyone on the planet to read it and like it. Then to do that I probably can't be so niche to just write about the music industry. Comparing that to infringe on my artist vision, I like to write about the music industry I limit the blog on purpose. But I changed from Swedish to English to reach a larger audience, a way to make it more accessible, more commercial.

Still, I'm tired to try to give feedback to polish a turd. Excuse me for trying to be successful. Still yes you can do arty farty songs but don't expect to have a large audience it's very hard to get the audience to adapt to you then the opposite.

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Don't brag on false things that can be checked!

I released my new single that was really appreciated on Spotify. The artist bragged on his CV on it. First, I'm not that interested in Spotify playlist since that is a sign of amateurism. Anyway, I was checking and on two months the single has 1015 streams. I wonder witch playlists it had been on. well, that Spotify playlist has 56 followers. And the rest of the lists had fewer and was mainly done by the artist.

I have a lot of good things going on, the artist kept saying in the promo letter. The problem here is that the artist never told what these good things where? He had some small plays in smaller gig places in Sweden but that was before. As usual, this is the problem when the artist tells this, if there is no proof then there is nothing happening. Even I try to avoid that kind of things when I work with my professional bands. I'm not telling that things are ongoing, instead, I wait until they are out and you have proof.

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You remember the artist with work ethic!

I have been on quite many festivals the past month and I meet so many artists and The one you remember the most is the one with a really good work ethic.

They send you emails inviting you to the show. They approach you. They hang with you. They are hustling so hard to get somewhere. And you really remember those. Even if they were not the best on stage or had the best songs. The hustler is remembered.

You also want to help them. They are nice and friendly and that in itself makes you want to help them with their tasks. Much easier to make a positive decision around a hard-working artist.

The strange part is that so few do it. On an average festival, I usually count two to three doing it and that is in the competition of a hundred artists. Many just show up to play their gig and then get the hell out of there.

I guess the method of hard hustling could be used on not just showcase festivals but even normal festivals. I had an artist that on festivals always shouted at the end of the show that you could meet them on the side of the stage. Not like the other that go backstage and drink beer, no straight down to meet the fans. There they talked to the fans, wrote autographs but mainly checked if the audience had suggestions about the show. If they had they very often implemented that in the next show. In the end they where a hell of a good live act.

What I heard and read that was how Metallica also got their good fanbase and developed over the years. Yes just perform is not enough you need to the extra mile in this business.

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More wrong equality in the Swedish industry!

After yesterdays post a friend contacted me and told me that it's even worse with the gender thing inside the Swedish industry.

He had been working on a music company for eight years. Suddenly everyone was taken off their positions. The whole company should be replaced. Since he was only hired as a contractor he had just to accept to quit his job.

When his job came on the market the job description said that they wanted a woman. He knew he couldn't complete so he even didn't bother to apply.

A couple of months later the company was still on hiring and through some old office colleagues, he heard they hadn't found a woman that hold the qualifications for the job. This job is very specific you really need special knowledge to get it done. He then just wrote that he could think to have his old job back to the company.

The company was relieved that he volunteered. And they went into negotiation. They still needed a woman just for the look so they suggested that he could split his job to 50% with a woman that was not really qualified. In reality, they wanted him to teach the new woman so she could do his job.

Money was tight and he really liked this but what could he do, he needed the job so he took it. Already from the start, it was trouble. First, the woman was not informed that her job had been split with someone else and was quite pissed about that. Second, she scheduled a personal vacation the two first very crucial months when they had to start up the work again.

My friend just had to do 100% with just 50% payment. Working for two people and get the whole thing running again. Then when she finally arrived it showed quickly that she was very under qualified for the job. In practical, my friend did 90% of the work. She did only smaller easy tasks.

After half a year there were complaints that they couldn't get out the salary since to company was low on cash. During the paperwork, he got a hold of a salary list and found out that the woman actually got 100% paid. In practice, she got more paid, did very little and still was underqualified and now he wasn't even paid because the company was losing so much. And of course, they did they paid 150% in salary for one person to do all the job.

He went to the boss and just asked how this could be. The money situation would be easily solved if they just took the woman off her 100% salary. She was also still in test mode (a Swedish thing) so they could just let her go if they did it directly. She didn't really contribute with anything that important either and the boss knew it. No, was the answer. They needed a woman on the spot so the company looked equal. Instead, they got several providers to wait for their payment.

Then the woman took some time off to do other projects. Now my friend though since he was already doing 90% he could easily take the rest and raise his salary to 100%. No, he should just get 50% and they were seeking another person to take over the task and it needed to be a woman. Since last time he knew they wouldn't find anyone suitable. Also, witch part of his job should he hand over to the new woman that only would be there for a couple of months?

It was quite a horror story. This is not equality. This is just a show for the gallery. The sad part is this, not the only story I got knowledge of. The past year I have counted three to four equal bad situation in the Swedish music industry. They mainly just use women to protect themselves, not letting them in.

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Equality in the wrong way!

I was talking to a Swedish festival of booking an artist. They showed very much interest in a band that is very successful right now. Suddenly the called me up and asked after a much smaller and not as ready artist.

The new artist was already booked on these dates so I asked if the artist they where first interested of could do it. No, they are men they answered.

Suddenly their gender was against them. The festival even agreed that the male artist was a better choice. Still, they were not booked because of their gender. We need women on the festival the organizer excused. I was checking the schedule and it was more women than men already booked to the festival. Yes, they answered but the headliner is male so we need even more women they told me. Who was the headliner? It is a male artist convicted of sexual harassment. I guess to smooth things over they want a female artist in front of that mistake. I'm not so sure the female artist would like that argument.

They stop an artist career of their gender. This never happened before. Sure it was more men on the stages but if there was a popular female band we never stopped them because of their gender. And I stumble on this behavior quite often. I was not even surprised to hear the conversation. It was after I though over how bizarre this new system is.

I was talking to the artist label about the problem. Their new single is playing on major radio stations around Europe but not in Sweden.

They have the wrong gender was the answer from the label. Swedish radio only plays female artists, especially if they have a foreign background. This is men from a midsized city, impossible to place in so we won't even bother to send it in.

I'm angry but in the way you probably think. Yes, this discrimination is going on all the time. But I have another approach to it. This discrimination doesn't work well works in favor of the female people working in the industry. The artist we can always go to territories where the music that is best is counting not what you between your legs.

No, the error comes in another step. I bump into several women that working professionally and feel ashamed of what is going on. Also, they become limited to work with less good acts that are female. And that stops them when they get out on the international market. Their products are not good enough in the competition. But they get the opportunities. In the end, it will be the best music that wins when you are in the big market.

I'm very before equality, but this is not equality this is even worse at it has been. It's not counted what you produce, it's your gender, skin color, and sexual orientation that determined what is heard in Sweden.

This is not helping anyone. Especially not women in music, this just makes things harder to get the industry equal.

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Think of what song to play!

I'm gonna play my latest single. Yes, you have heard it so many Times during showcase festivals. Not the best choice in The showcase situation.

Why? Kind of easy. It's not all singles that actually works. Usually, if an artist release 10 singles just two get a good receiving. If it is a new single you are still testing it against the market. And during a showcase festival, your set time is limited. Not a place to test things go on safe cards.

Choose something that you really sure works. If you had a smaller hit with three singles ago choose that one to play on the showcase. Another reason is also the recognition factor. The new single is new, much more likely that the industry people you want to reach has listened on the songs that are most popular since these are mainly suggested on the sites. And its easier to pick up something if you have heard it before.

Yes, I know that all artists think that their latest song is the best since sliced bread. Still, the statistics are against that it is. So be on the safe side if you need to choose a song.

Short post

Back after have done both Focus Wales and New Skool Rules, so a long week and just got in the office Monday evening.

I like these two festivals, similar size, and good industry people. And Yes the result will come in the Vlog as usual.

It's fun though during the panels I learned that schools in Spain are using some of the blog posts as discussion material for their course.

And yes the domain is changing so right now musichelpblog.com is not working we hope to fix that tomorrow. You can always use https://ihuvudetpaenar.blogspot.com/ or follow my facebook page https://www.facebook.com/Musichelppeter for the latest posts. Or put your email under the picture and get all updates on email.

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Why i'm going on showcase festivals

I'm going to write this post on the road. Usually, I write on my phone, but then correct it in my computer talking off the worst mistakes. Not this time or the Monday post. This has to go straight online I won't be reaching my computer until Tuesday.

I'm doing two festivals on the same weekend. First Focus Wales where The Magnettes is playing. Then New Skool Rules where Adée and Tale the Rapper is playing.

Yes, it is a hectic time right now. Many festivals are in May and they all collide.

Some people ask why I'm doing so many festivals. I guess we can reveal now why. Three years ago I decided to build a network all over the world so I have the contact myself to evaluate different offers and situations. In the end, I want to have such a vast network that I can just with this break an artist on a global scale. I guess right now I'm pretty close. They have been joking around me in meetings always answer, well I know someone that can provide that if they asked a specific knowledge or service in a certain area.

The industry seems to have seen this going on and now we getting more and more projects that are based on this network. The artist community has not, they still think that a bigger network is out there. And maybe there is but most of the artists we work closely with have realized that this network is pretty self-sustainable.

Still, a lot of work has to be done. Especially to maintain the whole thing. I guess I have to wait and see when enough is enough.

Yes you will be burned doing everything yourself.

I see it too many times. A young artist doing everything by themselves and running around like headless chickens. You usually see them for around two to three years then they disappear. Then they come in your social media feed complaining about how hard the industry is. How burned out they are. It's like they want it all and wants it now like Quen sang.

Theis mentality is taking quite many victims. Problem is actually that you try to run a whole business by yourself. An artist like U2 is employing several hundred people to do the thing they do. If you think you can that job your self you are crazy.

Even in small scale like you are when you start it's crazy to think that you can do everything.

So you need to choose your battles. The problem is that they choose the wrong ones. Goes all in for the fun stuff and forget the bring grinding that is needed. Or having an urge to control everything in minute detail and spending more time on checking then being productive. 

So keep calm. What is about going into a spin over trivial things outside your control.

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I just wanted to destroy the environment because it was so bad.

Lately, I have seen many artists with a strong belief in something that will definitely stop their careers.

One had a political view. The problem was it was so strong that every damn song was about the same matter. Remember Running Wild with their main singer Rocke 'n Rolf? Well, it was a German hard rock band only singing about pirates. In my home town, we had Kenneth and The Knutters who only sang about motorbikes. Funny for two songs then you are done. Sure you can be passionate about something but it has to be variety in the songs.

Then I had the artist that couldn't fly because of the environment. They needed to take the bus to the gig. Problem was that all the time it took with the bus to get to gigs would eat their normal working days so they couldn't afford to go.

Even worse was the band that had the same climate anxiety that took the bus. But felt that everything they were bringing was to heavy and sent it with the rest of their flying crew.

I saw another band the other day ranting about all the plastic in the sea, and sea turtles dying. Their message: don't throw plastic in nature. Come on, no one in that room wanted to kill the environment. I don't see anyone just go out with plastic and throw them in nature.

In the end, what the band did was to make a very important message lame. When they ranted on obvious things and then started to play bad music I felt a strong urge to throw my plastic cup with the beer that paid their rent in the river on my way home.

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I was right, here comes the future.

Every ten years has been big changes in the music industry for me. Almost like a new chapter has opened up. 1999 it was Napster and the whole change to digital opened so many new opportunities that it launched my new company Musichelp. It was rewriting the whole game and over ten years.

2009 was the streaming. Launch of Spotify and the start of the showcase era. The changes were massive and opportunities plentiful. And also rewrote the game quite much.

In both cases, just before the big change, I felt it was all over. The industry was not changing and many things had been streamlined. Then a minor meeting opens up a whole new world. The opportunities were back, suddenly everything was great again. You got like a blueprint of where you were heading and a receipt that you were doing the right things. In both older cases, I can pinpoint that meeting that changed everything. And now I know when the feeling is right.

This The Great Escape held just those meetings. That it happened here was more a coincidence. It happened to be the right time and place this time. I had three meetings that could change the future of my career, change the game completely. I would just be glad for one. But with three I'm pretty sure we are going a very bright future ahead.

And I can touch the changes right now. Sadly I cant reveal more maybe in a year or two I can reveal the stories.

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There is no lucky break.

I read a post from my friend Alonzo Sosa on facebook there are no lucky breaks. It's down to hard work and countless criticism and development. And I can't agree more. The ones that work for it get the break if you just sit around.

And like I have been written the past days. It's actually not just the artist that needs to work it's the whole team against the same goal. Too many times its just one person that works in the whole team and that won't change so many things.

And you need to work on the right things. I just spent a good hour talking to an artist that was just perusing Spotify playlists. He was pretty sure if he reached a certain number it will break him. I told him what number he needed around 50 million and he was not happy. Still, he had forgotten the other sites and also the live side in his pursuing after Spotify plays.

Many times also people are afraid of critics. But if everyone says that you should stop doing ballads it's a good sign you should stop doing that. You have the knowledge to know when to listen and when not to listen. It's not easy but that will stop you from work on the wrong things as well. If you don't know what is working and what is not.

Taking the easy way is also very damaging. Just thinking that streaming will break you is an easy way. If it broke you well then you probably have to play live and since you have been avoiding that then you have the numbers but a very very lousy live show. Then you can just go digitally not playing live. Then you really can't get that lucky break. This will only be a 25% break, not a full break.

Peter goes to Enea Spring Break

Yes another VLog and here is Enea Springbreak, too much Ugly Soda and Peter get starstruck.

The single that went nowhere!

You need to get all your team members to work in the same direction. That is like the movie director, their job is to get all in the team into the same vision. And yes there are two ways, either by being nice or by fear.

If you don't get the team in the same vision they will start losing interest in the whole thing. If you just tell them bad things and scream at them they won't like your vision. If you are too nice you might lose power and they will suddenly bring in their own vision. So yes it's a balance.

In the end, you have to have a sense of when and where you say stuff. I was working on a single release last year. The artist, as usual, was not that good on providing the assets I needed so I had to improvise to just make things happen. The assets were simple stuff, like the metadata to the song, a simple English bio, and a new press picture. Not really the hard stuff.

In the end, I had to write my own bio and had to find a picture online to have something to send to the press. It's hard to just send a damn link with the song saying, this is a great song (yes we get those emails a lot from aspiring artists in the demo section). So I put out the first things and was really feeling I could get some results from it.

The suddenly the artist wrote a mess. The bio had a spelling error and a small info part was not correct. The picture was kind of old, he had a new hair color now!

And you just lost the feeling for this project. Nothing about, thank you for writing a whole bio from nothing and even have to find the information online. No, I got something wrong, a small thing which was not even important. Since the lazy artist didn't provide a picture, of course, we will just take one. If you need the right picture, then for f*ck sake give the right info to us.

No, it was not fun to work with this single. The work I had done of course needed follow-up. But the taste in my mouth was not good. Suddenly it all felt boring and there was no joy of working with it. I just gave up and actually didn't put any more job into it.

Of course, the release was as usual. I don't think the artist ever knew that I just stopped. Of course, I did the basic stuff, like upload and send the press release that is needed. But to be honest that is just the basic. When a single really hits off it's because you go that extra mile. In fact, you need the whole team to go that extra mile. The artist killed my feeling to go that extra mile. I stopped doing the extra emails that are personal to friends in good positions that can make a difference. I stopped coming up with smart things around the release. In the end, the single went nowhere. Like it said many times the doors in this business is closing very silent.

You must understand you are the boss.

We have all had the boss that no one really likes, that comes into your room and scream at you. Whatever you do it's not good enough. Yes, we all have had that boss.

Revealing, many artists are that boss. In fact, you are the boss, sure it doesn't feel that way when you sit in the record label room or in the other situations. Still, it's your music that is promoted and the people that work with this promotion is, in fact, your employees.

Sure you can look at it like you are a customer. Same here we all have worked in a job when they had customers that is just ugly, ignorant and you just want to tell them to fuck off, but since this is a business you can't just do that.

And yes many artists are that boss or that customer. In my daily life as a manager, my job is to get the artist away from the decision makers to keep them from looking like assholes. Most of the time because they are acting just like the person we all hate.

Right now I got a call from one of the PR firms. The picture the artist gave us wasn't good enough. Like I didn't know that! I told the artist from the beginning. The photographer is a friend of the band and is artsy fartsy. The picture doesn't really look that appealing. No, they are the standard shit indie picture you find in most bands. This PR agent is working in the higher field so they need the best. I know if this got to the artist they would have been angry, they think the picture is the best since sliced bread. What they don't get is that in the level the PR agent work that is not good enough. The press won't accept bad indie pictures and that will get the PR agent in a bad situation and not a good result. Yes, I have to work this situation out.

It's like the classical moment when your boss comes in the room with this idea that the boss thinks is brilliant. You know that the customers will hate this new idea or product. Mainly because you are working out there and knows the requests from them. Still, the boss needs to have it there way and you will end up by getting screamed at from the boss and the customers. All you want to do is just take the customers in the room to the boss and they can scream at each other. At the same time, that is how the business goes down and you don't have any work

The, of course, you can just take the decision to not work with jerks. Well, that is not a decision. The boss doesn't know they are idiots and if you tell them they might listen but in many cases not and do you have the "f*ck you" capital, the money you need to tell people to fuck off? Not always.

In all ways, you always hear if the artists is a good boss or not. The artist that is nice working with is preferred before the nasty ones. Even if the good ones are not quite as hip or cool or selling, in the end, you want to work with the nice ones. So are you a good boss or a bad one?

The topic is back, better then before, supervisors.

Sometimes your wish comes true. Not long ago I wrote how I was tired of panels like meet the supervisors. Those panels where they mainly talk in broad things or you just switch cards. I was very tired of that because it seldom leads to anything. The supervisors take from their trusted sources and are not that keen to take from randomly given cd.

Then now they open up Europe in Sync where you instead if the useless way has a chance to be in a day workshop to become this trusted source. Suddenly the topic placement becomes interesting again.

Sometimes you just get these new ways that open doors. 

You need facetime not Facebook time.

A rather interesting discussion came up during Enea Springbreak, the importance of the physical meeting. It seems like some people mainly think if you are friends on Facebook its included in your network.

I feel that Facebook is a good tool to just keep up but the real stuff where things happen is live face to face. It is these situations you find these small but crucial leads that go to something bigger. Just the way people say stuff is reveling. All that is lost in social media.

And you can easily see when a person is out and network in a physical world move very much faster than the ones that rely most on social media contacts.

So if your manager, booker, record label only visit one event in the year and it's always the same, you probably have hit a dead end. If they do to many like me, well question if they get anything done. :-)

Your hubris will kill your career.

I was just on a showcase and ended up with some record labels. They discussed how they just dumped artist and how similar they were in the reason why between each other.

First, it was an artist that the label guessed that they wanted to work with them since they had really great success with some of their other artists. After three releases the artist started to get an attitude that he hadn't got millions of streams like the other two artists on the label. Of course, the label had over 20 artists and two yes had a lot of streams. Still, they were more famous and also releases with not that many streams. Still the artist just saw what he wanted to see. And now he suddenly had an attitude towards the label. They didn't like it and dropped him.

The other label had a band that never answered. Their attitude was carefree. Suddenly they thought they could record and release a single in one week, right when the label had quite lot to do. In best diva fashion they demanded stuff and got dumped.

The third was an artist that had all these feelings. If the label did things the artist always felt things and started to complain. In the end, the label grew tired and dropped the artist.

I guess hubris is getting you some time. Try not to have so much or you get dumped.

When the DIY comes around it's dead.

I remember when I started talking about Spotify with my artists around 2009. They were totally uninterested. The industry as well. Just people higher up in the industry was interested.

Then five years later the general industry started to become interested. Now ten years later I see all these DIY services offering things around Spotify. Now the top industry has stopped being interested in Spotify. You know that when the DIY people come around the whole thing is dead. It has run through the whole ecosystem and is now just some basic stuff that is just there.

So what is ongoing. The general industry is just adapting to the showcase opportunity that is ongoing. My guess is that showcasing has its five to seven years left until the DIY comes around.

To avoid being left by the real industry as an event you need to keep away from the DIY people. If showcase becomes more exclusive it might keep their position. 

Right now I'm so fed up with DIY nagging around how they should get into playlists. They still think that if they have many streams their career is made. Right now that is so far from reality that you can get. I have so many proofs with artists with million of Spotify streams that are going nowhere.

And you can't talk reason with the DIY. They think you hide or lying to them when you prove the cases one by one.

I guess the dream is too real and to perfect. You just sit there in your room release a song and then you just become a world star and can do anything. I guess Santa Claus is also real then.

I have just posted a hit on Spotify!

The unprofessional genres.

Why is it that certain genres are unprofessional? I mean I can get if a certain person is that, but here we talk about a whole genre. and everybody knows it, but no one wants to talk around it?

Ok, certain movements also producers certain behavior. The hippie movement produced a certain style and thinking. And yes the behavior on a metal concert will look different then a night at Royal Albert Hall.

And when people get into certain of these movements they behave in the way you start to think that Isis, the Talibans is a kind of nice understanding people. It seems they are so sucked up in the style that it would be easier to stone their mothers then change the views.

The funny part is they all complain that no one listens to them. But they keep on doing it hard to reach the main audience. At the same time they want to be underground cool they want to fill an arena with fans.

When you give this obvious reason for lack of success you are treated like standing up in the bible belt and say that Satan seems a but cozy from time to time. And passing stricter gun laws is a good thing and expect them to agree.

I get fucking annoyed. In so many cases I would just love to say, fuck your principles, cut your hair, become more accessible and stop screwing around being annoying arts fartsy. No, I won't work with you until you be more professional.

Success is something you earn not what a government gives you.

In Sweden the music industry is damn cowards

So it's 1 of may, workers day and also when you can protest. If I should go out and protest it would be that the Swedish music industry is a bunch of cowards. Sweden is a strange country. Some days ago they fired the head of the state theater for a mistake done by his predecessor. And the reason was that he didn't act on it fast enough suddenly when a tv documentary was broadcast about the old issue.

At the same time in the music industry, you have people convicted in court for bribing government officials. Not a single second thought that you probably should fire these people from sitting in boards inside the music industry? Here is no talk about it even in normal cases if a person in the highest position is caught red-handed would be treated as a disease. The banks have their lowest trust and they haven't done half the things these people have done.

When banks were discovered to laundry money people left the bank. In the music industry, people just put their heads in the sand and no ones even talk about leaving these organizations.

Yes, the Swedish music industry you are all damn cowards. And yes I will start talking about on international panels pretty soon.