I posted a link to Tim Farron’s rather good speech on Tumblr yesterday. Someone who’d been following me there for a few weeks posted Standard Aggressive Rant Number Five in response (take the couple of lines saying Thatcher wasn’t utterly evil out of the context of a speech that says she was wrong about everything important, in damaging, harmful ways that will take decades to fix, and use that to “prove” that Lib Dems are “really” evil, heartless bastards who deserve to be shot). I posted this in response, and thought it worth posting here too:
I still, two years after the end of the Beach Boys’ reunion tour, get people coming to my blog looking for an answer to this question. I thought it probably worth laying out the facts for those people.
The simple answer: he didn’t. For the longer answer, read on.
At the end of the Beach Boys’ reunion tour in 2012, there were a lot of news reports claiming that Mike Love “fired” Brian Wilson from the Beach Boys, and that he owned the Beach Boys’ name. This is wholly untrue, but to see why, we have to look at a bit of history.
Mike Love does not own the Beach Boys’ name. The name is owned by Brother Records Incorporated (BRI), who are in turn owned equally by Love, Wilson, Alan Jardine (another former member of the Beach Boys) and the estate of the late Carl Wilson (another former member of the band). BRI in turn license MELECO, a company owned by Love, to put on shows as “the Beach Boys”. That license has various conditions attached — Love must pay a (hefty) fee to BRI, must use only male vocalists, must do shows that feature a lot of fun and sun songs, and so on — in order to make sure that Love’s band don’t damage the value of the Beach Boys brand name, so Love definitely doesn’t own the name.
That license is non-exclusive, but between 1999 and 2012 Love was the only person to have been granted a license. However, in 2012, a second license was issued by BRI, to a company called 50 Big Ones. This company had three owners — Love, Wilson, and an outside producer, Joe Thomas.
Thomas was an integral part of the reunion. He had control of a number of tapes of songs he’d co-written with Wilson which were needed for the reunion album, he had experience putting on live shows for TV specials (which was part of the package), and he’d worked with all the Beach Boys without too much of a problem in the past. But while he was someone who was (at least at the start) acceptable to both Love and Wilson, he was definitely “Brian’s man”, and this meant that Wilson had de facto control over the reunion, although both men had to compromise enormously.
(The other Beach Boys didn’t really get any say over the reunion. David Marks and Bruce Johnston aren’t corporate members, and Al Jardine, while a full corporate member, isn’t part of the family. More to the point, Love is the frontman and Wilson was the one who would make the reunion a big event that would get news coverage and record company interest).
We know that there were things Love didn’t like about the reunion tour — in particular, he complained about the large band (mostly Wilson’s musicians, although two crucial members were from Love’s band), disliked the album (into which he had comparatively little creative input — it was mostly Wilson and Thomas’ work), and didn’t like the experience of working with Brian’s “people”.
On the other hand, he did like the setlists (which were one area where he was in charge), working with Jeff Foskett (Wilson’s right-hand man, who he’s since hired for his own band), the intro music (which he’s kept for his own shows) and the video screens used during the show. He’s also kept some of the changes that were made to arrangements during that tour.
So Love didn’t think it was a wholly positive thing, but nor did he think it was a wholly negative thing. So why did the tour end?
The reason was only recently made public, in a Facebook comment by Love’s daughter, but it’s been obvious to those who have been paying attention since it happened.
The reunion tour was originally meant to last fifty shows only, almost all in North America. But a short while after the tour started, an agreement was made to extend the tour by twenty-something shows and visit Australia, Japan, and the UK.
And when that agreement was reached, an email was sent to Love, by someone in Brian Wilson’s organisation with the power to make statements like this, saying that “these will be absolutely the last shows for Wilson”. This was an open secret among Beach Boys fans a while ago, and was made public in that FB comment. I have spoken to people who’ve seen the email in question, and I know those people to be trustworthy.
Having been told a fixed end date, after which the reunion tour was over, Love booked shows after that date with his MELECO license, for the band he’d been touring with for years.
However, in the last week of the tour, long after contracts had been signed and tickets sold for Love’s band’s shows, it became clear that Brian Wilson and Al Jardine were both quite keen (at least at that moment) to continue with the reunion tour, and Wilson said in a statement “it feels a bit like being fired”. This, and similar statements from Jardine, along with a hell of a lot of jumping to conclusions from reporters, led to reports that Love had sacked Wilson, Jardine, and Marks.
Now, it’s entirely possible that Wilson was not informed of the ultimatum sent out by the person in his organisation. It’s also possible that he forgot it or changed his mind between then and the end of the tour. We can’t say for sure whether Brian Wilson brought the tour to an end and later regretted it, or whether someone in his organisation overstepped themselves and messed things up as a result. But what we can say is that Mike Love didn’t fire him.
It may well, of course, be Love’s choice that there hasn’t been any further reunion activity — I don’t think he was especially unhappy for the reunion to end — but he didn’t set the end date on it. Someone else did.
(An extra note for the hard of thinking — I am NOT saying that Mike Love didn’t do whatever other bad thing you’re about to accuse him of, nor am I calling Brian Wilson a liar, nor am I “taking Love’s side over Brian”. Brian Wilson is responsible for at least 85% of what I like about the Beach Boys, and a vastly more talented artist than Love. If I had to pick a side, I would pick Brian over Mike every time, but I simply don’t think there is any value whatsoever in choosing goodies and baddies and fighting for one side in interpersonal problems between people I don’t know.
Nor am I saying “Brian is being manipulated by people in his organisation”. He might be. Or he might be manipulating the situation. Or there could have been a genuine error. Or any of half a dozen other things.
If you don’t know why I add these caveats, just count yourself lucky — you’ve clearly never been involved in the less salubrious parts of Beach Boys fandom).
(OK, so I lied about there being no post. I have to do something to take my mind off rubbishness.)
Amazon have announced a new feature, Kindle Unlimited. This feature allows Kindle owners (so far only in the US) to download as many books as they want, one at a time, for a $9.99 per month flat fee — it’s a “Spotify for books”. Authors get paid as soon as the Kindle owner reads more than 10% of their book.
This is, in theory, a great thing, but in practice it’s evil. That sounds harsh, but I think it’s fair. And there are two main reasons it’s evil.
The first is that it requires participation in “KDP Select”, Amazon’s exclusivity programme. If you sign up for this, you can’t have your books available digitally anywhere else. I’d have to pull my books from Smashwords, iBooks, Kobo, Barnes & Noble and the rest, take down the PDF versions on Lulu, and remove the blog posts they were based on from here.
This would not be too terrible for me financially — I sell barely anything through any of those bookshops, and because I’m not good at sorting out tax stuff I haven’t even collected the money I’m owed for most of the sales (it’s all accruing in my Smashwords account, and I’ll get it eventually).
But it would mean that anyone with a non-Kindle e-reader would be unable to buy my books, making it bad for other readers like me (I have a Nook, and mostly buy from the Kobo shop and smaller ebook stores owned by publishers like Obverse or Baen).
It would also be one more tiny step towards Amazon being the only ebook retailer around, which would be bad both for readers (because monopolies are very bad for consumers) and for writers (because monopsonies are even worse for suppliers).
So I would consider it immoral to be involved — in the sense that the most moral action is the one which, should everyone take it, would improve the world the most, not in the sense of judging authors who decide differently. But that’s not actually the worst thing.
The worst thing is that, as with the Kindle Owners’ Lending Library (which also requires participation in the KDP Select programme), there is not a flat fee paid to the author for each book read, but instead there’s a pot of money chosen by Amazon (at the moment $2million, as a promotional thing — normally closer to $1million, but offered at their discretion; they could make it ten cents if they wanted) which is split between all the authors according to the proportions in which their books are borrowed.
This is what makes it evil rather than just normal nasty corporate capitalism, because it turns what should be a positive-sum game into a zero-sum one.
If they made payments by number of books borrowed, say a dollar a book, that would be great. I could encourage you to read my book, and I’d get a dollar, and also encourage you to read, say, Andrew Rilstone’s latest book, and he’d get a dollar too.
But with the system where you’re paid by proportion of books borrowed, if I encourage you to read Rilstone’s book, then that means I’m getting a smaller share, so the incentive is for me to discourage you from reading any books by anyone other than myself. It’s a neat and nasty way of breaking any sense of community for authors (and one which would incidentally make collective action much more difficult should Amazon’s terms become more onerous).
This is not only classic divide-and-rule, pitting suppliers against each other, the worst kind of monopoly capitalism, but it’s also a catastrophic thing for readers. One of the most important ways people find new books is when authors reference or acknowledge each other’s work. But if you’re signed up to KDP Select, then you can’t tell readers about those other authors, who might make your share of the pie smaller.
And look at what that pie is. $2,000,000 . Sounds a lot, doesn’t it? But how many subscribers are they going to get at $10 a month? I’d guess quite a lot more than 200,000.
But more importantly, the number of books in the programme is “over 600,000″. Break that down, and that means that the mean payment per book — in this special promotional period where they’re paying more — is $3 per month. Obviously some will get more, but only because others will get even less.
The worst thing imaginable would be if this was a success, undercutting actual ebook sales to the point that it was the only way writers could actually make any money. And I can see that happening if something isn’t done about Amazon’s monopolistic practices (of which this is just one of many).
Thankfully the Big 5 publishers are staying out of this evil, and so long as they are, people will still buy books.
Because I don’t know exactly what the price for my soul is, but I do know it’s more than $3.
Rather major personal stuff (those of you who follow me on Twitter will know what) means that I’ve not got the brain to write today. Proper post tomorrow.