Prince has been giving his cd away and coordinating it accordingly with his live performances.
Ars Technica article -- BBC

Here's his great new Acoustic song: Love.

Hey sorry I haven't been posting much this week. You can get the Daily Show from November 10th here in the mean time, but I've been busy with our latest Wide Hive release, Dissent's
Swap Meet Seers.

There are 3 different songs available in their entirety
on the website.

Check it out! I'd love to know what you think.

I'll be back getting more stuff up tomorrow, or the weekend.

This interview could have been better (the guy could have asked better questions and stopped trying to pigeon hole Cougar's musical style -- I'm referring to the "are you the Creedence of today" line of questioning on page 3).

But no matter, at least someone gave John a chance to speak!

Ain't that America? Denounced as un-American after he blasted Bush on his 21st album, John Mellencamp talks about the rise of Fox News, pay-for-play, what's wrong with the Rolling Stones and why most Republicans aren't rich enough to be Republicans.
By Eric Boehlert for Salon.

Salon: Talk about people's reaction to "To Washington."

John: Initially I was surprised. My album wasn't going to come out for a few months and I had the song
recorded so I put it up on my Web site and asked for people's comments. And there were some mean
damn comments coming back.

Salon: How about today?

John: It's changed. Now they're almost totally in favor of the song. Because people are starting to
realize, "Now wait a minute, what really happened in Iraq?" I see the climate changing
tremendously. But when people hear those drums of war pounding, and Fox News is showing it on
television, people got pretty riled up. People were afraid, and when people are afraid they make
emotional decisions.

Salon: Did that include people in your hometown of Bloomington, Ind.?

John: When the song first came out I was in the car one day and we were driving to the airport and I had
my kids with me and a radio station was playing "To Washington" and having callers call in. Some
guy comes on and says, "I don't know who I hate the most, John Mellencamp or Osama bin Laden." My
kids heard that and my 9-year-old said, "Dad, are they talking about you? Why are people mad at
you?"

... Salon: Were there discussions about not including the song on your record?

John: I was asked not to put it on the record.

Where did it go from there?

John: I think the people who asked me knew what my response would be, but they felt they had to ask. They
were polite about it.

Salon: Did they say it just didn't feel right, or the tone wasn't right for the record?

John: No, it was more, "You're asking for trouble, and look what happened to the Dixie Chicks, which was
based on just an offhand comment they made." And my point to them was, "Look, I'm John Mellencamp,
I've been doing this 25 years. For anybody to say I'm un-American is laughable."

Here is the full text of the article in case the link goes bad:

http://www.salon.com/ent/music/int/2003/06/30/mellencamp/index_np.html

page 1

Ain't that America? Denounced as un-American after he blasted Bush on his 21st album, John
Mellencamp talks about the rise of Fox News, pay-for-play, what's wrong with the Rolling Stones and
why most Republicans aren't rich enough to be Republicans.

- - - - - - - - - - - - By Eric Boehlert

June 30, 2003 | "The whole thing was surreal to me," says John Mellencamp. He's remembering the
three-month period during the winter and spring when America was wrestling with the notion of war
against Iraq. The roots-rocker found himself caught in the public fray after he released an antiwar
song at the height of the debate, with some radio listeners comparing him to Osama bin Laden.

It was a startling charge for the Hoosier recently dubbed "Mr. Middle America" by ABC News. After
nearly 30 years on the public stage, Mellencamp and his lunch-bucket rock and populist tales have
come to signify heartland values like faith, hard work and, yes, a healthy skepticism toward
authority. But anti-Americanism? "Get the fuck out of here," he scoffs.

His protest song "To Washington," with its thinly veiled jabs at President Bush, struck a chord
with listeners on the left and right alike. "Isn't it funny?" he asks. "A 51-year-old guy who's
made as many records as I have can still piss off the right wing."

Born in 1951 in Seymour, Ind., the son of a fundamentalist father and a Miss Indiana runner-up,
Mellencamp joined his first band at the age of 13. After graduation and a failed job installing
telephones for Indiana Bell, he landed a record contract despite, he says, having no discernible
talents. "I had a deal when I was a kid not because I could write songs or sing. It was the way I
looked," he says. "The idea of actually writing songs had not even dawned on me."

The songs, and the hits, came later, as Mellencamp honed his vocal and songwriting prowess and
fought his way onto portions of the pop charts usually not occupied by bar band singers. In 1986,
the top three selling artists of the year were Whitney Houston, Madonna and Mellencamp.

Through the years the headstrong Mellencamp has remained one of the few major recording artists not
to cash in by selling his songs for use in television commercials or to accept corporate
sponsorship for his concert tours, decisions that have cost him millions of dollars.

Wrapping his workmanlike rock in what he calls his "left-of-center" politics, in the '80s
Mellencamp teamed up with Willie Nelson to begin staging charity concerts and raise millions of
dollars for Farm-Aid. In 1989, at the height of commercial appeal, he penned "Jackie Brown," among
the most stinging indictments of American poverty ever put to record. ("We shame ourselves to watch
people like this live.")

As the late Timothy White, his good friend and the longtime editor of Billboard, wrote in 2001,
"Mellencamp's best music is rock 'n' roll stripped of all escapism, and it looks directly at the
messiness of life as it's actually lived. This is rock music that tells the truth on both its
composer and the culture he's observing."

More recently, Mellencamp has been tackling the topic of race relations. The title track to 2001's
"Cuttin' Heads" featured Chuck D. rapping about the word "nigger": "I connect the word with pain,
now some smile when they scream the name?/ Die, N-word, die. I want to live."

The album's second song, the sweet-sounding single "Peaceful World," was equally blunt: "Racism
lives in the U.S. today." Not exactly Top-40 fare.

While Mellencamp's radio hits in the '90s couldn't match such '80s anthems as "Pink Houses" and
"Lonely Ol' Night," they were always among the smartest on the airwaves, featuring his trademark
American Bandstand sound that's always easy to dance to: "Love and Happiness" (1991), "Human
Wheels" (1993), "Dance Naked" (1994), "Key West Intermezzo (I Saw You First)" (1996) and "Your Life
Is Now" (1998).

Mellencamp has amassed 29 Top-40 singles in a career spread over 21 albums, including his latest,
the steel-tipped, blues-flavored "Trouble No More."

As the years pass, however, it's gotten progressively harder for Mellencamp to get his music heard
on FM radio, or even VH1. "I was standing outside a restaurant the other night," he recalls with a
laugh. "And a guy, about 37, says, 'Man, are you John Mellencamp?' I said yeah. He said, 'I love
your songs,' and then he said, 'Did you stop making records?'"

Thanks to "To Washington," fans have been likelier to read about Mellencamp in the news pages than
the arts section. Originally written in 1903 as "White House Blues," a commentary on the 1901
assassination of President William McKinley, the folk classic has previously been updated as
political commentary by the Carter Family and Woody Guthrie. Mellencamp continued that tradition:

So a new man in the White House With a familiar name Said he had some fresh ideas But it's worse
now since he came From Texas to Washington.

During a recent phone call from South Carolina, Mellencamp talked at length about the song, his
politics and contemporary pop culture, as well as the ailing music industry.

Talk about people's reaction to "To Washington."

Initially I was surprised. My album wasn't going to come out for a few months and I had the song
recorded so I put it up on my Web site and asked for people's comments. And there were some mean
damn comments coming back.

How about today?

It's changed. Now they're almost totally in favor of the song. Because people are starting to
realize, "Now wait a minute, what really happened in Iraq?" I see the climate changing
tremendously. But when people hear those drums of war pounding, and Fox News is showing it on
television, people got pretty riled up. People were afraid, and when people are afraid they make
emotional decisions.

Did that include people in your hometown of Bloomington, Ind.?

When the song first came out I was in the car one day and we were driving to the airport and I had
my kids with me and a radio station was playing "To Washington" and having callers call in. Some
guy comes on and says, "I don't know who I hate the most, John Mellencamp or Osama bin Laden." My
kids heard that and my 9-year-old said, "Dad, are they talking about you? Why are people mad at
you?"

I just thought that was really jerky and wrong. Why would you play a song on the radio and tell
people to call up and say what they think about it. What is this? Is this like a football game?
Tit-for-tat? I don't like this sporting-event mentality to people's lives, which is basically what
it became.

In retrospect, there were only a handful of famous musicians who opposed the war in their music.
Were you surprised, or is it just not feasible today for artists to put out songs like that on
major record labels?

Major record companies don't want those songs. You know, when the record company heard "To
Washington," it was kind of like "Whoa, wait a minute. We don't want you to do this."
Understandably so, because this record was on the same label that has the Dixie Chicks and that had
just blown up in their face.

Were there discussions about not including the song on your record?

I was asked not to put it on the record.

Where did it go from there?

I think the people who asked me knew what my response would be, but they felt they had to ask. They
were polite about it.

Did they say it just didn't feel right, or the tone wasn't right for the record?

No, it was more, "You're asking for trouble, and look what happened to the Dixie Chicks, which was
based on just an offhand comment they made." And my point to them was, "Look, I'm John Mellencamp,
I've been doing this 25 years. For anybody to say I'm un-American is laughable."

But people have said that recently, haven't they?

Oh yeah. But who knows what people are going to say. I read a list of un-American people and there
was Jimmy Carter on there. He's probably the most honest president we've ever had, since I was
alive, and now he's un-American?

page 2

You said earlier that when people hear the drums of war they react out of fear. Were you surprised
at the heights the rhetoric reached this spring?

Well, the whole thing was surreal to me. I have watched Vietnam and a bunch of other skirmishes,
but I've never seen another point in time where I felt that McCarthyism was rearing its head. And
that's how I felt.

But I don't feel it now. These [pro-war] people are having a hard enough time defending what they
did in Iraq, they don't have time to fuck with anybody about being un-American now.

You also mentioned Fox News and the role they played during what you call that surreal period.
What's your take on how they covered the war?

Today's Daypass sponsored by Blue from American Express

Concord Records - For 30 years bringing you the best in independent jazz

I did an interview two weeks ago for Fox News. They invited me to come on their national news show
and talk about "Trouble No More." And I thought, well wait a minute, am I going to have to go on TV
and argue with somebody and defend myself? That's not my job. I'm a singer, a songwriter, I'm not
going to go on TV and debate and all that bullshit.

They said, "No, no, no. This is strictly about the record." So I said OK. So I go in there and they
ask me a few questions about the record. Then all of a sudden the guy says to me, "You wrote a song
that took some potshots at the president." I said, "Whoa, motherfucker! I didn't take any potshots
at anybody, that's not my style. I'm not yelling from the back of the crowd or giving somebody the
finger. That's not what I do." I said, "Listen, I wrote a song and got the lyrics out of any
newspaper in the country." He said, "Well, you saw what happened to the Dixie Chicks." I said,
"Listen, people have died in World War I, World War II, the Korean War, Vietnam and a bunch of
little wars in between so that people will have the freedom to speak out, and then the
administration gets on the news and says there's a price for freedom. Yeah, and these dead guys
have already paid for it. For people to drive by those women's houses [the Dixie Chicks] and call
them on the phone and threaten them is criminal. What the Dixie Chicks did was legal."

What's your take on George Bush?

Well, what I think of George Bush doesn't really matter, does it?

I think people would be interested to know.

I'm a songwriter. I kind of like the way he struts around sometimes. [Laughs.] Let's leave it at
that.

There was a recent story in the Philadelphia Inquirer about the gap between the facts and people's
perceptions about the war, about how a majority of Americans thought Saddam was behind the 9/11
attacks, and that a large portion thinks we found the weapons of mass destruction.

There's no point in even talking about people's perceptions. I'm always amazed at what people think
about me, just a dumb singer in a rock band, let alone some important topic. People are really
involved, and rightfully so, in their own lives. You can't say anything negative about people not
being informed, because they don't have time to be informed. It's a hard world to get a break in.

Have your politics changed much over the last 10 or 20 years?

I'm proud to say they haven't.

Do you think the country's politics have changed?

I'm un-proud to say I think they have.

Your parents were Democratic Party activists in Indiana, weren't they?

Oh, they were active locally, in our county. My mother campaigned for Bobby Kennedy. I was
surrounded by Democrats. And I don't understand, in this day and age -- most people who are
Republicans, they're not rich enough to be Republicans! I don't get it. My best friend is a
Republican. He and I vowed a couple months ago never to talk about politics again. He's just a
normal guy with a normal job and I've known him since I was 5 years old. But I just said to him,
"Man, you don't have enough money to be a Republican. How can you afford this?"

When your friend Timothy White died a year ago, you said that rock 'n' roll had lost its
conscience. What did you mean by that?

Tim would stand up against the record companies when he felt they needed to be stood up against. I
remember one day Tim called me and said, "John, you're not going to believe what just happened. You
know on your recording contract, how your songs and your albums revert back to you after 35 years?"
I said yeah. "Well, they don't anymore." I said, "What?" He said, "Yeah, it was pork in some bill
that just got signed." Well, come to find out they did it. But it got overturned.

One of the things I've noticed about your music videos over the years is their racial diversity. So
many of them feature both black and white people, and it's unusual, in a rock video, to see black
and white people side by side, especially if they're real people and not extras in a dance line.
I'm assuming that's not just a coincidence.

I'll tell you, when I wrote "Peaceful World," one of the problems I had with the record company was
that they didn't understand why I was even writing a song about racism in America today. I found
that reaction to be awe-inspiring. That they thought there was no problem in America. What? You
guys live in New York City and you don't see any race problems? Once I heard that I thought, "Oh
shit. They don't like the record."

Because of the content? The lyrics?

Yeah, because it was about racism. And it mentioned being politically correct. They had a long
laundry list of problems. Their complaint was, "You have this beautiful chorus ['Come on baby take
a ride with me/ I'm up from Indiana down to Tennessee'], why do you have to fill the song with
these things that will agitate people?" Well, that's what the song is.

Did they come around in the end?

No. That's why I left Columbia Records.

Because you didn't feel you could work with people who felt that way?

Because I always thought it wasn't the record company's job to like the song. I thought it was
their job to sell them. And I just didn't see the point of me arguing with people about the
material.

But the fact that the disagreement was about race relations, was that particularly upsetting? I
mean, it seems to be a topic that has been running through your music for years.

Yeah, and I don't think many people get it either. I think people look at me in a different way. If
Elvis Costello writes a great song, nobody is really surprised. He writes a lot of great songs. But
if John Mellencamp writes a great song it's like, "Wow, what the fuck?" So I'm kind of a Hoagy
Carmichael.

page 3

How about this: You're more the John Fogerty, the Creedence Clearwater Revival, of today?

Well, I was a kid and very much into music when Creedence was popular on the radio. Critics tore
those guys up. They tore poor John Fogerty up.

Because he wrote pop singles.

Yep. The rock critics were so mean to that guy. I never really understood it.

Today's Daypass sponsored by Blue from American Express

Concord Records - For 30 years bringing you the best in independent jazz

If you look back now, the Creedence catalog is just amazing.

There's just one great song after another.

But with Creedence, there's a much closer fit with you, right? Very roots -- there's something
uniquely American about that sound.

John Fogerty was an American original, no question about it. But in the moment of the late '60s, he
just didn't fit. But now you listen to those records, like "Fortunate Son" -- there was a guy who
was saying something, saying it plainly. It was plainly played. Very American. People just didn't
get it.

Do you think that comparison could apply to your career?

I don't know. I just don't even want to think about it, because if I start thinking about it I'll
get pissed off. See, that's what happened to John. John Fogerty, through a long list of reasons,
got so mad that he really couldn't make records anymore. He just got so sick and tired of
everything, and when you get sick and tired of everything you can't put things in a way where
you're trying to learn.

I heard that not long ago you added "Gimme Shelter" to your playlist. What's that about?

Yeah, a couple tours ago I was starting the show with that. I don't really know why I did that. I
just like playing the song, I guess. I really don't think much of the Rolling Stones these days. I
don't mean to come off sounding pompous but I just think, I don't know, some of the stuff the
Rolling Stones say and stand for today is a little too corporate for me.

What do they stand for, do you think?

I don't think they stand for anything. Being the oldest rock band, I guess. And, "Man, didn't we
write some great songs when we were kids." But there's too much American Express. Too corporate.
Listen, I got nothing against people making money, don't misunderstand me. If you can make money,
go make it.

Do advertisers even bother calling you to ask about using your songs in commercials?

Sometimes we still get calls. Tim [White] and I used to fight about it, too. Because there have
been some offers over the years I've almost done, big money. I remember once I said, "Tim, goddamn,
this is a song, why are we being so precious about it?" I was so close to taking the money, and he
said, "If you fucking do this I'll never speak to you again." [Laughs.] I hung up the phone and
told my wife, "I can't do this." I decided my relationship with Tim was more important than that.

Are there any songs of yours where you think, "I don't want to play them this year?"

I don't want to play "The Authority Song."

Why not?

It just seems a little juvenile. Don't get me wrong, I've got a lot of fucking juvenile songs:
"Hurt So Good." Mike Wanchic, who is my guitar player and public conscience, he'll actually stand
there and argue with me about it:

"What do you mean we're not playing 'The Authority Song'?"

"Mike, I don't want to play that song."

"But do you see the audience, do you see what happens when we start in on that song?"

"Yeah, but I don't care. They're fucking perking up and I want to throw up."

One of the biggest changes in the music business over the last five years has been the massive
consolidation of the companies that own radio stations and control the tour business. A few weeks
ago the FCC voted to allow major TV and newspaper owners to consolidate.

Now you know why Fox was so supportive of the war.

You think there was a connection there?

I don't think, I know.

What's your take on Clear Channel Communications and its influence on the radio and concert
business?

I'm not going to single out Clear Channel, but I just think that when you control so much ... When
a person owns the horse, the track and the other horses in the race, it's probably not going to be
a fair race.

Another topic that's come up lately is pay-for-play in the radio business -- the way artists and
labels actually get songs on the radio by paying indie middlemen. I was just wondering if you had
any thoughts about that process.

You might be surprised about how I feel about that: That's the way it's supposed to be.

In what sense?

That's the way the music business has always been. And to take that away from a business that has
never really operated aboveboard? [Laughs.] Listen, there is no way that you can devise it so that
people are not going to figure out how to get around it.

When it comes to getting songs on the radio?

Sure. There is no way it can be done. Look, in the '80s when people were paying openly to get songs
on the radio, here's the way it worked. "We want you to play this record and we're going to give
you a spiff [kickback] of $100 to get it on the radio." OK, the guy plays it for a week and says,
"I've been playing the song for a week and nobody likes it." "Well, here's $200 to play it next
week." They've been playing the song for two weeks and nobody likes it. Guess what, they're done
paying. It's over at that point. You cannot pay your way into having a hit. It won't happen. The
only thing you can pay your way into is having the opportunity to have a hit. If you don't pay, you
don't even have the opportunity. That's the way it should be done.

What about the folks who can't afford to have an opportunity?

I hate to be cruel about it, but that's the way it's always been. Look, you're talking to a guy
right now who doesn't have a chance [of getting on FM rock radio]. What am I going to do about it?
What's Tom Petty going to do about it? We could write "God Bless America" and nobody wants to play
it. It doesn't matter what we do.

You've always been pretty upfront about the fact that you were playing this game to be on Top-40
radio, to have hits. Meaning if you're going to put time into a project, you might as well have as
many people hear it as possible.

You're right. I always said there's no reason to make these records if nobody's going to hear them.
What's the point, unless you can do something positive with the song, or entertain people? These
things are too hard to make, they take too long, they cost too much money and there's no reason to
make them unless the record company is going to support you and try to sell the fucking thing.

Is this your last album?

I don't know. Listen, I never planned anything in my life. It depends what comes my way. I'm not
out looking for a record deal. I'm not calling anybody up. I don't have anybody who represents me
calling people up. But I would imagine I'd make another record.

You've been doing this for a long time. If you do leave the stage, do you think it's not a bad time
to do it, considering all those things you just said?

Look, my reward for "Trouble No More" has already happened. The fact we had so much fun making that
record. It was challenging. It was interesting. That was reward enough. It would be like my
painting. I don't paint for anything other than enjoyment. I look at other artists like Neil Young,
that's the way he lives. I admire the guy. I don't know what goes on in his private conversations
with his manager, but I see Neil and he doesn't care. He doesn't go on television. He doesn't
promote these records. If they sell half a million or they sell 3 million, it's all the same to
Neil.

You're not there, though, mentally?

I'm not there yet, but that doesn't mean I won't get there. Let's not forget I'm the luckiest guy
in the world.

So you've had a good time?

Did I have fun in the music business? Are you kidding me? More fun than most guys deserve to have
in their life. I have laughed so hard at myself that I couldn't get up off the floor.

Paul McCartney agrees to take his show down a couple notches because it might be within the Pope's earshot. Then he made a funny about only playing mellow songs that the Pope would like anyway. Like Lady Madonna, which is neither mellow in tempo nor of a subject matter the Pope would necessarily approve of...

This clip is from KTVU Channel 2 News In San Francisco.

Paul McCartney and The Pope Make The News (Small - 2 MB)
Paul McCartney and The Pope Make The News (Hi-res 27 MB)

LADY MADONNA - BEATLES

lady madonna, children at your feet
wonder how you manage to make ends meet
who finds the money when you pay the rent
did you think that money was heaven sent?

friday night arrives without a suitcase
sunday morning creeping like a nun
monday's child has learned to tie his bootlace
see how they run

lady madonna, baby at your breast
wonders how you manage to feed the rest

see how they run

lady madonna, lying on the bed
listen to the music playing in your head

tuesday after is never ending
wednesday morning papers didn't come
thrusday night your stockings needed mending
see how they run

lady madonna, children at your feet
wonder how manage to make ends meet

I think this song really captures the essence of blogging quite well, actually:

Ben and Mena

StevenF says "As far as I know, it's the first, and hopefully the last ever song about web logging." It may be the first, but I can guarantee that it won't be the last... (MP3 - 4 MB)

Blank page, nothin' to say
Just pictures of my cats today
Thought about the war a bunch
Now let me tell you what I had for lunch

Boys all hate me, my girlfriend dumped me
They're bombing Iraq, my oatmeal's lumpy
Wi-Fi networks in Central Park
Funny Photoshops up on Fark

(Chorus)
I wanna be Ben, I wanna be Mena
If only for a moment or two
I wanna be Cory, I'll even be Winer
If that's what I gotta do

I wanna be Ben, I wanna be Mena
The master of my domain
So send me a ping, send me a trackback
I promise I won't complain

Referers say no-one came today...

That perfect link I hope to find
Check MetaFilter for the 40th time
I left a comment, I hope you see
How this issue pertains to me

Semantic web, RSS, and e-mail
Single white guy seeks athletic female
I'm busy building the digital commons
Cook me up another bowl of ramen

Here is the entire text of the link in case it goes bad:

http://stevenf.com/mt/archives/000238.php#000238

March 24, 2003
Caterwaul

Hey, speaking of not having anything to blog about, here is a song (3.8 MB) I put together a few weeks ago using Reason with some other bits of hardware and software. It relays the epic saga of a lonely everyblogger who dreams of finding the ultimate link that will catapult his puny blog into the limelight.

As far as I know, it's the first, and hopefully the last ever song about web logging. Headphones recommended, don't scare your co-workers. Listeners will be delighted to know that I don't plan to give up my programming career to become a recording artist.

For lyrics, click "More..." link.

(Hey does this count as "audblogging"? *shudder*)
Ben & Mena (S. Frank)

Blank page, nothin' to say
Just pictures of my cats today
Thought about the war a bunch
Now let me tell you what I had for lunch

Boys all hate me, my girlfriend dumped me
They're bombing Iraq, my oatmeal's lumpy
Wi-Fi networks in Central Park
Funny Photoshops up on Fark

(Chorus)
I wanna be Ben, I wanna be Mena
If only for a moment or two
I wanna be Cory, I'll even be Winer
If that's what I gotta do

I wanna be Ben, I wanna be Mena
The master of my domain
So send me a ping, send me a trackback
I promise I won't complain

Referers say no-one came today...

That perfect link I hope to find
Check MetaFilter for the 40th time
I left a comment, I hope you see
How this issue pertains to me

Semantic web, RSS, and e-mail
Single white guy seeks athletic female
I'm busy building the digital commons
Cook me up another bowl of ramen

(Alt. Chorus)
I wanna be Ben, I wanna be Mena
If only for a moment or two
I wanna be Haughey, I'll even be Stile
If that's what I gotta do

I wanna be Ben, I wanna be Mena
The master of my domain
So send me a ping, send me a trackback
I promise I won't complain

Referers say no-one came today...

(Repeat Chorus)

----

System Of A Down: Boom! Video and News Blog

Natalie Merchant, No Strings Attached
By Jon Pareles for the NY Times.

When her Elektra contract expired in August 2002, she chose not to renew it or to seek a deal with another major label. "I would make a big-budget pop album, followed by a year of touring and promotion and then some downtime for recovery," she said. "I don't even know if I was writing music that was appropriate for that mold." Instead she will release her next album, a collection of traditional songs called "The House Carpenter's Daughter," on her own label, Myth America Records. It is to be released June 1 through Ms. Merchant's Web site, nataliemerchant .com, and July 1 in stores.

Recorded on a modest budget, marketed primarily to existing fans and not relying on radio exposure, "The House Carpenter's Daughter" breaks free of the commercial pressures that have turned major-label releases into risky gambles that can cost a million dollars in promotion alone. In contrast, Ms. Merchant's transition suggests the model of a sustainable career for a musician who is no longer eager to chase hits.

Here is the full text of the article in case the link goes bad:

http://www.nytimes.com/2003/03/13/arts/music/13NATA.html

Natalie Merchant, No Strings Attached
By JON PARELES

Natalie Merchant has stepped off the pop treadmill. After 17 years with Elektra Records, first as the main songwriter and singer of 10,000 Maniacs and then with million-selling solo albums of her reflective folk-rock, Ms. Merchant decided to go it alone.

When her Elektra contract expired in August 2002, she chose not to renew it or to seek a deal with another major label. "I would make a big-budget pop album, followed by a year of touring and promotion and then some downtime for recovery," she said. "I don't even know if I was writing music that was appropriate for that mold." Instead she will release her next album, a collection of traditional songs called "The House Carpenter's Daughter," on her own label, Myth America Records. It is to be released June 1 through Ms. Merchant's Web site, nataliemerchant .com, and July 1 in stores.

Recorded on a modest budget, marketed primarily to existing fans and not relying on radio exposure, "The House Carpenter's Daughter" breaks free of the commercial pressures that have turned major-label releases into risky gambles that can cost a million dollars in promotion alone. In contrast, Ms. Merchant's transition suggests the model of a sustainable career for a musician who is no longer eager to chase hits.

"The business is going one way, and Natalie's going another," said her manager, Gary Smith, also the general manager of Myth America.

Ms. Merchant has little to lose. "I'm in a privileged position," she said by telephone from Hawaii, where she lives part of the year; she also has a home in upstate New York. "I'm beyond financially independent. I had a lot of success, and I gathered together a very large audience. And I was in a rare position, because my material was unorthodox as the pop-hit mold went, but I was able to sell multiplatinum albums and have relatively large hits."

When a musician is signed to a label, the company pays for recording and promotion, then recoups expenses from the musician's royalties while retaining ownership of the finished recordings. (Elektra still owns Ms. Merchant's catalog; Rhino Records, distributed by the AOL Time Warner conglomerate that includes Elektra, is releasing a 10,000 Maniacs retrospective this summer.) A label also uses its expertise and clout to market and distribute an album.

Ms. Merchant paid for recording and packaging "The House Carpenter's Daughter," including the $3.50 manufacturing cost of an elaborate box for the first 30,000 copies. (The CD will sell for $16.95.) The special package "was printed in America for three times the price in Hong Kong," Ms. Merchant said.

"It's just not in keeping with American business practice right now," she added.

Even so, "The House Carpenter's Daughter" needs to sell only 50,000 copies to break even, less than 15 percent of what "Motherland," her last album for Elektra, sold.

"We're not trying to recoup some enormous debt," Mr. Smith said. "The economics of making this record are very prudent. When we sell 200,000 copies, we'll be standing on our chairs, hollering. If we released this record with these kinds of goals on a major label, we would look like a failure. At Elektra, if you just sell 1.5 million, everyone goes around with their heads down."

Ms. Merchant is not the first well-known musician to become independent. Prince, after battling Warner Records over his desire to release more music in a year than the label thought it could market, started his own company, NPG, and has since released double- and triple-CD sets at whim. Todd Rundgren markets his music directly to subscribers to his Web site, patronet.com.

"For those already through the door, doing it on your own is incredibly viable," said Jay Rosenthal, a music-business lawyer who represents the Recording Artists' Coalition. "It's going to be very attractive, and it's going to be a viable alternative even for bands who are doing well. The only reason to go to the major labels is to get your songs on the radio, to go for the promo money. If you don't need to get on the radio, and you've got a name, go out there and go for yourself. If there's any moment that artists should do it, it's now, before things get worse."

He added that some musicians would have no choice, as he expected major labels to cut their rosters by 30 to 50 percent in the next year...

This situation just goes to show that it was the Music Programming layer of the system, not the listener layer, that pulled the Dixie Chicks from station playlists over Natalie's statements.

That's the issue here: programmers took it upon themselves to censor the Chicks before listeners had a chance to say anything. That's where the McCarthyism parallel kicks in. The Chicks got blacklisted by a few key people within a Monopolized Media: not by infuriated listeners.

Many thanks to Dale Carter, programming director at KFKF/Kansas City for rethinking the situation and speaking out on this important issue!

Country Radio Still Weighing Chicks Controversy

One major market programmer removed the Chicks from his station's playlist but changed his mind after considering why Americans have fought previous wars. In a letter to listeners posted on the KFKF/Kansas City Web site, program director Dale Carter wrote, "Our soldiers, sailors, airmen and Marines are over there fighting for our rights -- and one of those is our Constitutional right to express an unpopular opinion. The longer this has gone on, the more I had visions of censorship and McCarthyism. Two wrongs don't make a right. I agree with the 80 percent of you who abhor what Natalie said in London. On the other hand, I believe in the Constitution."

Here is the full text of the article in case the link goes bad:

http://www.cmt.com/news/feat/dchicks.031403.jhtml

Dixie Chicks
Country Radio Still Weighing Chicks Controversy

Calvin Gilbert
03/14/2003

With heated debate continuing over Natalie Maines' comment about President George W. Bush, country radio listeners may be determining the Dixie Chicks' future -- at least for the short term.

Just like postings on Internet message boards, phone calls to radio stations have been hot and heavy in the aftermath of the Texas-based trio's Monday night (March 10) concert in London. During the concert, Maines told the crowd, "Just so you know, we're ashamed the president of the United States is from Texas." The band later posted an explanation on their official Web site outlining their views of a possible war with Iraq.

Some radio stations immediately dropped the Dixie Chicks from their playlist after news surfaced of Maines' remark. Rumors were circulating Friday afternoon (March 14) that one sizable chain of stations would be initiating a boycott of Chicks titles during the weekend. Most, however, appear to be taking a "wait and see" attitude as they seek input from their listeners. Several stations are running polls and asking for additional comments via their Web sites.

The Chicks' "Travelin' Soldier," is No. 1 on Billboard's latest country singles chart, but weekend boycotts at major market stations could easily prevent the track from remaining at the top when the next chart is compiled Monday (March 17).

"They're about where they were at this point last week, as far as spins," Billboard country charts editor Wade Jessen told CMT.com. "But with three more days left to go, depending on what happens, they could either stay at one or they'll get knocked out. At this point in the week, they're maintaining their airplay on 'Travelin' Soldier,' but we won't know until Monday morning what it looks like."

Noting that Americans were more unified in the early '90s during Operation Desert Storm, Jessen adds, "I think this is new territory, and it's very, very sensitive and very emotional. It's particularly sensitive in the country format because we're really where patriotism lives. Country is the format with the audience that expects patriotism. But at this time in the nation's history, there's a lot of confusion over just what patriotism is and what constitutes it."

In Bush's hometown of Midland, Texas, radio station KNFM's Web site offers a direct link to The Guardian, the London newspaper that first reported Maines' remark. The station has also stopped playing Dixie Chicks music as part of an on-air promotion billed as "Chicks Free -- Texas Pride Weekend." KNFM operations manager John Moesch said, "Natalie Maines certainly has the right to say whatever she wants, but it doesn't mean that the KNFM listener family here in George W. Bush's hometown have to listen."

Elsewhere in Texas, online polls are being conducted by KILT and KKBQ in Houston and at KSCS in Dallas. The KSCS poll has a bit of a disclaimer: "At 96.3 KSCS we disagree with her [Maines]. We're not only proud to be from Texas, but we're proud of President George W. Bush and the fact that he is from Texas."

One major market programmer removed the Chicks from his station's playlist but changed his mind after considering why Americans have fought previous wars. In a letter to listeners posted on the KFKF/Kansas City Web site, program director Dale Carter wrote, "Our soldiers, sailors, airmen and Marines are over there fighting for our rights -- and one of those is our Constitutional right to express an unpopular opinion. The longer this has gone on, the more I had visions of censorship and McCarthyism. Two wrongs don't make a right. I agree with the 80 percent of you who abhor what Natalie said in London. On the other hand, I believe in the Constitution."

Carter concluded, "In light of what our men and women are about to do, this whole controversy is very small. Let me close with the most important sentiments any of us can express: God bless our troops, pray for the people of Iraq and may God continue to bless the United States of America."

Dixie Chick Explains Bush Bash

"I feel the President is ignoring the opinions of many in the US and alienating the rest of the world.

"My comments were made in frustration and one of the privileges of being an American is you are free to voice your own point of view."

Here is the full text of the article in case the link goes bad:

http://kvet.com/script/headline_newsmanager.php?id=128626&pagecontent=musicnewscountry

Dixie Chick Explains Bush Bash

A member of country group The Dixie Chicks is clarifying slating remarks she made about President George W. Bush.

Singer Natalie Maines reportedly told the crowd at a London concert "Just so you know, we're ashamed the President of the United States is from Texas."

Her comments - which reportedly had the audience cheering - were reproduced in a review by British newspaper 'The Guardian.'

On the "There's Your Trouble" Texan band's website, Maines says, "We've been overseas for several weeks and have been reading and following the news accounts of our government's position. The anti-American sentiment that has unfolded here is astounding."

"I feel the President is ignoring the opinions of many in the US and alienating the rest of the world.

"My comments were made in frustration and one of the privileges of being an American is you are free to voice your own point of view."

But Maines is much more supportive of the United States troops.

She adds, "While we support our troops, there is nothing more frightening than the notion of going to war with Iraq and the prospect of all the innocent lives that will be lost."

The Dixie Chicks have been blacklisted out of major radio rotation for expressing their views about the Shrub.

So when you're calling the radio stations to request the new Beastie Boys and John Cougar Mellencamp Anti-war songs, you can also let them know that you'd appreciate hearing some Dixie Chicks!

Dixie Chicks pulled from air after bashing Bush

Country stations across the United States have pulled the Chicks from playlists following reports that lead singer Natalie Maines said in a concert in London earlier this week that she was "ashamed the president of the United States is from Texas."

Station managers said their decisions were prompted by calls from irate listeners who thought criticism of the president was unpatriotic...

One station in Kansas City, Missouri held a Dixie "chicken toss" party Friday morning, where Chick critics were encouraged to dump the group's tapes, CDs and concert tickets into trash cans.

Houston country station KILT pulled the band's records from its playlist -- at least temporarily -- after 77 percent of people polled on its Web site said they supported the move.

"We've got them off the air for right now," said Jeff Garrison, program director at KILT, which is owned by Viacom's Infinity Broadcasting Corp.

"People are shocked. They cannot believe Texas' own have attacked the state and the president," Garrison said.

Lead singer Maines said in a statement she felt the president was ignoring the opinions of many in the United States and alienating the rest of the world by pushing for war with Iraq.

"We've been overseas for several weeks and have been reading and following the news accounts of our government's position. The anti-American sentiment that has unfolded here is astounding," Maines said...

The Chicks have the number one country album in the United States on the Billboard charts called "Home" and the No. 1 single with "Travelin' Soldier", which is about a U.S. soldier who fought in Vietnam.

Here is the full text of the article in case the link goes bad:

http://www.cnn.com/2003/SHOWBIZ/Music/03/14/dixie.chicks.reut/

Dixie Chicks pulled from air after bashing Bush

Friday, March 14, 2003 Posted: 7:45 PM EST (0045 GMT)
The Dixie Chicks: Emily Robison, left, Natalie Maines, center, and Martie Maguire
The Dixie Chicks: Emily Robison, left, Natalie Maines, center, and Martie Maguire
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DALLAS, Texas (Reuters) -- There are a lot worse things in country music than your wife leaving you or your dog dying. There's stations not playing your music because you done gone and said some things against the president.

Music superstars the Dixie Chicks are finding out that criticizing President Bush's plans for war in Iraq can cost you air play, big time.

Country stations across the United States have pulled the Chicks from playlists following reports that lead singer Natalie Maines said in a concert in London earlier this week that she was "ashamed the president of the United States is from Texas."

Station managers said their decisions were prompted by calls from irate listeners who thought criticism of the president was unpatriotic.

The group, which got its start in Texas, was one of the darlings of this year's Grammy Awards. The three-woman band that blends blue grass and pop hooks has spawned legions of fans who embrace the ideals of strong women celebrated in some of the trio's songs.

One station in Kansas City, Missouri held a Dixie "chicken toss" party Friday morning, where Chick critics were encouraged to dump the group's tapes, CDs and concert tickets into trash cans.

Houston country station KILT pulled the band's records from its playlist -- at least temporarily -- after 77 percent of people polled on its Web site said they supported the move.

"We've got them off the air for right now," said Jeff Garrison, program director at KILT, which is owned by Viacom's Infinity Broadcasting Corp.

"People are shocked. They cannot believe Texas' own have attacked the state and the president," Garrison said.

Lead singer Maines said in a statement she felt the president was ignoring the opinions of many in the United States and alienating the rest of the world by pushing for war with Iraq.

"We've been overseas for several weeks and have been reading and following the news accounts of our government's position. The anti-American sentiment that has unfolded here is astounding," Maines said.

One of the country stations in Dallas that helped champion the Chicks when they were scraping by in that city playing gigs on street corners for tips, "99.5 The Wolf," said they are listening to the listener's views but do not think it is right to immediately jump on the bandwagon and stop playing the Chicks, said program director Paul Williams.

Williams said it is too early to tell how strong a backlash may develop against the Chicks. He said the comments touched a deep nerve in Texas because they came from one of the biggest country groups to come out of the state and were directed at a president who calls Texas home.

"The listener outlash is probably bigger here than anywhere else," William said.

The Chicks have the number one country album in the United States on the Billboard charts called "Home" and the No. 1 single with "Travelin' Soldier", which is about a U.S. soldier who fought in Vietnam.

And he's giving it away for free! (just like the beasties)
Updated June 15, 2003 - The Video has been released
To Washington
By John Cougar Mellencamp

TO WASHINGTON
Eight years of peace and prosperity
Scandal in the White House
An election is what we need
From coast-to-coast to Washington

So America voted on a president
No one kept count
On how the election went
From Florida to Washington

Goddamn, said one side
And the other said the same
Both looked pretty guilty
But no one took the blame
From coast-to-coast to Washington

So a new man in the White House
With a familiar name
Said he had some fresh ideas
But it's worse now since he came
From Texas to Washington

And he wants to fight with many
And he says it's not for oil
He sent out the National Guard
To police the world
From Baghdad to Washington

What is the thought process
To take a humans life
What would be the reason
To think that this is right
From heaven to Washington
From Jesus Christ to Washington