My Conversation with the excellent Rick Rubin
The Rick Rubin. Here is the transcript and audio, here is part of the summary:
He joined Tyler to discuss how to listen (to music and people), which artistic movement has influenced him most, what Sherlock Holmes taught him about creativity, how streaming is affecting music, whether AI will write good songs, what he likes about satellite radio, why pro wrestling is the most accurate representation of life, why growing up in Long Island was a “miracle,” his ‘do no harm’ approach to working with artist, what makes for a great live album, why Jimi Hendrix owed his success to embracing technology, what made Brian Eno and Brian Wilson great producers, what albums he’s currently producing, and more.
And an excerpt:
COWEN: Do you think the widespread advent of streaming threatens the economic viability of a successful ecosystem for musical production and sale?
RUBIN: I think it can be. I don’t think it is yet. If you look at the history of recorded music, at the time that the Beatles were making albums, I think they were paid several pennies per album sold. Then over time, the artists got more leverage and were able to negotiate better deals. I think it finally culminated in the old music business with Michael Jackson who was getting maybe $2 per album that was sold, which was much more than everybody else. In the early days of singles, people were paid very little. Every time there’s a new format of music, the rights holders seem to take advantage of that.
Like when CDs first came in, artists got paid less on a CD than they did for vinyl, and it’s been very time. Every time there’s a new format, the artist gets paid less. Now, they only get paid less until their attorneys realize, “Oh, in our next deal, we’re going to negotiate to have better digital rights,” or better whatever it is. Then it eventually evens out because ultimately, the artists have a great deal of leverage.
Like now, for the handful of the biggest artists in the world, they probably make more money through streaming music than anyone has ever made in the physical world of music, but it’s very much of a top-down thing. It’s only the very top percent who have that. Eventually, hopefully, it’ll get more equitable. It always has. In every case, it has so I’m optimist that it will again.
COWEN: Do you worry about the decline in music education in American schools? Does that matter for popular music in the future, or do people just teach themselves? There’s YouTube, there’s streaming, whatever.
RUBIN: I don’t think it matters. I like the idea of learning what you want in school. If you want to learn music, it would be nice to have that option, but I think that people learn the things they love wherever they are, not in school.
And this:
RUBIN: Yes. I listen to The Beatles [satellite radio] Channel all the time. I love The Beatles Channel.
COWEN: As do I.
RUBIN: It was funny one of the things that when I was talking to Paul McCartney, one of the first things I said to him was like, “Oh, yes, you make all the music that’s on The Beatles Channel, right? That’s who you are. You’re the guy who makes the music for The Beatles Channel.”
Interesting throughout, and best experienced as a whole. And here is Rick’s new book The Creative Act: The Way of Being.