Our guest curator, Rebecca Gates, did some work for the Future of Music Coalition’s project researching what revenue musicians rely on. We talked to three Oregon artists who are finding their way through changing platforms and distribution methods.
Looking for more on this? Rebecca and Terrence will discuss industry issues at a RACC forum in Portland scheduled for April.
Terrence Scott, a.k.a. Cool Nutz, is one of the survivors of Portland’s hip hop scene. He and his childhood friend, Bosco Kante, started Jus Family Records, had ups and downs with major labels, and organized countless events and showcases. He talked about lessons learned over three decades, and the practicalities of making music a life-long proposition. Watch for him at the Independent Grind shows in May.
Dave Gulick and some friends formed the alt-rock trio Derby, and found some success starting with their 2005 release This is the new you. Big crowds and more records followed, but Gulick and his bandmates learned the hard way how tough it was to make a living recording and touring. But they also discovered some unexpected revenue through music licensing. Gulick told us the story, and explained how he’s expanding his sound - and getting paid for it - licensing through Marmoset Music.
Liz Harris is an accomplished visual artist who also records as Grouper. Her music, primarily distributed on vinyl - a primarily through Kranky Records - is, by turns ethereal and earthy, steeped with the kind of stillness that makes you lean in to listen. Harris lives in Astoria now. She talked about what’s happened in the four years since she gave up a day job to dedicate herself fully to her creative work.