After all the articles and more articles and more articles and more articles and finally today's Gawker article, Amanda Palmer does the right thing and announces on her blog that she's paying every musician on stage, including the ones who didn't get paid during this tour retroactively, and oh by the way has been for three days neener neener neener and oh hey, my album is doing really well!
To which we say, bra-fucking-vo Amanda Fucking Palmer. Your fucked your own public brand hard, but it's never too late to start attempting to mend fences.
That was kind of our whole point to begin with.
I do want to clarify one thing: In your post you keep talking about everyone being the 'media.' They aren't. They're social media. There is a difference. Leaving comments on your blog post-- most of them anonymous-- is not akin to reporting on a story, or writing an article. One is an individual opinion; the other comes from a media source that interviews other sources and then writes a piece with a POV. In our case we're covering the issues that concern the ad world, and have been since Dabitch started Adland back in 1996: Four years before The Dresden Dolls played their first gig.
And while it may have been fine to have been crowd sourcing musicians for free beer and hugs in the pre-kickstarter days, your kickstarter page was a public and transparent offering. So if some people who took note disagreed vehemently with your crowd sourcing and swayed you to use your windfall to give back, even if it took a few weeks to make it happen, you took the lumps (some fair, some really not) and did so.
To paraphrase an album title from Lou Reed , growing up in public is hard.
For those who want to read Amanda Palmer's apologia and subsequent victory lap in solving what she calls a "kerfuffle," and celebration of her album receiving shit loads of attention in the process be our guests.
But we here at Adland think it's more important to give the unpaid musicians their due. In addition to help give more exposure and discuss the 'kerfuffle,' and make suggestions on how to solve the Amanda Palmer As A Personal Brand problem, the musicians were the entire raison d'être for these articles anyway.
But enough about Amanda Fucking Palmer. Let's hear her talk about the people who got compensation for what they're really worth. Here's her congratulations to the musicians whose names we can now support (with free beer or Benjamins, but hopefully more of the latter.)
i’d like to offer a giant especially-given-the-circumstances round of applause to all the musicians who have rocked out with us thus far:
David Fishkin, Kirk Knuffke, Sam Kulik, “Moist” Paula Henderson, Toshi Chun (and his sister, Keiko, for telling him we were looking), Austin in atlanta whose last name we don’t know because you showed up so incredibly spontaneously, Ashley Shab-an-kereh, Hannah Krieger (and special thanks to Alexandra Scott for sending us EVERYONE in new orleans!), Catherine Piacente, Justin Sabe, Jessie England, Alec Spiegelman & Kelly Roberge of Ronald Reagan (Boston’s Premiere 80s Pop Saxophone Duo!), Jerry Ochoa & Jo Bird & Debra Brown & Margaret Lejeuneall (all members of Two Star Symphony who have an incredible show coming up in houston this friday where they’re going to be attached to heart monitors and play along to the beat of their own hearts, YES!!!!!!), David Bloom & Finnegan Shanahan & Josh Henderson & Dylan Mattingly & Mariam Parhizkar who played with us at bard and are all members of contemporaneous.org, Daniel De Jesus, Brian Fitzgerald, Timba Harris, Alex Weill, Francesco in DC, Maggie Dziekonski, Natalie Spehar & Nick Montopoli (both members of classicalrevolutiondc.org) Tim Martin, Elliot Anderson, Laura Hubbard, Omar Luiz-Lopez, Sam Craft, Jack Craff and Mary Petro. (…and if you’ve played with us and we missed you or your last name, tell us in the comments! there’s a ton of you!!)
Hey, Amanda: do you think your legions of fans who called us stupid, bullshit, negative, complainers, haters and more in our comments will also apologize, too?