Seriously? Where are you getting those prices? 0.27 per for DM all in? You aren't going to pay that up around where I am. I've rolled out software distribution CDs (cheaper than audio) for a mega corp. And even ordering in units of 100K I couldn't touch that number dealing with one of the best duplicators in the industry.
You're also still ignoring the tour expenses. And the book publishing that went with the incentives. And the pile of other things that came out of wildly exceeding the target. When the campaign was originally announced ($100K) it was to fund album production and distribution. Basically to create a record company to manufacture and ship the already mastered album. Everything else that followed was either a stretch goal - or just added on by Ms. Palmer on her own after the campaign closed. And for what it's worth, her campaign ran out of time before it ran out of contributors. Which I think says something.
Whatever. I'm not an apologist for Amanda Palmer. She writes a good song, puts on a decent show, does good by her fans, and has paid more dues than many musicians out there. And through it all still remained true to what she's about musically. That's called "professionalism" and "artistic integrity." And it's something I admire her for.
I'm sorry whatever Ms. Palmer did has offended you. I don't see the problem myself. But that's me. I just can't get into the neo-socialist criticism that surrounds music on the one hand, or the unmitigated rank capitalist justifications for restrictively ridiculous IP legislation and greed on the other. I live in a simpler world when it comes to music.
If somebody puts out a good album (judged solely by the
only criteria worth considering - the fact people actually like your work enough to buy it); or puts on a good show - and people want to see - and sometimes pay scalper prices to get in, who am I to say it's all wrong? Music is a luxury product and/or a leisure activity. And music recording and stage shows are a
business. If somebody does well because of something they created, and people (none of whom are having a gun to held their head) flock to buy or see it, I don't see anything wrong with it. And if some musician does very
well, it's still no cause to go trashing them for it.
I contributed to the campaign because I enjoyed that weirdness that was
Dresden Dolls. And also (unapologetically) because they were out of the greater Boston music scene - which was
my old stomping grounds in my "pro" days, and therefor it kindles some strong sentiments and conjures up fond memories for me. If you're any good (like Mark Sandman and
Morphine were for example) and you're out of Boston - I'm your fan.
Back to Amanda Palmer's project. Right now I've got my book, vinyl and CD disks as promised - and all is well with me. Did Ms. Palmer make out like a bandit on the deal? I neither know nor care. I wanted to see her do the show, and get me some "product." And all of that was delivered without any undue fuss; after the fact "explanations;" or some idiot begging forgiveness because "
Unforeseen circumstances make it impossible for us to complete our project or honor the incentives that were promised to our supporters. We're deeply saddened by this turn of events and ask for your forgiveness and understanding - and we humbly request that you be kind." notices. Which I have gotten from more than a few other music projects.
If she made money, and hasn't felt obligated to publish her full P&L from the project, I don't have a problem with that. Her campaign was on Kickstarter - not Gofundme. Kickstarter is unabashedly about funding projects with a business objective in mind. People who go there understand that. Gofundme is a tin cup for whoever is looking for some money. A different world altogether. With diferent rules and expectations.
All my expectations were met by Ms. Palmer's campaign. She delivered. As promised.
