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Rex Manning Day
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 +3Posted on Jun 20th | re: Let's Go Turns 20 (14 comments)

I was a quiet kid with embarrassingly terrible taste in music in high school, and also lived in a small city where the terrible bands that I liked never visited, so I didn’t go to a proper concert until college.

That first concert was a Rancid show that my roommate took me to for my birthday. At this point I still had terrible taste in music, and all I knew about this band was that it was called “Rancid,” so I figured all I’d get out of the deal was a funny story about this weird, awful, angry band I went to see.

Instead, I saw all these punk kids in studs and mohawks who I didn’t know even existed any more (this was in 2003) joyously dancing around and having a blast while a bunch of dudes who looked exactly like them barreled away on stage. When I got kicked in the face by a crowdsurfer and lost my glasses, all the punk kids around me stopped dancing and got their cellphones out to help me look for them. We failed, but that sure was nice of them.

All of which is to say, Rancid was my first real concert, and it was perfect.

Because they apparently can’t give an interview without reciting the most boring possible negative comment on that week’s top YouTube music video.

I would be fine with this sort of transparent marketing tactic if their opinions were remotely interesting. By all means, play the media game and get your pageviews. But to try to stir shit up by saying Nickleback sucks and Justin Bieber is spoiled? Come on.

I’ve said it before and I’ll say it again.

Man, fuck the Black Keys.

Man, fuck the Black Keys.

 +6Posted on Jan 9th | re: Coachella 2014 Lineup (105 comments)

Releasing a comparatively underwhelming lineup, waiting for the festival to sell out anyway because it always does, then adding Daft Punk as a surprise would have to rank among the most amazing troll moves in festival history.

 +6Posted on Dec 4th, 2013 | re: Spotify Explains Royalty Payments (21 comments)

“Spotify is not generating their own value besides creating the architecture for a streaming service (which by the way, they’re riding the coattails of Facebook for user accounts). They do not create (significant) content or value.”

…what?

According to the NY Times, in 1995, “when a CD is sold, 35 percent of the retail price goes to the store, 27 percent to the record company, 16 percent to the artist, 13 percent to the manufacturer, and 9 percent to the distributor.” (source: http://www.nytimes.com/1995/07/05/arts/pennies-that-add-up-to-16.98-why-cd-s-cost-so-much.html?pagewanted=all&src=pm)

I might be mistaken, but I don’t recall anybody complaining that record stores were keeping too much money for themselves in the 90s. Furthermore, back in that pre-digital golden age of record sales, rightsholders were only keeping 43% of CD revenues. That’s less than half! On Spotify, rightsholders keep 70% of revenue.

You’re right, Spotify is not being generous in paying 70% to rightsholders. Nor, however, are they being somehow unreasonable in keeping 30%. That’s less than a physical store kept in the 90s, and it’s significantly less than the store and the distributor kept combined. If you were right and building Spotify wasn’t worth anything, then the record companies wouldn’t have agreed to this revenue scheme in the first place. They would have laughed those techies out of the room, slapped together their own service, and called it a day.

But they didn’t. They saw value in Spotify, and they agreed that that value was worth 30% of revenues. You might argue that record companies were forced to agree to this by the current environment, to which I reply: yes, duh, welcome to capitalism. When nobody is willing to buy music any more, whoever builds the biggest streaming service will be king.

Artists and labels are fighting for better deals and better venues to distribute their music. The labels weren’t forced at gunpoint into this agreement. They got the best deal they could in the market that existed. If you ask me, artists should spend more time overhauling the record labels and less time complaining about the current version of the record store. Fixing the labels will produce far, far more money for artists than getting Spotify to drop its rate ever will.

 +13Posted on Sep 30th, 2013 | re: Fall Out Boy - "Love, Sex, Death" (Prod. Ryan Adams) (12 comments)

Preemptive criticisms of indier-than-thou Stereogum comments are the new indier-than-thou Stereogum comments.

 +3Posted on Sep 27th, 2013 | re: Kanye West Is Really Pissed At Jimmy Kimmel (99 comments)

I am not Rex Manning. I am Rex Manning DAY.

A fine distinction, but an important one.

 -2Posted on Sep 27th, 2013 | re: Kanye West Is Really Pissed At Jimmy Kimmel (99 comments)

What bus?

Anyhoo, I am just always amused when dudes go off about how everyone’s so “overly-sensitive” about “political correctness” these days, and I like to point out such occasions so that others may join in my amusement. I am simply spreading joy, here.

 +9Posted on Sep 27th, 2013 | re: Kanye West Is Really Pissed At Jimmy Kimmel (99 comments)

Always nice to see 2 dudes sort out the finer details of what is and isn’t misogyny among themselves.