Some people (like Wendie, perhaps?) set out -- from the beginning -- to make
their living as an original music artist. They go to very expensive schools
and buy the very best equipment and put together the very best bands they
can. They compartmentalize their musical output, writing whatever might be
required for whatever specific project they're contributing to at the
moment. They plan for a secure future in music the way I've planned for a
secure future as an accountant (I'm now a VB programmer, but I can always go
back to banking if need be. Yawn.).

Unfortunately -- like Wendie says --  the opportunities to make a living as
a musician have dwindled to almost NOTHING during the past few years;
frankly, it's ALWAYS been a gamble, but never more so than now. It's
ridiculous: a guy like Mike Keneally -- who, honestly, could play the rings
around Saturn if he chose to, he's such an unbelievable musician and
songwriting visionary -- has a hard time supporting himself these days. I
know dozens of stellar, visionary musicians who can't sustain a living wage
in this climate. I can sympathize with Wendie, and her attitude is
completely understandable.

On the other side of the coin, I understand where Kevin is coming from. I've
always been *way* too realistic to honestly believe I could make money from
my music. I mean, I hold out hope that it *could* happen, but I don't go
chasing after it with much zeal. However, I honestly consider myself a
successful songwriter because -- at the age of 40 -- I'm still writing music
that challenges me, technically as well as emotionally. In fact, I've
*never* been as creative as I've been these last few years. When I finish
demoing a song, play it back, and hear/feel the emotions being conveyed the
way I originally heard it in my head, the feeling of success is incredible,
like a morphine-mixed-with-methamphetamine rush. I *live* for that feeling.

Unlike Wendie, I made a conscious decision -- years ago -- to choose a
fairly stable means of income so that I would always have the *ability* to
create my music. Luckily, the *inspiration* to create has never left me;
there's too many amazing, near-unknown writers who constantly inspire me
(Adam Marsland, Mike Keneally, Neal Morse, Kevin Gilbert, etc). Also, I'm
very grateful for the internet in that it's allowed me to easily share my
music with the world (an option that didn't exist a few years ago) and --
surprise, surprise -- I've actually made a few fans whose support and
respect means the world to me.

That said, I'm glad that I didn't choose the path Wendie did; it sounds like
she's been through a lot of scary bullshit. But -- honestly -- it's nothing
new; I've been aware of industry horror stories since my days as a teenage
prog-head in the '70's. Wendie chose a difficult path, the industry changed
on her, and now she has to either adapt or change careers. I consider myself
lucky to operate outside the constrictions that "making it in the music
industry" entails.

R. Fuckin' Stevie Moore, baby!

kErrY kOMpOsT

www.mp3.com/kompost
www.m-blog.com/kompost

NP: Spock's Beard - Snow (this one will be in the player awhile, folks;
incredible -- and practically unknown -- music)