GODS LECTURE: ON THE WAY THINGS ARE AND HOW MAN SCREWED IT UP


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This is God's lecture, and if man has any inkling of what is good for him, he will listen. Read more Read less. Product description Product Description God is pissed. Bowman has been active in commercial real estate for more than 30 years as a salesperson, broker, manager, and owner. He started in his family's commerical real estate company, Bowman Company, located in Portland, Oregon, where he became sales manager, president, and a part owner.

In Bowman Company joined forces with Portland's largest commercial firm, Norris, Beggs and Simpson, where the Bowman spent 10 years as an industrial broker. He started his own commercial real estate company, John L.

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God's Lecture and millions of other books are available for Amazon Kindle. God's Lecture: On The Way Things Are And How Man Screwed It Up 0th Edition. God is pissed. In the beginning, God created heaven, earth, and all the animals. They were part of a grand and perfect design. It worked well, and God was.

Bowman, Realtor in He has also served on various association committees including Professional Standards. Kindle Edition File Size: Share your thoughts with other customers.

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Delivery and Returns see our delivery rates and policies thinking of returning an item? All the money was held communally and we lived together while we shared the pursuit of a radical ideal. I thought songwriting was about the glory, I didn't know you'd get paid for it. We practiced a total immersion to try to forge a new approach which would be something of our own. Something of lasting value. Something that was going to be revealed and created and was not yet known.

We are now in the age of the schemer and the plan is always big, big, big, but it's the nature of the technology created in the service of the various schemes that the pond, while wide, is very shallow. Nobody cares about anything too deeply expect money. Running out of it, getting it. I never sincerely wanted to be rich. You can do it! I never sincerely felt like making anyone else that way. That made me a kind of a wild card in the 60's and 70's.

I got into the game because it felt good to play and it felt like being free. I'm still hearing today about how my early works with The Stooges were flops. But they're still in print and they sell 45 years later, they sell. Okay, it took 20 or 25 years for the first royalties to roll in. Some of us who couldn't get anywhere for years kept beating our heads against the same wall to no avail.

No one did that better than my friends The Ramones. They kept putting out album after album, frustrated that they weren't getting the hit. They even tried Phil Spector and his handgun. After the first couple of records, which made a big impact, they couldn't sustain the quality, but I noticed that every album had at least one great song and I thought, wow if these guys would just stop and give it a rest, society would for sure catch up to them. And that's what's happening now, but they're not around to enjoy it. I used to run into Johnny at a little rehearsal joint in New York and he'd be in a big room all alone with a Marshall stack just going "dum, dum, dum, dum, dum" all my himself.

I asked him why and he said if he didn't practice doing that exactly the way he did it live he'd lose it. He was devoted and obsessive, so were Joey and Deedee. Johnny asked me one day - Iggy don't you hate Offspring and the way they're so popular with that crap they play. That should be us, they stole it from us. I told him look, some guys are born and raised to be the captain of the football team and some guys are just gonna be James Dean in Rebel Without a Cause and that's the way it is.

Not everybody is meant to be big. Not everybody big is any good. I only ever wanted the money because it was symbolic of love and the best thing I ever did was to make a lifetime commitment to continue playing music no matter what, which is what I resolved to do at the age of If who you are is who you are that is really hard to steal, and it can lead you in all sorts of useful directions when the road ahead of you is blocked and it will get blocked.

Now I'm older and I need all the dough I can get. So I too am concerned about losing those lovely royalties, now that they've finally arrived, in the maze of the Internet. But I'm also diversifying my income, because a stream will dry up.

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I'm not here to complain about that, I'm here to survive it. When I was starting out as a full time musician I was walking down the street one bright afternoon in the seedier part of my Midwestern college town. I passed a dive bar and from it emerged a portly balding pallid middle aged musician in a white tux with a drink in one hand and a guitar in the other. He was blinking in the daylight. I had a strong intuition that this was a fate to be avoided. He seemed cut off from society and resigned to an oblivious obscurity.

An accessory to booze. So how do you engage society as an artist and get them to pay you? Well, that's a matter of art. To start with, I cannot stress enough the importance of study. I was lucky to work in a discount record store in Ann Arbor Michigan as a stock boy where I was exposed to a little bit of every form of music imaginable on record at the time.

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I listened to it all whether I liked it or not. And I played in my high school orchestra and I learned the joy of the warm organic instruments working together in the service of a classical piece. That sticks with you forever. If anyone out there can get a chance to put an instrument and some knowledge in some kids hand, you've done a great, great thing. Comparative information is a key to freedom.

I found other people who were smarter than me. My first pro band was a blues band called The Prime Movers and the leader Michael Erlewine was a very bright hippy beatnik with a beautifully organized record collection in library form of The Blues. I'd never really heard the Blues. That part of our American heritage was kept off the major media. It was system up, people down. No money in it. But everything I learned from Michael's beautiful library became the building blocks for anything good I've done since. Guys like this are priceless. If you find one, follow him, or her.

Once in secondary school in the 60's some class clowns dressed up the tallest guy in school in a trench coat, shades and a fedora and rushed him in to a school dance with great hubbub proclaiming "Del Shannon is here, Del Shannon is here. He was just a voice on some great records. He had no social ID. By the early 60's that had really changed with the invasion of The Beatles and The Stones.

This time TV was added to the mix and print media too. So you knew who they were, or so you thought anyway. I'm mentioning this because the best way to survive the death or change of an industry is to transcend its form.

You're better off with an identity of your own or maybe a few of them. It is my own personal view having lived through it that in America The Beatles replaced our assassinated president Kennedy, who represented our hopes for a certain kind of society. And The Stones replaced our assassinated folk music which our own leaders suppressed for cultural, racial, and financial reasons.

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It wasn't okay with everybody to be Kennedy or Muddy Waters, but those messages could be accepted if they came through white entertainers from the parent culture. Years later I had the impression that Apple, the corporation, had successfully co-opted the good feelings that the average American felt about the culture of the Beatles, by kind of stealing the name of their company so I bought a little stock. But look, everybody is subject to the rip off and has to change affiliations from time to time. Even Superman and Barbie were German before America tempted them to come over.

So who owns what anyway. Or as Bob Dylan said "The relationships of ownership. Nobody knows for long, especially these days. Apparently when BBC radio was founded, the record companies in England wouldn't allow the BBC to play their master recordings because they thought no one would buy them for their personal use if they could hear them free on the radio. So they were really confused about what they had. And how people feel about music.

Later when CD's came in, the retail merchants in American all panicked because they were just too damn tiny and they thought that Americans want something that looks big, like a vinyl record. Well they had a point but their solution was a kind of Frankenstein called "The Long Box. It had a little CD in the bottom. Now we have people in the Sahara using GPS to bury huge wads of Euros under sand dunes for safe keeping. But GPS was created for military spying from the high ground, not radical banking so any sophisticated system, along with the bounty it brings, is subject to primitive hijacking.

I wanna talk about a type of entrepreneur who functions as a kind of popular music patron of the arts. I call him El Padron because his relationship to the artist is essentially feudal, though benign. He or she La Padrona if you will, is someone, usually the product of successful, enlightened parents, who owns a record company, but has had benefit of a very good education, and can see a bigger picture than a petty business person. If anyone complained the line was "Pay you? By the time I came along, there was a new brand of Padron. People like this are still around and some can help you.

One was named Jack Holzman. He'd started working in his family record store, like Brian Epstein. He dressed mod and he treated us very gently. He was a civilized man. He obviously loved the arts, but what he really wanted to do was build his business - and he did. He had his own concerns, and style, and you had to serve them, and of course when he sold out, as all indies do, you were stranded culturally in the hands of a cold clumsy conglomerate. But he put us in the right studios with the right producers and he tried to get us seen in the right venues and it really helped.

This is a good example of the industry. Another good guy I met is Sir Richard Branson. I ended up serving my full term at Virgin Records having been removed from every other label. And he created a superior culture there. People were happier and nicer than the weasels at some other places. After all they had Sting!

The worst gig we ever played: musicians on their on-stage lows

Richard was secretly starting his own company at the time in the US and he phoned me in my tiny flat with no furniture. He said he'd give me a longer term deal with more dough than the other guys and he was very, very polite and soft spoken. But I had just smoked a joint that day and I couldn't make a decision. So I went with the other guys who soon got sick of me.

Virgin picked me up again later on the rebound. And on the cheap. Another kind of indie legend who is slightly more contemporary is Long Gone John of the label Sympathy for the Record Industry. John is famous with some artists for his disinterest in paying royalties. He has a very interesting music themed folk art collection — its visible online - which includes my leather jacket.

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I wish he'd give it back. There are lots of indie people with a gift for organization who just kind of collect freaks and throw them up at the wall to see who sticks. You gotta watch 'em. When you go a step down creatively from the Padrons who are actually entrepreneurs you get to the executives.

You don't wanna know these guys. They usually came over from legal or accounting. You can become a favorite with them if your fame or image might reflect limelight on their career. They tend to have no personalities to speak of, which is their strength. Strangely they're never really thinking about the good of their parent company as much as old number one. They do that well. But, when the company is your banker, then you are basically gonna be the Beverly Hill Billies. So it's best not to take their money. These are very tough people, and they can hurt you. So who are the good guys?!

They asked me when they read this thing at BBC 6 Music. Well there are lots of them. If fact, today there are more than ever and they are just about all indies, but first I want to mention Peter Gabriel and WOMAD for everything they've done for what seems like forever to help the greatest musicians in the world, the so called world musicians to gain a foothold and make a living in the modern screwed up cash and carry world. So it's crucial for everyone that these treasures not be lost.

Shout out to Hypnotic Brass Ensemble. But now YouTube is trying to put the squeeze on these people because it's just easier for a power nerd to negotiate with a couple big labels who own the kind of music that people listen to when they're really not that into music, which of course is most people. So they've got the numbers.

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But the indies kind of have the guns. I've noticed that indies are showing strength at some of the established streaming services like Spotify and Rhapsody — people are choosing that music. And it's also great that some people are starting their own outlets, like Pledge Music, Band Camp or Drip. As the commercial trade swings more into general show biz the indies will be the only place to go for new talent, outside the Mickey Mouse Club, so I think they were right to band together and sign the Fair Digital Deals Declaration.

There are just so many ways to screw an artist that it's unbelievable. I actually think that what Thom Yorke has done with Bit Torrent is very good. I was gonna say here: