ZeitgeistPublishing

  Max Weber: Peter, I find it curious — people often support artists they don’t truly enjoy, yet they call it meaningful. How can support be genuine if one’s taste is lukewarm? Peter Randel: Max, perhaps we should distinguish the type of support. Listening quietly, sharing occasionally, that is low-risk. But when one actively opens doors — marketing, grants — that is a commitment of energy and social capital. Weber: And therein lies the tension. How does one avoid hitching their horse to a failure? I may personally doubt the artist’s potential, yet I do not possess insight into the broader public’s desires. Randel: That is precisely the point. Predicting the market is rarely reliable. Success is not merely a function of quality; it is contingent on culture, networks, and perception. Your support is valuable even if mass recognition never follows. Weber: Then perhaps there are those who excel because their taste aligns with the public — the so-called tastemakers. They appreciat...

    Young Turks founder Cenk Hanging out in Toronto. Hot Docs. To Repeat:  If an artist limits themselves—whether it’s rejecting streaming, radio, or networking—they’re shrinking their surface area for opportunity. And in a city like Toronto, where the scene is dense and competitive, that’s a real handicap. That said, there’s nuance: Streaming alone rarely “works” financially (fractions of a cent per play). Social media success is unpredictable and crowded. Local networking (shows, relationships, promoters, other artists) is still crucial . So the smart approach isn’t “internet vs real world”—it’s both: Online → discovery, reach, brand Offline → relationships, shows, credibility If this bandleader is rejecting all modern channels, yeah—that’s a bad business move. If he’s just skeptical of relying on them alone , that’s actually a more grounded take. The real red flag isn’t “no radio” or even “anti-Spotify”—it’s a mindset of closing doors instead of stacki...