Thursday, December 23rd 2010
The Truth: Paramore
The True Face Of Selling Out
As few of you know or care, founding brethren Josh and Zac Farro have left the band Paramore. When our usually wasted curiosity took us down to the bottom of the story, we found it to be more interesting than we expected, and so we’d like to share it with you. The band’s own statements have only scratched the surface of the story of a band that became a package for a product called Hayley Williams.
In a recent blog post confirmed to be genuine, Josh tells the story of how Paramore came together in the first place. He and Josh started a band with a couple of other guys, which Hayley Williams was eventually introduced to and invited to join after an audition.
Yet in just a few months, Hayley was forced to leave the band by a manager that Josh says “controlled her every move” with the help of her parents. According to Josh, they didn’t like the idea of Hayley being in a rock band, and wanted her to pursue a solo career.
The band continued on for a few months without Hayley, until one day when she called Josh, asking to use a song they had previously written together, eventually extending an invitation to Josh and Zac to join her band. As Josh says, the band that they had started, that she had left.
The way Josh tells the story, there’s a lot bitterly said between the lines. From nearly the moment she joined, the band “became all about Hayley,” and when he explains the seemingly absurd invitation, he notes that it came ultimately from Hayley’s manager, who decided that the other two guys “weren’t good enough” for the honor.
However, when you read others’ accounts of the story, the truth becomes much clearer. In a recent interview, that manager, Jeff Hanson, revealed that there was a much bigger plan all along, in which Josh and Zac became willing pawns. Hayley already had a production deal at age 14, and she and her manager were already talking to Atlantic Records by this point in the Paramore story. Atlantic’s vision “was to make Hayley Williams a 14-year-old pop singer,” Hanson told HitQuarters; “make a record, take it to top 40 radio and that’s it.” They wanted to buy an Avril or a Taylor.
Hanson explains that the invitation was a bigger break than Josh lets on or possibly even believes: “So we got her on the Taste Of Chaos [tour] and the Warped Tour and she formed her own band with some younger and like minded kids.” Hanson pushed through what was possibly the first 360° deal ever for a brand new band, one of the biggest factors in Paramore’s meteoric rise to fame.
So when Josh talks about Hayley and her manager sneaking off to meetings with record executives without the band, and eventually signing a contract with no signature but her own despite the band thinking they were actually a band, it’s important to put it all into the proper context: The label wanted a pop star, and Hayley wanted a band. So the label did what labels do, and found a way to make it all work: The band re-recorded Hayley’s solo demos using their own music “to make it sound more genuine.” Atlantic then surreptitiously moved Hayley to indie imprint Fueled By Ramen to present Paramore as a grass-roots punk rock band that in reality was anything but.
The band then found themselves on a tour that was magically set up as a vehicle for Hayley, and Paramore seemed to understand least of anyone what Paramore actually was. The band questioned whether or not they were really a band, or just “hired guns” supporting the “real artist” as their tour manager – Hayley’s father – proclaimed when anyone would complain about anything. Hayley would reassure her friends that they were all in a band, and maybe she wanted to believe they were. But the contract she signed said otherwise.
Now, with Josh and Zac leaving the band they created and named and invited Hayley to join, all that’s left of Paramore is the truth. Despite street cred from an indie label, despite humble origins in a garage, despite Hayley’s personal dreams, despite badges from relentless touring, Paramore is a factory-raised, label-owned pop star, pretending to be a rock band.
We present this not as a damnation of the band, nor eulogy for some idea of what they were or could have been. It’s just a revealing case study in band manipulation and manufacturing. On any given day, there’s a hundred artists whose Integrity is being challenged on message boards or in college dorm rooms. But it’s not every day that such a high-profile, worldwide act splinters into such a tidy crime scene, with all sides of the story put into plain view for study.
Defenders of the accused – fans, handlers, band members themselves – will talk about how and why the band was formed, how they got to where they are, what beliefs drove them. However, Paramore is a perfect example of a band not even understanding how hard they sold out, or how early on. Of course it’s far from likely that they would have any remarkable success any other way – if a few teenagers had to come up with their own plan rather than follow Jeff Hanson’s.
It all just goes to show that integrity is something you can lose before you even know you have it. And you’re a fool if you think that “doing it for the music” is enough to protect it. You can’t take a gift if you don’t know where it came from, if you didn’t earn it. You can’t sit in the passenger seat and call it driving. And if you’re a fan, you can’t let yourself fall for the textbook tricks.
From a fan’s perspective, it probably doesn’t matter. You hear a song, like it (or not), and continue to listen to it (or not). What some manager said or did, or who was hired for whatever reason probably doesn’t matter to all but .001% of music fans.
Meanwhile, I’m pretty sure I’ve never heard a Paramore song. I surely can’t name one. I didn’t even realize they were a big deal, but from the sound of this article I guess they are. But I did see that chick’s naked pics on here. From what I can gather, the audience that his band is aimed at is an audience that couldn’t give a shit.
Speaking as a fan of Paramore (yes, go ahead and judge me), this whole story has left me torn. Was I deluding myself, thinking that somehow they stood out as an exception to the asshats that made up the rest of the pop-punk genre? Yeah, probably.
But at the same time, the bands I’ve found who are allegedly above the tricks that have plagued Paramore are ones that I can’t get into. So it basically comes back down to what do I like. Will I keep listening to bands that have sacrificed integrity for exposure? Yes, but at least now I’m aware of it. And when the rare band that sticks to its guns and doesn’t sound like petrified duck shit comes along, I guess I’ll appreciate what they do that much more.
I wouldn’t call that selling out. Selling out implies that they did something that they would not have done, just to get paid. And considering the fact that Paramore had three albums which were all stylistically similar to each other, and when they came out with one which members of the band (Zac and Josh) didn’t agree with, those members (finally) quit.
And no serious musician starts a band with the hopes that they’ll make music that they love and still find time for a shitty day job to pay the bills. Anyone who believes otherwise, or that musicians, “shouldn’t do it for the money,” in any way,
are fooling themselves and are needlessly naive to what goes on in the real world. Again, “selling out,” implies that, as a metal band, you become a country band just to make money, ie some immense creative changes for no other reason that to get paid.
As far as I’m concerned though, the Josh Farro pity party that was that blog post is laughable. He went along with it the entire time, knowingly even, and now wants my sympathy becase he’s an idiot? I think not.
my one insecurity about this piece is that i might not have put a fine enough point on exactly what i’m calling “selling out,” which is a phrase we rarely, and only carefully, use. i’m not saying something as reckless as “paramore sold out.” it’s a bit more subtle. for me, the moment of selling out was when josh and zac went with hayley to la, and let themselves believe they were in a band, when they were just supporting a pop star. i don’t even blame them, and i wouldn’t have even expected them to know better at that age. it’s not even their fault. but they didn’t work for it, they just accepted it. and in the end, they lost what they had built, because they sold it to someone else.
selling out is letting someone else tell you how to dance for money. that doesn’t always take the form of a creative left turn towards marketability. sometimes it’s just a matter of making a deal with a devil to get what you want sooner than later.
Yeah, I definitely see what you’re saying, and agree.
I’m more concerned with the fact that anyone should feel bad for Josh. His blogpost REEKS of, “oh thou shalt pity meeeeeeee,” when the reality of it is that if he really cared, he would have fought for more rights as an artist in the band, he would have asked for more, etc.
But now he’s just done with being in the band, and is trying to make himself more popular by painting himself out to be, “the victim,” in all of this.
Hmm, I dunno. RATM signed to a major label after their second show together. Would they have any more or less integrity if they had slaved away longer as an unsigned band?
Then there’s the whole idea of selling art to begin with. Once you enter the entertainment business, your job is to entertain in exchange for money. After that the details don’t matter so much. Maybe.
People called Pearl Jam a sell out for doing Target commercials. I don’t agree because, well, because I like Pearl Jam. if that was Linkin Park or some other love-to-hate band, you’d hear a whole lot more talk of selling out, commercial whores, etc.
yeah, you could also say the same about billy howerdel signing a fat record deal because he had maynard keenan in his band. and they’ll be in the same boat as paramore if and when billy leaves the band complaining that “it was all about maynard” or that his handlers didn’t respect his artistry. it’s not just about taking an opportunity early on, but whether or not that opportunity is worth the strings attached. if it is, then no harm, no foul. you can sell out with integrity. see pearl jam. but if you don’t even ask “what’s the catch?” then you’re just selling out to sell out.
PJ did sell-out. They spent twenty years of their career bitching about how bands were sell-outs for doing commercials with big corporations and now they have joined the bandwagon. I don’t see whats so great about Backspacer anyway, a few good songs and the rest is filler, too punk for my tastes. I guess people will have to learn to sink their teeth for them, to enjoy Riot Act or Binaural which were very smart albums.
You just called Pearl Jam a sellout” and “too punk”. Which is it?
Also, please find me some quotes or videos of Pearl Jam “bitching about how bands were sell-outs for doing commercials with big corporations”.
I dare you.
All lets see, um they refused to play Greek Theater because of all the car ads around, um in an interview Eddie trashed talked Busta Ryhmes for doing a commercial, and he called Bon-jovi a butt-rocker! I love PJ but face it, they sold out, don’t lie to yourself and say these guys aren’t getting old, because we know the envitiable that thats wrong.
And too punk, means I’m not a big fan of punk rock, it doesn’t mean its too anti-sell-out, it means too punk sounding.
Again, it depends on your definition of selling out. I really don’t think them being with target influenced their music or creative process in the least bit, so while I’d rather they hadn’t done it, it sits fine with me. In the end it was a decision between taking your business to one corporation (record label) or another (target). Really its all the same shit, I just think we need a new term in addition to selling out, for those times that a band uses their art purely for money, but doesn’t effect the creative process at all.
Vedder’s comments on bon jovi would have been funny if backspacer didn’t contain more than one terrible pop-rock track that sounds closer to jovi’s arena rock than the early punk/devo sound they seemed to shoot for. Backspacer has 6 good songs max in my mind, but its clear that their obsession with “simple” and “punchy” needs to come to an end if they’re going to make interesting music again.
Just putting this out there, just because they happened to sign onto a major label after their second show as a band doesn’t mean you can consider Rage for “selling out.” Each of the members of the band did their share of touring as individuals before they got together; it was actually Morello’s reputation that got a talent scout interested in their show by the second one they played, and De La Rocha had been on the hip-hop circuit for a loooooong time before he met up with Tom. Same story with Commerford and Wilkes… they were in random no-name bands for a time before they got into Rage. Everyone can make their own decision though I suppose. This just happens to be mine; definitely not sellouts :).
Basically, what I’m saying, when it comes right down to it, is that I agree with you, as it pertains to Josh and Zac never really having integrity. But I don’t think that any of this should affect the “quality” or impact of Paramore/Hayley Williams’ past material, nor their future material.
I don’t really care that much for this band but DAMN! this is another piece of fine writing, sinior ardilla….congrats! that last paragraph nalied it.
Nice piece. I was always a little mistrustful of them, and couldnt really get into the music despite a close friend of mine trying to convert me every day. Shes hot, has cool hair, and has a decent voice. Thats about all the draw the band ever had on me.
I have gone on record here defending Paramore. I dig em. Good hooks, a decent singer and one of the brighter bands in an era where “modern rock” is anything but. I truthfully thought Josh had more input into the band, and the situation was more No Doubt then what it now appears to be.
What really won me over was the bands cover of Stuck on You by Failure. I read somewhere that Josh was a huge fan and wanted to do it. That went a long way with me. What’s interesting about that cover is the one weak point is Hayley. I guess being a 17 year old girl in the South, you can’t really grasp the deeper meaning of the song.
I hope Josh comes up with a new band and has great success. He has some great riffs and after reading his blog I really want to root for him. As far as Hayley goes, fingers crossed she tweets her delicate lil starfish next year on my Birthday, as her titties this year were a great gift.
Finally the Truth! The enemy has spoken and the world is all the better for it! I’ve always had a feeling there was something not genuine about them. In a world filled with posers and machine fabricated artists it’s good to have one like this one uncovered. My hats off to you sir! Fine article!
I’m disappointed to hear this. I’m not a HUGE Paramore fan, but they had some pretty catchy stuff. Kinda sucks they’re just another money band..
they’re horrible and this just proves nothing good WILL EVER come out of a factory.
they won a long time ago. we need to take this shit back
Great article, I just feel bad that you went through all the trouble of researching Paramore. For me, all it took was a mere 15 seconds of watching them play at the MTV VMAs to decide that Paramore was nothing more than corporate bullshit. Garbage in, garbage out, I guess.
What. The fuck. Seriously I don’t know why I bother trusting that bands are what they appear to be, and that there ISN’T some fucking puppet master. Will I continue to be a non-closet-but-probably-should-be-Paramore-listener? Yes, at least their past material. I think there’s still a lot of genuine qualities in the music and lyrics, and find it kind of funny that one of the biggest issues is that she contradicted the bible. I can’t say that I can resist listening to the future Paramore, but if Josh and Zac are waiting for a big man in the sky to take them somewhere as they said in their blog post, I may just sit that one out.
Lastly, I’m glad Josh copped to the whole story, but he knew he was happy as all hell that he got to be this successful and play music. He knew what this was. So I hope he doesn’t expect us to believe he was a victim. I’d give him more respect if he came out and said he truly BELIEVED in and KNOWINGLY took part in the sham of the grassroots background look, and what it was going to do for this band. And then say now that he’s got a little cash he can finally get off the Paramore-Cash-cow’s teet and maybe start something else, a chance we all don’t get.
Seriously, how could anyone expect anything else? BTW, WHO GIVES A FUCK? Paramore gets way too much coverage… I’ve got to say, though, that’s a very nice thing you’ve done here, Skwerl, ’cause you’ve mentioned that Paramore is just an example. The truth is, if you hear something on the radio (no matter how good it is), it’s being played for the purpose of making money. I’m not saying it was created solely for that purpose, but let’s be honest, artists are not the victims we’d often like to portray them as. One thing about this article struck me, though, I always thought the girl was, like, 25 years old (that’s usually the age for appealing to kids in the american culture), so I checked and she’s 22, still it’s been 8 years since she was 14, so what the fuck they were doing in the meantime?
it’s nice to read a new op-ed piece from you guys, i kinda miss the times when you guys were turning out new ones every week. they’re always eye opening, and intelligently written, thanks again
thanks. they take time we haven’t had a lot of lately. but we hope to grant your wish as we get our machines all tuned up over here.
Ahh the politics of wannabe pop stars…I can’t believe the lengths these people go to in an attempt to build perceived cred in artists today. It is presupposed that any act like this has no cred from the start and as you’ve shown us…they actually do have to get a group of guys in a dark room to hammer out the details of how they will make somebody like Hayley Williams a credible act.
Like other people have said here, I have never even listened to this band as I am sure they couldn’t possibly contribute any music to my playlists. Good read though, as always.
The idea of “selling out” is no longer relevant regarding new acts who’ve “made it”.
Name me a new “big” artist who hasn’t aspired to suck major label dick from day one.
In this age of bullshit like Kanye West, where the status quo is where it’s at, if you aren’t a sell-out, multimedia friendly, commercial conformist, you just ain’t cool.
It’s not even about being cool, it’s just that no one will ever hear about you.
That’s the truth. I don’t exactly know when it happened…maybe 5-6 years ago for me…
I just realized that everything I liked (almost everything) was music that most people have never heard or even heard of.
Good music survives today because of the internet. The mainstream has never been worse off, the music channels don’t play videos, and terrestrial rock radio is stuck in 1994.
Good article. Paramore has always been just another corporate creation. They suck, in fact.
Who cares, her voice is good (courtesy vocoder?) or not who cares, she’s hot, looks like jailbait but isn’t, but her band sucked. Maybe a new band would be better anyway, just get the label to find some pukes to play.
Maybe it should be about whether you like the songs…not who signed what contract, etc. WHO CARES?
Very Days Of Our Lives. Yikes. I am-dare I say it?-impressed that the label manufactured humble, indie origins to yield credibility among a set of consumers that like to think they eschew anything from the evil empire of corporations. And yet they beg Mommy and Daddy to take them to Warped Tour, but not before their shopping spree at Hot Topic so they can appear to be different…just like every other tween and teen in attendance. Ah, the irony.
So at what point does integrity go away and we enter the slippery slope of selling out. Wasn’t this what the indie labels and studios were all about. Obviously many (I won’t say all) of the indie labels are not so independent and plugged into system. As a struggling but independent musician I can say our band is truly independent and we work for money as well as the joy of playing. We play where we want and when and we decide what goes on ITunes. But we aren’t crafted by anyone but ourselves and there are still many of us out there. The point you sign with a label is step 1 in the loss of integrity and the beginning of the sell out. You hand over your creativity and image to someone who doesn’t care about your integrity whatsoever. That’s the music biz folks.
Paramore suck anyway.
I think you forgot to add the part when paramore sent another blog post saying that some dude just hacked the paramore.net site and posted that.. but all of it isn’t true