Let’s talk about Kickstarter. How much did you raise again? A million something?
It closed at 1.2 million.
That’s insane! You’re like a Jerry Lewis telethon.
[Laughs.] I guess so.
Did it exceed all of your expectations?
Not really. It didn’t exceed my expectations by that much. I was hoping we’d hit a million.
I thought you’d ballparked the best case fundraising scenario at $100,000.
$100,000 was an absolute bottom line, because Kickstarter asks you to list a minimum. But that was far below what we hoped and expected to make. I made a conservative estimate that we’d raise somewhere between $400,000 and $500,000.
Even $500,000 would’ve been amazing. It’s counter-intuitive to everything we think we know about the fan/ recording artist relationship in 2012.
You think so?
Well sure. The economy is in the crapper. The world is evenly divided between the broke and destitute, and fat cats lighting cigars with hundred dollar bills. And we’re in a consumer culture where people regularly steal music rather than pay for it. But you’ve somehow convinced your fans not just to pay for your album but donate millions to get it produced and distributed. How the hell does that happen?
I think people love supporting art. And I think even in a recession, especially in a recession, people love supporting art because it’s what brings them meaning. A vast majority of people who gave money to the Kickstarter campaign gave $1 or $5 or whatever they could give. A handful of people who could afford more gave more. But this is a giant community that I’m in. It’s an art and music community, and I think people felt like they were supporting something much bigger than just me and this album. They were supporting Kickstarter.