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She gets her fans to play in her band for free, retweets praise and wrote a terrible poem about the Boston bomber. Is singer Amanda Palmer a free-spirited visionary β or a deluded egotist?
I t is early May in the bar of Philadelphia railway station. People who, like me, have only just become aware of her are taking a position on her β an extreme position, in many cases. Only a few weeks ago, she received a rapturous standing ovation at the TED conference in Long Beach, California, for explaining how she created the most financially successful crowd-funded music appeal of all time. I found it very impressive, and was only half-aware of the comments underneath basically expressing frustration that Amanda had tricked a new legion of fans into not realising what a terrible person she is.
And so on. On the train to Philadelphia, she tells me about her childhood. Amanda was born in and raised in the Boston suburbs, her mother a computer programmer and her stepfather a physicist. It was a house of no metaphors. I had very literal parents and I wanted to survive with metaphor and art, and there was a real sense of shame around it. After graduating from high school, she enrolled at Wesleyan , a liberal arts college in Connecticut.
Her critics have used her attendance there, along with her comparatively privileged upbringing, as a way of attacking her, so I ask her what Wesleyan represents to people. Two years out of Wesleyan and she had formed the Dresden Dolls. Everything was good, she says. People were paying attention to her. In she battled to leave her label, Roadrunner Records.
Music was going to become impossible to monetise. And so, to fund her new record, Theatre Is Evil , she turned to Kickstarter. The website was created in as a way for artists to raise funds directly from their fans. This was the subject of her TED talk. By the time I watched it online, it had already amassed 2m views. I was finding the language a little annoying, but I decided to go with it. Still, I found it a visionary, moving speech.