"So basically the understanding on these so-called reissues is that they were done behind my back, without my permission, and the band informed me that I would no longer be paid on them at all"
About this Quote
The sting here is in the phrase "so-called reissues" - a small spit of contempt that reframes what labels sell as archival celebration into something closer to a shakedown. Jello Biafra isn’t just complaining about paperwork; he’s puncturing the mythology of punk as an anti-capitalist haven that somehow floats above the music industry’s usual extraction. The sentence runs long and blunt, almost bureaucratic, because that’s the point: the betrayal isn’t poetic. It’s contractual.
"Behind my back" is personal, but it’s also structural. It gestures at the classic setup where catalog rights, masters, and distribution deals outlive the relationships that made the records matter. Reissues are marketed as fan service - remastered fidelity, deluxe packaging, nostalgia with a UPC code. Biafra’s subtext is that nostalgia is precisely what makes the exploitation easy: fans feel like they’re honoring a legacy while the people who built it get quietly written out of the revenue stream.
The most damning twist is "the band informed me". Not the label, not a faceless corporation - his own collaborators acting as messengers for a financial decision that effectively demotes him from author to obstacle. It’s a cold inversion of the punk ideal of collective solidarity. The intent is less to litigate a dispute in public than to expose a moral contradiction: the culture that sold rebellion as a brand is still happy to enforce ownership with the same old knives, just with better liner notes.
"Behind my back" is personal, but it’s also structural. It gestures at the classic setup where catalog rights, masters, and distribution deals outlive the relationships that made the records matter. Reissues are marketed as fan service - remastered fidelity, deluxe packaging, nostalgia with a UPC code. Biafra’s subtext is that nostalgia is precisely what makes the exploitation easy: fans feel like they’re honoring a legacy while the people who built it get quietly written out of the revenue stream.
The most damning twist is "the band informed me". Not the label, not a faceless corporation - his own collaborators acting as messengers for a financial decision that effectively demotes him from author to obstacle. It’s a cold inversion of the punk ideal of collective solidarity. The intent is less to litigate a dispute in public than to expose a moral contradiction: the culture that sold rebellion as a brand is still happy to enforce ownership with the same old knives, just with better liner notes.
Quote Details
| Topic | Music |
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