Few films seem to have had as lasting an impact on my adolescent mind as did Ghostbusters.  Yes, in my later teenage years, like many of you, I spent hours pondering over works by Fellini and Bergman and Antonioni,  but well before discovering them, I thought Ghostbusters was one of the greatest things ever (and to be honest, part of me still does!). From the (then advanced) special effects to Bill Murray’s ridiculous delivery to the images of an idealized city that would eventually become my home, the film blew by juvenile mind (even if I may not have understood half the jokes at the time).

I have been thinking a lot about Ghostbusters lately–not just out of nostalgia–and the more that I think about it, the more that I believe that there is a lot that independent musicians can learn from the film.  Seriously!  Thus, our new series: Ghostbusters and The Modern Musician.  While we are going to focus on various parts of the film in the coming weeks, today I want to consider one of the key subplots, a tale of passion and love that transcends time and all obstacles. Yes, today I want to talk about the relationship between Zuul and Vinz Clortho.

Of Keymasters and Gatekeepers

Of course, Zuul and Vinz Clortho are the names of the two demons who end up possessing Sigourney Weaver’s Dana and Rick Moranis’ Louis, also referred to by their titles, the Gatekeeper and Keymaster. The two of them must “hook up” in order to open the portal that will bring their omnipotent, creation-destroying master Gozer into the real world.

In the music industry–especially with regards to new, developing and independent artists–we often speak of the “Gatekeepers,” or those who can expose our music to a larger audience, whether that be though radio & video play, inclusion in a video game or booking an artist in a large festival.  However, we rarely discuss the Keymasters, and I am convinced that one of the main reasons more musicians don’t make it past the Gatekeepers is because they have not spent enough resources with the Keymasters.

Who Are The Keymasters?

“Are you the Keymaster?”
“Yes, actually–I’m a friend of his. He asked me to meet him here.”

Think about it–who is it that is going to convince that head of programming or that booking agent that they should pay attention to your music?  In the past, you could count on a major-label-backed promotions rep or big-name manager to convince the gatekeepers to give your music a chance.  But in a world where even the most well-established of media companies are having a hard time making themselves heard, who is going to get them to listen to you?

You are.

Look at many of the most successful new artists who have emerged in the last five years–Lil’ Wayne, Danger Mouse, The Decemberists, Mastodon, Animal Collective, Soulja Boy Tell’em–all of them focused on building massive scene-based and/or online followings, having so much success at that level that the established gatekeepers could not ignore them. (Yes, there are the exceptions like Lady Gaga and the Idol-affiliated singers, but odds are if that is your thing, you’re not reading this anyway.)  In a world where you can force your music in front of the formerly-untouchable Gatekeepers with enough YouTube views or a sold-out club tour based on nothing but public radio play and some good blog write-ups, who else but you holds the keys?

The New Gatekeepers

Your fans, of course, are also important, but not in the way that you may imagine.  Yes, you can mobilize your fans to act as Keymasters via petitions and letters and other noise to make the local commercial radio station pay attention to your band, but you could have done that in the 80s and 90s as well.

No, the real importance of your fans today is in their new role…as Gatekeepers!

As Bob Baker put it in his Music Think Tank article on this topic:

But now there are new gatekeepers. You can also call them “filters.” And it’s these new filters that help weed out and determine who is to be highly successful, moderately successful, and not very successful at all…One type of new gatekeeper are music consumers. You must get a response from at least a small slice of people in the marketplace to gain traction and grow your career.

In an interview with Hypebot, iLike’s Ali Partovi stated something similar, expanding on the consumer’s role as Gatekeeper or filter:

“I believe, that if your music is great, we’ll find it, and it’ll get played. Help us find it!”
- Kevin Cole, KEXP

Consumers have more influence not only on getting a “personalized” experience for themselves, but also impacting what gets “programmed” to other people with similar tastes.  A social network is a very natural mechanism for this: if I discover a new artist that I love, I have a natural desire to share that with my friends on Facebook…the consumer is also creating “new content” in the form of commentary. Seeing what normal people (especially your friends) have to say about a song is just as much part of the experience as hearing the music.

In other words, the new Gatekeepers are your fans and potential fans, which makes what you need to do relatively obvious if you accept that you are the Keymaster and want to bring your version of Gozer into the real world–hook up with the Gatekeeper!

(And yes, for the purposes of this article, we are assuming that Gozer is a good thing–imagine him destroying the world of the old-school music industry if it makes you feel better).

Now, however, knowing which key to use when and where can be the real challenge. Again from Barker’s article on Music Think Tank:

…there’s another new filter that has become more obvious to me in recent years. And that has to do with effort and workload…In fact, a large percentage of artists have disdain for most marketing activities and curse the long list of things they must do to promote themselves effectively…

“Where do these stairs go?”
“They go up.”

Again, the real challenge now lies in knowing which keys to use when and where.  Every artist has different time constraints and commitments, and no two fan-bases are identical, so I am not sure that there a one-size-fits-all answer to this question, so now I open it up to you–how do know which keys to focus on, or in other words, how do you determine your priorities as an independent artist? Let us know in the comments below.

*****

Further Reading – the ideas that inspired this article:

• Malcolm Gladwell on how David beats Goliath
• Music Think Tank on The New Gatekeepers
• KnowTheMusicBiz‘s feature article by KEXP’s Kevin Cole
• Hypebot’s interview with iLike’s CEO, Ali Partovi
• DigitalMusicNews on the challenges of Social Networking

and, of course:

*****

I finally sat down and spent some time going through the Red Bull Music Academy interview with Public Enemy’s Chuck D from October of 2008, and while it is long (more than 120 minutes!), it’s worth either watching the video or downloading the audio version.

Besides describing his discovery of DJ-ing and providing insight into the early days of hip-hop and the history of P.E., as this was the Red Bull Music Academy, he also delves into what it means to be a modern musician and how to become a successful independent artist, including:

• The importance of musicians becoming their own multimedia networks
• Why you should customize an album to your specific needs, regardless of what others are doing
• Working with your fan community (both in the pre-internet era and in the 21st Century)
• Not resting on past success

From the interview:

…We’re in a different marketplace now than the ‘90s, so 17 tracks in the digital world can be three albums. Who’s to say one album can’t be seven tracks, one six and the other one four. You put your artwork and concept behind it and you can make a digital release of it. Of course, you might have to put 17 tracks on a CD if you’re making one, if you believe the CD is the format of the future. The CD is the format of now, but blank CDs are the ones that sell most. So get yourself out of the ‘90s way of thinking and develop your own way…In the audiovisual age you should be a person who can do it all…



If you don’t have two hours to spend going watching/listening to the full video, you can also checkout the transcript here.

*****

Comments? Thoughts? Suggestions? Share in the comments below or via Twitter.

Don’t forget to check back tomorrow for more articles and useful goodness for independent musicians.

Too much trouble to remember? Subscribe to MusicIsMyDayJob via RSS or email and let us remember for you.

On the DigitalMusicNews.com today, editor Paul Resnikoff published an piece on independent/D-I-Y musicians and the relatively bleak outlook he predicts for the future careers of the vast majority of them.

I tend to approach all of Resnikoff’s editorials with a healthy sense of skepticism, as he generally sounds as if he is trying to be Lefsetz, but with much less real-world music industry experience. Yes, I read his site daily and it is the go-to authority for current updates on music in the digital space–I have never met him, and I have nothing personal against him; again, I use the wonderful resource that he provides almost religiously.  However, with regards to speculation and commentary, his goal often times seems to have more to do with describing the status quo than it does with offering solutions or real insight, asking questions without identifying answers, as if he is afraid of offending potential sources, advertisers and readers (note: that’s just my speculation).

His current article offends in its ambivalence and more. In The DIY Utopia, Resnikoff takes on the idea that independent artists can earn a living from being a full-time musician.  After offering a brief history of the concept, he delves into aimless speculation and questions regarding artists who are trying to go it alone.  I do not mind that he is asking questions about the economic viability of the do-it-yourself model, nor do I take specific issue with his reluctance to make predictions on what the evolution from the major-label machine to DIY will have on the music industry and music marketplace in general.  Questions should be asked about the real viability of any economic model–especially by those who are putting it into practice–and his unwillingness to make specific predictions and declarations is annoying (especially as it is an editorial!), but not criminal.

What irritates me most about his commentary is his obliviousness to the existence today of so many successful independent musicians who were never signed at one time or another to a major label. From his article:

Quitting the day job is one thing, though slaving away for a modest music wage is another…So far, being middle class with a guitar means working tirelessly, and juggling fan-building, touring, and creativity while trying to get enough sleep…Sure, artists have the ‘tools’ to connect, to host, to create easily…But does that mean that a huge DIY population will exist? Or, more importantly, will enough targeted fanbases exist to support a substantial group?

The truth is that “a huge DIY population” does already exist, and not only does this population of DIY musicians exist, but it is thriving.

The truth is that “a huge DIY population” does already exist, and not only does this population of DIY musicians exist, but its members are thriving.  Each day, I discover new artists (or they discover me) who have never had contact with a major label who are earning a living by doing things on their own.  Yes, they are working non-stop to make it happen, and no, they are not living in Beverly Hills mansions or performing for 15,000 people at Coachella (though some are!), but they are also not working for some clueless executive in a soul-crushing cubicle for 60 hours per week while dreaming of being a professional musician.

Ask any independent musician who is earning money from their music and they will readily tell you that it is not easy to be one’s own publicist, producer, marketing department, sales rep and financial analyst, as well as the performer and song writer, but to assume that a heavy work-load is the same thing as unsuccessful is naive at best, as is the speculation that we will not know if the DIY model is viable for many years to come, as so many independent musicians already do earn their living from their music.

I am not saying that every musician who wants to will make a living from their music, and I am not saying that every musician who is able to earn a living from their music will do it in by following the same business model (as each situation and fan base is somewhat unique).  However, there are already many, many independent musicians who are living comfortably whose only “job” is to create and promote their music. The model has already shown itself to be viable, and hopefully Resnikoff will take some time to discover some of these many artists and learn this for himself.

*****

Additional Reading:

• Music Think Tank on how to go from day job to full-time musician
• TuneCore on the Record Label of Tomorrow
• USA Today & KSDK on musicians who are backed financially by their fans
• Amanda Palmer pleading for freedom from her major-label contract

*****

(Note: I began to list links to all of the independent musicians who I know who are earning a living as professional musicians, but the list became longer than my commentary, so we will post that some time in the near future. In the mean time, feel free to be blatantly promotional in the comments below as you talk about your successes as an independent musician)

*****

Comments? Thoughts? Suggestions? Share in the comments below or via Twitter.

Don’t forget to check back tomorrow for more articles and useful goodness for independent musicians.

Too much trouble to remember? Subscribe to MusicIsMyDayJob via RSS or email and let us remember for you.

Do music pirates say, "Arrrgh?"

Many music-related blogs today are examining music piracy and, more specifically, if piracy actually hurts or helps independent artists. The genesis of this was an alleged reader comment left on MusicianWages.com, and while I’m not positive that this was an actual comment or simply a creative way to inspire writers to participate in this blogging event, I do think that it is a topic worth examining, especially for the readers of MusicIsMyDayJob.

Is Music Piracy Wrong?

I will let Billboard, the RIAA and NARM worry about the specific numbers and the alleged loss that Piracy may or may not be causing the music industry and musicians. Why the ambivalent wording? Because, despite their arguments to the contrary, it really is all just speculation.

Here are the facts:

• Physical music sales are down significantly from previous years
• There are significantly fewer music retail outlets than there were last year, let alone 5, 10 or 15 years ago. Much of this is due to lower overall physical music sales.
• Digital music sales, while up significantly over previous years, are not compensating for the severe declines in the sales of physical music goods
• Many music files are traded each day via computers
• Some of the files are traded via semi-legal peer-2-peer technologies/communities
• Music files are also traded via perfectly legal peer-2-peer technologies (IM services, etc)
• Many music files are also traded via third party file hosting and transfer companies. Rapidshare, for example, is not an illegal service, though some users choose to share copyrighted music files there.

Here is the speculation:

• Those who illegally download music would have purchased the albums/music in the first place
• Music sales are down directly because of piracy
• Musicians are making less money now than in previous eras specifically because of piracy

Don’t Misunderstand

Musicians should be compensated for their art, and I believe that stealing music that you have a legal and convenient way to purchase is wrong (music that is no longer available is another story).  However, there is simply no way to prove that every illegal download is a lost sale, and that those same people, if they were not illegally downloading music, would not be content with just listening to the radio, streaming music online, or borrowing music from a friend (like they would have in the times of cassettes).

Maybe people simply decided that an $18.98 list price was absurd? (It is!) Maybe people got tired of Top-40 Radio and TRL claiming a given album is excellent in order to keep shady independent music promoters and major labels happy? (They did!) Maybe all of this and so much more is why sales are down? I’m not saying that these are the reasons, and I’m not saying that piracy is not to blame for decreased sales, but I am saying that there is not necessarily a direct relationship between increased piracy and decreased sales, despite what many would have you believe.

The Question We Should Be Discussing

Rather than continuing to re-hash ethics-related piracy debates from the late 90s and running around in philosophical circles, what we should all really be discussing is how musicians can earn a living making music, despite the rampant music piracy, as it’s not going away, regardless of what the RIAA and others may believe that lawsuits can accomplish.  Why not spend our time determining how best to thrive in spite of music piracy?

For some musicians, beating the pirates at their own game and giving away your music may be the best option.  For others, packages that contain more than music are an excellent way to generate music sales.  Still, some others may find that piracy actually helps their ticket sales and increases revenue via live shows.

You Have the Solution

As each musician’s situation and fan base is unique, there is not one universal solution to the challenges that music piracy presents.  However, one thing I think that we can all agree on is that spending your days bemoaning the fact that people download copyrighted content without paying for it accomplishes nothing.  Rather than dwelling on the ethics of piracy, why not spend your time determining how you are going to create real fans who will eagerly pay for your music?  Rather than sulking about the current state of the music industry, why not prove to everyone there is still money to be made as a musician? You’ve got the tools, and you’ve got the talent–now go create your solution.

Comments? Thoughts? Angry rebuttals? Share in the comments below or via Twitter.

Over the next few weeks here at at MusicIsMyDayJob, we will be featuring interviews and Case Studies with musicians who are finding unique ways to thrive in today’s challenging market, so don’t forget to check back for those articles as well as other useful goodness for independent musicians.

Too much trouble to remember? Subscribe to MusicIsMyDayJob via RSS or email and let us remember for you.

Yesterday, Digg finally posted their much-anticipated interview with the forward-thinking artist Trent Reznor.  The questions were all written and voted-on by Digg users, and (happily, for us) the bulk of the discussion revolves around new music business models and includes very detailed advice on how music artists can use technology to connect with both fans and potential fans.

In the first twenty minutes alone, he discusses new music business models, using scarcity to drive demand, suggestions for digital distribution through Topspin and much more.  Even when the interview delves in to fans-only territory (favorite video games, etc), Reznor provides insight into diversifying your revenue stream and life as a professional musician.  At 40 minutes long, it may seem like quite the commitment to watch, but we consider this essential viewing for any MusicIsMyDayJob reader.

(note that this is the entire 40 minute interview–if you only want to watch Reznor’s replies to specific questions, go here)

Comments? Thoughts? Suggestions? Share in the comments below or via Twitter.

Don’t forget to check back tomorrow for more articles and useful goodness for independent musicians.

Too much trouble to remember? Subscribe to MusicIsMyDayJob via RSS or email and let us remember for you.

This week at MusicIsMyDayJob, we are looking at ways to determine who your audience is and how best to reach that audience, even when starting from scratch. Don’t miss our other articles in this series, and check back later in the week for articles on using Twitter and YouTube to connect with new fans, as well as a recap on Friday of your suggestions and recommendations.

We have been focusing on using technology and, more specifically, the internet to find your ideal audience, but the truth is that musicians have been successfully finding fans for much longer than the last decade, and many of those old-skool pre-internet techniques are still very effective.  Here are a few tried and true ways to find your audience that the internet can not duplicate:

Indie Record Stores

We’ve waxed rhapsodic about independent record stores in the past, but with good reason. Again, these stores don’t just sell music–they are cultural centers, acting as the proverbial water-coolers for any scene’s true music fans, with employees who are both integral parts of the local seen and some of the most voracious (and knowledgeable) music consumers you will ever meet.  Most of these stores sell music on consignment, and many have listening stations and displays devoted specifically to local acts, so why not find your locals stores and approach them about carrying your CD? (We’ve even made it easy for you–check out our resource list at the end of the article to find your local stores and more).

A couple of suggestions:

• Do your research–Find the stores that sell the type of music you make–some stores carry all genres, but others specialize in one genre or clientele. Angel’s New Age Emporium of Happy Vibes will not be interested in your Gothic death metal, so don’t waste their time (or yours)
• Make your contact info obvious–Often times, music fans go to music stores to purchase  specific releases, making a list of other music that they want to check out or learn more about before purchasing, so make it easy for people to find you. List your website on your CD packaging and make sure your band’s name is easy to find on MySpace and other social networks (for example, if there are five different bands called The Sun, make your MySpace name TheSunSLC or TheSunUK so people know which artist is the local one they just discovered)
• Keep promoting your music–Don’t think that just because your CD is at the store, it will sell; continue to do all that you can to get the word out in your community about your music and album
• Support your local indie store–If the store is kind enough to sell your album, the least that you can do is support them. Have links on you website/blog/etc to the store’s website; include their info in any email blasts or newsletter orflyers you are making (“CD available now from Bob’s Record Shoppe”); and support Record Store Day!!!

Non-Music Retailers

Most retailers enjoy–prefer even–to have music playing in the background, and those who are not chain stores generally do this either via CD, an MP3 player or computer. After completing your ideal audience profile, visit some of the stores, bars and other businesses that your audience frequents and offer to provide them with a free copy of your music if they would be willing to play it in store.  If you are prepared and can show them that you share a similar audience (i.e., “…more than half of my fans on MySpace say that they also enjoy skateboarding…” or another applicable hobby/interest), most will gladly accept your offer.  Some may even be willing to feature your flyers and posters in-store, or even sell you music on a consignment basis.

Live Performances

Still one of the most important parts of promoting your music to anyone, a killer live performance can connect with new listeners like nothing else. Don’t limit your thinking to traditional gigs in clubs and other “proper” concerts–for some artists, busking can be very effective (especially if in an area that your ideal audience frequents), as are house parties, street-fair performances, gigs in art galleries & museums and online broadcasts (whether via an actual video feed or in SecondLife). Check out the resource list below for suggestions and useful links.

Family and Friends

It’s sometimes easy to take your family and friends for granted, but don’t–they are one of the most under-utilized resources out there.  They are already people who love and appreciate you, so why not ask them to pass your music on to others who they think would enjoy it? Outside of the jaded metropolitan centers, most people are proud to say that they have a friend who has released some music, and most will gladly pass your music on to anyone and everyone.

Not only that, but think about how much more likely you are to check out a recommendation when it comes from a trusted friend or family member, whether that be a restaurant, a movie or a new song. Now multiply that by however many friends and family members you ask to spread the word about your music and you will start to comprehend the potential this has to connect you with your ideal audience. It may feel like throwing things against the wall to see what sticks, but as you already have so much contact with these people anyway, what’s one or two more sentences about your music, especially compared with the potential return?

*****

Resources

• Find your local indie record store: http://www.recordstoreday.com/Venue
• The indie record store coalitions in the United States (members are some of the most active and innovative music retailers out there, as well as the most likely to sell music on consignment):
  • CIMS – http://www.cimsmusic.com
  • AIMS – http://www.thealliancerocks.com
  • MMN – http://www.musicmonitornetwork.com
  • SECUR – http://securmusic.com
• Music Think Tank on booking live gigs: http://www.musicthinktank.com/blog/a-better-way-to-book-live-music.html
• Homes looking to host live concerts: http://www.concertsinyourhome.com/
• Music venues in SecondLife: http://secondlife.com/showcase/music/
• Getting fans to promote your music: http://www.musicthinktank.com/blog/from-exposure-to-conversion-how-to-create-a-real-fan-part-on.html

*****

Comments? Thoughts? Suggestions on the most effective old-school ways to find your audience? Share in the comments below or via Twitter.

Don’t forget to check back tomorrow for more in our continuing series on Finding Your Audience.  Too much trouble to remember? Subscribe to MusicIsMyDayJob via RSS or email and let us remember for you.

Ever since discovering Blip.fm in January, I’ve been somewhat obsessed with the service.  For those unfamiliar with Blip, it works by aggregating music streams and MP3s from around the web. Users then sign up as DJs and “blip” their selections (along with an optional message of up to 150 character) to those who choose to follow/listen to them–think of it as what radio would be if it had been invented by the kids at Twitter (and you can actually link your Twitter and Blip.fm accounts if you are so inclined, as well as your Last.fm scrobbler–details here and here).

While Blip.fm is a lot of fun (after all, one of the best parts about being a music fan is sharing the music that you enjoy), one of the reasons that I like Blip.fm as much as I do is the variety of music that I am exposed to as I listen.  For example, courtesy of the people who I follow on Blip, the next five songs that I will hear as I am typing this are:

• Chumbawuba – “Big Mouth Strikes Again”
• The Lucksmiths – “The Chapter In Your Life Entitled San Francisco”
  
• Tim Maia – “Danca Enquanto É Tempo”
• Golgol Bordello – “Baro Foro”
• Thievery Corporation – “Shadow of Ourselves”

Listening to random DJs from the public home page is even more diverse and surprising–it’s actually somewhat overwhelming to see how much music is being played and listened to around the world. Courtesy of the Blip.fm homepage , the next five songs I would hear at the moment I am writing this are:

• Bear McCreary – “Battlestar Sonatica”
• T.S.O.L. – “Code Blue”
• The Meters – “Just Kissed My Baby”
• Bad Company – “Feel Like Makin’ Love”
• Grizzly Bear – “Two Weeks”

Now, you’re probably saying to yourself, “Great, so you like Blip.fm–we saw that from your Twitter updates. What does this have to do with independent musicians?” My answer? Everything.

What Independent Musicians Can Learn from Blip.fm

I recently spoke with two different independent artists, both of whom told me the same thing: “I love making music and I would love to do it full time, but there really isn’t a market for what I do.” I replied with a simple question: have you ever logged onto Blip.fm?

If there is one thing that we can learn from Blip.fm–besides the fact that people from around the world like to share what they are listening to–it is that if you make music, there is someone who wants to hear it; you just need to reach your audience.  If you were in Borneo making Electronic-Albanian-Folk-House music twenty years ago, I may concede that you would have trouble reaching anyone beyond the local tribe of Tasmanian Devils, but today? If you have Internet access, the world is yours (the world, of course, meaning the people who are dying to discover your music).  People want to hear what you are doing–you just need to get your music in front of them, and not only does the Internet allow you to find those people, but it also provides you with a nearly-infinite number of ways to get your music to them.

Next week, our articles here at MusicIsMyDayJob are going to focus on ways that you can find your audience–as niche or obscure as your sound may be–but until then, here are some of our favorite non-music articles on the topic:

• How to be a Rock Star in Your Niche from copyblogger
• Remarkable Communication on finding “all the people in the entire world who are weird in the same way you are”
• Men With Pens explaining why “small stats make for big audiences”
• Copyblogger on dominating your niche, whatever that niche may be

Thoughts on Blip.fm? Specific questions you have regarding finding your audience as a musician? Please share in the comments below or via Twitter.

As you know, we were #notatsxsw this year, but here are some of our favorite articles and recaps from people who did actually attend:

• Our favorite has to be Mike Rhode’s Sketchnotes , 70 pages of annotated drawings he made while attending various SXSW panels. Best. Notes. Ever. (via ReadWriteWeb)
• Alisa Hansen posted some of her top social media lessons on the Great Finds blog. Find them here.
• The Future of Music Coalition posted their thoughts on SXSW 2009 and where it seems the music industry is heading, as well as some of their favorite articles on their blog
• Viral media genius Mack Collier posted several articles on his experiences and lessons at SXSWi, including an excellent recap of Kathy Sierra’s address on Change Your World in 50 Minutes: Making Breakthroughs Happen. Check his articles out here , here and here
• Via their Epicenter blog, Wired covered more panels, announcements and tech than just about anyone. In particular, check out their review of the new LoudCrowd social music game and their recap of the panel that debated whether or not artists should be paid for radio airplay
• Sonicbids’ Panos Panay has posted several blog entries about his SXSW experience. Most importantly for our readers, here is his recap on the much-discussed Artists As Entrepreneurs panel
• Maybe not your first go-to site for SXSW coverage, you can alwasy count on the New York Times for an interested article or two about the event. Here is their look at how the Internet is changing the way artists use SXSW, and here is their recap of the entire festival. An excellent slide-show can also be found here.
• The one and only Martin Atkins (P.I.L., Killing Joke, Pigface, etc) posted this article in anticipation of his SXSW presentation.  In his words, for musicians, “FREE IS THE NEW BLACK!”

UPDATE 25 March 09: Lots of great suggestions have come in, so here are a few more recommended SXSW recaps and articles:

• Over at ACertainRomance.com, they have posted SXSW 2009: A Cheapskate’s Guide, giving a play-by-play on how to enjoy SXSW w/out a badge. Great look at a lot of bands, so go there now to find a new favorite artist
• SXSW isn’t just music and social media. The Unofficial Apple Weblog posted the details of the Comics on Handhelds panel, a must-read for any comic book fans out there. Check it out here
• hypebot‘s coverage has been as excellent as ever. Here is a nice look at how DIY has, in fact, become the norm for much of the music industry
• The US Government’s New Media team was out & about in Austin, attending various panels and meetings. Here are some of their thoughts (via AIDS.gov & @AndrewPWilson)
• The LA Times summarized the many discussions and comments from indie labels on their plans for survival in this article. Thanks to @newandused for the heads-up!
• Extensive discussion of which bands were best from Drowned In Sound’s message board. Follow the link to share your two-cents
• NPR, KEXP and WOXY were broadcasting & podcasting interviews, entire shows, and more. Follow the links for photos, videso, live sets and more from Peter Bjorn & John, The Decemberists, The Pains of Being Pure at Heart, BLK JKS and more!

As before, those are some of our favorite articles and recaps from SXSW 2009–what about yours? Please share via Twitter or by leaving a comment below.

Last week, the Huffington Post published an article by Mike McCready titled The Future of the Music Industry.  In this article, McCready describes his vision of how music will be discovered and consumed in the near future.  Besides overtly (over-)plugging his new Music Xray service and offering a somewhat reductionist view of the music industry’s glory days and current challenges, McCready predicts that:

• Music will appear free to consumers, even if it is actually paid for by advertising and licensing fees
• People will generally find music via computer programs and databases, and the key to the success of these databases is tied to the accuracy and depth of their data
• For artists to earn any sort of living making music–from music sales, concert tickets, or otherwise–they will need to reach the masses, and these recommendation systems will allow them to get in front of the “…gatekeepers, such as music supervisors in Hollywood, ad agencies, program directors and video game designers…” who will give them that mass exposure

I could go through McCready’s essay almost paragraph by paragraph, explaining where I disagree (and I still may in a future article).  Admittedly, he does get a lot of things right, and my issues are not with many of his facts, but rather, the assumptions he makes about the modern music business and the modern methods by which artists can achieve success.  Two of these assumptions in particular are very relevant to readers of this blog, and so let’s examine them.

Assumption #1: The Record Label’s Role as Filter

First, McCready seems very confused as to what the actual role of the major record labels has been, as well as their current challenges. His claim:

…[In the past] The music labels were society’s music filters. They were responsible for finding the best talent, nurturing it, promoting it and distributing it all over the world…[But now] How can the fans find the needles in the haystack they want to hear? How can the artists locate their future fans? It’s the fundamental problem the labels were solving but now they can’t do it effectively. There’s too much music for them to even try to filter effectively and nobody wants to buy their CDs anyway, so how can that work even be funded?

Yes, you read that correctly: the job of the major labels was to find the best talent and to promote said talent, and the problem today is that there is too much music for them to sift through to find the talent.

in reality, the job of the major labels has always been to find the talent with the most commercial potential

Now, as anyone who has worked at a major label will tell you, their goal is not to find the best talent; often times, quality is even an afterthought, as there are always singing lessons, auto-tune, and Max Martin’s production to fall back on.  No, in reality, the job of the major labels has always been to find the talent with the most commercial potential.  For better or worse, the major labels are in the business of generating income from music (not the music business, but the business of music), and while they often times find both, if they don’t see the potential in an artist to earn back more than what they are going to have to invest to make that artist an international star–whether through album sales or all-compassing 360 deals–they will not even consider offering the most talented musician a contract. I’m not saying that the major labels do not sign talented artists, but rather, that their goals are first and foremost commercial, with artistic talent in second place.

The claim that the labels can’t find the talent in today’s market is also bogus. The issue is not finding the talent–despite reductions in A&R budgets, hundreds of artists are still signed each year.  The challenge lies in being able to successfully promote that talent in the traffic jam that is today’s entertainment market place and convince consumers to spend money on that talent.  In the past, there were relatively few channels that the masses could use to discover new music–radio, print, television and word of mouth–and the major labels were generally able to take advantage of these channels and generate music sales with startling efficiency. However, they now they find themselves at a loss as to how to continue to generate revenue in a democratized marketplace (which, McCready, to his credit, quite accurately describes in the first three paragraphs of his commentary).

The lesson? Do not ever believe that you don’t have a major-label deal because you lack talent; it almost always comes down to economics.

Assumption #2: Mass Exposure is the Only Way to Earn a Living as a Musician

McCready also claims that in the future, mass exposure will continue to be the key ingredient to success as a musician. In his words:

In spite of the reduced barriers to music creation and access to easily have your song distributed to all of the digital outlets…it still almost always requires mass exposure in order for a song to really take hold and begin to earn some money…Songs must still come to the attention of someone who has an opportunity. The gatekeepers, such as music supervisors in Hollywood, ad agencies, program directors and video game designers remain and will continue to remain in place playing a valuable role.  So, real change will come by leveling the playing field and by giving individual artists equal access to mass-exposure opportunities.

The problem with this reasoning is two-fold. First, it relies on a very limited definition of success. We have addressed this before, so I will not go into too many details here. Sufficient to say, because of technology, success as a musician no longer requires platinum albums, ubiquitous radio play and major label money (in other words, mass exposure). If you are comfortable defining success as, “earning a decent living as a musician,” then you can be successful without mass exposure.

If you are comfortable defining success as, “earning a decent living as a musician,” then you can be successful without mass exposure.

Second, McCready seems to lack a fundamental understanding of who the gatekeepers are today, supplying an anachronistic list of typical entertainment executives who have something to do with music. The truth, though, is that, for better or worse, we have all become the gatekeepers–we send song recommendations to friends via Last.fm, iLike and imeem; we comment on user-generated videos and mark them as favorites for anyone in our network to see; we tell those who have decided we have something valuable to say our opinions and ideas in 140 characters or less, and allow others to do the same.  Inclusion in a block-buster movie or top-rated television show is no longer a guarantee that a song will sell, but get 500k views on YouTube or mass buzz via Twitter, and watch the sales of that song explode!

As a musician today, you do need gatekeepers, but those gatekeepers are all around you–they are following you on Twitter, making music videos for your songs and putting them on YouTube, reading your blog entries and, most importantly, using that same social media to tell their friends and followers about how much they enjoy your music. Is having a song included in Grand Theft Auto a good thing? Of course, but the point is that the importance of those who make those decisions as to what-is-exposed-where has been significantly diminished thanks to social media.  Today, everyone has an opportunity to be a gatekeeper, and your focus as a musician is no longer to search for your one big break via the gatekeepers of the past, but to take advantage of the dozens of small opportunities that you have each day to grow your tribe and create new fans.

*****

I have nothing personal against Mike McCready–I have never met him, and his Music Xray service appears to be something that should be in the independent musician’s toolbox. However, his essay for the Huffington Post on the future of the music industry demonstrates a fundamental misunderstanding of the opportunities and possibilities that artists now have.  You don’t need mass exposure, and you don’t need the support of a major label. Build your tribe and create your own success.

One of the more effective ways for you as an independent musicians to promote your music and discover new listeners is through your local independent record store. These stores and their customers are at the center of any healthy local music scene.  Thus, they should be a key part of your music marketing strategy.

April 18, 2009, is the annual Record Store Day celebration–an excellent opportunity to both support these music-centric businesses and to promote your music to the locals. Read on to learn how…

What is Record Store Day?

This is the one day that all of the independently owned record stores come together with artists to celebrate the art of music. Special vinyl and CD releases and various promotional products are made exclusively for the day and hundreds of artists in the United States and in various countries across the globe make special appearances and performances. Festivities include performances, cook-outs, body painting, meet & greets with artists, parades, djs spinning records and on and on. Metallica officially kicked off Record Store Day at Rasputin Music in San Francisco on April 19, 2008 and Record Store Day is now celebrated the second Saturday every April. – RecordStoreDay.com

Why should you care?

As stated above, independent music retailers are generally at the core of any healthy local music scene. These stores don’t just sell music–they are cultural centers, acting as the proverbial water-coolers for any scene’s true music fans. Customers come to these stores as much for the experience as they do for the music, and the best of these stores deliver both in spades.

Employees at these stores are not just High Fidelity-like music snobs , but they do know their music, and most are either actual artists themselves or tied into the local arts scene in some other way.  These people eat, sleep, drink and breathe music, and as an independent musician, you need them on your side.

These stores are active supporters or local music, promoting local shows to communities of active music consumers, writing about local bands via their websites & blogs, and selling music by local artists (generally via consignment). In other words, they are an independent musician’s best friend.

Support your local record store!

That brings us to Record Store Day 2009, and an excellent opportunity for local musicians to support their local indie record stores. How?

• Book a gig at a participating store–As described above, almost every participating store will have live music performances on Record Store day, and you should be one of the acts! (In a quick informal phone poll of 10 participating stores during the afternoon of 3/9, 6 of the stores were still finalizing their plans, so there is still time!) Remember, though, that this is a gig to support your local indie store and local music fans, so don’t play the diva or expect payment. This is all about generating good karma.
• Tell all of your fans about Record Store Day, and urge them to participate–Use your email list, your MySpace page, your Twitter account, your Facebook page and any other means you have to tell your fans to get out and support their local independent music stores. If you want to use official banners and website badges, go here
• Follow @recordstoreday on Twitter, and encourage your followers to do the same! There are also many independent music stores who you should be following on Twitter, including @amoebamusic, @criminalrecords, @hoodlums, @WaterlooRecords, @ZiaRecords, @Slowtrain and @landlockedmusic
  
• Even if they don’t have room for you to perform at their celebration, be sure to spend some time at your favorite indie record store on April 18th, 2009!
• Even better, make every day Record Store Day–don’t let these essential music-focused businesses vanish! Become a regular at your local indie music store–you’ll be glad that you did…

Now it’s your turn to share: how are you going to celebrate Record Store Day? Will you be performing at a local store? Dropping money on the original vinyl pressing of Black Flag’s debut? Picking up one of the many cool exclusive releases that the stores will have on 4/18? Tell everyone all about it in the comments!