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.

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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:

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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.

*****

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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

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(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.

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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.

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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.

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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?

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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

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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.

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.