tag:blogger.com,1999:blog-76367417985045538182024-03-08T13:36:44.879-08:00Music Industry BreakdownAnonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.comBlogger19125tag:blogger.com,1999:blog-7636741798504553818.post-86767606687901561682013-06-01T18:23:00.001-07:002013-06-01T18:23:38.809-07:00Is that festival worth it?
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With
Memorial Day weekend, summer has finally arrived and for most music fans that
means one thing; festival season is here! Finance blog <a href="http://www.nerdwallet.com/blog/finance/2013/summer-music-fests-bang-buck/" target="_blank">Nerd Wallet </a>has taken
out some of the guesswork and figured out which festival gives you the most
bang for your buck. The blog broke down the general admission ticket cost of
three major festivals: <a href="http://www.lollapalooza.com/" target="_blank">Lollapalooza in Chicago, IL</a>, <a href="http://www.sfoutsidelands.com/home/" target="_blank">Outside Lands in San Francisco, CA</a>, and <a href="http://www.aclfestival.com/" target="_blank">Austin City Limits in Austin, TX</a>. How the net value was
calculated was the blog calculated the ticket cost of each artist, calculated
what artist a festivalgoer is most likely to choose, favoring main stage acts,
deducted from the ticket price based on shorter festival sets, and then took
that combined ticket cost (the gross value) and subtracted the ticket price. <o:p></o:p></div>
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Using this
method, Nerd Wallet determined that in 2013, the festival with the biggest
value is Austin City Limits. It’s has a net value of $631.66. Also, its top
artist ticket price is The Cure only $103 meaning that the value is better
spread between the artists. That’s compared with Outside Lands whose top artist
ticket is $154.33 for Paul McCartney. After that is D’Angelo valued at $89.40,
a steep drop-off for a sub-headliner.
Outside Lands ranked second with $621.94 but was considered a waste if
one did not wish to see McCartney. Lollapalooza ranked third which was
interesting considering it the lowest ticket price and not the fewest amount of
artists. The reason being is the artists are smaller priced artists throughout
the entire festival keeping the gross value low.<o:p></o:p></div>
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While this
is a tried and true method in determining whether or not a festival is a good
buy for your summer, it doesn’t tell the whole story. First off, there are two
large omissions from the study named <a href="http://www.coachella.com/" target="_blank">Coachella</a> and <a href="http://www.bonnaroo.com/" target="_blank">Bonnaroo</a>. Bonnaroo may have
a unfair advantage as music goes from noon until 4 AM. I don’t know whether
that makes Bonnaroo have more artists than other festivals but it’s an
important factor in making a decision. Coachella is also a juggernaut and has a
similar lineup to Lollapalooza. Another good comparison would be <a href="http://www.hangoutmusicfest.com/" target="_blank">The Hangout</a> in
Alabama.<o:p></o:p></div>
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The other
problem is intangibles that are not included in Nerd Wallet’s study. The three
festivals selected take place in major cities. That means you have to factor in
hotel costs, food costs, afterparty costs, alcohol, and transit costs among
others. It would be nice to average out those costs to get a real feel on cost
of attending a festival. Bonnaroo and Coachella offer camping, cutting down
those costs. They also have less afterparties and no travel cost, adding to
their ability to be less cost prohibitive.<o:p></o:p></div>
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A third
issue is the rise of the regional festival. Less likely these days are people
making a cross-country trek for a festival lineup when they can have a similar
experience close to home.<a href="http://fireflyfestival.com/" target="_blank"> Firefly in Delaware</a>, <a href="http://www.sasquatchfestival.com/" target="_blank">Sasquatch! In Washington</a>, and
<a href="http://www.newportfolkfest.net/" target="_blank">Newport Folk in Rhode Island</a> would be more interesting festivals to add and
breakdown this concept further. Hopefully, an intrepid statistician will break
this down for a music blog and get the real answer.<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.com0tag:blogger.com,1999:blog-7636741798504553818.post-53005346405752484042013-05-15T19:06:00.002-07:002013-05-15T19:07:59.907-07:00That Old Black Magic Calling: Daft Punk’s Marketing<!--[if gte mso 9]><xml>
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The veil
has finally been lifted on <a href="http://www.daftpunk.com/" target="_blank">Daft Punk</a>’s <i><a href="https://itunes.apple.com/us/album/random-access-memories/id617154241" target="_blank">Random Access Memories</a></i>, easily the most anticipated album of 2013. While now the
debate will rage on whether or not it was worth the wait, there is a key aspect
of this album that will be interesting or not to see if it impacts the music
industry. It is the decidedly old school and cryptic marketing approach the duo
and Columbia Records have taken so far to promote the album.</div>
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In a recent
interview with <a href="http://pitchfork.com/features/cover-story/reader/daft-punk/" target="_blank">Pitchfork</a>, Thomas Bangalter stated that “Everything about <i>RAM</i> and its buildup is about the
surprise, the magic. ‘When you known how a magic trick is done, it’s <i>so</i> depressing,’ he explains. ‘We focus
on the illusion because giving away how it’s done instantly shuts down the
sense of excitement and innocence.” That magic is just as equally a key to the
hype as much as the fact that it’s the duo’s first new album in 8 years. <o:p></o:p></div>
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It started
with just a mysterious image at was posted to the duo’s website <a href="http://web.archive.org/web/20130226142629/http://www.daftpunk.com/" target="_blank">DaftPunk.com on February 26th</a>. The image was just the duo’s iconic helmets set
together with the Columbia Records logo on the bottom. </div>
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<a href="http://www.daftpunk.com/Helmets.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.daftpunk.com/Helmets.jpg" width="316" /></a></div>
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This image would soon
spread from the web to reality, first all over Austin, TX during the SXSW
festival in mid-March but it would soon be high above major cities on massive
billboards. The idea behind the billboards was revealed to<a href="http://www.spin.com/articles/daft-punk-random-access-memories-kraftwerk-bangalter-homem-christo-interview/" target="_blank"> SPIN magazine</a> as
Bangalter stated, “we wanted to bring back some ideas from the past, from a
time when you could drive down Sunset Boulevard and see a billboard for a new
David Bowie or Pink Floyd album. Our imagination was triggered more by this
physical presence then looking at an Internet advert.”<o:p></o:p></div>
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If the use
of imagery was not enough, the band could also merely tease music to get people
interested. Shortly before SXSW, a mysterious 15 second ad debuted during the
March 2<sup>nd</sup> episode of <i>Saturday
Night Live</i>. It aired twice but the next day, it was all over the Internet.
Fans had even patched together 10 hours versions for those who wanted to groove
to 15 seconds of new Daft Punk all night long and remixes putting the hot
single “Suit and Tie” by Justin Timberlake over the snippet. It was amazing how
crazy people were going over a 15 second piece of music.<o:p></o:p></div>
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That was it
for a whole month until the Coachella festival. Coachella was of course were
the duo made their mark on America’s new obsession with electronic dance music.
They unveiled the Pyramid, the set for their now legendary Alive 2006/2007
tour. While waiting for acts to come on, a new ad for Daft Punk appeared on the
stage video boards. It was a full minute showing Daft Punk and guests Nile
Rodgers and Pharrell Williams playing the new song “Get Lucky.” It also gave
the album’s title <i>Random Access Memories</i>
and a release date of May 21<sup>st</sup>. It also meant that fans had to wait
another month for the whole thing. A fan-shot video captured the ad and it
spread like wildfire. A better quality one would debut during <i>Saturday Night Live</i> during the weekend
and also announce the album would be available on iTunes. <o:p></o:p></div>
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Later that
week, on April 19<sup>th</sup>, the “Get Lucky” radio edit single debuted and
instantly became the number one downloaded single on iTunes and became the
duo’s first UK #1 single. It also peaked at #14 on the Billboard Hot 100, a new
record. This all happened with no other television, radio, or Internet promotions.
No banner ads, no search engine optimization, no Twitter, nothing the current
music industry would consider standard. Is it because of the clout Daft Punk
has in music? Potentially. Any other artist may not have succeeded. Is it
magic? Thomas Bangalter might have you think so. It’ll be interesting to see if
the industry can disconnect in some ways to give life back to music, to use a
Daft Punk song title form the new album. The album has since leaked, as is
standard for the music industry these days. Daft Punk has partly helped fend
against this leak by streaming the album for free on iTunes a week early. It
has revealed some of the magic. It won’t be the same when fans open physical
copies or download it from iTunes at midnight. But it will be interesting to
see if the magic will translate to sales. <o:p></o:p></div>
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<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.com0tag:blogger.com,1999:blog-7636741798504553818.post-21290982742446149852013-05-05T08:57:00.001-07:002013-05-05T08:58:03.184-07:00Reflections on Experts' Views In my last blog post, I went off topic and profiled two of Silicon Valley’s most iconic venture capitalists, Sean Parker and Peter Thiel. Both had great insight into what can make a company and business plan better. As I tighten up my own business plan, to be revealed later, have I used any of this insight to make it better? As for Sean Parker’s advice, it was mostly that you need flexibility. I don’t think I could have more room for flexibility in my business plan. There is a lot of room to breathe in there, even down to the location. So that isn’t too much of a change.<br />
<br />
More important is the advice of Peter Thiel. Thiel’s advice was that even a bad plan is better than no plan and it’s important to make sure you have at least that needed guideline and know what you’re setting out to accomplish. When I first came up with this business plan, I had about 5 ideas it could be and it still might get there. The urgency to distill it down to one very solid idea to build on is very important; in making sure there weren’t too many balls in the air while juggling. By focusing on what’s important, you can make it better and maybe work on those ideas after the success of the first.<br />
<br />
As far as the most important part of my business plan to investors, that would be the financials. You can say everything you want about every other aspect but if projections are that it’s not going to be worth the money, why invest? Or why put out this project? Even in my case where my business plan is a non-profit organization where there’s no return on investment for an investor, it’s still important to be able to break even and if we have a profit, return that to the community.
Anonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.com0tag:blogger.com,1999:blog-7636741798504553818.post-34024318516029679472013-04-10T17:25:00.002-07:002013-04-10T17:25:47.994-07:00Expert takes on investing in business plans
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<a href="http://www.vanityfair.com/culture/features/2010/10/sean-parker-201010" target="_blank">Sean Parker</a>
is probably most known for being portrayed by Justin Timberlake in the film <i>The Social Network</i>. But his career has
been much more successful than that. Two of the first three companies he has
worked with are ones that changed the world forever. In 1999, he helped found
Napster with Shawn Fanning. Napster was a music file-sharing program that
enabled users to easily download digital music files illegally. The program
quickly drew the ire of the Recording Industry Association of America and was
forced to shutdown in July of 2001. It ignited the industry’s response to take
their music online. <br />
Parker then attempted to
revolutionize the address book with Plaxo, an online service that will
automatically update your address book. The company was founded in 2002 but due
its inability to be successful, he was fired in 2004. It turned out to be a
blessing in disguise as at that time, while plotting his next move, he stumbled
upon TheFacebook, while visiting a friend at Stanford. He had already wanted to
tap the potential of social network and got excited about an existing service
named Friendster but got cold feet when the service’s system began crashing. He
quickly found out how to contact founder Mark Zuckerberg and the rest is
history. He became president of Facebook until being fired in 2005.<o:p></o:p></div>
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Parker today
is an investor in Spotify, the world’s foremost music streaming service, is the
CEO of Airtime.com, a new video chat service, and finds startups to fund for
the Founders Fund. <a href="http://siliconfilter.com/sean-parker-there-are-too-many-startups-and-too-many-vcs/" target="_blank">In a recent interview at the LeWeb conference</a>, Parker has
this advice for getting your business noticed. He says that he looks for “great
teams. A startup needs to have an effective leader who can hire and attract
great talent. A complete team that can execute is his benchmark” for making an
investment. Parker also gave the example of Gowalla, a location-based social
network that stuck too tightly to its business plan, and the not being flexible
led to his loss of interest. So flexibility would also be a guideline.<o:p></o:p></div>
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<br /></div>
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<a href="http://www.businessinsider.com/blackboard/peter-thiel" target="_blank">Peter Thiel</a> also was a major factor in the beginning of Facebook. He unlike Sean Parker has
a less colorful past. He made his fortune in founding PayPal, the huge digital
payment system. He sold the company to Ebay which helped solidify his career.
Thiel now runs Clarium Capital, the company he founded after PayPal, and the
Founders Fund. Thiel was one of Facebook’s first investors with a startup fund
of $500,000. Companies he has invested in include LinkedIn, Slide, Geni.com
Yelp, and Yammer. He also is commentator on CNBC, executive produced the film <i>Thank You for Smoking</i>, and frequently
writes for the Wall Street Journal, Forbes, and Policy Review.<o:p></o:p></div>
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<a href="http://techcrunch.com/2013/02/02/peter-thiel-talks-super-futuristic-investments-and-the-chess-strategy-founders-should-know-tctv/" target="_blank">In a recent interview with TechCrunch</a>, Thiel put into words exactly what he’s looking for
in investment opportunities. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
“We try to find technology businesses
that nobody else in the world is building. So, the people who are actually
starting them are much more braver and crazier than we are. We are for the most
part just investing but I think that’s what really makes the difference. It’s
where you do something where if you don’t do it, it’ll never get done. And so
the question I always want people to ask is what idea do you know to be true that
nobody else agrees with you on. The business version of it is what business can
you start that would be valuable that no one’s thought of? So we always try to
find things that are not being done and if we didn’t back a particular
entrepreneur, this thing would never get created for the world.”<o:p></o:p></div>
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<br /></div>
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Thiel also went on to emphasize how important it is that you
have a business plan and a clear vision for the company.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
“This is sort of a minor nit, but it’s
one that I think is always a good one to be aware of. They shouldn’t say that
there are a whole bunch of different things they could do with their product,
all of which would be good. Normally you want just one thing that’s going to be
fantastic. And so when you say, ‘We could do A, or B or C or D or E, and we
could make money doing A or B or C or D or E,’ that’s often that you don’t
really have a plan, which isn’t going to work. It’s always better to have a
plan. It’s one of the things I learned in chess: A bad plan is better than no
plan.”</div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
Check out the full video here:</div><div style='text-align:center'>
<script type='text/javascript' src='http://pshared.5min.com/Scripts/PlayerSeed.js?sid=281&width=560&height=345&playList=517659888'></script>
<br/>
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<br /></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.com0tag:blogger.com,1999:blog-7636741798504553818.post-62491349180468887232013-03-22T17:07:00.006-07:002013-03-22T17:13:18.076-07:00Anti-gay marriage comments cancel tour<!--[if gte mso 9]><xml>
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Singer/songwriter Michelle Shocked found herself in hot
water and potentially out of work after making anti-gay marriage comments at a
San Francisco concert. According to <a href="http://music.msn.com/music/article.aspx?news=797147&gt1=28102" target="_blank">MSN Music</a>, Shocked was playing a show at
Yoshi’s on St. Patrick’s Day and when returning for her second set, she went on
a rant against gay marriage. Her alleged comments contained, “When they stop
Prop 8 and force priests at gunpoint to marry gays, it will be the downfall of
civilization, and Jesus will come back," she reportedly said, and
"You can go on Twitter and say, 'Michelle Shocked says God hates fags.'” According to the <a href="http://www.sfgate.com/default/article/Shocked-show-shut-down-over-gay-slur-4363898.php" target="_blank">San Francisco Gate</a>, about two-thirds of the crowd walked out after the
rant. The venue then shut off her microphone and stated that the show was over.
Refunds were provided. <o:p></o:p></div>
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As news of
Shocked’s comments traveled across the Internet, venues began to cancel
Shocked’s upcoming tour dates in April and May. Only one venue, the Harmony Bar
in Madison, Wisconsin had not cancelled her performance. When asked about the
show, staff could only comment that the owner was in Mexico and unavailable but
told local press, “there’s no doubt in my mind he’ll cancel this,” <a href="http://www.hollywoodreporter.com/news/michelle-shocked-announces-mccabes-appearance-430485" target="_blank">per the Hollywood Reporter</a>. Shocked’s volunteer publicist also walked off the job.
Shocked has said she plans to show up to her schedule show in Los Angeles
despite the cancellation and talk about gay bashing in L.A. mayoral race. The
owner of the club she was to perform at, McCabe’s in Santa Monica, has stated
she is not welcome in any way.<o:p></o:p></div>
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Controversy
over beliefs and comments to the press are no strangers to popular music. The
biggest example is of course The Beatles in 1966 when John Lennon as quoted as
saying the Beatles were bigger than Jesus. This sparked controversy from Christians
all over the world but most notably in the United States. However, only one show
was cancelled from the band’s 1966 US tour in Memphis and then was worked out
so they performed anyway. There was an incident when a firecracker was thrown
at the band in Memphis but no other issues. It’s rare that an artist’s comments
end up with a whole tour being scrapped. I don’t think there has been another
incident where is occurred. This incident shows the fine line of being an
artist and not going over the line. It also wasn’t that Shocked expressed her
views in song but in a blunt rant to the audience. I applaud the venue for
shutting down the show and issuing refunds and other venues for cancelling her
shows. While there should be room for free speech, spewing hate has no place in
the music industry.<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.com0tag:blogger.com,1999:blog-7636741798504553818.post-60650383523439689022013-03-10T13:51:00.001-07:002013-03-10T13:52:41.277-07:00Getting Beyond The Next Day<!--[if gte mso 9]><xml>
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In a recent
blog post entitled <a href="http://lefsetz.com/wordpress/index.php/archives/2013/03/03/if-you-cant-sing/" target="_blank">“If You Can’t Sing…” </a>music industry veteran Bob Lefsetz
weighs in on why people still send him demos and if that’s still the right
idea, especially if they’re not outstanding, different, or radical. The problem
he sees is publicity for bands is on its way out and is not the way to be
discovered in the music industry in his eyes. He points out the example of the
New York Times. Reviewers don’t make fans anymore, he says, because the
Internet has turned us into clusters of fans by linking us. Most people don’t
want to hear what an independent observer’s thoughts. That wasn’t always the
case. “If you weren’t reviewed in the newspaper, it’s like your gig didn’t
happen.” He then turns his attention to the new David Bowie record <i>The Next Day</i>. He says that if radio and
MTV were still around to play the record, then it would be called a hit. Now,
he just makes a record for fans. Those were the gatekeepers and allowed really
spectacular music to make through. The difference today is music is everywhere
so the mediocrity is not going to cut it. <o:p></o:p></div>
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<br /></div>
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Another
interesting look at the new David Bowie album comes from Steve Schneider at
Orlando Weekly entitled <a href="http://blogs.orlandoweekly.com/index.php/2013/03/watch-that-man-reading-too-much-into-bowie/" target="_blank">“Watch that, man: Reading too much into Bowie.”</a> In the
article, Schneider states that Bowie’s explosion onto the scene with his first
new album in 10 years, throws away all current industry conventions by not
having the traditional social media build-up that most record releases have
these days. The problem Schneider sees with that is he feels most will read
into it that you don’t need that promotion to sell albums, as <i>The Next Day</i> will probably have great
sales even without much promotion. An issue with that is not many artists are
David Bowie and this album’s tactics aren’t going to work for most artists.<o:p></o:p></div>
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<br /></div>
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What
Schneider’s article misses is that this isn’t even Bowie’s creation. He is not
the first artist to mysteriously drop an album. The major example of that is
Radiohead, who famously released <a href="http://www.radiohead.com/deadairspace/070930/In-Rainbows" target="_blank">InRainbows just 9 days after announcing it on their own blog</a>. The album was
their first studio album in 5 years. The beauty of digital distribution is fans
can get product now and since initial album sales are mostly fans anyway, that
way artists can get most of their sales as soon as possible. Promotion is less
needed with established artists because as Lefsetz pointed out, we are already
clumped together as fans. Bowie fans will talk to other Bowie fans about
whether the album is good or <a href="http://search.itunes.apple.com/WebObjects/MZContentLink.woa/wa/link?path=DavidBowie" target="_blank">they will preview it on iTunes</a>. They won’t buy it
because MTV played the video or it had the most spins on their local rock
station, which has probably been converted to another genre anyway. While this
method does work for established artists, I don’t think new artists will try
and do surprise releases like David Bowie. They will probably continue to
follow traditional promotional methods as much as possible. A great example is
Mumford and Sons, whose album <i>Sigh No
More</i> was released to no fanfare in 2009 but by 2011 had become one of
America’s biggest selling albums. This is what Lefsetz means in his post when
the content is great, it will get noticed far more than any promotion or
marketing tricks.<o:p></o:p><br />
<br />
Here's a cut from David Bowie's new album to play you out:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/gH7dMBcg-gE?feature=player_embedded' frameborder='0'></iframe></div>
<br /></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.com0tag:blogger.com,1999:blog-7636741798504553818.post-26635777357020660242013-02-24T19:53:00.001-08:002013-02-24T19:53:54.893-08:00A look at indie distribution
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Independent record labels are being credited with helping
the music industry. For only two weeks of the last three months of 2012, a
non-independent label album topped the Billboard 200. The two records were <i>Unapologetic </i>by Rihanna on Def Jam and <i>Girl on Fire</i> by Alicia Keys on RCA. This
is important because it was what sold the most during the ever-important
holiday season. The albums leading the charge included <i>Babel</i> by Mumford and Sons on Glassnote, <i>Night Train</i> by Jason Aldean on Broken Bow Records, and <i>Red</i> by Taylor Swift on Big Machine Label
Group. Also fitting the trend, the last 5 Grammy Album of the Year winners, <i>Raising Sand</i> by Robert Plant and Alison
Krauss, <i>Fearless </i>by Taylor Swift, <i>The Suburbs</i> by Arcade Fire, <i>21</i> by Adele, and <i>Babel</i>, have all been independent label releases. <o:p></o:p></div>
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But how
independent are these releases? How do a small band like Mumford & Sons and
an indie label like Glassnote get so big they are industry darlings? The truth
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independent labels have a distribution deal with one of three distribution
companies owned by a major label. The most prominent one is <a href="http://www.redmusic.com/" target="_blank">RED Distribution</a>,
owned by <a href="http://www.sonymusic.com//" target="_blank">Sony Music</a>. The company began its start in 1979 distributing hard rock
records as Important Record Distributors. IRD then formed a label called
Relativity that became one of heavy metal’s biggest labels. In 1990, new
management arrived and skewed the label toward hip-hop. Sony also acquired 50%
of the company at this point, laying the groundwork for it’s current position.
The company was renamed Relativity Entertainment Distribution as well. The
company then began to acquire more labels for distribution in the 1990s. Sony
took over full control in 2007. Following the success of RED, <a href="http://www.wmg.com/" target="_blank">Warner Music Group</a> founded its own distribution in 1993, called <a href="http://www.ada-music.com/" target="_blank">Alternative Distribution Alliance</a>. Universal Music also has a distribution arm but it is not as large or
successful as the previous two.<o:p></o:p></div>
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Now, some
might say that the majors having a hand in independent music be a bad idea but
so far, it was worked perfectly. The independent labels and the artists they
work with continue to do the work they desire. They in turn take their product
to these distribution arms that do the hard work of promoting and marketing he
album. They also take out a lot of legwork of manufacturing and getting
physical copies to stores. This is why Taylor Swift may be an independent
artist but can have her record be a Target exclusive and have billboard
everywhere. I think it’s a fabulous idea in an era where the bottom line has
become too important a force in how records are made and artists are selected.
It allows indie labels to take a chance because less overhead is needed to
launch their career. Without, I think many of the current trends in music, such
as New Folk, crooner Frank Ocean and the Odd Future collective, and indie bands
such as Arcade Fire and The Black Keys wouldn’t have the outreach to
breakthrough.<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.com0tag:blogger.com,1999:blog-7636741798504553818.post-59377593886673576202013-02-24T17:16:00.003-08:002013-02-24T17:18:51.444-08:00The Grammys Sales Boost is still in effect<!--[if gte mso 9]><xml>
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Last week, some of the best records of 2011 and 2012
competed for music biggest awards, <a href="http://www.grammy.com/" target="_blank">the Grammys</a>. Whether you believe the show is
an old irrelevant milestone of the industry or has started to push mainstream
music, you can’t deny the awards still have pull among music buyers. In an
article from the <a href="http://www.nydailynews.com/entertainment/music-arts/mumford-fun-gotye-enjoy-post-grammy-spike-article-1.1268860" target="_blank">New York Daily News</a>, Grammy winning albums, except for a few
exceptions, again experienced a sales boost. The award ceremony was interesting
because it presented a situation where there was no clear winner for many of
the major categories, unlike the previous where Adele dominated for her album <i>21</i>. The pre-telecast ceremony seemed to
clear some of the mystery as the Black Keys picked up Best Rock Album, Best
Rock Performance, and Best Rock Song and Mumford & Sons losing their
album’s category, Best Americana Album to Bonnie Raitt. It is unusual that an
album that loses its genre category and wins larger awards. However, Grammy
voters turned out to spread the awards around. Record of the Year went to Gotye
for “Somebody That I Used to Know,” Song of the Year went to fun. with Janelle
Monae for “We Are Young,” and bucking award trends, Mumford and Sons won Album
of the Year for “Babel.”<o:p></o:p></div>
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“Babel”
rode the win to boost sales 242% and put the record back atop the <a href="http://www.billboard.com/charts/billboard-200" target="_blank">Billboard 200</a>. The album’s sales went from 54,000 a week before to 185,000 the week
after. The band fun.’s album “Some Nights” went up 188% to go from 14 to 7. Gotye’s
“Making Mirrors” rose to number 75 boosting 100%. The Black Keys’ “El Camino,”
which was released in December of 2011, rose to number 14, representing a 135%
boost in sales. Even those who didn’t win any awards managed to get a boost as
well, Jack White and the Alabama Shakes managed to have huge boots for their
records, “Blunderbuss” and “Boys and Girls.” These numbers don’t lie and prove
that while some see the Grammy awards being irrelevant, the awards clearly
still have a huge impact on mainstream music buyers.<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.com0tag:blogger.com,1999:blog-7636741798504553818.post-21542643714104172482013-02-03T18:27:00.001-08:002013-02-03T18:27:47.464-08:00Copyright and Trademarks Podcast Lessons
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Copyright
and Trademarks are two very important aspects of any business agreement. It is
very important to protect those items that make a business unique so that the
business continues to stand off and fight off copycats. The following podcasts
took a look at these aspects and passed on some good ideas and warnings on
these aspects. <a href="https://itunes.apple.com/us/podcast/podcast-trademark-basics/id513764391?i=116149745&mt=2" target="_blank">ARC Law Group’s Business, Entertainment, Sports, and Technology Law Blog</a> podcast sets up the basics of a trademark. According to attorney Mark A.
Pearson, a trademark could be word, design, or sound that give a person the
origin of goods or services and not the goods or services alone. This gives the
consumer of where the item is coming from. A totally made up word is a great
trademark because it’d be hard for anyone else could be close. You can register
a trademark with the US Patent and Trademark Office. Basic common law
protection but really needs to be registered. The mark "™" is for common law usage of
term. The mark “®” means that the trademark has gone through the application
process with USPTO. This is important because it is important to research what
marks are registered so that and realted trademarks cannot be used. It also
means that our merchandise would not be trademarked just the fact that it’s
coming from the Phishsonian.<o:p></o:p></div>
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<a href="https://itunes.apple.com/us/podcast/episode-32-lawyers-libel-logos/id313301718?i=117747722&mt=2" target="_blank"> Enter</a><a href="https://itunes.apple.com/us/podcast/episode-32-lawyers-libel-logos/id313301718?i=117747722&mt=2" target="_blank">tainment Law Update’s podcast from July 5, 2012</a> had two interesting cases relating to
trademarks. The first was that Lady Gaga wants the US Patent and Trademark
office to cancel the “Gaga Pure Platinum” mark so that she can register “Lady
Gaga” and “Haus of Gaga” but the cosmetic company continues to say it is in
use. This would relate to my business
plan because see if there are related marks that would make it hard to
trademark the name “Phishsonian”. The second case is that the University of
Alabama is in a lawsuit with artist Daniel Moore over his paintings that
portray moments in the school’s football team’s history. The school claims that
the portrayal of the uniforms is a violation of trademark. The lawsuit found
that the trademark was not infringed. This could be important in that that
artwork of the museum or band may not infringe our trademarks and there would
be no legal precedent to go after these items.<o:p></o:p></div>
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<a href="https://itunes.apple.com/us/podcast/understanding-copyright-law/id420519025?i=129644554&mt=2" target="_blank">The Nicholas Talks at Duke University</a> had an interesting conversation with Kevin
Smith, the director of the Office of Copyright and Scholarly Communication at
Duke. He stated that short amounts of text such as quotes cannot be copyrighted
but tweets can be copyrighted if unique enough.
This can be important to the business plan because social media may be
used both in museum content and for marketing so it’s important copyright what
is possible. January 1<sup>st</sup> is Public Domain day. Any expired
copyrights from the previous year enter the public domain. This is important to
follow as it opens up what can be displayed. A big question that Smith also
proposed is should our website have a Creative Commons license? Can we let people
use our materials? This is a great question about how our museum is presented
on the Internet. Register all copyrights as soon as required so if litigation
is necessary, it will be viewed in a better light. You can register a copyright
later but it weakens the case presented.<o:p></o:p></div>
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<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.com0tag:blogger.com,1999:blog-7636741798504553818.post-51481146500524015882013-01-12T19:09:00.003-08:002013-01-12T19:09:34.029-08:00Industry Legal Roundup
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One of the
hardest things of working in the music industry is steering clear of legal
problems. Year after year, artists fund themselves with some unforeseen issues
that ties up resources and runs up expenses. Whether it’s copyright issues, fan
relations, or trouble with royalties, the range of issues that can spring up if
the terms and guidelines are not carefully created or the wild nature of live
performance takes control. Here some legal issues hitting major artists in the
past month.<o:p></o:p></div>
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Live
performance is always a wild time regardless of the act you’re going to see; be
it a thrilling jazz improvisation or one of the hottest teen acts today. The
latter brings us this story. Teen trio the Jonas Brothers are begin hit with a
lawsuit from a fan. <a href="http://www.tmz.com/2013/01/02/jonas-brothers-fan-sues-crushed-the-grove/" target="_blank">According to TMZ</a>, Ashleigh Johnson was “agonizingly
crushed” in a guard fence due to an uncontrolled crowd at the Grove shopping
center in Los Angeles and claims to have suffered serious mental, emotional,
and physical injuries. This is something that in most cases could be prevented,
if the artist and the venue had planned better. More likely than not, security
was only discussed on the side of the artist and not the fans. Sure, the event
was in the middle of one of America’s largest cites but shows like this go on
all the time with artists just as large as the Jonas Brothers. Just look at the
Today Show’s Rockefeller Plaza concert series. They go off every year without
problems. The key there is planning. They work with local law enforcement and
plan adequately to make sure the event is safe.<o:p></o:p></div>
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The spark
of creativity usually cannot be contained but sometime it can unsuspectingly
pick up other people’s work. Singer Alicia Keys is feeling the heat from her
smash song “Girl on Fire” as <a href="http://www.rollingstone.com/music/news/alicia-keys-hit-with-copyright-lawsuit-over-girl-on-fire-20121217" target="_blank">songwriter Earl Shulman has filed a copyright lawsuit against her</a>. Shulman claims the song is too similar to his 1962
composition “Lonely Boy” which went to #2 on the Billboard charts as “Hey There
Lonely Girl” by Eddie Holman. Shulman get the idea when music critic Roger
Friedman stated that Keys “sings a couplet or two of “Hey There Lonely Girl”
and it was an uncredited sample. It is unclear what the result will be. In <a href="http://abbeyrd.best.vwh.net/mysweet.htm" target="_blank">themost famous case of plagiarism</a>, George Harrison was ruled to give a large
portion of royalties to the copyright holder of the song “He’s So Fine” due to
similarities. The line that whole lawsuit came due to the writings of one
critic due make it a little flimsy but this is a suit that’ll probably take a
long time to reach a verdict, tying up resources for Ms. Keys. This is the rare
case where a lawsuit could not have been avoided by the artist.<o:p></o:p></div>
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Artists
also have to be careful of satisfying everyone they work with, no matter how
far back they may have done so.<a href="http://blog.music.aol.com/2013/01/02/pink-sued-lawsuit-royalties/" target="_blank"> P!nk has been hit with a lawsuit</a> by the
producers of two songs from her 1999 debut album <i>Can’t Take Me Home. </i>Specialists Entertainment states they are still
waiting for half their royalites from two songs on the album, the title track “Can’t
Take Me Home” and “Hiccup.” A representative for P!nk states that it is up to Sony,
her record label, to pay royalties. I don’t know what the contract looks like
between P!nk, Sony, and the producers but P!nk may be in the right here. If
Sony did in fact arrange the producers for her album, then they would be in
charge of royalties but if P!nk selected the producers herself then she might
be liable because the agreement would be between her team and them. This could
be avoided by making sure all parties are present at a negotiation and making
sure it has terms for years past the recording’s determined shelf life.<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.com0tag:blogger.com,1999:blog-7636741798504553818.post-51990538350934339292012-12-08T21:26:00.001-08:002012-12-08T21:26:08.943-08:0012.12.12 and Scalpers
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Aside from the recent Grammy award nominations, one of the
hottest topics in the music industry is the upcoming <a href="http://www.121212concert.org/" target="_blank">12.12.12 concert</a> for the
Robin Hood Sandy Relief Fund. The show is being held at Madison Square Garden
and reads like a who’s who of pop music history. Performing is Paul McCartney,
The Rolling Stones, Eric Clapton, The Who, Roger Waters (of Pink Floyd), Bruce
Springsteen and the E Street Band, Billy Joel, Bon Jovi, Eddie Vedder (of Pearl
Jam), Dave Grohl (of Nirvana and Foo Fighters), Chris Martin (of Coldplay),
Alicia Keys, and Kanye West. Of course, not all the attention is on the star
power.<o:p></o:p></div>
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A darker
issue that has come to light is the secondary market. Like any other major
event at Madison Square Garden, the event sold out within minutes. Also like any
other event at the Garden, tickets began to appear on the secondary market
minutes after the event went on sale. Ticketmaster actually addressed this
action by posting on <a href="http://blog.ticketmaster.com/2012/12/07/thanks-senator-schumer-blush/" target="_blank">their blog</a> that they were trying to take steps to combat
this by cancelling orders believed to be run by scalper BOTS. Scalper BOTS are
computer programs used to flood Ticketmaster.com with orders as soon as an
event on sale to yield a high number of tickets. Ticketmaster also banned
listings from their own secondary markets, TicketsNow and TicketExchange,
stating that all the proceeds should go to the Robin Hood fund. This leaves one
major secondary market selling tickets to the event, Stubhub. Stubhub has
dedicated all their fees from the sales to the charity but says it has no way
to make sure profits go to charity. <a href="http://www.nytimes.com/2012/12/08/arts/music/producers-of-12-12-12-benefit-concert-assail-scalpers.html?_r=0" target="_blank">Senator Chuck Schumer (D-NY) has alsogotten into the debate</a>, sending letters to ticket resellers for help not
allowing scalpers to profit. Right now, tickets for the event on <a href="http://www.stubhub.com/natural-disaster-relief-concert-tickets/12-12-12-concert-new-york-madison-square-garden-12-12-2012-4181571/" target="_blank">Stubhub</a> range
from $635 up to $32,000. Then again, who knows if the tickets are real or not?
This is a factor that no one is talking about. On StubHub especially, often
scalpers create fake listings with abnormal prices to make the demand seem
higher, yet another unsavory tactic by scalpers to extract profits.<o:p></o:p></div>
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But are
scalpers the problem? Industry pundit <a href="http://lefsetz.com/wordpress/index.php/archives/2012/12/05/why-you-cant-get-a-good-seat-at-a-fair-price/" target="_blank">Bob Lefsetz recently wrote a new blog post</a> about why most concertgoers can’t get a ticket at a fair price. He says
that income disparity is causing the current ticketing crisis in the live
entertainment industry. Secondary markets have high ticket prices because the
rich can afford it and will pay to get into an event at any cost. He also
believes that the industry executives don’t care because they’re raking in the
cash. Do I agree with Bob? Yes and no. I do think that ticket prices are higher
because people are willing to blindly pay through the nose to be at an event. I’ve
seen friends and family do it all the time. I don’t believe the industry is
turning a blind eye to it, at least not as a whole. I am a bit suspicious that
most events in New York City, and Madison Square Garden in particular, quickly
sell out and then are on secondary markets. I’ve been to a few events that do
this; coming to mind quickly are LCD Soundsystem’s final show and Phish’s New
Year’s Eve shows. Instead of calling out secondary ticket websites, I’d like to
see Senator Schumer look inwards towards venue owners within New York to see if
they’re having a hand how tickets are distributed. I’d also like to see New
York lift its ban on paperless tickets. The state’s inability to embrace the
future has made it a haven for the secondary market.<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.com1tag:blogger.com,1999:blog-7636741798504553818.post-77409929165757199832012-11-26T13:30:00.001-08:002012-11-26T13:33:38.841-08:00The New LiveNation.com<!--[if gte mso 9]><xml>
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Early on, Ticketmaster CEO Nathan Hubbard stated in <a href="http://www.fastcompany.com/1761539/ticketmaster-rocking-most-hated-brand-america" target="_blank">a 2011 Fast Company article</a> that he wanted Ticketmaster.com to be a hub for music fans
to shop, get tickets, and hang out. While Ticketmaster.com itself hasn’t made
any changes, its parent company Live Nation Entertainment launched the
redesigned <a href="http://livenation.com/">LiveNation.com</a> and it has created quite the buzz in the industry. The
aim of the site is to tap into the social aspect of going to concerts. <o:p></o:p></div>
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They’re
starting this focus by introducing three new features to the site as outlined
by a recent article on <a href="http://www.billboard.biz/bbbiz/industry/digital-and-mobile/livenation-com-relaunches-with-new-social-1008026162.story" target="_blank">Billboard.biz</a>. The first is a concert countdown clock
for each event. According to Live Nation Labs’ Eric Garland, the point of the Concert
Countdown is to create something you can share and own. The second feature is
Showbook. Showbook is a feature that aggregates show photos from Twitter,
Facebook, and Instagram. This could be a killer feature, as people love to take
pictures at concerts. I think it’ll at least bring traffic to LiveNation.com.
The third feature is One Nation. One Nation is a site, which has exclusive photos and
videos from artists. This is an excellent use of the company’s connection to
artists and hopefully one that will blossom over time.<o:p></o:p></div>
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So the main
question is does it work? I would have to say no. The new LiveNation.com is not
the great music site its creators wanted it to be. First, the site is a little
hard to navigate. It goes for an iPhone app/Windows 8 look with large tiles.
This however means to get to later dates; you have to scroll way down. You can
change to a list view but the means to get there are not clear. You have to
just look at events for this weekend. Also, there are no instructions on how to
get your photo into the Showbook for the event. Reading the fine print of the
help page shows that it goes by the photo’s location to mark it but what if
your phone can’t find the location due to poor cell service or a remote
location. This, in turn, makes it hard to share photos. The site should also
have an upload function to add your own immediately. Also the update broke My
Live Nation. I can’t log into my account and when I do, it leads me back to the
Ticketmaster.com Live Nation skinned site. The One Nation part works well but
the layout is very poor. It needs a way to search or seek out the content you
would like to see not just what’s available. It also launches with a new URL and in a new tab or window. The site should keep you within the main LiveNation site. Of course, a big factor in all of
this is the listings are confined to Live Nation and Ticketmaster venues. If
your show is outside of this, good luck. By making the site more inclusive, it
could build more loyalty to the Live Nation brand over time. Another great feature would be to link up with the <a href="http://app.tourb.us/" target="_blank">TourBus</a> app to provide show ratings and reviews. Lastly, <a href="http://www.hypebot.com/hypebot/2012/11/linenationcom-relaunches-as-more-than-kist-a-place-to-buy-concert-tickets.html" target="_blank">HypeBot</a> says that this is only the beginning and the real reason behind the site is to begin aggregating the data of Live Nation consumers. This began when the company <a href="http://www.hypebot.com/hypebot/2011/12/breaking-live-nation-acquires-bigchampagne.html" target="_blank">acquired BigChampagne</a> at the end of 2011. If so, this will mark an exciting move in music marketing and it'll be interesting to see how that influences LiveNation.com but for now Live Nation has a
long way to go to make their site a hub for music fans.<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.com0tag:blogger.com,1999:blog-7636741798504553818.post-47015494525412112822012-10-13T13:44:00.000-07:002012-10-13T13:44:32.813-07:00600,000
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That’s the
biggest story in the music industry right now. After paltry #1 records with a
few tent poles, how does a band like Mumford and Sons come out of the gate that
large with only their sophomore LP <i>Babel</i>?
After all, 2011 started with <a href="http://www.billboard.com/news/cake-scores-lowest-selling-no-1-album-in-1004139371.story#/news/cake-scores-lowest-selling-no-1-album-in-1004139371.story" target="_blank">the lowest #1 album of all-time</a>, <i>Showroom of Compassion</i> by my beloved
group Cake, which only had 44,000 in sales in its first week. <a href="http://lefsetz.com/wordpress/index.php/archives/2012/10/06/sales-week-ending-93012/" target="_blank">Bob Lefsetz tellsthe story in a recent post about the October 13th Billboard 200chart.</a> What he relates is that people thought the album as a format was done
but now out of nowhere comes this independent band from England that pulls
numbers like it’s the 1990s. Sure a few albums have topped a million their
first week, well putting them in the <a href="http://music.yahoo.com/blogs/chart-watch/chart-watch-extra-swift-joins-an-elite-club.html" target="_blank">top 20 for Billboard 200 debuts</a>. They have
come from artists with a proven track record of success or with a gimmick to
help with album sales. <a href="http://latimesblogs.latimes.com/music_blog/2011/06/lady-gaga-tops-the-1million-mark-in-first-week-album-sales.html" target="_blank">Both was the case with Lady Gaga’s album <i>Born This Way</i></a>, which debuted with 1.1
million sales but 440,000 of those came from a promotion where Amazon.com sold
the album for 99 cents. <i>Born This Way</i> also was the highest debut
album since 2005’s <i>The Massacre</i> by 50
Cent.<o:p></o:p></div>
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But the
numbers are only part of the story, the truth is Mumford and Sons’ 600,000 sold
is that it’s the largest debut by an artist on an independent label. Mumford
and Sons’ first LP, <i>Sigh No More</i>,
never charted above number 2 on the Billboard 200. Granted that album did sell
<a href="http://www.businesswire.com/news/home/20120105005547/en/Nielsen-Company-Billboard%E2%80%99s-2011-Music-Industry-Report" target="_blank">1.4 million copies</a> in 2011 alone, not to add in the copies sold in the previous 2 years it had been available. But 600,000 in the first week is a feat that
couldn’t even be done but some of the major labels’ claimed saviors such as the
Jay-Z and Kanye West collaboration <a href="http://www.billboard.com/#/news/jay-z-kanye-west-s-throne-sells-436-000-1005318372.story" target="_blank">Watch The Throne, which only had 436,000</a>, and teen heartthrob Justin Bieber,
whose<a href="http://www.nme.com/news/mumford-and-sons/66351" target="_blank"> 2012 album, Believe, only debuted with 347,000</a> sold. Lefsetz goes on to say it might be a sign of
revolution; that people are becoming tired of processed pop music. I don’t
believe we’re at that point yet. But if this is a renaissance of music with
heart and coupled with Adele and Arcade Fire’s recent Grammy award triumphs,
proof that there is room for independent labels and artists, then I welcome it
with open arms.<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.com1tag:blogger.com,1999:blog-7636741798504553818.post-51340977867503744212012-09-30T17:04:00.000-07:002012-09-30T17:04:36.821-07:00The EMI-Universal Merger<!--[if gte mso 9]><xml>
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On September 21<sup>st</sup>, the recording industry took a
huge turn towards further consolidation when <a href="http://www.huffingtonpost.com/2012/09/21/universal-emi-merger-ftc-_n_1903776.html" target="_blank">the European Union and the Federal Trade Commission in the United States approved the takeover of EMI by Universal Music Group</a>. The deal would give the new company 40% of the industry. EMI and
Universal are two parts of the current industry Big Four. The group also has
Sony with 30 percent and Warner Music with 20 percent. EMI is coveted for its
famous roster of artists that include The Beatles, Pink Floyd, Frank Sinatra,
and Katy Perry. I<a href="http://www.nasdaq.com/article/eu-clears-universal-emi-merger-with-conditions-20120921-00086" target="_blank">n Europe, the deal has tighter restrictions including sellingoff certain labels that are currently part of EMI, most notably Parlophone,which was the Beatles’ home at the company. The Beatles catalog will not bepart of the sale.</a><o:p></o:p></div>
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In an
article from <a href="http://www.huffingtonpost.com/2012/09/20/universal-emi-merger_n_1897901.html" target="_blank">the Huffington Post</a>, it is argued that the merger will stifle
innovation on the digital music. In one group controlling 40% of content, one
could view that without that pass a project would likely die. According to the
article, very expensive licensing agreements have hurt two very popular digital
music services, Spotify and Pandora as these agreements make it very unlikely
they will see a profit anytime soon. Spotify at last has the Big Four has
shareholders so as investors, they have a stake in the company’s success but
it’s always easier when you have the content provider in your back pocket.
Another article from <a href="http://investorplace.com/2012/09/the-universal-emi-merger-no-biggie/?cc=msnfeed&industry=IND_BANKING&isub=" target="_blank">InvestorPlace</a> suggests Pandora will also be ok because it’s up to politicians
to set Internet radio royalties that dictate their cost. Maybe that’s a
loophole that can be exploited to avoid having to pass Universal’s approval. Of
course, the issue is not existing services, but potential new services.<o:p></o:p></div>
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My biggest
concern with the merger is the state of jobs in the industry. Yes, this big
music company will be made of smaller labels, but with a merger always comes
consolidation. Why have two marketing departments when you could run it out of
one? Will that mean, it will become harder to get the job I want in the music
industry going forward. Some would say the rise of independent labels may
nullify this but 60 independent labels use Sony’s RED distribution for
marketing including the current #1 album in the US, <i>Babel by Mumford & Sons. </i>I wish I had numbers on if job changes
occurred during the last big music industry merger Live Nation and Ticketmaster
to get a read on this but as we go from a Big Four to a Big Three, I have to
believe that the number of people employed in the recording industry will shrink
again.<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.com0tag:blogger.com,1999:blog-7636741798504553818.post-16571381437426882792012-09-06T19:05:00.001-07:002012-09-06T19:05:52.866-07:00National Association of Recording Merchandisers
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If you’ve ever been part of an
industry in the United States, more than likely your company has
representatives in a trade association. Trade associations are groups that
businesses form to collaborate an also support combined interests. Trade
associations have been known to exist in America since at least 1883, when the
<a href="http://www.amseed.com/about.asp" target="_blank">American Seed Trade Association </a>was founded by businesses in the seed trade. In
the music industry, there are two major trade associations. The most well known
one is the <a href="http://www.riaa.com/" target="_blank">Recording Industry Association of America</a>, which represents the
recording labels. The RIAA is mostly known by the general public for recently
fighting against piracy and handing down fines to people who have violated
copyright law per its modus operandi to do so. But while the RIAA gets all the
press, the music actually has a second trade association that works more
towards putting that music in the hands and ears of the fans.</div>
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That
association is the <a href="http://www.narm.com/" target="_blank">National Association of Recording Merchandisers</a>. NARM began
as a coalition of wholesalers and retailers focused on physical sales. In 2002,
NARM expanded to include all aspects of the music business including digital
sales, mobile phone use, gaming, applications, merchandise, videos, and other
parts of the music industry. With a board of directors that includes
representatives from iTunes, Amazon.com, Microsoft, Target, Verizon Wireless,
and Spotify, it easy to see that NARM is a heavy hitter in entertainment.
According to press releases, NARM members control 85% of music sales in the
United States.</div>
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So what
does NARM do? The main thing NARM does is creating promotions and marketing for
recorded music first and foremost. Such programs have a “<a href="http://www.givethegiftofmusic.info/" target="_blank">Gift The Gift ofMusic</a>” campaign, which usually shows how music is a great gift for the
holidays. They also worked with the <a href="http://www.rockhall.com/" target="_blank">Rock and Roll Hall of Fame</a> on the
<a href="http://www.oldies.com/collection-view/definitive-200.html" target="_blank">Definitive 200</a>, a list of albums selected to be the best by these two groups.
With the trend being buying older music, this is a great idea to promote older
records. Beyond that, they also hold <a href="http://www.narm.com/events/online-seminar-series/" target="_blank">free online seminars</a> for members to help
people understand the music industry and bring ideas together. The also have an
annual conference on <a href="http://www.narm.com/events/entertainment-technology-law-conference-series/" target="_blank">entertainment law</a> and another one on <a href="http://www.narm.com/events/music-startup-academy/" target="_blank">digital startups</a>. By
looking at these, it seems that NARM is an association that understands how
music in changing and wants to remain relevant rather than fade away. I like
that. I also feel like as a hopeful member of the music industry, it’s good to
have a trade association that feels like it wants new members. </div>
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I feel joining this trade
association would be helpful to me in that I can known what’s going on using
NARM’s massive <a href="http://146.145.239.2/releases/" target="_blank">release database</a> so my clients will known when new albums are
coming out. I also feel it would help me see what technology is changing things
and maybe even get in the ground floor myself. Again, it also feels like they
want to expand and having that knowledge is also comforting.</div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.com0tag:blogger.com,1999:blog-7636741798504553818.post-42822244525596000262012-08-31T17:36:00.004-07:002012-08-31T17:36:55.561-07:00Does space make the music?<!--[if gte mso 9]><xml>
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In the TED talk entitled “<a href="http://www.ted.com/talks/david_byrne_how_architecture_helped_music_evolve.html" target="_blank">How architecture helped music evolve</a>,” Rock and Roll Hall of Famer David Byrne
tries to explain how venues and spaces have molded music from the early times
of man all the way to the current digital age. Byrne is able to effectively comment on this
due his status as an internationally known musician and the knowledge that he
has played in several different venues. He uses this to his advantage to open
the talk by commenting on probably his greatest known era, playing the
legendary rock and roll club CBGB’s in the late 1970s. It’s a place deep in the
heart of any rock and roll fan and Byrne describes how the room was for music.
He states it was a “good sounding” room and its lack of reverb helped retain
the qualities of the music performed. He then links it to another legendary
venue, Tootsie’s Orchid Lounge in Nashville. This broadens the scope of his
opening statements to show that at that time period, even among musical
differences, a good room can mean a lot to music and that for rock and country,
you just had to play loud enough for people to notice. It’s an effective start
because it’s what most people want to hear a rock start talk about, playing
legendary venues at their peak.<o:p></o:p></div>
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Byrne
then changes gears. He talks about playing “nicer” venues, concert halls but
finds that his music didn’t sound great in those venues. So he turns the
question on himself first and then to a larger issue. Is music created for a
specific venue in mind? Byrne seems to think so as he traces the path of music.
He says that tribal drums fit the needs for a loud sound in the open air of
West Africa. The long flat tones of 15<sup>th</sup> century religious pieces
fit the huge space of a gothic cathedral. Bach’s organ fugues fit smaller local
churches. Royal salons fit Mozart’s more intricate pieces in the late 1700s. At
the same time, operas became more and more bombast as audiences made the
occasion a social event. The reflection of this was Wagner’s opera house, which
was smaller but allowed for a larger orchestra. Then, a reversal happened.
Concert halls became larger as the classes became larger. With more space, they
had more reverb. Therefore, audiences now had to be quiet in order to hear the
dynamics being introduced in music at that time.<o:p></o:p></div>
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Moving
onto the arrival of modern popular music at the turn of the 20<sup>th</sup>
century, Byrne explains that jazz bands were playing on riverboats and in clubs
at this point and like back in the salon days of Mozart and heyday of opera,
would have to play over noisy audiences. He also links opera to jazz in that in
opera, people would call for an encore on the spot, in the early days of jazz,
dancers would call for a section to be played again which in turn got
monotonous and led to improvised sections, creating what we know as jazz today.
With the introduction of the microphone and the radio, music venues changed.
You could now have music anywhere. Also, music could now be written
specifically for recording and playback. Byrne’s example is “My Funny
Valentine” by Chet Baker. The dynamics of being right into the microphone is an
excellent example of being able to broadcast right into listeners’ ears. With
music now firmly split between recorded music and live music, people flock to
see popular artists and are forced to play poorly sounding larger spaces such
as sports stadiums and arenas. Some bands, according to Byrne, try to fit these
larger stadiums creating arena rock. Also, there are now spaces dedicated to
enjoyment of recorded music, most notably the discotheque. Byrne then links the
dancers of jazz wanting to hear sections again to early hip-hop, as MCs would
rhyme over the best part of disco hits. He then says there is music written
explicitly for car stereos, mostly today’s hip-hop music with heavy bass and
today’s pop written with extreme detail but no dynamics for today’s MP3
players.<o:p></o:p></div>
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Byrne is highly effective at
tracing the venues of music. There are some small holes from making such a
larger generalization such as U2 only makes music for giant stadiums or using
Chet Baker as the best example as recordings shaping music. I would choose
something more layered or nuanced like the Beatles. In fact, the Beatles not
playing songs from Revolver on their 1966 tour is probably the best example of
live vs. recorded music. Regardless, it’s an important topic because they way
we interact with music has changed immensely in the past 100 years and more so
in the past 15 years. A recent article from the <a href="http://www.post-gazette.com/stories/life/dining/savvy-restaurateurs-select-tunes-that-put-diners-in-mood-for-food-645272/" target="_blank">San Jose Mercury News</a> shows
that music even shapes venues where music isn’t the most important part of the
experience. It’s an article about how music consultants are being hired by
restaurants to set the right tone for their establishment. A lot of stores and
restaurants are using Pandora or SiriusXM to set a basic mood but with this
specialization technique, it could grow to be a larger field. Also, as someone
who is interested in the live music industry, to hear the people have always
talked and been rowdy at concerts gives me the realization that being quiet at
a show is a newer demand and probably is a losing battle as one is fighting
years of behavior. Many acts have
started to shy away from large stadium tours as of late, which is an
interesting trend but also as acts sounds have changed to those, which no
longer fit the stadium setting. Hopefully this is a turn to trying to play
rooms that better suit their own sound.
It also would have been interesting to see David Byrne address such
technological advancements as the <a href="http://www.meyersound.com/products/constellation/" target="_blank">Constellation Sound System by Meyer</a>. As demonstrated
by Bob Weir, formerly of the Grateful Dead, in his <a href="http://www.tristudios.com/studios/studio-1" target="_blank">TRI Studios</a>, he can make the space sound like a club or a
cathedral all with the touch of a button. It’ll be interesting to see if more
spaces adapt this technology so a recording artist could make their recording
feel like the venue they imagine their playing.<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.com0tag:blogger.com,1999:blog-7636741798504553818.post-16354778564241185222012-08-22T11:31:00.004-07:002012-08-22T11:31:59.003-07:00Presidential Music Selections
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<br />
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As the 2012
Presidential races come down to the wire, once again the candidates’ use of
music becomes a hot issue in the industry. The latest issue is over Vice
Presidential candidate Paul Ryan using Twisted Sister’s “We’re Not Gonna Take
It” at a rally in Pennsylvania, per an article on <a href="http://www.billboard.com/news/dee-snider-blasts-romney-camp-s-use-of-twisted-1007872152.story?utm_source=most_recent#/news/dee-snider-blasts-romney-camp-s-use-of-twisted-1007872152.story?utm_source=most_recent" target="_blank">Billboard.com</a>. Snider
released a statement saying, “There is almost nothing he stands for that I
agree with except for the use of the P90X.” This is not the first time the Romney-Ryan
campaign has been in trouble this year over their use of music. Earlier this
month, the <a href="http://artsbeat.blogs.nytimes.com/2012/08/16/another-pop-group-tells-romney-to-stop-using-its-song/" target="_blank">New York Times</a> reported that Los Angeles-based band Silversun
Pickups issued a cease and desist letter over use of their song “Panic Switch.”
The Romney campaign went on to say the song was not used during the actual
events and would not play it again.<o:p></o:p></div>
<div class="MsoNormal">
This issue
really first made news in 1984 as explained in article from <a href="http://www.cnn.com/2012/08/16/politics/music-in-campaigns/index.html" target="_blank">CNN.com</a>. That year,
Bruce Springsteen was ruling the pop charts with his album <i>Born in the USA</i>. With it’s aerobic backbeat and singsong chorus,
Ronald Reagan’s re-election campaign thought it would be the perfect anthem to
back “Morning in America.” Famously, the Reagan campaign must not have listened
the verses, which hauntingly tell of an America in shambles and how poorly the
country treats its war veterans. He would also explain his stance to Rolling
Stone magazine, "I think people have a need to feel good about the country
they live in. But what's happening, I think, is that that need -- which is a
good thing -- is getting manipulated and exploited. You see in the Reagan
election ads on TV, you know, 'It's morning in America,' and you say, 'Well,
it's not morning in Pittsburgh.'"<o:p></o:p></div>
<div class="MsoNormal">
The 2008
election also had its share of issues. Singer Jackson Browne, for using his
song “Running on Empty” in a campaign ad, sued Senator John McCain. Heart went
on television asking Sarah Palin to stop using “Barracuda.” Sam Moore was
apparently disappointed in Barack Obama’s use of “Soul Man.” How are these campaigns
allowed to just pick up music for their events without any legal issue? The <a href="http://www.nytimes.com/2012/02/04/arts/music/romney-and-gingrich-pull-songs-after-complaints.html?_r=1&pagewanted=all" target="_blank">NewYork Times </a>explains the answer is blanket licenses from ASCAP and BMI. The
campaigns buy these licenses similar to a restaurant or performing arts venues.
So it’s not an issue of royalties. The problem becomes does the candidate’s use
of their music mean that the artist has supported the candidate?<o:p></o:p></div>
<div class="MsoNormal">
Personally,
I think a candidate should reach out to an artist before selecting their music
for a campaign. With the rise of campaign videos, authorized and unauthorized,
making rounds on the Internet, an artist is more likely to find out who’s using
their songs. It makes that approval more critical. Artists should be able to
position themselves either politically or apolitically by themselves without
some campaign manager changing that perspective for them. It's also critical because music is such an important part of many's people lives and has such deep emotions that to have it tied to someone else's ideology is a strong signifier. That's why this is a hot topic and I feel that link should be direct from the artist.<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.com0tag:blogger.com,1999:blog-7636741798504553818.post-19625992417995999182012-08-15T10:55:00.000-07:002012-08-15T10:55:03.067-07:00Does the Closing Ceremonies reflect the music industry today?
<br />
<div class="MsoNormal">
Another
Olympics has come to a close and with it, the buzz this week has been around
the London 2012 closing ceremonies. Director Kim Gavin decide to place the focus on Great Britain’s
contributions to popular music since the last London games in 1948. It’s hard
to argue that, with a list of bands such as The Beatles, Queen, Led Zeppelin,
the Sex Pistols, and the Clash just for starters, Gavin isn’t wrong in wanting
to put together a “Symphony of British Music” for the world. In the United
States, a lot of the social media and blog focus had been about NBC and how
they failed to properly capture the event. This post will not be about that but
you can read all about my reaction to that on my Twitter feed.<o:p></o:p></div>
<div class="MsoNormal">
This post
will be about how the closing ceremonies reflect the music industry as it is
right now. Just recently, based on Nielsen Soundscan info and reported by
<a href="http://stereogum.com/1098892/old-albums-outselling-new-albums-for-the-first-time-ever/news/" target="_blank">Stereogum</a>, old albums are outselling new albums. The artists within were able
to use this platform to propel this trend for their own gain, a trend
highlighted in article in the <a href="http://www.dailymail.co.uk/news/article-2187963/London-2012-Pop-stars-struck-gold-Olympics-Records-tours-fashion--singers-plug.html" target="_blank">Daily Mail</a>. The Spice Girls were hesitant to
reunite but with <i>Viva Forever, </i>a West
End musical featuring their songs opening soon, the opportunity to draw
attention proved too strong. According to the <a href="http://www.guardian.co.uk/music/2012/aug/13/david-bowie-olympics-closing-ceremony?newsfeed=true" target="_blank">Guardian</a>, the Who turned down
performing twice but the recent US tour announcement helped change that
decision and they ended up begin a great closer. George Michael used the moment
to split the difference, performing his hit “Freedom 90” and also debuting a
new song called “White Light.” So far, “White Light” has outsold “Freedom 90”
reaching number 2 on iTunes according to his own Twitter feed, a rarity in
today’s market. <o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
Further proof came the following
day in the numbers. Reported by <a href="http://www.nme.com/news/oasis/65478" target="_blank">NME</a> and the <a href="http://www.themusicnetwork.com/music-news/artists/2012/08/14/closing-ceremony-artists-see-sales-surge/" target="_blank">Music Network</a>, the Spice Girls <i>Greatest Hits</i> re-entered the iTunes UK
album chart at #11 the Monday following the ceremonies and rose to #8 the
following day. Following a performance of “Wonderwall” by Liam Gallagher and
former members of Oasis in their new band Beady Eye, their 1995 classic <i>What’s The Story, Morning Glory </i>re-entered
the charts at #34 but dropped to #50. Kate Bush, who didn’t perform but a
version of her 1985 song “Running Up That Hill” was a key part of the ceremony
saw her best-of compilation <i>The Whole
Story</i> re-enter the chart at #16.<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
That’s not to say there wasn’t any
room for new British artists. Emili Sande whose song “Read All About It”
bookended the “London rush hour” sequence found herself with the #2 spot on the
iTunes UK album chart and the song at #3 on the singles chart. Jessie J, who
performed her own music and sang with Queen, saw her album <i>Who You Are</i> rise back up to number 22. Newer artists Tinie Tempah,
Taio Cruz, Kaiser Chiefs, Muse and Ed Sheeran all performed at the ceremony but
did not see any major sales changes as of the time of these reports. This could be interpreted at how hard it is for newer artists to break through even if they have the world's largest stage to perform on.<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
With most of the story being older
artists, it’s interesting how sales would have been affected for those who
turned down the event. Most notably, David Bowie’s 1980 single “Fashion” was in
a huge spot but how much larger would the impact have been if he’d actually
showed up to perform. Bowie is notoriously reclusive as of late after having
had angioplasty surgery and was not a total surprise that he did not perform.
If David Bowie had made an appearance, it more than likely would have sparked a
huge interest in his back catalogue not seen in ages. Also rumored by the
<a href="http://www.guardian.co.uk/music/2012/aug/13/david-bowie-olympics-closing-ceremony?newsfeed=true" target="_blank">Guardian</a> were The Sex Pistols and the Rolling Stones. The most interesting thought would be the Stones marking their 50th anniversary with a one-off gig at the Olympics. With most of the sales
stories tipped toward how the older artists impacted that charts more than the
newer ones, it appears as if this trend that older artists outselling newer
ones will continue.<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.com0tag:blogger.com,1999:blog-7636741798504553818.post-40249135704562956072012-07-13T22:27:00.000-07:002012-07-20T23:15:28.137-07:00Pollstar Mid-Year Report<br />
<br />
<div class="MsoNormal">
<a href="http://www.pollstar.com/news_article.aspx?ID=802058" target="_blank">Pollstar</a>
has released their 2012 Mid-Year report and it shows that the live music industry
is back in action. After hitting new lows two years ago, sales rose 1.2 percent
in the first half of the year while also finding the average ticket price going
down 6.34 dollars to $60.68 from $67.02. <a href="http://www.pollstarpro.com/files/charts2012/2012MidYearTop100NorthAmericanToursTours.pdf" target="_blank">The top 100 North American tours</a>
played a combined 2,822 different cities, 420 more than last year. Pollstar
president Gary Bongiovanni states that, “ticket prices have been lowered and
venues have been downsized. To make up the revenue, many artists have been
working more shows.”<o:p></o:p></div>
<div class="MsoNormal">
Leading the
way domestically has been not an actual music act, but the popular Cirque du
Soleil troupe with “Michael Jackson: The Immortal.” The tour pulled in 78.5
million dollars in 95 shows. It is important to note that Cirque du Soleil does
have one of the highest average ticket prices of the year at $111.48. Coming in
second is Roger Waters as he brings Pink Floyd’s 1979 classic “The Wall” live
in 33 shows so far. “The Wall” has so far brought in 61.9 million dollars at
the average ticket price coming in at 107. Rounding out the top three is Van
Halen, who despite cancelling almost half the tour dates still managed to bring
in 44.9 mllion dollars on 49 shows. Van Halen’s average ticket price was $100.11.<o:p></o:p></div>
<div class="MsoNormal">
Of note, Country is again making a big showing with 12 out of 100 of the top acts including Kenny
Chesney and Lady Antebellum rounding out the top 5. Lady Antebellum had the lowest average ticket price in the top 10 at $43.60 and
selling the most tickets of any artist at 708,715, making them unique for a top 10 artist. Also, making waves is Electronic
Dance Music or EDM. Nowhere to be seen just a year ago, 3 EDM acts broke the
top 100, DJ Steve Aoki, Bassnectar, and Avicii. EDM is considered to be
currently the next big wave in music as its influence is being felt across all
genres. Acts have also been playing to larger crowds moving from theaters to
arena shows.<br />
<o:p></o:p></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
Not
everyone in the industry, however, is keen on the current uptrend. In an article
by <a href="http://www.rollingstone.com/music/news/roger-waters-michael-jackson-immortal-tour-top-mid-year-concert-sales-20120713" target="_blank"><i style="mso-bidi-font-style: normal;">Rolling Stone</i> magazine</a>, Seth
Hurwitz of I.M.P. which runs the 9:30 Club in Washington, DC and Merriweather
Post Pavilion believes that the problem of scalpers high ticket prices still
puts them in a tough spot. “It
pisses people off. It makes it feel like an elitist experience," he says.
"And, yes, they will pay it ... and then they don't have money for other
shows. Until the hijacking of the best seats stops, this business will continue
to have problems."<o:p></o:p></div>
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I’m glad the live music industry is
on the rebound. As the perceived value of recorded music continues to nosedive
in the wake of piracy and online streaming, I hope that artists who can “hack
it” live will be more appreciated and in turn cause people to value music more,
especially live music. While Hurwitz is right that scalping continues to hurt
the industry as a whole, I would think that the economy is more a factor as why
people are attending less shows. People have less money to spend so they have
to decide more carefully what they will attend. It is also terrific that ticket
prices have come down and that most likely also helped drive the increase in
sales. I will hope that prices continue to come down as the economy continues
to stall. The more affordable tickets are, the better fans can support the
multiple artists they enjoy. <a href="http://blog.ticketmaster.com/2012/07/12/paperless-ticketing-insights-from-fans/" target="_blank">Ticketmaster</a> recently announced the results of
Bruce Springsteen’s paperless ticket tour. Paperless tickets reduced scalping
on his tour by 75% and 96% of fans surveyed thought Bruce should continue or
expand paperless tickets. Let’s hope initiatives like this and technology to
help can move this initiative and help curb ticket scalping so more fans can
see their favorite bands.<o:p></o:p></div>
<br />Anonymoushttp://www.blogger.com/profile/13675816154867059080noreply@blogger.com0