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Thursday, January 19, 2012

Let Radiohead Be Your Guide

Let Radiohead Be Your Guide

(Reprint from Tunecore Blog)



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By George Howard
(follow George on Twitter)

Artists are an iconoclastic bunch. They tend to see the world in a unique manner, and often feel that their idiosyncratic world-view is sacred. This can lead to great art. We need artists to help us see things we otherwise wouldn’t. The downside of this point of view is that as artists adhere to a rigid perspective of self-reliance, they often exclude any other voices. In short, it’s the artist’s way or the highway.

While artists will (to a degree) look to other musicians whom they admire for musical inspiration, they too infrequently look to others when it comes to plotting their career trajectory.

This is a mistake. We all need Sherpas, guides. It doesn’t mean that we can, or should, try to follow exactly the path of those who came before us, but it does mean that when a learning curve that’s been flattened by the boots of those who came before you presents itself, you should avail yourself of it.

The problem, of course, is that there’s so much noise. The group think/conventional wisdom can be overwhelming when you’re trying to discern fact from fiction and anecdotes from something more empirical. Trying to determine to whom you should look to/listen to for guidance is challenging when everyone appears to be an expert.

To help filter some of the noise, I suggest the following:

As I discussed in my most recent article, you must work diligently to understand, establish, and make visible your core values. This includes everything from understanding what you feel your musical (if not life) purpose is, how you will articulate this, and how you will use this understanding to sustain yourself during the inevitable tough times. Significantly, understanding your core values allows you to target potential fans/evangelists (or, a new term that I like a lot, “igniters”) whose values align with yours. These igniters are the ones who will immediately respond to what you do, and, importantly, share your work with their friends. This is really the very best form of marketing: it works, it doesn’t cost money, and it can lead to building a sustained career that is far less affected by trends and market vagaries than careers built on things other than value alignment.

Understanding your core values creates a filtering process that will not only eliminate noise with respect to the potential fans you should be targeting, but also help in terms of where to look for guidance from artists who are a step or so beyond your current situation.

A few important details. First, while it’s likely that those artists you look to as examples for a career trajectory will align with your musical sensibility, it’s not crucial that they do. For instance, while I’ve never been a big jam band fan musically, I have for ages admired their values, and the way they go about developing sustainable careers. I feel that many artists — irrespective of whether or not they like “jam band” music — could learn a ton from the way these artists operate (their commitment to performing live; the ways in which they collaborate with other artists in the genre; the ways in which they nurture “community” with their fans). Similarly, many non-hip-hop artists could take a lesson from some of the marketing innovations that occur in this genre; I think, specifically, of the mix tape efforts, and the way in which more established hip-hop artists often introduce emerging artists via guest spots on their records.

Equally important to making certain that the artists you look to share your core values (even if they don’t share your musical tastes), is that you must look to artists who are in close relative proximity to you with respect to your career arc. While it may be somewhat helpful for an artist who is just starting out to look at a superstar in order to study a career trajectory, it is far more instructive to look to artists who are a step or two ahead of where you are. If, for instance, you are an artist who has developed a decent fan base in your home town, but hasn’t yet performed outside of this home town, don’t look to the band who tours 300 dates a year for guidance, but rather look to the band that is getting out of town two or three times a month. How are they doing it? What strategies are working for them that you can adopt to suit your needs?

Of course, this doesn’t only apply to playing live, but also to all efforts of brand building. What, for instance, are artists who share your values and who are a step or two ahead of you doing in terms of social media?

I would add that while you can do this from afar, voyeuristically studying an artist, I would strongly encourage you to reach out and talk to other artists. As I said in my intro, artists sometimes are reluctant to share their “secret sauce,” but not always, and maybe not even as much as we think — maybe we just haven’t been asking enough.

We desperately need more knowledge-share amongst those who are in the trenches doing this thing we love every day (hence, the TuneCore blog), and any opportunity to engage in conversations with people with shared values should be embraced. Doing so will not only help you with your career strategy, but also with maintaining the necessary empathy required to succeed today.

So, go find that Sherpa!



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Tell your friends about Fantazzmo!






Website:
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Myspace:
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Twitter:
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last.fm:
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Grooveshark”
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Soundcloud:
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ITunes:
http://itunes.apple.com/us/album/fantazzmo-1-enter-the-fantazz/id390562266

Amazon.com:
http://www.amazon.com/Fantazzmo-1-Enter-Fantazz-Explicit/dp/B0041MGLF6/ref=sr_1_1?s=music&ie=UTF8&qid=1310497015&sr=1-1

SOPA & PIPA The 4-Letter Acronym That Could Kill The New Music Industry

The 4-Letter Acronym That Could Kill The New Music Industry

(Reprint of Tunecore Blog)



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By Jeff Price

As some of you may already know, there are two bills bouncing around Capitol Hill called PIPA and SOPA that are supposed to stop websites and internet services from illegally giving away other people’s music (this also extends to film, books, software, video games etc., but I am only going to focus on the music side of things).

I adamantly believe that when an artist creates and records a song, the artist, and only the artist, should have the right to do with it what they want. If they want to sell it, they should sell it. If they want to give it away, it’s theirs to give away. No one else has the right to make those decisions for them.

As noble as this premise may sound, the reality is that the world is full of good people, bad people, and uneducated people. And, whether we like it or not, all these people have access to technology that makes a lot of my beliefs moot–what good is a belief or law if it is simply unenforceable.

To that end, Congress got lobbied hard by the RIAA to write a new law that allows its label members (note: the RIAA is the trade association for the major labels) to have a new legal weapon to go after “rogue” websites and services that give the middle finger to copyright by allowing people to get music for free from artists that do not want to give it away for free.

The problem is that the bills lobbied for were done so by the RIAA, the organization that no longer represents the music industry. The majority of today’s music is being created, distributed, bought, streamed and shared from artists outside of the RIAA label member system. The RIAA and its members are no longer the voice of the industry; they are the voice of what was, and an ever-shrinking part of what is. Congress needs to wake up to this fact.

Or said more eloquently by the Deputy Director of Future Of Music Coalition Casey Rae Hunter:

“Artists have every right to be wary when powerful entertainment conglomerates push for policies that could undermine free expression, all the while claiming to speak for creators.”

The second problem is that the bill gives the old school players the power to not only protect their copyrights (which I support), but also to kill the new music industry.

Simply stated, if the SOPA bill was signed into law in its original form, TuneCore could have been threatened to be turned off, and thus cut off the choice, freedom, and future revenue from the hundreds of thousands of TuneCore Artists that have earned over a quarter billion dollars. Fortunately, TuneCore would be able to handle the threat, but others with fewer resources may not have the same outcome (not to mention why should TuneCore have to spend its time and money to deal with another entity making frivolous claims).

And before you think I am being hyperbolic, here is a perfect example; the US is already seizing web properties through the Department of Homeland Security’s Immigrations and Customs Enforcement (ICE) division. One of their targets was a hip-hop blog called Djaz1.com which they literally shut down, claiming the hip-hop blog was illegally distributing songs it did not have the right to distribute. That’s right, the government just grabbed the domain and shut the thing down.

Turns out the government had it all wrong – and a year later they finally relented, but not before irreparable damage was done.
The article on TechDirt titled: “Feds Falsely Censor Popular Blog For Over A Year, Deny All Due Process, Hide All Details…” provides a great play by play. The author summarizes it well when he says:

The Dajaz1 case became particularly interesting to us, after we saw evidence showing that the songs that ICE used in its affidavit as “evidence” of criminal copyright infringement were songs sent by representatives of the copyright holder with the request that the site publicize the works — in one case, even coming from a VP at a major music label. Even worse, about the only evidence that ICE had that these songs were infringing was the word of the “VP of Anti-Piracy Legal Affairs for the RIAA,” Carlos Linares, who was simply not in a position to know if the songs were infringing or authorized. In fact, one of the songs involved an artist not even represented by an RIAA label, and Linares clearly had absolutely no right to speak on behalf of that artist.

If this doesn’t scare the crap out of you, it should. If the original versions of the SOPA or PIPA bills passed, TuneCore, just like Djaz1.com could have been targeted.

The concept behind the bill is good—protect copyright—but the execution stinks. Congressman and Senators don’t know that the power has shifted, and they need to hear from you.

Seriously, they need to hear from you.

Take action, get involved. Call your Senator and/or Congressman and tell them what you think and why.

Or go here to learn and do more.





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Tell your friends about Fantazzmo!






Website:
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Myspace:
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Twitter:
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Blog:
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Tumblr:
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YouTube:
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last.fm:
http://www.last.fm/music/Fantazzmo




Grooveshark”
http://grooveshark.com/#/fantazzmo/music


Soundcloud:
http://soundcloud.com/fantazzmo

ITunes:
http://itunes.apple.com/us/album/fantazzmo-1-enter-the-fantazz/id390562266

Amazon.com:
http://www.amazon.com/Fantazzmo-1-Enter-Fantazz-Explicit/dp/B0041MGLF6/ref=sr_1_1?s=music&ie=UTF8&qid=1310497015&sr=1-1

Thursday, January 5, 2012

Waves

Waves

The independent artist must create waves online the same way major label artists have people create waves for them. I have bumped into several articles here and there about a certain female singer and her "baby bump," then admitted pregnancy. Even sports heroes. I seen an article online about a famous football player who was trying to lower his child support payment's and the judge told him that at 38 and recovering from a knee injury, his career in the NFL is over. The judge went further and told the player that another player made a successful comeback to the NFL after a season in the arena league.

My point is that these people have publicists and teams that put out these releases to keep these people in the limelight.

As an Independent artist without a team or unlimited capital, we must create waves on the internet through social media, blogs, YouTube, anywhere someone will post our press releases and most importantly through fans spreading the word.

Fantazzmo's goal in 2012 is to make as many waves as possible by


February: I Know You're Mine Video
May: Cali Ep release
Drown Your Lies video
September: What You Doin To Me video
Remix Cd release
November: Hit the studio to record Fantazzmo II



2012 is the Year of Fantazzmo


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Tell your friends about Fantazzmo!






Website:
www.FANTAZZMOROCKS.COM


Myspace:
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Facebook:
http://www.facebook.com/Fantazzmo

Twitter:
http://twitter.com/#!/Fantazzmo

Blog:
http://fantazzmo.blogspot.com/

iLike:
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Tumblr:
http://fantazzmo.tumblr.com/

YouTube:
http://www.youtube.com/user/FantazzmoRocks?feature=mhum

last.fm:
http://www.last.fm/music/Fantazzmo




Grooveshark”
http://grooveshark.com/#/fantazzmo/music


Soundcloud:
http://soundcloud.com/fantazzmo

ITunes:
http://itunes.apple.com/us/album/fantazzmo-1-enter-the-fantazz/id390562266

Amazon.com:
http://www.amazon.com/Fantazzmo-1-Enter-Fantazz-Explicit/dp/B0041MGLF6/ref=sr_1_1?s=music&ie=UTF8&qid=1310497015&sr=1-1