The Last Drop

By far, the best music article I’ve read this year I handily thank Samir for forwarding on this lovely gem from Wired. David Byrne not only conducts a monumental interview with Thom Yorke, but dispenses his knowledge on the 6 ways an artist can strike a deal to release music. Dumby proof and pretty objective. For all his craziness, he gives a really good step by step guide on how different artists can make a run for it in the varied and diverse music climate we live in. I’m personally glad that Mr. Byrne is feeling optimistic in 2008. So am I after reading these wonderful articles.

David and Thom talking trash

David lays down the 6 laws of labor

My growing fascination with the obscure ends of the NY Times lead me to this fascinating article about a new middleman in the music industry. The social networking sites theoretically bring fans closer to their idol (I’m friends with M.I.A. but the relationship is so one way and she never calls me back) but lacks any real connection to the person. Enter BuddyLube, the worst named company in America. Either a new addition to Jenna Jameson’s massive porn empire or a service to bring artists “closer” to their fans by making exclusive items available only to them. By being “closer”, you still don’t interact directly with the musician. Instead, you can share your love affair of a particular artist with other fans – which may be more enriching in the long run than simply meeting your idol. Fans love sharing their experiences and competing for the next “one-up” scenario – backstage passes, exclusive memorabilia, unreleased downloads, etc.

This area of the middleman seems to be one of the growing trends in the industry. If the formal label is dying, why not capitolize on the middle area – making the fan and the artist more accessible. There will always be a barrier. Why not take advantage of it and build tiny holes that make it seem less broad.

NYT Magazine – Getting Along Famously

A recent Pitchfork rant/soapbox ministry tried to highlight the centralization of British music journalism. NME has crossed over from a bastion for independent music critique to mainstream press and overall tastemakers for British rock. Similar to a Chicago blog that is often quoted by artists to increase their “indie cred” which may also help them get signed? Maybe. However, British rock still has BBC Radio One that has reversed their fan base – going from a Top 40 mainstream audience to focus specifically on pushing the envelope and developing the overall British tolerance for new music. A strange business proposal (estrange your fan base for a niche audience that is fical) and most likely only possible through the federal sponsorship of the BBC. Although NPR has done well to represent diverse music in their broadcasts.

Even with the suggested influence of NME as the end all for making bands, the UK still seems much more open to fostering a less machine-like progression of new music. The fact of a band like The Gossip that would hardly be marketable in the US – a three person punk band led by a large lesbian that makes many references to her size and sexuality – becoming a huge success in the UK is true testament to the culture of live performance. The clubs still rule the roost and it is virtually impossible to break on a larger scale without having a strong live performance background. Regardless of the British press, you still have the asset of word of mouth to drive your career. In many ways, it simplifies the formula, if only to place a slightly larger reward for bands that can survive live. Something the US can and should learn.

Pitchfork Poptimist – English Settlement

Fast Company has decided to chime in on the changes in technology as they effect the entertainment industry. Instead of the doom and gloom from most other journals, Fast Company actually thinks most of the large companies can pull through if they act fast. The article as a whole is gives a positive spin on the rapid changes in technology. They do acknowledge that many of the institutions we know will not be what they are now – most heading towards the bounds of techno-induced social networking or making their product available for free while using ad revenue or subscriptions to support them. Commercial radio is the only area that they predicted to die off for good with the proliferation of satellite services. I’m a bit uncertain of the formal death of radio with many public radio stations on an upturn in listeners. The freedom to generate original content supported by your fans should still remain fashionable for a while.

I’m glad there is finally a proper business journal that is taking a more positive outlook on the recent changes affecting media conglomerates. There is still a part of me that wants to believe not everyone at a record label, film studio, tv studio, or radio station is turning a blind eye to the shifting consumer purchase behavior and advancements in technology. What do you think?

Now,That’s What I Call Entertainment Technology

I’m back, after a week of suffering from the British plague. Hopefully my health will stay up and I can keep y’all posted on what is in my head.

The eccentric, elitist, yet somewhat helpful fellows at Pitchfork finally try to pose words of encouragement for the music industry. Their usual aloof disdain for anything ever heard by anyone other than themselves was put aside briefly to put forth several ideas to create excitement in buying music. Some of them seem worth while (bundling with games), some far fetched (buy 4 cds that have to be played at the same time???), but all in all at least a try.

For me, the greatest concept given was going back to making music an event. Film has lost their way with this as well and every time they go back to it, it works. It’s hard with all of the options available for entertainment, but people still pay attention when its an event that they can’t seem to miss. Something compelling to force us all into believing it is bigger than just a single song, film, tv show, anything.

Pitchfork Article

Stephen Dubner and the rest of the Freakonomics crew have an ongoing blog “quorum” on pressing social issues (much of which can be asked for by the readers) and attempt to assemble a panel to give their assessment. In a recent quorum, they addressed the downfall of the major record label and the future (if there is one) by compiling a 5 guest panel of music industry professionals/theorists. The lead response by all panelists is that the music industry is in shambles (the main culprit – free downloading) and adapting to the changing technology needs to occur if money is still to be made my record labels One lone economist posed a disputing argument against the slide of sales at the hands of rogue downloaders and actually showed some data in support – the first in my knowledge of anyone really trying to get a grasp at the actual behavior behind the consumer purchase shift. However, all panelists failed to give any conclusive insights on what exactly record labels can do to extend their longevity. Surprisingly, most of the salient comments on what needed to happen next were found in the…uh, comments. And in that, a mindblowing nirvana moment – consumers actually know more about what they want than record labels. Even on a distinguished forum of music insiders, they still have no clue as to any ideas to restore the very industry they have dedicated their lives to.

The article had me shocked and appalled – an esteemed panel of “smart people” posed few concrete examples for the current state of the industry and (even worse) provided no solutions to a growing problem that has been affecting the industry for several years now. George Drakoulias, an A&R exec at American Recordings and former member of Def Jam, blatantly stated that he had no clue on how to fix the industry – “Hopefully, someone smarter than I am will come up with the right formula to get music to consumers in the way that they want it, and to collect fees that are distributed accordingly. I hope that person shows up soon.” Really???? Not even a hint at what you THINK needs to be done. This type of thinking has paralyzed major record labels and it will keep it in a free fall for several more years. Who knows what will be left at the bottom of it all. I used to feel some sentiment of victimization for the labels and would make up for it by continuing to purchase good old fashioned CDS to make up for the zillions of college students that simply don’t care about “supporting the artist”. I can’t say I have the same respect as I once did. I still love music, just not gross apathy.

On a positive note, I did find a slew of user posted articles/blogs in the comments that helped me restore some faith that there are people out there that care AND have ideas.

The original posting on the Freakonomics blog – do read the comments as they are much more insightful.

Mediafuturist, Gerd Leonhard – Decent speech on what record labels need to do to survive in Music 2.0 land

A Former Monkee talks about music, the internet, and the new economy