Many listeners of these shows basically listen to your music and then forget about it. Read this guide for free today to learn how convert those listeners into fans.
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- Jim Hodson | Music: Art or Business? - 2 New-Old Considerations
- Dave Hodson | 9 Questions to Ask Before Hiring a Music Publicist
- Cherie Nelson | What Made The Book of Mormon the Musical of the Year
- Ken Dardis | Artist Have No Time to Look at Selfie
“The Book of Mormon” is the Tony Award-winning musical developed by the creators of the animated comedy “South Park,” Trey Parker and Matt Stone, along with artist Robert Lopez and director Casey Nicholaw. It’s an irreverent story about two Mormon missionaries in Uganda, and it riffs on some of the most difficult issues of our day, ranging from religion to warmongering to poverty to disease. After seven years of development, this show full of satire, profanity, song and dance opened in 2011 to critical acclaim. So, what is it about this show that makes it the musical of the year?
“Selfie” was added to the Merriam-Webster Dictionary last year. I get that this is a curiosity bestowed by one’s vanity. Just how many times people can look at themselves, and what they are thinking post-look, is what I don’t get.
|“Try requesting shots of you onstage from those in the room you’re playing. Use the best for promotional pics.”|
With all there is to learn, how is it possible to spend time dwelling on this past - a picture of yourself? Note: I’m not saying “no” to all selfies, but suggesting we might shake off some of this past year’s infatuation with snapping, and sharing, one more arm’s-length photo of you staring into a cellphone. There are better things to do.
few hundred years ago, the purpose of music was to fill the soul. Somewhere along the way music became a business, which is not bad on the surface, but when the stakeholders on both sides of the business feel as if their voices are not being heard, then something is awry. Fans complain about repetition and formulaic music, and artists complain about the need to conform their music as well as the ‘all or nothing’ business model of success; and the music business itself… they complain plenty as well. It’s the perfect triad of finger pointing that under serves everyone.
So why are the three stakeholders in music so often dissatisfied? Having come from outside of the industry and now jumping in with both feet, let me offer some perspective for what it is worth.
Getting publicity through local press interaction is a good start for getting your own publicity, but hiring a professional publicist can often be the next “step” to getting the coverage you’d like to see for your brand.
A professional publicist will help you see your story through a new lens and can help you pitch your story to local press on more occasions than just a new product launch or community outreach event. Publicists help you see the value you can provide to the local press, not just the benefits they can bring to you.
Before hiring a publicist to promote your brand, there are a few questions you need to ask to ensure that your money is being spent in the most efficient way. Remember that higher paid publicists don’t always produce better results.
Today is the most exciting time to be a music producer. Although controversy over poor compensation by streaming music services like Spotify, music piracy and the over-saturation of media are valid concerns within the industry, there are countless opportunities for aspiring producers and songwriters. Start turning what your parents, friends or significant others may call your “hopeless hobby” into a real career. Pursuing music production may feel like an abstract journey without any real path or structure, but you can create your own map with the right mentality and the right tools. Since your production studio in your main base, here are some ways to start funding your operation and investing in your craft.
Deprogam & Declutter
The unbelievers (non-supportive parents, friends or significant others) may be the biggest hurdle to making your dream a reality. The first and most essential thing you need to do is deprogram yourself from your internal dialogue concerning music and production. Beliefs such as, “Making it in music is like winning the lottery” or “The only way to work with big name artists is through their manager or publisher” are all meaningless formulaic dogma that only encourages over-thinking, self-doubt and indecision.
Selling your music on iTunes, Beatport, Amazon and the like USED to be something only a couple of companies could do. But today with the growth of the digital era, hundreds of digital distribution companies exist that will try to get your business. It’s important as an artist or record label that you make a smart, well-informed choice in entrusting your music to a reliable distributor that has the options and services that fit your current needs.
Here are some crucial questions that you can ask us and any digital distribution company out there when it comes to choosing the right company.
- David Reeves | Is it ever OK to work for free in the music industry?
- Lisa Occhino | 5 Quick Email Etiquette Tips for Bands (and Everyone Else)
- Olav Christensen | Are you out selling your music or are you selling out?
I participated in a twitter chat today. Normally, I love hanging with peers and discussing what’s new and what’s not! Today, though, was a little different. The subject was how to make money in music. It is a good and interesting subject but when someone suggested “To keep going where the paying music fans are. Write new songs in the style that fits their interests” I cringed a little. Was the suggestion that artists should write music for the fans? Now that might work for some and I have NOTHING against making money with music but I do believe that, for me at least, it should start with the music and not the other way around. I am the first to admit that I am completely unknown and generally write what I feel like, which is probably exactly why I remain obscure. (I will now insert a pause so all of you music marketing gurus can say “I told you so”). If that is indeed what you are thinking, I believe that you are missing the point. I LOVE having people and peers tell me that what I do sounds great and I LOVE getting that attention. BUT I don’t NEED that to write what I feel, play what I feel and record what I feel!
Picture this: a busy Friday night in a trendy city venue. An up and coming band plays a beautifully-crafted and well-rehearsed set to a delighted audience, at least half of whom are the band’s loyal fans. The bar is busy and the night is energised. It’s a scene many of us are familiar with and is one of the great things about life in a city with a vibrant and exciting music scene. As the night draws to an end the various members of staff who have made the night happen congregate in the back office to collect their pay check. The frazzled bar staff collect their well-earned cash. Door staff are handed their envelopes with wry smiles and pats on the back, ‘Thanks guys that was a tough one tonight’. The school kid who collects glasses excitedly pockets his £20, and the cleaners, who have just arrived, take their wages in advance, their eyes diverted though the gap in the door at the alcohol stained apocalypse that awaits them. Now it’s the turn of the band. The guys and girls who rehearsed solidly in expensive studios for months; who promoted the show for weeks; who arrived at 3pm in a hired van after a 2 hour journey; who lugged all of their gear in the pouring rain to the sound check; the band that entertained the revellers and made the night awesome; in what giant envelope will the 5 of them receive their remuneration they quietly wonder? ‘AMAZING set guys, you were great… er we didn’t take as much as expected at the bar though, so obviously we won’t be able to pay you. Really sorry. I think we have a few bottles of beer left over that you can take’. The band saunter outside into the first rays of sunrise, 2 warm beers between them, full of defiance and resignation.
This article originally appeared on the Sonicbids blog.
While the internet and new technologies propel the world into the future, I’m amazed by how many of us have the online etiquette of a caveperson. Seriously, I just got an anonymous link posted on my social networks with the blurb, “Yo, check my song out.” Two seconds later, I got a friend request from someone with no profile picture other than that creepy default blank head. While the following tips aren’t groundbreaking, they serve as reminders that just might help us all to be a little more mindful the next time we get online. And like your mom says, “Better behavior gets better results” – in this case, meaning more loyal fans, better gigs, and more placements. Enjoy!
by Janelle Rogers, Green Light Go Publicity
Risk averse beware if you are entering into a music pr campaign, because it is one risky proposition.
If you are risk averse and have any trepidation, I’m going to tell you that you shouldn’t hire a publicist. Yep, I own a music pr firm and I’m going to tell you not to hire us.
Your heart will break. You’ll go through every emotion under the sun from elation when that influential media outlet says your record is the bomb to utter despair when not a press coverage can be found. You’ll point fingers, blame, question and self-doubt. You’ll stay awake with anxiety wondering why you spent all your money on publicity that isn’t moving fast enough and then ask the publicist daily “Have you heard from…?” in the hopes asking the question will allow it to materialize at the speed of light.
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(Updated Sept 29, 2014)