TheHolodigm.com
MAKING IT BIG
Lindsay Stanger asks:
It seems as though... 30 years ago when a band got signed to a major record label they were bound to at least be a one hit wonder if not a superstar. I have some friends that are either solo artists or in bands that were signed to major record labels and even offered a pretty hefty signing bonus...why is it that nothing ever seems to happen for them after they are signed?? Does the record label give up on them even after originally seeing potential? Is this common?
Hartmann responds:
The postmodern record business was born of the marriage between AM radio and 331/3 R.P.M. long playing albums. The Beatles were the superstar attraction that exploded this format into the global popular culture. Their extraordinary songwriting talents, combined with unbridled charisma and social upheaval all contributed to rocketing the Fab Four into an international phenomenon that came to be known as Beatlmania.
Initially successful in the United Kingdom, The Beatles were slow off the launching pad in the United States. The catalytic event that launched their early success was the assassination Of JFK. In the beginning almost every major record company passed on them. However, they were steadily building a cult following in America in the early 60s. When Kennedy was killed, the baby boomers took it personally and rejected the materialistic values of their parents generation and embraced those mop tops from England. The Beatles replaced the leaders and the rest is history.
The record industry infrastructure that was created by unprecedented album sales was nourished by the British Invasion that followed. One after another the great musical attractions emerged and albums sold like never before. Every major music genre was effected and the record business grew to be a multi billion dollar enterprise. What followed was the most productive era in the history of popular music. An entire generation embraced music as its driving force.
Major international corporations were quick to recognize this highly lucrative business where fans would purchase albums as badges of honor and personal identification with their musical heroes. A counter culture was born in resistance to the Viet Nam war and this rebellion further fueled the growth of a music driven society of youth. The entire movement was driven by an anti-war mind set and the ubiquitous use of cannabis, psychedelic and eventually hard drugs.
Many observers and participants attributed the burst of creative expression to the throwing open of the doors of perception that massive drug taking provoked. The Hippie movement that resulted in the demise of the war was inspired by the protest songs of The Beatles and their emulators. Universal drug abuse led to the deaths of three of musics greatest talents in 1969.
Superstars Jimi Hendrix, Janis Joplin and Jim Morrison all expired from accidental overdoses as experimentation transcended drugs as tools and turned to narcotics as fuels. Many other artists lives were cut short and careers interrupted by the insidious use of cocaine and heroin. There were other climactic moments when drug induced behavior led to the murder at Altamont and the Manson tragedy. Suddenly excessive drug use lost its charm and music has not been the same since.
The myriad of record labels condensed down to four major companies. In the 80s, sales of their vast catalogs of masters were reinvigorated by the invention of the compact disc known in the vernacular as the CD. This new technology inspired the greatest boom in recorded music ever. Entire record collections were replaced with the new digital format at no additional cost to the manufacturers. The music was already owned, controlled and paid for and now presented as brand new product. The power slipped away from the artists and accrued to the music giants.
What followed was unprecedented prosperity and tighter controls on the system. The formulaic approach ultimately led to a decline in musical quality and the birth of the independant record lable movement. Companies that had previously embraced artistic integrity and long term development of artists surrendered to the hunt for instant success and platinum status. New originators were left by the wayside or confined to micro-labels and limited success. If an artist didn't achieve an immediate hit they were abandoned by their record companies and declared instant failures.
What the record companies offered was a large recording budget and a one shot attack at radio. The artists they signed were mostly copies of yesterdays successes. The free form expression once offered by FM radio surrendered to the limited product offered by the labels and promoted primarily an AM. No longer was the concept of career building a consideration.
As the digital age progressed and universal, high speed, Internet access prevailed, the other side of the digital sword surfaced. Peer-to-peer file sharing abolished the label's dictation of what music was avaialable to compete for popularity. The fan base is now empowered to choose from the vast array of music from every extant genre now proliferating on the world wide web.
Today the power is with the people, who can acquire music freely from the Internet, which offers a promotional medium infinitely more accessible than broadcast airwaves. The cost of promotion is negligible; and with digital recording, so is the creation of recorded music. This has brought the postmodern record industry to its knees and thrown open the participation to anybody with a Mac a mic and a song.
No longer will artists be dependant on the approval of A&R committees. Now they can build their careers from the cyber-grass-roots up and own their masters, publishing and the lion's share of the income. Talent is still the primary criterion for success and survival is the challenge. Only ten percent of the artists will make a profit and ninety percent of the money will be earned by one percent of the acts. Only the most driven will reach the professional realm and only the great ones will prevail.
Showing posts with label music. Show all posts
Showing posts with label music. Show all posts
Monday, September 21, 2009
Wednesday, September 16, 2009
QUOTE ME! - BEAUTY - September 16, 2009http://www.TheHolodigm.com
TheHolodigm.com
BEAUTY
Beauty is all very well at first sight; but who ever looks at it when it has been in the house three days?
George Bernard Shaw - 1856 - 1960
BEAUTY
Beauty is all very well at first sight; but who ever looks at it when it has been in the house three days?
George Bernard Shaw - 1856 - 1960
QUESTION OF THE DAY - ITS TOUGH OUT THERE - September 16, 2009
TheHolodigm.com
Danny Delgato asks:
I'm trying to stand up and make a career. Its tough out there. What do I do?
Hartmann responds:
Don't tell me how tough it is, stop whining and kick some ass. Its only going to get tougher. This is the most competitive environment on the planet. Any fool with a mac and a mic can play. The public is the only true judge of your talent.
Stop worrying about Europe and the rest of the country. Become the dominant musical force within a 100 mile radius of your home. Play every high school, college, bar and concert hall you can get into and book it yourself. Even perform in the street. Play as often as you can.
Find someone you trust to be your partner in business. Give him an equal share with the band and put him to work. Take him to http://www.theholodigm.com/ All the answers are there, or ask me. Watch everything and read the "Blog" postings. Your new partner is the CEO of your business and his survival will depend on your success. He doesn't have to know anything about the postmodern record business that he can't learn on my web site.
If you try to get another record deal you will fail, or they will fail you, as in the past. The record companies are lost and don't know what to do. They don't have enough money left to fund a radio campaign and you don't need to waste your time on national touring. They are crashing and burning. If they do offer you a deal it will be a 360 degree participation in everything you ever earn. They will own your masters and your publishing; and, they won't deliver on their promises.
Start your own label and work it from the fan base up. Nurture your followers on the Internet, get them to form a cult around you and ask them to enroll their friends in your club. If you can't make it at home something is wrong and you won't make it elsewhere.
In my fifty two years in music I never met a band that didn't think it was going all the way. 99% of them are wrong. If you think you are one of the 10% who will make a living in music, or the 1% who will share most of the money, start now. Do it yourself. Get tough! This is not a game for the faint of heart. It is not about fame and fortune; its about making music.
The first level of success is survival. That means making a living from music without a day job. Own Portland and the world will come to your door step. If you can't get it done there, why would any body else care? There is no point in playing to an empty house in Chicago. Keep the money; don't spend it on long distance travel and hotel rooms. Are you reading me, Danny? This is the truth.
Danny Delgato asks:
I'm trying to stand up and make a career. Its tough out there. What do I do?
Hartmann responds:
Don't tell me how tough it is, stop whining and kick some ass. Its only going to get tougher. This is the most competitive environment on the planet. Any fool with a mac and a mic can play. The public is the only true judge of your talent.
Stop worrying about Europe and the rest of the country. Become the dominant musical force within a 100 mile radius of your home. Play every high school, college, bar and concert hall you can get into and book it yourself. Even perform in the street. Play as often as you can.
Find someone you trust to be your partner in business. Give him an equal share with the band and put him to work. Take him to http://www.theholodigm.com/ All the answers are there, or ask me. Watch everything and read the "Blog" postings. Your new partner is the CEO of your business and his survival will depend on your success. He doesn't have to know anything about the postmodern record business that he can't learn on my web site.
If you try to get another record deal you will fail, or they will fail you, as in the past. The record companies are lost and don't know what to do. They don't have enough money left to fund a radio campaign and you don't need to waste your time on national touring. They are crashing and burning. If they do offer you a deal it will be a 360 degree participation in everything you ever earn. They will own your masters and your publishing; and, they won't deliver on their promises.
Start your own label and work it from the fan base up. Nurture your followers on the Internet, get them to form a cult around you and ask them to enroll their friends in your club. If you can't make it at home something is wrong and you won't make it elsewhere.
In my fifty two years in music I never met a band that didn't think it was going all the way. 99% of them are wrong. If you think you are one of the 10% who will make a living in music, or the 1% who will share most of the money, start now. Do it yourself. Get tough! This is not a game for the faint of heart. It is not about fame and fortune; its about making music.
The first level of success is survival. That means making a living from music without a day job. Own Portland and the world will come to your door step. If you can't get it done there, why would any body else care? There is no point in playing to an empty house in Chicago. Keep the money; don't spend it on long distance travel and hotel rooms. Are you reading me, Danny? This is the truth.
Monday, September 14, 2009
QUOTE ME! - ABSENCE - September 14, 2009
TheHolodigm.com
ABSENCE
Most of what matters in your life takes place in your absence.
Salman Rushdie - 1947 -
ABSENCE
Most of what matters in your life takes place in your absence.
Salman Rushdie - 1947 -
QUESTION OF THE DAY - GETTING STARTED - September 14, 2009
TheHolodigm.com
L. Polliaki asks:
For people wanting to start out in the music industry, what is the best entry? I know individuals who have made it by starting out working the xerox or mail room in the movie or television business offices. Music seems different, especially if you want to be a performer. I know one person made it by putting a video on YouTube of his work and someone in the music industry saw and launched him.
Hartmann responds:
The best way to start a career in the entertainment industry is to begin at rock bottom. This usually means with an internship at an established company while you are still in school. Most major companies have internship programs, first because its a way to contribute to the future of the business; and secondly because its free labor. Whatever the motivation of the company, the advantage to beginners is enormous.
The most common source of future executive talent is the mail room at the major talent agencies. More highly placed business careers begin here than emanate from any other single source. Access to the agent trainee programs is very difficult. College graduation, and often advanced degrees are mandatory. The major broadcast networks and movie studios have similar programs.
For artists starting out the road is actually easier. All you have to do is pick up an instrument and start playing music. Your chances of succeeding are doubled if you write your own songs. Create some copyrights and start performing them in front of a mirror in your room. As soon as you are ready to demonstrate your talents move into the parlor and see how your family reacts. If they laugh and walk away, go back to your room for more reharsal.
Native talent and technical skills are not the same for all aspirants. However, any craft can be learned and practice is the key to improving your abilities. There are no guarantees that your best efforts will produce the results you hope for. Too many young artists are motivated by fame and fortune and that is usually not enough to create a viable presence in the professional arena.The most successful artists are motivated by a passionate need to make music and a vision that honors the art form.
The Internet makes it easy to participate, and low cost digital recording gives everyone a chance. If a new act makes a record and posts it on his MySpace.com page and logs a video on YouTube.com, he can get a foot in the door. A commitment to live performing and viral marketing can improve the odds. If you have "it" the public will discover you and spread the word. Only ten percent of the contenders will survive. One percent will make ninety percent ofthe money.
L. Polliaki asks:
For people wanting to start out in the music industry, what is the best entry? I know individuals who have made it by starting out working the xerox or mail room in the movie or television business offices. Music seems different, especially if you want to be a performer. I know one person made it by putting a video on YouTube of his work and someone in the music industry saw and launched him.
Hartmann responds:
The best way to start a career in the entertainment industry is to begin at rock bottom. This usually means with an internship at an established company while you are still in school. Most major companies have internship programs, first because its a way to contribute to the future of the business; and secondly because its free labor. Whatever the motivation of the company, the advantage to beginners is enormous.
The most common source of future executive talent is the mail room at the major talent agencies. More highly placed business careers begin here than emanate from any other single source. Access to the agent trainee programs is very difficult. College graduation, and often advanced degrees are mandatory. The major broadcast networks and movie studios have similar programs.
For artists starting out the road is actually easier. All you have to do is pick up an instrument and start playing music. Your chances of succeeding are doubled if you write your own songs. Create some copyrights and start performing them in front of a mirror in your room. As soon as you are ready to demonstrate your talents move into the parlor and see how your family reacts. If they laugh and walk away, go back to your room for more reharsal.
Native talent and technical skills are not the same for all aspirants. However, any craft can be learned and practice is the key to improving your abilities. There are no guarantees that your best efforts will produce the results you hope for. Too many young artists are motivated by fame and fortune and that is usually not enough to create a viable presence in the professional arena.The most successful artists are motivated by a passionate need to make music and a vision that honors the art form.
The Internet makes it easy to participate, and low cost digital recording gives everyone a chance. If a new act makes a record and posts it on his MySpace.com page and logs a video on YouTube.com, he can get a foot in the door. A commitment to live performing and viral marketing can improve the odds. If you have "it" the public will discover you and spread the word. Only ten percent of the contenders will survive. One percent will make ninety percent ofthe money.
Monday, September 7, 2009
QUESTION OF THE DAY - THE NEXT BIG STAR - September 7, 2009
TheHolodigm.com
Nichole Clementi asks:
It is evident that people of today have an endless amount of sources to obtain music illegally. I know you mentioned multiple times during your lectures that once the "next big star" hits everyone will appreciate their music so much that they will actually purchase the album. Do you think this will happen anytime soon, and who might this next big act be?
Hartmann responds;
We can only imagine how the future will unfold and this requires a certain sense of vision. It is reasonable to assume that the next big thing is already alive and growing toward fulfillment of the dream of becoming a superstar. Throughout my fifty plus years in the music industry, I have never met an artist who didn't think he was going all the way to The Big Top. Some even thought they would reach Elvisland and unseat the King of Rock & Roll as the all time greatest music star.
The degree of difficulty for success has not been diminished by the Internet. The threshold to entry is very low because of cheap digital recording, but everyone with a Mac, a mic and a song in his heart is not talented. It takes extraordinary talent to create a successful career in music and everyone with a MySpace page is not a contender. Only 10% of artists have a chance to succeed.
There is no artificial time frame attached to the emergence of the next superstar. And, only after an artist makes a spectacular impact will the race for ubiquitous popularity begin. One thing is for certain, the contest will be initiated and executed on the Internet. The next big thing will not trickle down from the record company penthouse. It will be built from the cyber-grass-roots up.
The most obvious contender at this moment in time is Colbie Caillat, who posted song and videos on the web and received several million hits. Her MySpace profile led her to become the number one unsigned singer in her genre. Her debut single "Bubbly" peaked at #5 in the charts. This brought her to the attention of professional managers Fitzgerald & Hartley. They were able to secure a multi-million dollar record deal with Universal Music Group and her second album "Breakthrough," reached the #1 spot in Billboard in its first week of release. Caillat is a prolific songwriter with a distinctive voice and an incredible work ethic. She may well be the next big thing in music. Only time and a continuing stream of live shows and recorded product will tell.
Nichole Clementi asks:
It is evident that people of today have an endless amount of sources to obtain music illegally. I know you mentioned multiple times during your lectures that once the "next big star" hits everyone will appreciate their music so much that they will actually purchase the album. Do you think this will happen anytime soon, and who might this next big act be?
Hartmann responds;
We can only imagine how the future will unfold and this requires a certain sense of vision. It is reasonable to assume that the next big thing is already alive and growing toward fulfillment of the dream of becoming a superstar. Throughout my fifty plus years in the music industry, I have never met an artist who didn't think he was going all the way to The Big Top. Some even thought they would reach Elvisland and unseat the King of Rock & Roll as the all time greatest music star.
The degree of difficulty for success has not been diminished by the Internet. The threshold to entry is very low because of cheap digital recording, but everyone with a Mac, a mic and a song in his heart is not talented. It takes extraordinary talent to create a successful career in music and everyone with a MySpace page is not a contender. Only 10% of artists have a chance to succeed.
There is no artificial time frame attached to the emergence of the next superstar. And, only after an artist makes a spectacular impact will the race for ubiquitous popularity begin. One thing is for certain, the contest will be initiated and executed on the Internet. The next big thing will not trickle down from the record company penthouse. It will be built from the cyber-grass-roots up.
The most obvious contender at this moment in time is Colbie Caillat, who posted song and videos on the web and received several million hits. Her MySpace profile led her to become the number one unsigned singer in her genre. Her debut single "Bubbly" peaked at #5 in the charts. This brought her to the attention of professional managers Fitzgerald & Hartley. They were able to secure a multi-million dollar record deal with Universal Music Group and her second album "Breakthrough," reached the #1 spot in Billboard in its first week of release. Caillat is a prolific songwriter with a distinctive voice and an incredible work ethic. She may well be the next big thing in music. Only time and a continuing stream of live shows and recorded product will tell.
Friday, September 4, 2009
QUESTION OF THE DAY - ELECTRONIC MUSIC - September 4, 2009
TheHolodigm.com
ELECTRONIC MUSIC
Kiley Ong asks:
I have recently taken a great interest in electronic music and was wondering what you see for the future of it and whether or not it will remain in the "indie" scene forever? Also, with most of today's music being sold one song at a time on sites like itunes, do you think there can really be a next "superstar" today? As many people are really only being exposed to one good song from many different artists, even the radio finds one song per artist and just plays the hell out of it.
Hartmann responds:
Electronic music has maintained a steady growth in popularity over the past few decades. Electronic musical instruments and technology began with the use of sound producing instruments like the Telharmonium, the Hammond organ and electric guitars. Sound production is also achieved by using devices such as the Theremin, sound synthesizer, and the computer
Originally utilized to add unique sounds to the recording process, in recent years electronic music has achieved enormous popularity in the form of electronic dance music. Computer technology has become more accessible and music software interacts with music production technology in ways that bear no relationship to traditional musical performance practices.
Any musician with a Mac a mic and song in his head can produce a high quality home recording at virtually no cost. This has lead to millions of new artists posting their songs online and playing their music in night clubs around the world. Despite its popularity the genre has yet to produce a true superstar.
If a great artist were to emerge, it would most likely get the genre off the back burner and into the mainstream. It has an enormous potential but needs a star to establish ubiquitous interest with the fan base. It would only take one great song to break electronic music wide open; but it will have to come from a performing artist with original songs, tremendous sex appeal and unbridled passion to succeed.
Since the music delivery system of choice today is free downloads, via peer-to-peer file sharing, it would only take one record to achieve instant popularity. If the fans loved the act enough to pay for the music, the artist could make a fortune from the first song on day one. However, a new act is more likely to build slowly over a long period of time and it will be dificult to eke out a survival.
ELECTRONIC MUSIC
Kiley Ong asks:
I have recently taken a great interest in electronic music and was wondering what you see for the future of it and whether or not it will remain in the "indie" scene forever? Also, with most of today's music being sold one song at a time on sites like itunes, do you think there can really be a next "superstar" today? As many people are really only being exposed to one good song from many different artists, even the radio finds one song per artist and just plays the hell out of it.
Hartmann responds:
Electronic music has maintained a steady growth in popularity over the past few decades. Electronic musical instruments and technology began with the use of sound producing instruments like the Telharmonium, the Hammond organ and electric guitars. Sound production is also achieved by using devices such as the Theremin, sound synthesizer, and the computer
Originally utilized to add unique sounds to the recording process, in recent years electronic music has achieved enormous popularity in the form of electronic dance music. Computer technology has become more accessible and music software interacts with music production technology in ways that bear no relationship to traditional musical performance practices.
Any musician with a Mac a mic and song in his head can produce a high quality home recording at virtually no cost. This has lead to millions of new artists posting their songs online and playing their music in night clubs around the world. Despite its popularity the genre has yet to produce a true superstar.
If a great artist were to emerge, it would most likely get the genre off the back burner and into the mainstream. It has an enormous potential but needs a star to establish ubiquitous interest with the fan base. It would only take one great song to break electronic music wide open; but it will have to come from a performing artist with original songs, tremendous sex appeal and unbridled passion to succeed.
Since the music delivery system of choice today is free downloads, via peer-to-peer file sharing, it would only take one record to achieve instant popularity. If the fans loved the act enough to pay for the music, the artist could make a fortune from the first song on day one. However, a new act is more likely to build slowly over a long period of time and it will be dificult to eke out a survival.
Wednesday, September 2, 2009
QUESTION OF THE DAY - A RISING STAR - September 2, 2009
TheHolodigm.com
Joe Depaoli asks:
The music industry is ever changing with different genres, rhythms, and melodies. Where do you see music heading in the future? Who do you feel is the next "rising star?" Is "Elvis Land" attainable for contemporary artists?
Hartmann responds:
Everything changes. It is not surprising that the record business would be drastically effected by digital technology. The shock would be if the music industry failed to adapt to the evolution. Instant access to all music genres, on demand, is not the only contributing factor in the decline of record sales. The DigiKids have a deep rooted perception that if it's on the web it belongs to them.
The "its mine" mind set is universally accepted and evolves out of the fact that broadcast radio has always been free. The penalty is tied to enduring the constant barrage of commercials. Record companies spend millions of dollars creating "product" and millions more to place their "priority" records on the radio. Music fans tune in and purchase what they like from the choices offered.
As Rock & Roll morphed into its classic form there was a golden age of music that made every song, from a favored artist, relevant. The Beatles set a very high standard and every new band and artist was forced to reach for a the highest plateau. In the sixties and seventies many great bands delivered. Fans purchased albums because they wanted to know the artists they loved and the resultant profits created the postmodern record business. The artist/fan dynamic has changed.
In order to feed the insatiable system a constant flow of product was required. As the machinery grew, the quality declined. Mediocre talent was able to reach financial success, if not critical acclaim. Artists who would have been laughed of the stage in the golden age of music became regular residents at the top of the charts. Celebrity provoked more sales than virtuosity or performing skills and the fans became more influenced by peer pressure than intrinsic value.
The old formula of quality being determined in record company board rooms and sold through the purchase of radio airplay has been replaced by a new filtration method. The Internet is the new arbiter of quality and it cannot be fooled. The millions of videos on YouTube reveal the artist's talent, or lack thereof, instantly. And, as always, most of the content is not commercially viable. The shear volume of material makes it extremely difficult to identify the best new artists.
Every band thinks it is great and the ones that get the most encouragement attempt to achieve success in the professional realm. The ones that make their living from music attempt to reach the pinnacle an done percent reach The Big Top. Success can only be measured over time and it is the survivors who look back over their twenty or thirty year careers who compete for Elvisland.
For decades Elvis Presley has been the highest earning dead person and thus demonstrates the most enduring career in music. Artists who seek to be the next big thing must compete with Elvis' legacy. It is possible that a charismatic and talented artist could emerge and through the power of the Internet establish a formidable career. Instant fame and fortune could accrue to such an act if the fans elected to pay for the music instead of stealing it. That's a big if! Such an artist may be just over the horizon, but has failed to reveal itself so far. For sure, its not The Jonas Brothers.
One of the key mitigating factors is the changing role of music in our culture. What was once a central force that permeated every level of society and maintained an ubiquitous presence has lost its primary delivery system. Radio is no longer the common denominator it once was. Access to new music is accomplished through peer-to-peer file sharing and is mostly free of charge. Songs are discovered, explored and shared one at a time and whole albums are rarely interesting enough to download.
Piracy comes with no moral imperative and nobody steals something they don't want. Regardless of the opinion of the prevailing systems and protocols the digital generation claims music as there own. If they love the artist they will support their live performances and purchase their CDs and merch. Even though they probably already have the songs on their iPods they will purchase the artist's product as a demonstration of their affection. The Internet is the ultimate promotional tool. What the record companies really cannot stand is the fact that it is free and makes them irrelevant. This phenomenon is the greatest boon to artists and puts the profits in their pockets.
Joe Depaoli asks:
The music industry is ever changing with different genres, rhythms, and melodies. Where do you see music heading in the future? Who do you feel is the next "rising star?" Is "Elvis Land" attainable for contemporary artists?
Hartmann responds:
Everything changes. It is not surprising that the record business would be drastically effected by digital technology. The shock would be if the music industry failed to adapt to the evolution. Instant access to all music genres, on demand, is not the only contributing factor in the decline of record sales. The DigiKids have a deep rooted perception that if it's on the web it belongs to them.
The "its mine" mind set is universally accepted and evolves out of the fact that broadcast radio has always been free. The penalty is tied to enduring the constant barrage of commercials. Record companies spend millions of dollars creating "product" and millions more to place their "priority" records on the radio. Music fans tune in and purchase what they like from the choices offered.
As Rock & Roll morphed into its classic form there was a golden age of music that made every song, from a favored artist, relevant. The Beatles set a very high standard and every new band and artist was forced to reach for a the highest plateau. In the sixties and seventies many great bands delivered. Fans purchased albums because they wanted to know the artists they loved and the resultant profits created the postmodern record business. The artist/fan dynamic has changed.
In order to feed the insatiable system a constant flow of product was required. As the machinery grew, the quality declined. Mediocre talent was able to reach financial success, if not critical acclaim. Artists who would have been laughed of the stage in the golden age of music became regular residents at the top of the charts. Celebrity provoked more sales than virtuosity or performing skills and the fans became more influenced by peer pressure than intrinsic value.
The old formula of quality being determined in record company board rooms and sold through the purchase of radio airplay has been replaced by a new filtration method. The Internet is the new arbiter of quality and it cannot be fooled. The millions of videos on YouTube reveal the artist's talent, or lack thereof, instantly. And, as always, most of the content is not commercially viable. The shear volume of material makes it extremely difficult to identify the best new artists.
Every band thinks it is great and the ones that get the most encouragement attempt to achieve success in the professional realm. The ones that make their living from music attempt to reach the pinnacle an done percent reach The Big Top. Success can only be measured over time and it is the survivors who look back over their twenty or thirty year careers who compete for Elvisland.
For decades Elvis Presley has been the highest earning dead person and thus demonstrates the most enduring career in music. Artists who seek to be the next big thing must compete with Elvis' legacy. It is possible that a charismatic and talented artist could emerge and through the power of the Internet establish a formidable career. Instant fame and fortune could accrue to such an act if the fans elected to pay for the music instead of stealing it. That's a big if! Such an artist may be just over the horizon, but has failed to reveal itself so far. For sure, its not The Jonas Brothers.
One of the key mitigating factors is the changing role of music in our culture. What was once a central force that permeated every level of society and maintained an ubiquitous presence has lost its primary delivery system. Radio is no longer the common denominator it once was. Access to new music is accomplished through peer-to-peer file sharing and is mostly free of charge. Songs are discovered, explored and shared one at a time and whole albums are rarely interesting enough to download.
Piracy comes with no moral imperative and nobody steals something they don't want. Regardless of the opinion of the prevailing systems and protocols the digital generation claims music as there own. If they love the artist they will support their live performances and purchase their CDs and merch. Even though they probably already have the songs on their iPods they will purchase the artist's product as a demonstration of their affection. The Internet is the ultimate promotional tool. What the record companies really cannot stand is the fact that it is free and makes them irrelevant. This phenomenon is the greatest boon to artists and puts the profits in their pockets.
Friday, August 28, 2009
QUOTE ME! - THE UNIVERSE - August 28, 2009
TheHolodigm.com
THE UNIVERSE
The world is disgracefully managed, one hardly knows to whom to complain.
Ronald Fairbank 1886 - 1926
THE UNIVERSE
The world is disgracefully managed, one hardly knows to whom to complain.
Ronald Fairbank 1886 - 1926
QUESTION OF THE DAY - ACQUIRING COPYRIGHTS - August 28, 2009
TheHolodigm.com
ACQUIIRING COPYRIGHTS
Jeremy Correia asks:
How does a company that does nothing more than publishing acquire the rights to the valuable asset? Where is the leverage? Why can't the songwriter make the same phone calls the publisher would for the usage of songs. Since the artist is most frequently the songwriter these days, and organizations like ASCAP collect the fees, what is the value in having the middle man? Can't the manager handle the publishing for the artist? Do you have any words of wisdom that may help me see the light? I have all of the tools necessary to open a publishing company tomorrow but I don't have any idea as to what a legitimate pitch would be to acquire copyrights.
Hartmann responds:
Please note this previous post on music publishing:
http://theholodigm.blogspot.com/2009/08/hartmanns-law-never-sell-your.html
All that being said, as an entrepreneur you are precisely correct. I advise artists & managers to keep all income streams under their direct control. Publishing has always been the most lucrative part of the music industry and it is the only enduring asset for artists and songwriters. Acquisition of copyrights isn't just a matter of having a good pitch and a game plan. Its not rocket science either, and anybody can do it. Songwriters always love their tunes and it isn't easy to convince them to sign over their copyrights. I'm not the only one advising them not to sell.
The big leverage is money. Lacking investment there is little reason for songwriters to sign with a publisher, its just as easy to do-it-yourself. If you had a roster of writers, you might attract new writers by offering them associations with your veterans. An established company can always point to their track record and history of success to attract new writers. A new company hasn't much to offer. You are always fighting the gravity in the elevator imposed by the status-quo.
The publishing industry has lost considerable income as a result of diminished mechanical royalties from record sales. But, they have many other ways to go. The hottest outlet now is TV and Film where music is playing a stronger role than in recent decades. When a song is performed on American Idol, for example, the catalog for the original artist skyrockets. Every pitch has a "anti-pitch" so you can always ask. Many songwriters are starving and vulnerable to cash offers.
Your best shot at owning copyrights is to find a Band that has a great live act and offer them a management partnership whereby you are become an equal partner in all their activities. Then you can set up your own publishing and record company to exploit the records and merchandise at their gigs. As their partner and CEO of the LLC, or corporation, you can seek to place the controlled compositions, through music supervisors, on TV shows and movie soundtracks.
The only other option is to purchase songs directly from the writers. The problem here is 90% of the songs are not commercially viable, so you could end up with a catalog full of duds. If fans flock to a bands gigs there must be something about the songs that appeals to them. Rather than trust your personal taste, watch the audience. If they are screaming and yelling for more, they must be hearing something they like coming from the stage. If they buy the CD on site you have a business. If they pick up a t-shirt as well, you can bet they will be back, with their friends, for more.
ACQUIIRING COPYRIGHTS
Jeremy Correia asks:
How does a company that does nothing more than publishing acquire the rights to the valuable asset? Where is the leverage? Why can't the songwriter make the same phone calls the publisher would for the usage of songs. Since the artist is most frequently the songwriter these days, and organizations like ASCAP collect the fees, what is the value in having the middle man? Can't the manager handle the publishing for the artist? Do you have any words of wisdom that may help me see the light? I have all of the tools necessary to open a publishing company tomorrow but I don't have any idea as to what a legitimate pitch would be to acquire copyrights.
Hartmann responds:
Please note this previous post on music publishing:
http://theholodigm.blogspot.com/2009/08/hartmanns-law-never-sell-your.html
All that being said, as an entrepreneur you are precisely correct. I advise artists & managers to keep all income streams under their direct control. Publishing has always been the most lucrative part of the music industry and it is the only enduring asset for artists and songwriters. Acquisition of copyrights isn't just a matter of having a good pitch and a game plan. Its not rocket science either, and anybody can do it. Songwriters always love their tunes and it isn't easy to convince them to sign over their copyrights. I'm not the only one advising them not to sell.
The big leverage is money. Lacking investment there is little reason for songwriters to sign with a publisher, its just as easy to do-it-yourself. If you had a roster of writers, you might attract new writers by offering them associations with your veterans. An established company can always point to their track record and history of success to attract new writers. A new company hasn't much to offer. You are always fighting the gravity in the elevator imposed by the status-quo.
The publishing industry has lost considerable income as a result of diminished mechanical royalties from record sales. But, they have many other ways to go. The hottest outlet now is TV and Film where music is playing a stronger role than in recent decades. When a song is performed on American Idol, for example, the catalog for the original artist skyrockets. Every pitch has a "anti-pitch" so you can always ask. Many songwriters are starving and vulnerable to cash offers.
Your best shot at owning copyrights is to find a Band that has a great live act and offer them a management partnership whereby you are become an equal partner in all their activities. Then you can set up your own publishing and record company to exploit the records and merchandise at their gigs. As their partner and CEO of the LLC, or corporation, you can seek to place the controlled compositions, through music supervisors, on TV shows and movie soundtracks.
The only other option is to purchase songs directly from the writers. The problem here is 90% of the songs are not commercially viable, so you could end up with a catalog full of duds. If fans flock to a bands gigs there must be something about the songs that appeals to them. Rather than trust your personal taste, watch the audience. If they are screaming and yelling for more, they must be hearing something they like coming from the stage. If they buy the CD on site you have a business. If they pick up a t-shirt as well, you can bet they will be back, with their friends, for more.
Thursday, August 27, 2009
QUOTE ME! - TEACHING - August 26, 2009
TheHolodigm.com
TEACHING
A teacher effects eternity; he can never tell where his influence stops.
Henry Brooks Adams 1838 - 1918
TEACHING
A teacher effects eternity; he can never tell where his influence stops.
Henry Brooks Adams 1838 - 1918
HARTMANN'S LAW - LOOK FOR SYMMETRY - August 27, 2009
TheHolodigm.com
10. LOOK FOR SYMMETRY
Symmetry is the essence of beauty. If a band standing on stage, in front of an audience, is awkward and disheveled, and members don’t seem to belong together, there is a subliminal distraction imposed on the audience. This anomaly will cloud the beholder’s attention and incite them to "think" about what is being presented to them. When one guy on stage is really tall, and another band member is very short, it can be awkward for an audience to receive that image and digest the information, in a harmonious manner. Of course there are no absolutes and symmetrical flaws can be overcome. Hall & Oats success was not precluded by this particular example, in this case talent eclipsed image. However, whenever I saw them, it registered in my mind that the guy is really short. When building a band always try to find attractive people and build balanced visual elements into the artist’s image. Costumes and stage dress should be appropriate to the specific statement the artist wishes to make to his audience. Be careful about the instrumentation, and the tools that are used to put on the show. Sound, lighting and production techniques should be designed to provide a harmonious balance on stage. The business of music has always been an audio/visual medium, but this is even more relevant in the digital age. New artists are first observed online through YouTube videos and personal web sites. The fan base knows what you look like at the same time they are exposed to your sound. If a picture is truly worth a thousand words, a video is worth a million. A bands image is immediately established by their dress, tattoos, piercing, instruments and music. Addressing a specific audience is instantly focused by what your act looks like. A country fan knows a metal band and moves on. A metal head sees himself in the act and clicks deeper into the web to determine the authenticity of the act. The fans are the first judge and they are always right for their taste. How you present your act weather it is T-shirts and sneakers, or suits and boots, a carefully considered image will steer you straight to the fan base you seek. Symmetry provides a more pleasant picture. Managers must be conscious of what their act looks like. Its a show, so show them . Be fearless. If you don't want to look like every other band in your genre, visuals are an area where you can separate yourself from the pack. Sometimes image can overcome substance. The greatest example of this is KISS whose "look" was more important to their success than the quality of their music. More recently Slipknot took a bold visual stance and got noticed. Whatever, your genre might be stretch the image as far as you dare. No matter what, do something, look original, demonstrate some style. Your songwriting and performing skills will be what ever they are; your image can be adjusted to make an impression on the audience. If they like your attitude, they might listen to your music. Start by creating a dynamic show with physical action and visual symmetry.
Four Peas In A Pod - Eagles
In early 1971, David Geffen and Elliot Roberts founded one of the first and most successful boutique record companies of all time, Asylum Records. I was the very first employee of the fledgling label and in charge of managing the artists. David's original motivation was to create a home label for legendary singer/songwriter Jackson Browne. However, once in the game they were faced with building a roster of talent to create product to feed into the distribution system. Jackson introduced David to several of his contemporaries, including J.D. Souther and Glenn Frey. David signed Souther as a solo artist, and he suggested that Glenn's should form a band.
With the help of Linda Ronstadt and her manager/producer, John Boylan, a group was formed, around Glenn, inside Linda's band. The quartet of Glenn, Don Henley, Randy Meisner and Bernie Leadon became the founding members of the Eagles. They went on to become Asylum's most successful artists with immediate success out of the box, and a sustaining catalog of hit albums and singles. This band had symmetry. They were all skinny, long-haired, twenty somethings who looked exactly like their audience. Their handsome good looks projected a strong visual image.
The pattern had been set a decade before by The Beatles who also projected symmetry in their appearance. The Fab Four chose a more formal and refined image by appearing on stage, and in public, dressed in matching suits. Their manager Brian Epstien wanted to overcome their working class roots by making them more palatable to a wider audience. Their look changed with every record and they established clothing trends for an entire generation. The footwear they favored became known in the cultural vernacular as "Beatle Boots," and we all wore them.
The Eagles incorporated a similar symmetry into their look without compromising their individuality. There was no uniform dress code, but their was an instinctive choice to lean toward their country rock roots. When they walked on stage, or down the street, they looked like they belonged together. They never intentionally copied one an other's style, but what they each chose to wear matched their personality and the role they played in the band. The symmetry was beautiful and even though they didn't look alike, they were four peas in a pod.
10. LOOK FOR SYMMETRY
Symmetry is the essence of beauty. If a band standing on stage, in front of an audience, is awkward and disheveled, and members don’t seem to belong together, there is a subliminal distraction imposed on the audience. This anomaly will cloud the beholder’s attention and incite them to "think" about what is being presented to them. When one guy on stage is really tall, and another band member is very short, it can be awkward for an audience to receive that image and digest the information, in a harmonious manner. Of course there are no absolutes and symmetrical flaws can be overcome. Hall & Oats success was not precluded by this particular example, in this case talent eclipsed image. However, whenever I saw them, it registered in my mind that the guy is really short. When building a band always try to find attractive people and build balanced visual elements into the artist’s image. Costumes and stage dress should be appropriate to the specific statement the artist wishes to make to his audience. Be careful about the instrumentation, and the tools that are used to put on the show. Sound, lighting and production techniques should be designed to provide a harmonious balance on stage. The business of music has always been an audio/visual medium, but this is even more relevant in the digital age. New artists are first observed online through YouTube videos and personal web sites. The fan base knows what you look like at the same time they are exposed to your sound. If a picture is truly worth a thousand words, a video is worth a million. A bands image is immediately established by their dress, tattoos, piercing, instruments and music. Addressing a specific audience is instantly focused by what your act looks like. A country fan knows a metal band and moves on. A metal head sees himself in the act and clicks deeper into the web to determine the authenticity of the act. The fans are the first judge and they are always right for their taste. How you present your act weather it is T-shirts and sneakers, or suits and boots, a carefully considered image will steer you straight to the fan base you seek. Symmetry provides a more pleasant picture. Managers must be conscious of what their act looks like. Its a show, so show them . Be fearless. If you don't want to look like every other band in your genre, visuals are an area where you can separate yourself from the pack. Sometimes image can overcome substance. The greatest example of this is KISS whose "look" was more important to their success than the quality of their music. More recently Slipknot took a bold visual stance and got noticed. Whatever, your genre might be stretch the image as far as you dare. No matter what, do something, look original, demonstrate some style. Your songwriting and performing skills will be what ever they are; your image can be adjusted to make an impression on the audience. If they like your attitude, they might listen to your music. Start by creating a dynamic show with physical action and visual symmetry.
Four Peas In A Pod - Eagles
In early 1971, David Geffen and Elliot Roberts founded one of the first and most successful boutique record companies of all time, Asylum Records. I was the very first employee of the fledgling label and in charge of managing the artists. David's original motivation was to create a home label for legendary singer/songwriter Jackson Browne. However, once in the game they were faced with building a roster of talent to create product to feed into the distribution system. Jackson introduced David to several of his contemporaries, including J.D. Souther and Glenn Frey. David signed Souther as a solo artist, and he suggested that Glenn's should form a band.
With the help of Linda Ronstadt and her manager/producer, John Boylan, a group was formed, around Glenn, inside Linda's band. The quartet of Glenn, Don Henley, Randy Meisner and Bernie Leadon became the founding members of the Eagles. They went on to become Asylum's most successful artists with immediate success out of the box, and a sustaining catalog of hit albums and singles. This band had symmetry. They were all skinny, long-haired, twenty somethings who looked exactly like their audience. Their handsome good looks projected a strong visual image.
The pattern had been set a decade before by The Beatles who also projected symmetry in their appearance. The Fab Four chose a more formal and refined image by appearing on stage, and in public, dressed in matching suits. Their manager Brian Epstien wanted to overcome their working class roots by making them more palatable to a wider audience. Their look changed with every record and they established clothing trends for an entire generation. The footwear they favored became known in the cultural vernacular as "Beatle Boots," and we all wore them.
The Eagles incorporated a similar symmetry into their look without compromising their individuality. There was no uniform dress code, but their was an instinctive choice to lean toward their country rock roots. When they walked on stage, or down the street, they looked like they belonged together. They never intentionally copied one an other's style, but what they each chose to wear matched their personality and the role they played in the band. The symmetry was beautiful and even though they didn't look alike, they were four peas in a pod.
Wednesday, August 26, 2009
QUOTE ME! - THE SUPERNATURAL - August 26, 2009http://www.TheHolodigm.com
TheHolodigm.com
THE SUPERNATURAL
Superstition sets the whole world in flames; philosophy quenches them.
Voltaire 1694 - 1778
THE SUPERNATURAL
Superstition sets the whole world in flames; philosophy quenches them.
Voltaire 1694 - 1778
HARTMANN'S LAW - LOOK FOR VIRTUOSITY - August 26, 2009
TheHolodigm.com
HARTMANN'S LAW
9. LOOK FOR VIRTUOSITY
Virtuosity means excellent playing skills. Superior instrumental technique is most obvious to another accomplished musician who has a solid basis for measurement. B. B. King is the best judge of how well Eric Clapton is playing his instrument. However, the talent required to deliver a superior performance is not lost on the average music fan. Music is a mathematical statement in which precision, speed and physical dexterity all play a part. Mastery of a musical instrument combines with the musician's mental choices to produce a specific result. The best technician is not necessarily the best player. The most proficient performers transcend mere technical ability and reach into the depths of their imaginations to create inspired works of art. Music is the mathematics of the masses and our minds respond to greatness without analytical judgement. We feel it when it sounds good and we cringe when its sharp or flat. The emotional reaction is not about logic or reason, it just is. If a musician lacks imagination, the sounds he produces will have less impact. When the meter, melody and message are skillfully integrated the response is visceral and cerebral. Music can close the mind + body gap and create an euphoric experience for the listener. The presence of a virtuoso player in any band inspires the other members to play better and grow. A great player sets a standard of excellence that the others can strive for. Sometimes this ingredient alone can dictate the success of an act. An inspired performance generates excitement in the audience. It is very important to have musicians with superior ability as a primary ingredient in any band. Managers and artists must seek and recognize the great players. A strong band represents the best possibility of putting on a good show. Virtuosity provides a powerful insurance policy for artists seeking success in the highly competitive music industry. There are three ways to master your musical instrument, practice, practice and more practice.
The Man Of Steel - Rusty Young
In early 1972 I had become a partner in G-R Management and was responsible for executing the performing and recording activity of more than a dozen artists. The most recent addition to our roster was seminal country rock band, Poco. Founded in the wake of Buffalo Springfield's 1968 breakup by Richie Furay, Rusty Young, Jim Messina and George Grantham, Poco had enjoyed just enough success to keep them going; but not enough to hold all the original members. By '72 Messina was enjoying popularity as half of the great duo Loggins & Messina. Guitarist, singer Paul Cotton had replaced Messina and Bass player Timothy B. Scmit, later to become a member of Eagles, had joined the little band that could. This was still a very solid line-up of musicians.
Over time Richie Furay had grown frustrated by the pace of Poco's career. He was lured by David Geffen to join singer/songwriter J.D. Souther and Byrds co-founder Chris Hillman in what we hoped would be the next super group, The SHF Band. A meeting was called to make the announcement that Richie was leaving. The extant members gathered in my Sunset Strip office along with Geffen, Roberts and associate manager Harlan Goodman. It was a very awkward encounter.
The band didn't have a clue that their lead singer was about to quit. Nobody wanted to address the issue and after a couple of rounds of meaningless chatter, I realized that it was up to me to break the news. "Lets take the bull by the horns," I offered, "This guy is leaving the band." There was a stunned silence as incredulous glances bounced around the room. It was plain to see the reality registering in the band's collective mind. Suddenly, recent events made sense to them .
The hottest management company in the world had romanced a marginally successful band into its family, just to steal its prime asset. Accusations flew and anger blistered in the room. "You're fired," declared Rusty as he stormed from the office, in a cloud of disgust, followed by the rest of the band. We all adjusted to the shock that reverberated through the room. We had expected it, and we took it on the chin, we absorbed the embarrassment, and slowly drifted from the room.
This event was a turning point in my relationship with Geffen. Our relationship had been strained over other issues, and it seemed like a good time to resign from the company. I turned to Harlan and said, "Lets start our own company," to which he responded, "We already have." Neither of us had any money and without an office or a client, we started Hartmann & Goodman in a phone booth at Sunset and Doheny. We found a role of dimes in my college beer mug and the first call was to Poco. We all gathered at Tim's house and by sundown we had a our first client.
Poco, now a quartet without a lead singer was called to the line. They would either crumble and become a footnote in rock history, or they would rally their skills, consolidate their talents and take a step up and deliver. We were all desperate to create our own survival and the band went into an extensive songwriting and extended rehearsal marathon. We went into the studio and began work on "Poco Seven" for Epic Records. Harlan and I begged Barbara Skydel, of Premier Talent, to book us a tour and the band went on the road for the rest of the year making "Seven" Poco's most successful album to date. We all enjoyed our most financially successful year as well.
Rusty Young was voted "Best Steel Guitar Player" for each of the first five years that Guitar Player Magazine conducted their poll. Eventually, they gave him a diamond award and retired him from future contention, in order to give somebody else a shot at the title. Rusty was without any doubt a virtuoso musician. By shear will power and excruciating determination Rusty turned his pedal steel guitar into a lead instrument. His dynamic performances inspired the rest of the band to reach beyond their previously perceived potential. This was by far the best version of Poco ever.
Rusty assumed song writing responsibility, along with Schmit and Cotton. A succession of hits followed and Rolling Stone Magazine declared that Poco had finally made it. They dubbed Rusty the "greatest slide guitarist in the world." Poco members have been prolific song writers, releasing more than 25 original albums. They continue to tour and always demonstrate their virtuosity.
HARTMANN'S LAW
9. LOOK FOR VIRTUOSITY
Virtuosity means excellent playing skills. Superior instrumental technique is most obvious to another accomplished musician who has a solid basis for measurement. B. B. King is the best judge of how well Eric Clapton is playing his instrument. However, the talent required to deliver a superior performance is not lost on the average music fan. Music is a mathematical statement in which precision, speed and physical dexterity all play a part. Mastery of a musical instrument combines with the musician's mental choices to produce a specific result. The best technician is not necessarily the best player. The most proficient performers transcend mere technical ability and reach into the depths of their imaginations to create inspired works of art. Music is the mathematics of the masses and our minds respond to greatness without analytical judgement. We feel it when it sounds good and we cringe when its sharp or flat. The emotional reaction is not about logic or reason, it just is. If a musician lacks imagination, the sounds he produces will have less impact. When the meter, melody and message are skillfully integrated the response is visceral and cerebral. Music can close the mind + body gap and create an euphoric experience for the listener. The presence of a virtuoso player in any band inspires the other members to play better and grow. A great player sets a standard of excellence that the others can strive for. Sometimes this ingredient alone can dictate the success of an act. An inspired performance generates excitement in the audience. It is very important to have musicians with superior ability as a primary ingredient in any band. Managers and artists must seek and recognize the great players. A strong band represents the best possibility of putting on a good show. Virtuosity provides a powerful insurance policy for artists seeking success in the highly competitive music industry. There are three ways to master your musical instrument, practice, practice and more practice.
The Man Of Steel - Rusty Young
In early 1972 I had become a partner in G-R Management and was responsible for executing the performing and recording activity of more than a dozen artists. The most recent addition to our roster was seminal country rock band, Poco. Founded in the wake of Buffalo Springfield's 1968 breakup by Richie Furay, Rusty Young, Jim Messina and George Grantham, Poco had enjoyed just enough success to keep them going; but not enough to hold all the original members. By '72 Messina was enjoying popularity as half of the great duo Loggins & Messina. Guitarist, singer Paul Cotton had replaced Messina and Bass player Timothy B. Scmit, later to become a member of Eagles, had joined the little band that could. This was still a very solid line-up of musicians.
Over time Richie Furay had grown frustrated by the pace of Poco's career. He was lured by David Geffen to join singer/songwriter J.D. Souther and Byrds co-founder Chris Hillman in what we hoped would be the next super group, The SHF Band. A meeting was called to make the announcement that Richie was leaving. The extant members gathered in my Sunset Strip office along with Geffen, Roberts and associate manager Harlan Goodman. It was a very awkward encounter.
The band didn't have a clue that their lead singer was about to quit. Nobody wanted to address the issue and after a couple of rounds of meaningless chatter, I realized that it was up to me to break the news. "Lets take the bull by the horns," I offered, "This guy is leaving the band." There was a stunned silence as incredulous glances bounced around the room. It was plain to see the reality registering in the band's collective mind. Suddenly, recent events made sense to them .
The hottest management company in the world had romanced a marginally successful band into its family, just to steal its prime asset. Accusations flew and anger blistered in the room. "You're fired," declared Rusty as he stormed from the office, in a cloud of disgust, followed by the rest of the band. We all adjusted to the shock that reverberated through the room. We had expected it, and we took it on the chin, we absorbed the embarrassment, and slowly drifted from the room.
This event was a turning point in my relationship with Geffen. Our relationship had been strained over other issues, and it seemed like a good time to resign from the company. I turned to Harlan and said, "Lets start our own company," to which he responded, "We already have." Neither of us had any money and without an office or a client, we started Hartmann & Goodman in a phone booth at Sunset and Doheny. We found a role of dimes in my college beer mug and the first call was to Poco. We all gathered at Tim's house and by sundown we had a our first client.
Poco, now a quartet without a lead singer was called to the line. They would either crumble and become a footnote in rock history, or they would rally their skills, consolidate their talents and take a step up and deliver. We were all desperate to create our own survival and the band went into an extensive songwriting and extended rehearsal marathon. We went into the studio and began work on "Poco Seven" for Epic Records. Harlan and I begged Barbara Skydel, of Premier Talent, to book us a tour and the band went on the road for the rest of the year making "Seven" Poco's most successful album to date. We all enjoyed our most financially successful year as well.
Rusty Young was voted "Best Steel Guitar Player" for each of the first five years that Guitar Player Magazine conducted their poll. Eventually, they gave him a diamond award and retired him from future contention, in order to give somebody else a shot at the title. Rusty was without any doubt a virtuoso musician. By shear will power and excruciating determination Rusty turned his pedal steel guitar into a lead instrument. His dynamic performances inspired the rest of the band to reach beyond their previously perceived potential. This was by far the best version of Poco ever.
Rusty assumed song writing responsibility, along with Schmit and Cotton. A succession of hits followed and Rolling Stone Magazine declared that Poco had finally made it. They dubbed Rusty the "greatest slide guitarist in the world." Poco members have been prolific song writers, releasing more than 25 original albums. They continue to tour and always demonstrate their virtuosity.
Monday, August 24, 2009
QUOTE ME! - SATISFACTION - August 24, 2009
TheHolodigm.com
SATISFACTION
Plain living and high thinking are no more; the homely beauty of the good old cause is gone.
William Wordsworth 1770 - 1850
SATISFACTION
Plain living and high thinking are no more; the homely beauty of the good old cause is gone.
William Wordsworth 1770 - 1850
HARTMANN'S LAW - IF ITS NOT GOOD LIVE DUMP IT - August 24, 2009
TheHolodigm.com
HARTMANN'S LAW
8. IF ITS NOT GOOD LIVE DUMP IT
The day of artists being able to get away with a lack of performing skills is long past. The fans and the public are quite conscious of all the ingredients involved in any kind of theatrical production. An artist must be able to put on a good, live show. His performance must attract the audience back for a second, third, and fourth show. He must create enough excitement to induce the fans to invite their friends along next time. Unless the fan base continues to expand the act will not survive. It is very important that artists, building careers in The Music Renaissance, provide sales of recorded product and merchandise on site; these have become very important income streams. Without a good, live attraction, there is no way that an artist can function without a day job. Television requires a strong visual component and isn't likely to utilize artists without polished performance skills. Most sales of CDs will result from the impact of live performance on the fan base. Radio airplay is still controlled by the record companies and most of the air time is devoted to the established artists. New acts compete with the major stars for the same rotation. Live performance is the singular most important promotional activity that can accrue to the marketing of any record. When a manager chooses a client, he must make certain this particular ingredient is present. It will be very tough to survive if you can’t put on a good show that’ll bring those fans back time and time again. The bond created between audience and artist through the live concert experience is the most powerful inducement for fans to buy your records and merchandise.
The Return Of The Mountain Men - Eagles
In early 1971, I joined the Geffen-Roberts Company as an associate manager. David Geffen had entered into a partnership with Elliot Roberts, the manager of Neil Young and Joni Mitchell. Geffen was the manager of Crosby, Stills & Nash whose eponymous debut album catapulted the first "supergroup" to international stardom. Their second album included Young to produce CSNY's iconic Deja Vu. David and Elliot parlayed their success and set up their own record label.
Asylum Records derived its name from the perception that the record business was an island of insanity amidst an ocean of chaos. The adventure that followed did little to assuage that perception. David went on an asserted campaign to influence Joni and G-R client Laura Nero to sign with Asylum. After a protracted tug-of-war with Clive Davis, president of Nero's label Columbia Records, Laura signed with Columbia and fired Geffen as her manager. Joni signed with the fledgling label and her presence contributed heavily to Asylum's immediate success.
The first artist signed to the label was singer/songwriter Jackson Browne who shared a house in Silver Lake with a folk-rock duo called Longbranch-Pennywhistle. The act was composed of John David Souther and Glenn Frye. Geffen signed Souther to a recording contract and he joined our management roster under my direction. David suggested to Glenn that he would be better in the context of a band and set in motion a process that eventually produced a superstar attraction.
Running the record label soon escalated into a full time job for Geffen and he began to distance himself from the management of artists. However, since good personal management was the most sought after and least found skill in the music industry, we provided the service to most of the Asylum artists creating a "family" atmosphere. Another established artist who joined the Asylum roster was legendary singer Linda Ronstadt. As an artist, she was to play a significant role in the label's success. And, her manager/producer, John Boylan, helped create the label's greatest artist.
David was focused on discovring new artists for the label, and every day paced his office, rolling a loop of scotch tape between his fingers, obsessing that we had to find "the next big thing." Boylan
hired Frey, bassist Randy Meisner and drummer Don Henley to perform in Linda's back up band. One Monday night we all converged on The Troubadour in West Hollywood to catch Rondstadt's performance. In the middle of her set, Linda graciously introduced Frey, Randy, Don and lead guitarist Bernie Leadon, and allowed them to perform a four song set in the middle of her show.
David always said that, when it comes to music, its easy to tell what's great; and its difficult to tell what's not great. What we saw that night was extraordinary. The musical virtuosity and tight harmonies inspired an enthusiastic reaction from Linda's fans; and I personally got goose bumps over my entire body. The next day David, Elliot and I met the quartet in a rehearsal hall in The Valley for what was to be the first rehearsal of the band that would cone to call itself Eagles.
Needless to say, the half dozen songs they had worked up were pretty raw; and there wasn't much attempt at performance. However, their potential greatness shone through and we immediately committed to manage the act and sign them to Asylum Records. As the new manager of an untested band, the first thing I wanted to do was get them out of town for some practical experience. I booked them in a bar called Tulagi's and sent them off to Aspen, Colorado.
With a limited repertoire, they were required to perform the same set four times a night for three weeks. There were about twenty-five patrons for the first show, twice that for the second and by the third set the place was packed. Every other performance in the run was jammed to capacity and beyond. Upon their return to L.A., I immediately noticed a remarkable difference in them.
Maybe it was the clean mountain air, or their beaming confidence, perhaps it was both. But, whatever happened it was obvious that the hard work had been a very positive experience. So I immediately booked them back for a return engagement. Geffen and I flew to Aspen and saw the phenomenon first hand. Their performance skills had blossomed and the music was tight. The rapport they had established with the locals was truly amazing. They knew how to put on a show.
By the time they returned the act was solid and seasoned and they were ready for the Los Angeles gig scene. From their first shows they dazzled the audience and their material was polished and ready to record. Their first album was produced by legendary English producer, Glynn Johns, and was an instant success. Two hit singles raced up the charts and their forty plus year career was off and running. Their succession of hit singles and albums have sold more CDs than any other American artist.
The skills they acquired in those early performances, out of the spotlight, have continued to grow. Today they are one of the most successful live attractions of all time and their current album is six times platinum and still selling. If Eagles come to your town, don't miss them, they continue to demonstrate virtuoso musicianship, a dynamic and entertaining show, they look good; and they can still hit the notes.
HARTMANN'S LAW
8. IF ITS NOT GOOD LIVE DUMP IT
The day of artists being able to get away with a lack of performing skills is long past. The fans and the public are quite conscious of all the ingredients involved in any kind of theatrical production. An artist must be able to put on a good, live show. His performance must attract the audience back for a second, third, and fourth show. He must create enough excitement to induce the fans to invite their friends along next time. Unless the fan base continues to expand the act will not survive. It is very important that artists, building careers in The Music Renaissance, provide sales of recorded product and merchandise on site; these have become very important income streams. Without a good, live attraction, there is no way that an artist can function without a day job. Television requires a strong visual component and isn't likely to utilize artists without polished performance skills. Most sales of CDs will result from the impact of live performance on the fan base. Radio airplay is still controlled by the record companies and most of the air time is devoted to the established artists. New acts compete with the major stars for the same rotation. Live performance is the singular most important promotional activity that can accrue to the marketing of any record. When a manager chooses a client, he must make certain this particular ingredient is present. It will be very tough to survive if you can’t put on a good show that’ll bring those fans back time and time again. The bond created between audience and artist through the live concert experience is the most powerful inducement for fans to buy your records and merchandise.
The Return Of The Mountain Men - Eagles
In early 1971, I joined the Geffen-Roberts Company as an associate manager. David Geffen had entered into a partnership with Elliot Roberts, the manager of Neil Young and Joni Mitchell. Geffen was the manager of Crosby, Stills & Nash whose eponymous debut album catapulted the first "supergroup" to international stardom. Their second album included Young to produce CSNY's iconic Deja Vu. David and Elliot parlayed their success and set up their own record label.
Asylum Records derived its name from the perception that the record business was an island of insanity amidst an ocean of chaos. The adventure that followed did little to assuage that perception. David went on an asserted campaign to influence Joni and G-R client Laura Nero to sign with Asylum. After a protracted tug-of-war with Clive Davis, president of Nero's label Columbia Records, Laura signed with Columbia and fired Geffen as her manager. Joni signed with the fledgling label and her presence contributed heavily to Asylum's immediate success.
The first artist signed to the label was singer/songwriter Jackson Browne who shared a house in Silver Lake with a folk-rock duo called Longbranch-Pennywhistle. The act was composed of John David Souther and Glenn Frye. Geffen signed Souther to a recording contract and he joined our management roster under my direction. David suggested to Glenn that he would be better in the context of a band and set in motion a process that eventually produced a superstar attraction.
Running the record label soon escalated into a full time job for Geffen and he began to distance himself from the management of artists. However, since good personal management was the most sought after and least found skill in the music industry, we provided the service to most of the Asylum artists creating a "family" atmosphere. Another established artist who joined the Asylum roster was legendary singer Linda Ronstadt. As an artist, she was to play a significant role in the label's success. And, her manager/producer, John Boylan, helped create the label's greatest artist.
David was focused on discovring new artists for the label, and every day paced his office, rolling a loop of scotch tape between his fingers, obsessing that we had to find "the next big thing." Boylan
hired Frey, bassist Randy Meisner and drummer Don Henley to perform in Linda's back up band. One Monday night we all converged on The Troubadour in West Hollywood to catch Rondstadt's performance. In the middle of her set, Linda graciously introduced Frey, Randy, Don and lead guitarist Bernie Leadon, and allowed them to perform a four song set in the middle of her show.
David always said that, when it comes to music, its easy to tell what's great; and its difficult to tell what's not great. What we saw that night was extraordinary. The musical virtuosity and tight harmonies inspired an enthusiastic reaction from Linda's fans; and I personally got goose bumps over my entire body. The next day David, Elliot and I met the quartet in a rehearsal hall in The Valley for what was to be the first rehearsal of the band that would cone to call itself Eagles.
Needless to say, the half dozen songs they had worked up were pretty raw; and there wasn't much attempt at performance. However, their potential greatness shone through and we immediately committed to manage the act and sign them to Asylum Records. As the new manager of an untested band, the first thing I wanted to do was get them out of town for some practical experience. I booked them in a bar called Tulagi's and sent them off to Aspen, Colorado.
With a limited repertoire, they were required to perform the same set four times a night for three weeks. There were about twenty-five patrons for the first show, twice that for the second and by the third set the place was packed. Every other performance in the run was jammed to capacity and beyond. Upon their return to L.A., I immediately noticed a remarkable difference in them.
Maybe it was the clean mountain air, or their beaming confidence, perhaps it was both. But, whatever happened it was obvious that the hard work had been a very positive experience. So I immediately booked them back for a return engagement. Geffen and I flew to Aspen and saw the phenomenon first hand. Their performance skills had blossomed and the music was tight. The rapport they had established with the locals was truly amazing. They knew how to put on a show.
By the time they returned the act was solid and seasoned and they were ready for the Los Angeles gig scene. From their first shows they dazzled the audience and their material was polished and ready to record. Their first album was produced by legendary English producer, Glynn Johns, and was an instant success. Two hit singles raced up the charts and their forty plus year career was off and running. Their succession of hit singles and albums have sold more CDs than any other American artist.
The skills they acquired in those early performances, out of the spotlight, have continued to grow. Today they are one of the most successful live attractions of all time and their current album is six times platinum and still selling. If Eagles come to your town, don't miss them, they continue to demonstrate virtuoso musicianship, a dynamic and entertaining show, they look good; and they can still hit the notes.
Saturday, August 22, 2009
QUOTE ME! - RACE - August 22, 2009
TheHolodigm.com
RACE
Though it be a thrilling and marvelous thing to be merely young and gifted in such times, it is doubly so, doubly dynamic - to be young, gifted and black.
Lorraine Hansberry 1930 - 1965
RACE
Though it be a thrilling and marvelous thing to be merely young and gifted in such times, it is doubly so, doubly dynamic - to be young, gifted and black.
Lorraine Hansberry 1930 - 1965
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