HolodigmMusic.com
HoloGram: Lefsetz Says:
The way to success is to win the hearts and minds of the customer
and build from there. Anything else is just a waste of time. BL
http://www.thelefsetzletter.com/
Showing posts with label music business. Show all posts
Showing posts with label music business. Show all posts
Friday, February 12, 2010
Friday, December 18, 2009
MUSIC BUSINESS QUESTION OF THE DAY - December 18, 2009
HolodigmMusic.com
Trust In The Artist + Manager Relationship
KDonoho9 asks:
What is the best way to gain the trust of your client? It seems to me that always being straight with your client, sometimes telling them what they don't want to hear, would develop a trusting relationship, but as we've gone over in class some artists are very easily upset when it comes to information they don't want to hear. From your experience, are there any sure-fire ways to develop a strong trust between yourself and a client? If I am the manager I want my client to bring any problem they have to me, regardless of that problem's nature.
Hartmann responds:
Trust is not assigned, or awarded, it is purchased by action, earned through achievement and reinforced over time. Honesty and integrity are vital components of any business relationship and they are requisite ingredients between partners. Performers come to the music industry lost in the fog of showbiz, blinded by self-confidence and driven to succeed. They quickly learn that building a career in music is a team sport. Their first marriage is to a Personal Manager.
The person to whom one entrusts all of his hopes and dreams must demonstrate a myriad of qualities to a potential client. Business acumen is at the forefront of the manager's contribution to the career building process. A combination of social skills, power personality and accumulated knowledge of the historical trajectory prepares managers to conduct the business of music. A clear understanding of the systems and mechanics of the entertainment industry accelerates the growth and development of any commercial enterprise. Most musicians need a business partner.
Personal values define who we are to our friends, associates and fiduciaries. Our behavior and conversation create the perception of who we are as people. An artist wants his manager to be honest, charming, intelligent, creative, flexible and visionary. If a potential manager advocates honesty, it can be presumed that he values the truth; and that he will be honest in his dealings. If he suggests that you lie , cheat and steal, it should be presumed that he might do that to you.
It is the manager's sacred obligation to always tell his client/partner the facts as he perceives them. Protecting clients from the hard stuff is not doing them a favor. No human enterprise ever goes perfectly well and the best laid plans always go awry. Success accrues to those who can adapt to the changes. When a manager presents the newest problem with the same grace as the last glory, he is preparing the artist to deal with the adversities they will surely face in the future.
Errors and blunders provide opportunities for managers to prove their integrity and honesty to their clients. By claiming responsibility for his mistakes, rather than shifting blame to others, a manager can demonstrate his strength, security and character to his partners. Empathy and caring backed by a twenty-four-seven commitment to the artist's business and personal concerns reinforces the strength of the artist + manager bond. The job is of "personal" service and nothing is off limits. Meticulous care and constant attention are the cornerstones of their relationship.
The trusting is the hard part; everything else needed to build a business around a body of music, can be learned. When choosing business partners, trust carefully, and when you do, trust totally.
Trust In The Artist + Manager Relationship
KDonoho9 asks:
What is the best way to gain the trust of your client? It seems to me that always being straight with your client, sometimes telling them what they don't want to hear, would develop a trusting relationship, but as we've gone over in class some artists are very easily upset when it comes to information they don't want to hear. From your experience, are there any sure-fire ways to develop a strong trust between yourself and a client? If I am the manager I want my client to bring any problem they have to me, regardless of that problem's nature.
Hartmann responds:
Trust is not assigned, or awarded, it is purchased by action, earned through achievement and reinforced over time. Honesty and integrity are vital components of any business relationship and they are requisite ingredients between partners. Performers come to the music industry lost in the fog of showbiz, blinded by self-confidence and driven to succeed. They quickly learn that building a career in music is a team sport. Their first marriage is to a Personal Manager.
The person to whom one entrusts all of his hopes and dreams must demonstrate a myriad of qualities to a potential client. Business acumen is at the forefront of the manager's contribution to the career building process. A combination of social skills, power personality and accumulated knowledge of the historical trajectory prepares managers to conduct the business of music. A clear understanding of the systems and mechanics of the entertainment industry accelerates the growth and development of any commercial enterprise. Most musicians need a business partner.
Personal values define who we are to our friends, associates and fiduciaries. Our behavior and conversation create the perception of who we are as people. An artist wants his manager to be honest, charming, intelligent, creative, flexible and visionary. If a potential manager advocates honesty, it can be presumed that he values the truth; and that he will be honest in his dealings. If he suggests that you lie , cheat and steal, it should be presumed that he might do that to you.
It is the manager's sacred obligation to always tell his client/partner the facts as he perceives them. Protecting clients from the hard stuff is not doing them a favor. No human enterprise ever goes perfectly well and the best laid plans always go awry. Success accrues to those who can adapt to the changes. When a manager presents the newest problem with the same grace as the last glory, he is preparing the artist to deal with the adversities they will surely face in the future.
Errors and blunders provide opportunities for managers to prove their integrity and honesty to their clients. By claiming responsibility for his mistakes, rather than shifting blame to others, a manager can demonstrate his strength, security and character to his partners. Empathy and caring backed by a twenty-four-seven commitment to the artist's business and personal concerns reinforces the strength of the artist + manager bond. The job is of "personal" service and nothing is off limits. Meticulous care and constant attention are the cornerstones of their relationship.
The trusting is the hard part; everything else needed to build a business around a body of music, can be learned. When choosing business partners, trust carefully, and when you do, trust totally.
Thursday, December 10, 2009
MUSIC INDUSTRY FACT OF THE DAY - December 10, 2009
MUSIC INDUSTRY FACT OF THE DAY - by John Hartmann
The Record business owes its demise to the criminal infrastructure created by its founders and the failure of the postmodern executive corps to address digimodernization in a timely manner.
The big four stalled at Napster and allowed download distribution to be developed by others. By trying to preserve the highly lucrative CD market they let the big cyber-bucks get away.
The labels' desperate attempt to create a marriage with artists and managers will end in divorce. I'm not saying that 360 degree deals won't work; but why does an artist need a record company to have one? Jimmy, Doug, Lyor et al are lost in the digi-fog and running blind from behind. They have no money to build acts and even if they deliver radio, who is listening? MP3 is here to stay.
The labels have always been the traditional enemy of the artist. They didn't want to be fair and honest in the past and now they demand a place at the artist's table with an equal piece of the pie. However the Internet is the new A&R and promotion mechanism and it is free. The labels have little to offer a new artist. Greed will marginalize their role in The Music Renaissance.
Every act should own their own masters and publishing; these are the permanent assets of their business. They must also have a good live act and a booking system. The Internet enables artists to market their products directly to their fan base. The only accounting will be to themselves.
The remonetization of recorded music will not be dictated from corporate boardrooms down, it will be built by the artists and managers from the cyber-grass-roots up. This liberation is making music bigger than ever. And, it puts the profit where it belongs; with those who earn it.
Never in the history of recorded music has so much been enjoyed by so many and paid for by so few. There is no longer room for a middle-man in this game. Its between the artists and the fans.
Join the revolution at http://www.holodigmmusic.com/
The Record business owes its demise to the criminal infrastructure created by its founders and the failure of the postmodern executive corps to address digimodernization in a timely manner.
The big four stalled at Napster and allowed download distribution to be developed by others. By trying to preserve the highly lucrative CD market they let the big cyber-bucks get away.
The labels' desperate attempt to create a marriage with artists and managers will end in divorce. I'm not saying that 360 degree deals won't work; but why does an artist need a record company to have one? Jimmy, Doug, Lyor et al are lost in the digi-fog and running blind from behind. They have no money to build acts and even if they deliver radio, who is listening? MP3 is here to stay.
The labels have always been the traditional enemy of the artist. They didn't want to be fair and honest in the past and now they demand a place at the artist's table with an equal piece of the pie. However the Internet is the new A&R and promotion mechanism and it is free. The labels have little to offer a new artist. Greed will marginalize their role in The Music Renaissance.
Every act should own their own masters and publishing; these are the permanent assets of their business. They must also have a good live act and a booking system. The Internet enables artists to market their products directly to their fan base. The only accounting will be to themselves.
The remonetization of recorded music will not be dictated from corporate boardrooms down, it will be built by the artists and managers from the cyber-grass-roots up. This liberation is making music bigger than ever. And, it puts the profit where it belongs; with those who earn it.
Never in the history of recorded music has so much been enjoyed by so many and paid for by so few. There is no longer room for a middle-man in this game. Its between the artists and the fans.
Join the revolution at http://www.holodigmmusic.com/
Thursday, November 26, 2009
MUSIC QUOTE - Bob Lefsetz - November 26, 2009
HolodigmMusic.com
MUSIC ANALYSIS: Bob Lefsetz
"In an era where album sales represent only a fraction of your fan base, you want to get attention where you can. Not by batting people over the head, telling them they must endure you, but by being so provocative, so interesting that they want to tune in."
www. LefsetzLetter.com
MUSIC ANALYSIS: Bob Lefsetz
"In an era where album sales represent only a fraction of your fan base, you want to get attention where you can. Not by batting people over the head, telling them they must endure you, but by being so provocative, so interesting that they want to tune in."
www. LefsetzLetter.com
Wednesday, November 25, 2009
QUESTION OF THE DAY - The Economy, MySpace & Music - November 26, 2009
HolodigmMusic.com
Ray Jimenez asks:
Has the economy and the myspace band explosion had an effect on music?
In the 90s the term "sell-out" was used often. There was a clear social distinction between mainstream bands and indie bands. Sometimes the less known an indie band was, the more "cool" it was. There was a real backlash against popular middle of the road culture.
Today, in America, there is a great urgency and thirst for financial stability and prosperity. Any enterprise that is not a financial success is not deemed truly successful. In the 90s obscurity was not always looked down upon. Since myspace has caused a flood of new bands, has that forced the greater indie acts to seek a larger market so that they may even be considered relevant?
Hartmann responds:
High tides raise all boats. A weak economy affects every business enterprise. If there is less money in play, the amount of disposable income available for music is proportionately and exponentially decreased. A #1 album still reaches the top of the charts weather it sells a hundred thousand CDs or a million. What is drastically impacted is the profit margin. If the same effort produces infinitely less profit the enterprise will fail. This loss of revenue demands a new business model.
The music is the cause not the effect. MySpace and YouTube have become vital links in the chain that will secure the future of popular music. However, they are delivery systems, not sources of artistic product or performing talent. A pure artist walking naked in the woods singing his song with the birds creates the intellectual property called a copyright. As it is composed it becomes the property of the songwriter. Commercial exploitation of that song requires aggressive action.
Artists coming out of the woods, in search of fame and fortune through their music, don't do so in a casual manner. They come bold and obsessed about their greatness. They expect to succeed. In my fifty year career in showbiz I have never met a band that didn't think it was going all the way to The Big Top. Ninety percent of them were totally wrong. Young artists are challenged to reach the first plateau of success, survival. They abandon their anonymity and go public with their dreams. The contest is for the music dollar, the process is building a fan base and support group.
The coolness of singing for woodland creatures, who sing along without judgement, is replaced by the risk of rejection and criticism imposed by the paying public and the industrial punditry. Regardless of how many millions of artists compete for attention on the Internet, only ten percent will reach the survival level. Those acts able to apply sound business principals to the exploitation of their talents will survive the process and get to compete for enduring fame and fortune.
The greatest talents may choose to never leave the woods. However, those that do are dedicated to spreading their music far and wide. They intend to impress their songs into every corner of the Internet, in hopes of reaching a critical mass, and causing a viral explosion around the world.
Because of the low threshold for entry and the minimal cost of participating provided by digimodernization many artists of questionable talent get to compete with the best of the pros.
The public perception of what is acceptable in a cultural hero will be adjudicated by a very sophisticated audience. They know what they like. An artist's repertoire must be seasoned by extensive live performance before the recording begins. The songs should only be recorded when the live arrangement is tested and fixed. Acts must be able to perform their material in concert without excessive technical enhncement. Every band thinks their stuff is great, its part of the intrinsic charm of music, But, most music offered on the web is derivitive and uninspired. It has limited intrinsic value and will neither break an act nor attract a wide audience.
Relevancy is in the mind of the music fan who will first steal the music. That will inspire curiosity and get them to the band's gig. The blood, sweat and tears of a great performance will create a bond with the audience. When they fall in love with your act, they will buy your CD and T-shirt because they now care and want to see you survive. If they come back with their friends to the next gig, make sure you collect their email, because you have made an addition to your fan base.
Ray Jimenez asks:
Has the economy and the myspace band explosion had an effect on music?
In the 90s the term "sell-out" was used often. There was a clear social distinction between mainstream bands and indie bands. Sometimes the less known an indie band was, the more "cool" it was. There was a real backlash against popular middle of the road culture.
Today, in America, there is a great urgency and thirst for financial stability and prosperity. Any enterprise that is not a financial success is not deemed truly successful. In the 90s obscurity was not always looked down upon. Since myspace has caused a flood of new bands, has that forced the greater indie acts to seek a larger market so that they may even be considered relevant?
Hartmann responds:
High tides raise all boats. A weak economy affects every business enterprise. If there is less money in play, the amount of disposable income available for music is proportionately and exponentially decreased. A #1 album still reaches the top of the charts weather it sells a hundred thousand CDs or a million. What is drastically impacted is the profit margin. If the same effort produces infinitely less profit the enterprise will fail. This loss of revenue demands a new business model.
The music is the cause not the effect. MySpace and YouTube have become vital links in the chain that will secure the future of popular music. However, they are delivery systems, not sources of artistic product or performing talent. A pure artist walking naked in the woods singing his song with the birds creates the intellectual property called a copyright. As it is composed it becomes the property of the songwriter. Commercial exploitation of that song requires aggressive action.
Artists coming out of the woods, in search of fame and fortune through their music, don't do so in a casual manner. They come bold and obsessed about their greatness. They expect to succeed. In my fifty year career in showbiz I have never met a band that didn't think it was going all the way to The Big Top. Ninety percent of them were totally wrong. Young artists are challenged to reach the first plateau of success, survival. They abandon their anonymity and go public with their dreams. The contest is for the music dollar, the process is building a fan base and support group.
The coolness of singing for woodland creatures, who sing along without judgement, is replaced by the risk of rejection and criticism imposed by the paying public and the industrial punditry. Regardless of how many millions of artists compete for attention on the Internet, only ten percent will reach the survival level. Those acts able to apply sound business principals to the exploitation of their talents will survive the process and get to compete for enduring fame and fortune.
The greatest talents may choose to never leave the woods. However, those that do are dedicated to spreading their music far and wide. They intend to impress their songs into every corner of the Internet, in hopes of reaching a critical mass, and causing a viral explosion around the world.
Because of the low threshold for entry and the minimal cost of participating provided by digimodernization many artists of questionable talent get to compete with the best of the pros.
The public perception of what is acceptable in a cultural hero will be adjudicated by a very sophisticated audience. They know what they like. An artist's repertoire must be seasoned by extensive live performance before the recording begins. The songs should only be recorded when the live arrangement is tested and fixed. Acts must be able to perform their material in concert without excessive technical enhncement. Every band thinks their stuff is great, its part of the intrinsic charm of music, But, most music offered on the web is derivitive and uninspired. It has limited intrinsic value and will neither break an act nor attract a wide audience.
Relevancy is in the mind of the music fan who will first steal the music. That will inspire curiosity and get them to the band's gig. The blood, sweat and tears of a great performance will create a bond with the audience. When they fall in love with your act, they will buy your CD and T-shirt because they now care and want to see you survive. If they come back with their friends to the next gig, make sure you collect their email, because you have made an addition to your fan base.
Tuesday, November 17, 2009
QUESTION OF THE DAY - Can Your BFF Manage Your Music Business? - November 17, 2009
HolodigmMusic.com
ARTIST + MANAGER RELATIONSHIP
Can Your BFF Manage Your Music Business?
A. Witter asks:
When choosing a Manager, would it be best for an Artist to select a friend to fill that role, or would it be best to bring in an outside party to become the manager? A friend would be more concerned with the artist as a person and would be highly devoted to the relationship between Manager and Artist, but may lack necessary skills needed to make the Artist a success. An outside party would most likely have these necessary skills, but may not be able to forge the same kind of relationship with the artist that the friend would have. Both have their pros and cons, but which one do you think would be the better match?
Hartmann responds:
The postmodern record business is in a state of collapse. The paradigm has shifted and the foundations of the new structure for marketing music are being born. As fear and despair reverberate around the music industry the rats are scrambling to get off the sinking ship. Every mid-level executive from the decaying record business is seeking a new way to exploit his experience and reputation. The primary consideration is where to go. Who will rescue the millions of singers and bands on myspace.com and youtube.com and the rest of the web?
Will personal managers with experience and relationships scour the Internet for the next big thing? Probably not. It is just too difficult to evaluate an artist's potential from their online presentation. The established managers are not really interested in "baby bands" and are not the likely source of management for beginners. Until an act has a solid Internet presence with a large following of unique visitors they aren't going to get much attention from the professionals.
The Holodigm system is designed to create personal managers as well as competitive artists. The most required characteristics for managers is trust. That is most often found among your family and friends. If you were going to open a candy store, you would find someone you trust to be your partner. You would create a game plan and rent a store. Then you would buy some candy, sell it and pay your bills. The partnership would split the profits. Why should the music industry be different? It shouldn't. The new paradigm follows a new formula: 1 Artist + 1 Manager = 1 Enterprise. The manager is a permanent partner in the building of any new music business.
Every enterprise needs a CEO and the manager is the ideal person to run the business of the company. The artist is the creator of the product that will be produced and purveyed by the company. Success in The music Renaissance will be extremely elusive and a part-time effort will not get the job done. A manager with a string of artists will defuse his energy and fail to deliver for any one of them. When the managers survival depends on your success you have a chance to win.
The Holodigm Seminars will teach every interested artist and entrepreneur everything they need to know to start their music business. Our training, coaching and management systems help the members stay focused on what counts while avoiding the pitfalls of the dying record business.
The good news is that the live concert business is stronger than ever. It is from this source that the baby bands will rise to maturity. Since there is no template for how to build a career in the new paradigm experience is not a prerequisite. Managers and bands must take control of the entire process by building performing acts that can market their music and merch through their live appearances. There are no guarantees, only the most talented will survive and make a profit.
It is a long, hard road and having a good friend by your side will make the battle easier. Find someone who wants to be your partner in a music business and form an L.L.C. The job is much too difficult for your manager to be told his contract ran out after you make it. By sharing in the equity of the company the manager knows that his efforts are not in vain. If he owns a piece of the enterprise he is helping to build he will be driven to work harder and protect your asset. By forming your own publishing and record companies you retain control of the major income streams and will reach profit sooner. The Holodigm, artistic talent and business acumen are all you need. We will teach you how to play the game and win at http://www.holodigmmusic.com/.
ARTIST + MANAGER RELATIONSHIP
Can Your BFF Manage Your Music Business?
A. Witter asks:
When choosing a Manager, would it be best for an Artist to select a friend to fill that role, or would it be best to bring in an outside party to become the manager? A friend would be more concerned with the artist as a person and would be highly devoted to the relationship between Manager and Artist, but may lack necessary skills needed to make the Artist a success. An outside party would most likely have these necessary skills, but may not be able to forge the same kind of relationship with the artist that the friend would have. Both have their pros and cons, but which one do you think would be the better match?
Hartmann responds:
The postmodern record business is in a state of collapse. The paradigm has shifted and the foundations of the new structure for marketing music are being born. As fear and despair reverberate around the music industry the rats are scrambling to get off the sinking ship. Every mid-level executive from the decaying record business is seeking a new way to exploit his experience and reputation. The primary consideration is where to go. Who will rescue the millions of singers and bands on myspace.com and youtube.com and the rest of the web?
Will personal managers with experience and relationships scour the Internet for the next big thing? Probably not. It is just too difficult to evaluate an artist's potential from their online presentation. The established managers are not really interested in "baby bands" and are not the likely source of management for beginners. Until an act has a solid Internet presence with a large following of unique visitors they aren't going to get much attention from the professionals.
The Holodigm system is designed to create personal managers as well as competitive artists. The most required characteristics for managers is trust. That is most often found among your family and friends. If you were going to open a candy store, you would find someone you trust to be your partner. You would create a game plan and rent a store. Then you would buy some candy, sell it and pay your bills. The partnership would split the profits. Why should the music industry be different? It shouldn't. The new paradigm follows a new formula: 1 Artist + 1 Manager = 1 Enterprise. The manager is a permanent partner in the building of any new music business.
Every enterprise needs a CEO and the manager is the ideal person to run the business of the company. The artist is the creator of the product that will be produced and purveyed by the company. Success in The music Renaissance will be extremely elusive and a part-time effort will not get the job done. A manager with a string of artists will defuse his energy and fail to deliver for any one of them. When the managers survival depends on your success you have a chance to win.
The Holodigm Seminars will teach every interested artist and entrepreneur everything they need to know to start their music business. Our training, coaching and management systems help the members stay focused on what counts while avoiding the pitfalls of the dying record business.
The good news is that the live concert business is stronger than ever. It is from this source that the baby bands will rise to maturity. Since there is no template for how to build a career in the new paradigm experience is not a prerequisite. Managers and bands must take control of the entire process by building performing acts that can market their music and merch through their live appearances. There are no guarantees, only the most talented will survive and make a profit.
It is a long, hard road and having a good friend by your side will make the battle easier. Find someone who wants to be your partner in a music business and form an L.L.C. The job is much too difficult for your manager to be told his contract ran out after you make it. By sharing in the equity of the company the manager knows that his efforts are not in vain. If he owns a piece of the enterprise he is helping to build he will be driven to work harder and protect your asset. By forming your own publishing and record companies you retain control of the major income streams and will reach profit sooner. The Holodigm, artistic talent and business acumen are all you need. We will teach you how to play the game and win at http://www.holodigmmusic.com/.
Monday, September 21, 2009
QUESTION OF THE DAY - MAKING IT BIG - September 21, 2009
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.
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.
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
Monday, September 7, 2009
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
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