And the winner for “Best Metal Performance” is…

Dissident Aggressor

Judas Priest

Track from: A Touch Of Evil - Live

[Epic]

But you wouldn’t have seen that award on the telecast last night. Nor would you have known that Judas Priest were competing against Megadeth, Ministry, Lamb of God, or Slayer. Surely a respectable crop of artists, but hardly one that screams the year 2010–or 2009 which is what this show is based on.

On the hard rock side AC/DC edged out veterans Metallica, Alice in Chains, Linkin Park, and Canada’s own Nickelback.

Poor categorizations aside, it was a dismal night for music. It was much less an awards show than a 3.5 hour concert featuring today’s heavy mainstream hitters. Thankfully Tivo saves the day by cutting out commercials and lip synching ordeals.

I do have to believe that we’ve reached the end of the road. We look for decade and century markers to signify new eras and times of hope. At this stage, we can only hope that the teen years of the 2000’s yield just that; a turbulent and experimental period in which art converges with the technological marvels of today. When distribution is free and accessible magic can certainly happen.

“To say the Grammys are a reflection of music today is akin to saying what airs on NBC defines America. It doesn’t. People have more passion for niche channels like Discovery than those trying to appeal to everybody networks.” - Bob Lefsetz

True enough that niche is the future. I hope though that niche doesn’t imply an over-abundance of choice as consumers are typically creatures of habit and influence on one another. Let’s settle on somewhere in between mainstream and the underground.

Filed under: Rants, The Future, Music Industry

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Taylor Swift wouldn’t win my vote for any award per se, but what Kanye West did last night at the MTV VMA’s happens to be one of the sickest things I’ve seen on the tube in ages. You’re likely to find more class from The Real World Cancun than from Your Man Kanye ripping the mic out of a young Swift’s hands.

But this is what it’s come to folks. Artists have become freak shows and celebrity divas and there’s no turning back. Give it up to Kanye for setting the global news wires ablaze, but don’t expect his Roc-A-Fella/Island Def Jam to drop him anytime soon. PR stunt be damned–Kanye went on stage to give props to Beyonce–a mighty tribute weren’t it for the fact that Beyonce is hitched to Roc-A-Fella’s own Jay-Z.

PR stunt or not? You decide. Either way, it wasn’t classy. Then again, do we really expect much anymore from the VMA’s?

Filed under: Rants, Television

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Robert Pattinson might be best known for his role in Twilight. From what I gather it’s a movie about vampires.

But it’s Late Night host Jimmy Fallon that makes the man shine in his ongoing skits called Robert Is Bothered. In the latest one, Robert is bothered by Snickers magazine ads. Pretty damn hilarious.

Jimmy’s always been known for being progressive online. He started doing webisodes before hitting the late night time slot at the National Broadcasting Corporation. And he’s on Twitter, for example. So when he mentioned that other clips were available for viewing at RobertIsBothered.com, I opted in to check it out.

But as usual, it’s only available to users in the USA. No problem. What irks me is though is that NBC is running geo-targeted advertising to users in Canada. (See below: Future Shop ad)

I’ve moved on. So I can’t see the video. Big deal it happens every day. But I shouldn’t be projecting my anger onto Future Shop. Which I am.

If you’ve ever wondered why online advertising is devalued? This is one piece to the puzzle. We, as consumers, agree to be served advertising in exchange for content. Simple terms, one would think.

Filed under: Rants, Television, Video, Television Ads

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Ha! As if Mr. McGuinness cares much about a slag from Mashable. The piece “If Free is the Enemy of Good, Then Color Me Bad” is just about as useful as most of the useless web 2.0 companies covered or Top 100 lists compiled by the rag. The post nevertheless proved valuable as it led me to a CNET interview with U2 manager Paul McGuinness.

And here is the crux of McGuinness’ argument:

“But if the technology you develop prevents artists from being remunerated then there’s something wrong with it. I’d like to get a moral tone into the discussion. I think there is a big moral question for civilization. It’s not good enough to say that the Internet is free to all and there should be no restrictions on its use.” - Paul McGuinness (Read Full Interview)

Before adding my two cents, I’d like to further frame the debate with an unrelated quote:

“I believe in arts and culture and I believe far from being a luxury item they are a necessity in our lives, and first of all I think that can be said - that we need the arts for our common good, both as people and as nations. Because countries may go to war but it’s culture that unites us.” - Kevin Spacey, speaking on PBS’ Tavis Smiley (Watch Full Interview)

We may finally be at a point where we can look at this issue without having to point fingers. Truth be told, everyone is to be blame for the demise of the music industry. Record labels, fans, technology companies, concert promoters, ticketing agencies, Internet Service Providers (ISPs), political bodies, and the like have failed to band together with common cause. Though, we might be better off that being the case.

All up, it is the lack of leadership that did us in. The underground economy hasn’t changed much since the Napster days in the sense that there will always be someone trying to game the system—especially in the globalized, borderless environs of the internet. The world of internet start-ups is no different.

Portable music devices and shifts towards mobile are changing the game by adding layers of convenience that will require consumers to play by the rules. The same can be said for digital storefronts like iTunes that deliver quality services at affordable rates, albeit monopolistically so at the moment. This momentum doesn’t necessarily mean that artists are being treated or compensated fairly but we might be able to agree that technology has the potential to close that gap over time. Flexible web platforms will prove pivotal towards empowering artists of all sizes.

While it is true that acts like The Beatles, Elvis, and U2 “caught the imagination of nearly everyone in the world”, as Paul McGuinness states, it might also be fair to assume that those days are gone. I too long for the nostalgic unity that comes from being surrounded by 20,000 other fans of a given band at a live gig. But let’s face it: there aren’t many great mainstream bands anymore that can carry massive tours—let alone do them without lip-synching. The great acts, it may very well be, no longer wish to be polished or speak to politically safe issues of the day. Challenging the status quo used to be an asset. Now, it isn’t.

It was funny when musicians used to slag music executives but corporations needed musicians to increase their revenues. It was tit for tat. Somewhere in between the internet facilitated piracy, gig ticket prices went through the roof, and American Idol created false music Gods. Sure Guitar Hero might yield a new crop of musicians in a decade from now—but the verdict is out on that one. It is ultimately labels that failed to deliver quality music to our collective ears.

I would conclude that the battle for “hearts and minds” has effectively been lost. Regardless of who is to blame in the past for music industry troubles, there are now but two groups left to lead the charge for change: musicians and fans. We must hope that musicians harness the digital ropes and that fans have the wherewithal to support their favourite artists. Theft is the great shame of wealthy first world countries. New business and distribution models must grow organically from the ashes—unless of course record labels get their acts together to shape a new paradigm that serves both fans and musicians in a way that is more inclusive than systems of yore.

As far as the argument for “free” music, that’s certainly a losing battle. A lot of people in the chain need a piece of the pie and artists especially deserve compensation for their creativity and work that we so admire. Anyone that’s ever been in business knows that nothing is free. Let’s just hope someone picks up the tab to lead the charge.

Filed under: Social Media, Politics, The Future, Music Industry, Strategy

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Yes, I’m in the rock and heavy metal business. But I can’t resist a good freestyle.

Video courtesy of Ill Doctrine–otherwise known as @jsmooth995 on twitter.

Filed under: Video

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Peggy Dold is wise. And her op-ed in Billboard issue is spot on.

Though, I may be biased in that I’ll read anything that starts with a quote from the mighty Seth Godin: “In down economies, the only thing that’s going to change things is changing things.” Mr. Godin: your catch phrases inspire me every time. And considering that I’m freshly done reading one of your latest books—Tribes—I suffer no lack of inspiration right here and now.

Peggy Dold is a marketing consultant for the general / Hispanic markets. “Latin Artists: Evolve And Survive”, in Billboard’s April 25th issue, discusses the paradigm shift that essentially authorizes musicians to take greater control of their own careers and communities. I suppose it’s only natural to propagate independent artist development but one must admit that it’s an unusual position to take at a time when music companies are suffering. What are record labels to sign then: products that are grown organically outside of their grasp? Shocking perhaps, but it’s certainly a great idea.

“With few exceptions, Latin artists seem to be unsure of the next steps, which will be essential for reinvention, and ultimately for economic survival. As artists see their income dwindle, one must ask whether artists are focussed on the turbulence in the music business or on their plans to reinvent their own approaches to it.” – Peggy Dold

The internet has certainly levelled the playing field. No one can deny that. In the same breath I somewhat dislike the concept in that it will lead to dozens (if not hundreds) of independent music labels springing up to challenge the status quo. In turn, the collective of independent entities will distribute their music outside of the system, which in turn leads to a tremendous loss in revenues to legacy businesses.

Truth be told, the powers that be have squandered much of their goodwill of late. (And by “of late” I of course imply the last decade plus!) But there is something to be said for working with the brightest business minds, the best producers, engineers, or tour crews—perks, if you will, that are beacons of bloated systems. If anything the new music industry looks increasingly regional, diversified, and inclusionary. Those aren’t bad things at all either.

I’m not sure if there was a better time to make a war analogy, so I’ll make it now: artists are on the frontlines. It’s the fortunate yet somewhat confusing position of trying to figure out the world wild web. Meanwhile, business models are crafted behind closed doors by the suits. (Shout out to Billy Walsh from Entourage on that one!) The big question is: when will the suits pounce back into the game and will it affect all of the progress that you’ve made as a musician; online, building your community, distributing your music? Will you be able to re-integrate into the ubiquitous business models that are adopted? And here, Ms. Dold speaks to an interesting point:

“Do you still assume that your label is responsible for building and/or maintaining your business?”

[…]

“…unless you have an agreement that involves the label growing your business, (re)building your business is not its responsibility.”

If labels were smart, they would take a vested interest in managing talent. After all, a house in order is a profitable one. Why shirk from the artist development then? After all, isn’t the lack thereof the very reason why the music industry is flooded with one-hit wonders and polished lip-synching-wannabes? We need to get real here and place blame where blame is due.

Dold continues:

“Now, more than ever, it is the job of artists to bond more tightly with fans, to building communities and to provide music and experiences that fans wants, when, where and how they want them.

Well there you have it in plain English: go out there and determine your own future as an artist. They don’t even want your money anymore.

I hope—at very least—that at least some of you are getting a chuckle from my blasé analysis of the new “music industry”. My cheekiness is my charm and it serves to shed light on how far we’ve come in the last decade. In actual fact, this resurgence will mainly benefit the fans in that they’ll be able to choose who they listen to. Top 40 Radio: you’re toast.

Beyond all of this, let us not forget that musicians want to be musicians. They care about the music business inasmuch as they need to play ball so that they can potentially earn a living from their crafts. This bodes well for music and artistry but we all know how difficult it is for many to survive. Working for tenement rent and beer money is cruel if you ask me.

While we’re at, let’s push for tax exemption status for artists of all kinds but only if we think the world can handle another hippie generation. Most of us who trail blaze the internet missed all of the fun back then.

But don’t worry: we’re just “new media” kids. We won’t challenge the status quo.

Oops! Too late. See: music industry in disrepair.

Filed under: The Future, Music Industry, Artists, Leadership, Strategy

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