In case you missed it, here are some highlights from last week in music news and artist advice:
- If you missed it, last Wednesday’s live chat is now (finally!) posted on the blog: http://ow.ly/1I9f
- Join the Artists House Facebook group! http://is.gd/oSUT
- AH Vault: Guides to Entrepreneurship http://ow.ly/1xHF
- Trina Shoemaker on Ideal Personality Traits of Producers and Engineers http://ow.ly/1sAM
- On The Artists House Blog: Cory Doctorow Talks Copyright – http://tinyurl.com/chen4g
- AH Vault: Chris Blackwell Discussing U2’s Initial Digital Strategy http://ow.ly/1lsq
- Audiolife.com – widget based e-com for bands http://ow.ly/1DMN
- Become fan on FB via txt messaging http://ow.ly/1xOZ If you play live shows, GET ON TOP OF THIS!
- SXSW Panel Debates Monetizing P2Ps http://ow.ly/1q1q
- AT&T first to test RIAA antipiracy plan http://ow.ly/1pTG
- EMI Reorganizes: Full Text Of Staff Memo http://ow.ly/1lrS
- UK’s Kudos Records To Self-Distribute http://short.to/2rhr
- 8 Tips On How To Make The Most Out Of Your Mailing List http://ow.ly/1DOm
- Promoting/Marketing videos from @sivers and @cyberpr http://sivers.org/soundadvice
- Press Release Me, Let Me Go http://ow.ly/1DMM
- Focus on awareness, not sales. http://ow.ly/1DMk
- Berklee Case Book – a study of artists’ online presence: http://ow.ly/1AYd
- Why Are We Still Debating Free? http://ow.ly/1AXp
- Lefsetz Letter: Soundscan http://ow.ly/1AXc
- How will The Cloud change the way we think about music ownership? http://ow.ly/1xQo
- Variable Pricing – What It Should Really Mean http://ow.ly/1xPi
- “Lancing the boil”: how digital killed Big Music http://ow.ly/1sA7
- 10 Highly Effective Ways to Market like an A-hole http://ow.ly/1sz8
- More SXSW Impressions from @hypebot http://ow.ly/1pQI
- The Self-Released Album 101: The Basics http://ow.ly/1ls5
- The Memefication of Your Band http://ow.ly/1lkY
- Social Influences on our Music Tastes http://jijr.com/Ot5
I have been reading Steven Johnson’s fabulous “The Invention of Air” which has made me aware of many connections I had never previously known existed. In a funny way it also provided a really useful perspective on something I have been thinking about recently: the future of music. Steven writes at length about what spurs “runs” of new ideas in science and identifies advances in technology as one contributor (in the case of Priestly notably the ability to pump air). What happens then is that new observations can be made which in some cases don’t fit with the existing scientific paradigm, ultimately shattering that paradigm and replacing it with a new one. During such periods of transition runs of ideas are likely to occur.
There seems to be a parallel to what is happening in the music industry (and in many other other industries for that matter). First, there is a new technology: Internet distribution. The vast initial activity is in using this technology within the existing business paradigm, in particular selling music (essentially same as selling physical media) or ad-supported (essentially same as radio). Apart from a few successes (notably Apple with iTunes), most online music startups fall in one of two categories: illegal or unprofitable. The reason is that in the existing paradigm a lot of content licensing is controlled by only a few entities (the four majors). There is some movement here: for instance, Imeem is in the process of renegotiating its deals and Last.fm has just announced that they will charge in all but three countries.
Then, however, there are new experiments that may portend a different paradigm. In music, there are at least three services that take quite new approaches. First, there is FreshHotRadio which provides a super simple and streamlined experience for listening to free music sourced from around the web. By free, I mean music with licenses that are sufficiently permissive to let them be included in FreshHotRadio. Then there is the TheSixtyOne, which is based on user submitted music that gives TheSixtyOne the ability to play the music as it sees fit and again without paying a fee. This allows the TheSixtyOne to overlay game dynamics on the listening experience (e.g., you get reputation points for discovering songs). In both of these cases, a fundamental premise of the old paradigm is discarded: that online distribution must be based on a paid license. There is a third experiment that is discarding a different premise: the RjDj app for the iphone. Here the premise that is discarded is that music is a passive listening experience in which a song is the same each time it is played. Instead, when you run the RjDj app you get “scenes” which play differently each time based on your interaction with them via external sounds, touching and moving the phone.
I believe these experiments point to the future of online music which will be a paradigm shift in why music is distributed (and how it is licensed) and how we consume music, in which a lot of music will be free and will be experienced interactively! Freedom from restrictive licenses is likely to spur a lot of innovation if the history of what has happened in licensed versus unlicensed frequency spectrum is any guide (as described in Tom Evslin’s post on the White Space opportunity). Interactivity in turn is likely to dramatically increase listener engagement and blur the lines between what it means to make and to listen to music.
Of course one immediate question about such a new paradigm is how artists will make money. I think it would be a grave mistake to be caught up in that question. For starters, it seems to me that over the course of history very little of what we now think of as great music was produced specifically because the people making it were concerned about making the music a commercial success (I was reminded of that this morning listening to “Breakfast with the Beatles”). Here too is a parallel with “The Invention of Air” — Priestly and many other scientists were and are not motivated by making a lot of money. On top of that we may finally be entering an age of post-materialism (more on that in a blog post later this week).
Threadless is redrawing the boundaries of the possible in apparel. It is how production and consumption are organized — not merely how goods and services are bought and sold — that makes Threadless so radical.
Image by churl via Flickr
Building value is almost always about the channel and never about the technology. The most obvious business opportunities are, in the order they generally hit most segments:
- If there is no disclipined, repeatable distribution, create some;
- If the distribution is low/no value add, existing only by opacity or regulation, then shine a very bright light on it; and finally
- Distribute its control back to the makers of the goods.