Why I FAILED

Less Than Shoestring

Don’t say can’t, ask how can I?

What do I mean? Well, check out this story about a band called The Get Out Clause that used the United Kingdom to make their video. Really.

The used eighty CCTV (security) cameras, requested the footage and edited together a video.

Brilliant.

links for 2008-05-30

• Dubai goes from business to music mecca - Yahoo! News
  You can always get some work overseas…
  (tags: music_business music money marketing)
• You’re not getting the job — 25 reasons why - CNN.com
  These don’t all apply to music and the arts, but you’ll find plenty of food for thought.
  (tags: music_business personal_development success life)

Work Is Right In Front of You

Acquiring new customers/clients is costly in both time and money. It is less expensive and more beneficial to keep your current clients happy and Yuwanda Black has written a post describing how.

In “How to Get More Work from Existing Clients” at Freelance Switch, she describes a step-by-step way to ensure you know your client’s needs, understand how you can help and get them to hire you for more of their work. And as she says, “this is an often overlooked marketing method and missing it is like throwing money out the window.”

One of the biggest mistakes I made in my music career was missing this point. I, like most musicians, believed that if I had gotten one call, I would certainly get another. Wrong. There are two flaws with this thinking and Yuwanda addresses them both - and more.

First, you have to stay in touch with your clients. While it’s true that YOU are the center of your life and therefore on your mind all the time, this is not true of them. So, while you’re sitting home waiting by the phone, someone else is getting face time with your client.

Second, you may not have nailed the last thing you were asked to do. How would you know? Have you asked? If they did and they said yes, is that good enough? What might you have done even better, or beyond the original scope?

Yuwanda’s plan starts by arranging for a 10-minute consultation to find out exactly these things. This planned meeting, for which you will be prepared (after all, this is your LIVELIHOOD), allows you to stay on their mind, learn how you did and learn about upcoming opportunities all at once. It also makes you stand out from all the rest.

Oh, and don’t neglect step 3: asking for the work.

My thanks to Lifehacker for the link, read the whole post here.

links for 2008-05-29

• Save the music business in 5 easy steps: bluegrass music news
  We’re beginning to see these happen.
  (tags: music_business music money marketing)
• Techdirt: Adopting New Music Business Models Doesn’t Mean The Death Of Record Labels
  The labels are not bad, at least not the smart, innovative, risk taking ones…
  (tags: music_business money music marketing)
• To Get Rich, Seek Out Rich Financial Advice
  The best investment you can make is in yourself - education, friends and mentors
  (tags: money personal_development success life)

links for 2008-05-28

• Reverb: Defining Competition and Success in the Music Business (Seattle Weekly)
  John Roderick’s slightly rambling but truth FILLED assessment of the realities of “making it” in the music business. “Success is very hard to measure in music. Everyone can see the difference between a sold-out show and a half-empty one, but quite often t
  (tags: music_business money music success personal_development life)

Open Letter to EMI

Ian at Fistfulayen has an idea-full post written to the head of EMI, Guy Hands. In it, he describes a powerful version of a “record label.” A useful and relevant version that would actually DO something for artists in the music industry.

The highlights:

“If, as this hypothetical artist on an indie label, I get traction, will
I then move up into the major system? In the old days I *had* to if I
wanted to reach a wider audience, but not anymore. If I’m the White
Stripes of tomorrow do I do a 360 deal with the label or do one with
myself? I can afford to record my own music, I can distribute in 100
different ways by myself (and keep more of the profits), so if I’m
going to partner with you for my releases you’d better have better
access to a larger audience than I could generate on my own. If my song
fits in the limited (and shrinking) channels of radio and music
television I might have a shot. But if not, what do you offer?

If you had a set of meaningful, affinity-based labels you would have
the real asset of a trust-based relationship with a captive audience to
offer. Every artist wants to be on the same label as their musical
heroes. And consumers need filters.”

There are needs that “big” labels can fill and Ian has presented a viable way for EMI and others to do so. Of course it’s a re-engineering, so? Guess what we’re doing at my company? Guess what’s happening at most companies? Be sure to read the whole post, there’s plenty to learn and think about if you’re an up and coming artist.

A Reminder

It is the VETERAN, not the preacher,
who has given us freedom of religion.

It is the VETERAN, not the reporter,
who has given us freedom of the press.

It is the VETERAN, not the poet,
who has given us freedom of speech.

It is the VETERAN, not the campus organizer,
who has given us freedom to assemble.

It is the VETERAN, not the lawyer,
who has given us the right to a fair trial.

It is the VETERAN, not the politician,
Who has given us the right to vote.

It is the veteran who deserves our thanks.

Stop And Think

Look What Someone Cooked Up…

First there were drummers.
Then there were machines.
Then there were people pretending to be machines:

Beatbox chef

The Twitpitch