Future Of Music

“The best way to predict the future is to invent it.”  This is a great quote from Alan Kay, one of the creative geniuses behind the laptop computer and the mouse.  Musician can apply this thinking to their own careers by planning for success in a dedicated and systematic way.

I came across this great guest post by Kevin English on Creative Deconstruction that talks about the “Lower Class Musician” and suggestions for how to lift yourself out of that class into a middle or upper class status through controlling your overhead, aligning your expectations, creating a plan, getting a good and current education and diversifying your product offering.  These are all things that I have blogged about in great detail in the past and agree with completely.

Here in an excerpt from Kevin’s post:

“Learn to structure yourself like any other startup and formulate a strategy on paper that will sustain you for three to five years. You’ll soon find out that overspending on manufacturing, marketing, promotion and distribution is very difficult to recoup.

Adjust Your Expectations

For some of us, music is a hobby and that is okay. However, if you plan on feeding your children by touring the Chitlin’ circuit, that’s another thing entirely. When I realized that writing songs for Columbia Records and recording demos with The Fugees wasn’t going to sustain me forever, I had to adjust my expectations. These gigs were few and far in between and often times didn’t pay half as much as you would expect them to.

I studied profitable ideas, people, and businesses to find a common denominator. I learned that nine out of ten successful startups had a business plan. Not just any old plan, but one that was standard across all industries. Financial planning, marketing, and the management of people and products/services cannot be done on the fly. If all you want is for people to hear your music that is fine. But again, you can’t necessarily expect to make a decent living.

Accelerate Your Learning

Hundreds of books have been written on the subject of business plans, yet no one in the music business seems to think they need one — until, of course, they run out of cash. I spent years in my local SBA in Newark, NJ looking at sample plans, meeting with retired CEOs of successful companies, and learning how basic businesses operate.

If you do the same you’ll realize that most startups have more similarities than you’d expect. However, it is important to point out that no two plans are alike. You will still need to write a plan specifically based around your music-related products and services. My first plan was a disaster. I asked my uncle for $75K with a promise to return 20% of the loan over the next five years. He had a good laugh over that one, but at least he knew I was serious about my dreams.”

For a toolset that offers exactly what Kevin is talking about look here.

To read his full post look here.

I was hanging out with my friend Charlie McEnerney last night and asked him about his interview with Larry Lessig.  Here is his post and a link to the complete interview from Well Rounded Radio.  Check it out.

In many music and entertainment circles, the name Lawrence Lessig needs no introduction, but for those who don’t know his work, here’s some background.

Lessig is a lawyer and activist whose interests are mostly in intellectual property, copyright, technology, and political reform. He’s has written five influential books, including Code and Other Laws of Cyberspace (2000), The Future of Ideas (2001), Free Culture (2004), Code: Version 2.0 (2006), and Remix: Making Art and Commerce Thrive in the Hybrid Economy (2008).

Remix was just published in paperback in October 2009.

Over the past 10 years, Lessig has worked for both Harvard Law School and Stanford Law School. He is currently a lawyer at Harvard Law School and director of the Edmond J. Safra Foundation Center for Ethics at Harvard University.

Lessig is a founding board member of Creative Commons. In 2008, Lessig launched the Change Congress campaign, now called Fix Congress First.

Lessig talks about Creative Commons during the interview, but in a nutshell it’s an organization with copyright tools that allows content creators to give various levels of freedom to others for them to remix and build upon the original work.

The idea behind remix culture is how an artist can take a work that a pervious artist has produced and build upon it to create something new. The term has become more commonplace in the last decade, but in fact the concept has been in use for decades, most notably in rap music starting 30 years ago.

Growing up in Queens, New York, I was lucky enough to hear the rap bands of the first era pretty early on (granted, thanks to bands like Blondie and The Clash and college radio putting Grandmaster Flash, The Sugar Hill Gang, Kurtis Blow, and Afrika Bambaattaa on my radar) which usually utilized sampling techniques when creating their music.

I have long been a fan of the groups who fine tuned the ideas behind audio sampling to perfection, in Long Island’s Public Enemy and De La Soul. I’ve always thought both groups pushed the ideas behind sampling in ways that few others did before or since, albeit in very different directions.

With Public Enemy’s 1988 album It Takes a Nation of Millions to Hold Us Back and De La Soul’s 1989 album 3 Feet High and Rising, at the moment it seemed like the idea of what music “is” was being reinvented.

But, after a series of lawsuits for a variety of musicians and labels, the art of sampling and remixing was largely hobbled, in either using others work with or without their consent.

Twenty years later, it is still mostly the domain of those willing to tread in dangerous waters or for artists who want to engage their own fans by allowing them to remix work as part of the growing participatory culture community. For remix artists who might be looking to push their ideas further, it’s unlikely they can put their work into the public without a sizable budget.

Having read all of Lessig’s work and seen two recent documentaries about the remix culture (Brett Gaylor’s RIP: A Remix Manifesto and Benjamin Franzen’s Copyright Criminals), I wanted to speak with Lessig about how current musicians could utilize Creative Commons and share with their own audience as well as look at how we music fans can better understand this era of shared creativity, which dramatically changes the idea of those performers vs. us in the audience.

In addition to these films and Lessig’s Remix book, some good reads on the subject include DJ Spooky’s book Sound Unbound (2008) and Matt Mason’s The Pirate’s Dilemma: How Youth Culture is Reinventing Capitalism (2009).

The show includes music from the earlier era of sampling as well as some recent examples of mainstream musicians offering up their work for remixing, including David Byrne and Brian Eno, Nine Inch Nails, Radiohead, and Bjork.

I sat down with Lessig at his office at Harvard Law School to discuss:
* why it’s unlikely the current copyright system will change
* why Greg Gillis, also known as Girl Talk, has not been sued
* how Creative Commons works and how musicians can use it to engage their fans even more

Songs included in the interview include:
1) Public Enemy: Welcome to the Terrordome (Welcome to the Terrordome) (in preview)
2) Grandmaster Flash: The Adventures of Grandmaster Flash on the Wheels of Steel
3) De La Soul: Me Myself and I (3 Feet High and Rising)
4) Public Enemy: Night of the Living Baseheads
5) DJ Moule: Black Sabotage remix of Beastie Boys’s Sabotage
6) Radiohead: Reckoner (In Rainbows)
7) Nick Olivetti: Nasty Fish remix of Radiohead’s Reckoner
David Byrne + Brian Eno: Help Me Somebody (My Life in the Bush of Ghosts)
9) Owl Garden: Secret Somebody remix of David Byrne + Brian Eno’s Help Me Somebody
10) Mr. Briggs Hit me somebody remix of David Byrne + Brian Eno’s Help Me Somebody
11) Girl Talk: No Pause (Feed the Animals)
12) Girl Talk: In Step (Feed the Animals)
13) Danger Mouse: Encore (The Gray Album)
14) The Album Leaf’s remix of Nina Simone’s Lilac Wine from Verve Remixed
15) Vind’s remix of Bjork’s Venus as a Boy
16) Fatboy Slim: Praise You (You’ve Come a Long Way, Baby)
17) Amplive’s remix of Radiohead’s Weird Fishes

Get the audio interview here.

Again and again, I have heard this sage advice when asking producers, label executives, and publishers about artist development. Take your time. The first and most important thing to do is to get the music right: love your music, immerse yourself in it, and live it.

As an artist/writer, your coin of the realm is your songs, and they need to be great, polished, and professional. The worst thing you can do is go to market too soon. Without careful preparation, practice, understanding, listening to others, testing your material, developing its quality, and crafting and articulating a unique story to tell, you will probably enter the marketplace too early and will most likely fail. Start out slowly. Practice. A lot.

Another critical component of artist development is live performance. Any venue will do to get started. Play the smallest clubs to get used to performing and being in front of an audience. Everybody gets better over time, and live performance in front of a crowd does many positive things for your career. When you play live, you develop sets of songs that you play and expand your repertoire. Don’t be afraid to play other people’s material mixed in with your own. Covers create a sense of familiarity that you can use to build your audience. You are also learning by playing the songs of other great artists.

Performing live helps you build your confidence and song quality, lets you interact with an audience, and experience their reactions to your songs. Also, when you play live, you can test out different material and approaches to your songs. You can experiment and find out new things about the song, tempo, bridge, chorus, lyric, etc. You can see which songs are the most popular, what should be the rhythm of your set, where the audience loses its attention, and how best to open and close a show.

Live performance and touring is a major cornerstone to any artist’s career and is one of the best ways to develop an audience. Over time, your audience will grow with you as you refine your art. Superstars Bruce Springsteen, Billy Joel, James Taylor, Paul Simon, and countless others all played small clubs for very minimal dollars at first, refining their approach, music, and brands to small audiences that grew over time. Just look at the size of their audiences now.

Many successful executives have told me that good music finds an audience and is very difficult to keep under wraps. If you want to have a long career in the music business, take a good look at yourself, who are you, and the package that you bring to the table. Do you have the songs, do you have the talent, do you have the charisma, and are you really ready to go to market? Develop, refine, write, practice, play live, listen, and collaborate.

Listen to Others

Great artists and writers take the time to develop, but they also listen to people around them who they can trust to give them feedback and keep them honest about what they are trying to do and how well they are accomplishing it. This is role of the A&R person, record producer, publisher, and artist manager. You simply cannot believe your own press and expect to be successful. You also cannot rely on your mother or family to be objective about what you are doing. You need to get honest opinions from a lot of different people who will tell you the truth. Listen carefully to them as a sounding board for your career and ask hard questions like the following: Do you like my songs? How do I look on stage? What do I need to do to improve? What advice can you give me?

Your fans are the ultimate source of feedback. Set up a blog or some other means of creating two-way communication. Encourage people to tell you what they think. Hand out postcards at your gigs, collect your fans email and cell phone numbers, and ask them what they think of your set, your songs, your performance, etc. Don’t be afraid of what you might hear, and use the feedback to learn, refine, and further develop your brand and music.

Collaborate

Having a band is a great way to collaborate, and hopefully you will find other musicians to play and write with at various points in your career. Another hallmark of great artists and writers is that they work with different musicians to write songs, perform together, cover each other’s songs, and most importantly learn from one another. Collaboration and the exchange of ideas are the life-blood of creative artistry.

Collaboration does not mean that you are joined at the hip with another artist forever. You can move in and out of collaborative partnerships when you need something new to spark the creative juices or just get you going in another direction. Working with other talented musicians can be a challenge. Quincy Jones has great advice for when you walk into the studio to work with other artists. He says, “Check your ego at the door.” Find people you can work with, who you enjoy being around, and who make you feel good.

There are many examples of great songwriting collaborations, including Holland, Holland & Dozier, Lennon and McCartney, and Elton John and Bernie Taupin. The list is long. Don’t be afraid to cowrite with other people or to record other songwriter’s material. This can help you reach a broader audience, develop your talents in new directions, and potentially open up your brand by association with other great artists.

One of the most successful songwriters of the last 30 years is Don Henley of the Eagles. He talks about identifying your strengths and weaknesses through collaboration with great writers like Jackson Brown and Glen Frey, and being willing to put someone else’s songs on your record if they are better than your own. Seems to have worked for him.

Many of the most successful songs of all time have come out of collaborative partnerships that were organized on a formal level at some of the songwriting factories of the past, including the Brill Building, Motown, and Philadelphia International. Collaboration helps you to stand on the shoulders of others and to peer over a horizon that you might not be able to see on your own.

Learn more at Music Power Network

Decades before indie labels and DIY were the norm, and years before women had any real access in the industry, Cris Williamson was busy changing the face of popular music. Cris’s stellar vocals and compelling persona are regarded as legendary for good reason. Despite being like a well-kept secret, and dwelling almost completely in the independent music world, she nonetheless had an impact worldwide. Her now-legendary classic album, The Changer and the Changed, is one of the best-selling independent records of all time. For nearly 30 years, Cris has toured incessantly, selling out Carnegie Hall numerous times and headlining folk festivals around the country.

Here is an excerpt of her interview on MPN where she talks about the importance of gaining a foothold and going direct.

MPN is an online service for music business people and music and artist managers creating the future of the industry. MPN provides online musi…c business lessons, exclusive video interviews and advice, career and business planning tools and thousands of specially selected resources designed to help you achieve success in this ever changing industry. MPN gives you the tools, expertise and guidance to help you get organized and take your music career to the next level. Learn from industry experts, set your goals and realize your vision.

To see the full interview, click here.

The tried and true methods of creating success in the music industry are over and are never coming back.  The economics just don’t work for most acts anymore.  The greatest risk in the next 5-10 years for music is that no one will want to fund the development and promotion of new musical acts the way the major labels did in the past, until we see a new financial model.

To survive, musicians and their managers need to innovate and break out of the old ways of thinking about the business.  The oft quoted conventional wisdom that artists can survive on touring and merchandise income is simply not going to work for most bands.  Instead, real blockbuster success in the future belongs to those ready to break the rules and create new engaging musical experiences, and unique products and services that cannot be duplicated.

Music is an inherently social phenomenon and we are already seeing the impact of social media on the way that music is marketed and consumed.  We are connecting fans and artists enabling a broad spectrum of musical search (pandora), concert (songkick) and ticketing innovations and direct to fan engagement (topspin and nimbit).  But most of what has been developed thus far is in support of the way it used to be, instead of the way it needs to be.

Perhaps the next musical breakthrough will come from some sort of interaction between creators and consumers fueling a unique experience that you just have to be there to enjoy.  Nothing to download, just an experience with a limited audience.  A creation of value that appeals to the thumb twiddling electronic generation in ways their parents never even dreamed of.  A way of engaging with artists that true fans will fight to get access to.

How do we get there?  Where is the strategic thinking that will propel the music business forward?  I believe innovation will come from outside the mainstream music companies, the way it has over and over again across so many different industries.  The automobile did not come from the Horse and Buggy makers and refrigeration did not come from the Ice Kings, so why would the next musical innovation come from Warner or Universal Music, or any other indie label for that matter? Just as theatre evolved into motion pictures, then broadcast television, then video tape and dvds to IMAX 3D emersive experiences, so will music continue it’s transformation, propelled by technology and new nimble entrepreneurs.

Musicians of the future need to face the fact that living a life in music is a privilege that they will have to earn through hard work, preparation, innovation and collaboration.   Young artists need to be willing to take risks and push the edges of creative expression by embracing the reality that nothing about music is normal anymore.

The team that may be most compelling for creative artists to form is a strategic business manager, a social marketing manager and a technologist.

We need fresh thinking and risk capital to fund the next wave of musical innovators.   The Challenge for the Music Business is to create value in the place of falling revenue and to energize the new generation of music fans to really support music.  Do you have what it takes to reinvent the business?  What ideas do you have that could light the way into the future?

We will be announcing a competition to award a prize for the best ideas shortly.

From a fascinating article just published in the Atlantic. “The Grateful Dead’s influence on the business world may turn out to be a significant part of its legacy. Without intending to—while intending, in fact, to do just the opposite—the band pioneered ideas and practices that were subsequently embraced by corporate America. One was to focus intensely on its most loyal fans. It established a telephone hotline to alert them to its touring schedule ahead of any public announcement, reserved for them some of the best seats in the house, and capped the price of tickets, which the band distributed through its own mail-order house. If you lived in New York and wanted to see a show in Seattle, you didn’t have to travel there to get tickets—and you could get really good tickets, without even camping out. “The Dead were masters of creating and delivering superior customer value,” Barry Barnes, a business professor at the H. Wayne Huizenga School of Business and Entrepreneurship at Nova Southeastern University, in Florida, told me. Treating customers well may sound like common sense. But it represented a break from the top-down ethos of many organizations in the 1960s and ’70s. Only in the 1980s, faced with competition from Japan, did American CEOs and management theorists widely adopt a customer-first orientation.

As Barnes and other scholars note, the musicians who constituted the Dead were anything but naive about their business. They incorporated early on, and established a board of directors (with a rotating CEO position) consisting of the band, road crew, and other members of the Dead organization. They founded a profitable merchandising division and, peace and love notwithstanding, did not hesitate to sue those who violated their copyrights. But they weren’t greedy, and they adapted well. They famously permitted fans to tape their shows, ceding a major revenue source in potential record sales. According to Barnes, the decision was not entirely selfless: it reflected a shrewd assessment that tape sharing would widen their audience, a ban would be unenforceable, and anyone inclined to tape a show would probably spend money elsewhere, such as on merchandise or tickets. The Dead became one of the most profitable bands of all time.

It’s precisely this flexibility that Barnes believes holds the greatest lessons for business—he calls it “strategic improvisation.” It isn’t hard to spot a few of its recent applications. Giving something away and earning money on the periphery is the same idea proffered by Wired editor Chris Anderson in his recent best-selling book, Free: The Future of a Radical Price. Voluntarily or otherwise, it is becoming the blueprint for more and more companies doing business on the Internet. Today, everybody is intensely interested in understanding how communities form across distances, because that’s what happens online. Far from being a subject of controversy, Rebecca Adams’s next book on Deadhead sociology has publishers lining up.

Much of the talk about “Internet business models” presupposes that they are blindingly new and different. But the connection between the Internet and the Dead’s business model was made 15 years ago by the band’s lyricist, John Perry Barlow, who became an Internet guru. Writing in Wired in 1994, Barlow posited that in the information economy, “the best way to raise demand for your product is to give it away.” As Barlow explained to me: “What people today are beginning to realize is what became obvious to us back then—the important correlation is the one between familiarity and value, not scarcity and value. Adam Smith taught that the scarcer you make something, the more valuable it becomes. In the physical world, that works beautifully. But we couldn’t regulate [taping at] our shows, and you can’t online. The Internet doesn’t behave that way. But here’s the thing: if I give my song away to 20 people, and they give it to 20 people, pretty soon everybody knows me, and my value as a creator is dramatically enhanced. That was the value proposition with the Dead.” The Dead thrived for decades, in good times and bad. In a recession, Barnes says, strategic improvisation is more important then ever. “If you’re going to survive this economic downturn, you better be able to turn on a dime,” he says. “The Dead were exemplars.” It can be only a matter of time until Management Secrets of the Grateful Dead or some similar title is flying off the shelves of airport bookstores everywhere.”

Read more at the Atlantic.

Ariel Hyatt, expert music publicist, discusses the important of building, maintaining and knowing your Community as an artist. The story of “What Are Records” and “The Samples”.

MPN is an online service for music business people and music and artist managers creating the future of the industry. MPN provides online musi…c business lessons, exclusive video interviews and advice, career and business planning tools and thousands of specially selected resources designed to help you achieve success in this ever changing industry. MPN gives you the tools, expertise and guidance to help you get organized and take your music career to the next level. Learn from industry experts, set your goals and realize your vision.

To see the full interview, click here.

On my way to the TED conference last week, I devoured Jay Frank’s book Futurehit.dna on the plane.  Jay has some great insights into the past, present and future of songwriting and hit making that we can all learn from.  This is a must read if you are composing for the digital age and trying to gain an edge and find exposure opportunities for listeners.

Jay breaks it down for us on the impact of technology on songwriting and how hits of the past have been carefully crafted to fit into radio airplay on to the iPod, Pandora and streaming era.  His insights into how song form, intros, chord changes, repeats, hooks and other techniques connect a good song with a listener are invaluable.

With today’s digital music is it crucial to catch your listeners attention in the first seven seconds of the song.  After that, repeats are key as well as how the complexity of the song changes over time.  Some of this is old news, but the way he relates it to the technology platforms is interesting and valuable.

How you release music and in what form will determine your chances that your songs will be listened to and remembered enough to make an impact.

Technical, detailed, clear and concise Futurehit.dna will get you thinking about how to create a competitive advantage for you and your music in the days ahead.  Highly recommended food for though.

Check it out here.

In the face of insurmountable odds I feel a competition is in order.

Here’s a pretty telling graph – Recorded music sales over time since 1999.   This is the truth.

If you are trying to make money selling recordings, or producing them you are selling into a market that is auguring into the earth.  If you are a pure-play label – either cash out soon and go home before it’s really too late, or start writing a new business plan.  It is time for you to start over.

If you really want to do 360 deals, then get the capacity, personnel and expertise to actually produce results or you are toast.  Todays nimble entrepreneurs and emerging music service environment is going to eat your lunch.  Specialization is in, generalization is out.

If you are a record producer or engineer, create other products to produce.  Broaden your horizons.   What are you going to be a producer of?  What “insanely great” product can you create?

If you think you can survive in the recorded music business, find something else to sell.  Simple as that.  There is no recovery from this decline.  Sure songwriters and publishers can still make money licensing for film, TV and new media (like ring tones), but the engine that has driven the music business for the past 60 years has run out of steam.

Recorded music as a propellant into prosperity is no longer viable.

Accept this fact, move on and adapt.  Use this as a jumping off point.  Reinvent yourself or your business.

This has been my mantra for the past 6 or 7 years.  If this RIAA graph above is not evidence enough, then I don’t know what is.  If you think being signed by a “record label” is your ticket to ride, then nice to have known you.   Enough already.  I can’t believe how many people still want this.  American Idol?

And if you are the RIAA, and think trying to preserve recorded music as a “business” is a sound investment, I would advise you look for another job, and soon.  Gaming Soundscan to count T-Shirts as a way of propping up the numbers and thinking everything is ok is self deception.  Look around you.

This is the truth people.  Recorded music sales are going to end as a viable business driver ’cause it is just not working anymore and is an outmoded concept of what music was all about.  “Digital” tracks are not going to cut it as they have been conceived thus far because it is just the same thing in a different form.  Fixing music in time makes no more sense.  Music is more fluid than ever.  Subscription revenue and streaming licenses are not going to support anyone when they are optional.  We need something new, something bold.

With this as a background I created Music Power Network.  To help people discover the future of music for themselves, and create a plan to take their careers forward.

We have to dig deep here.  This is a time to be honest with ourselves.  What is your music career all about anyway?  How are you going to survive?  What are your goals and your dreams?  How do you define success?  You can’t eat passion and you can’t spend perseverance.  What is your business plan?  What is your marketing plan?  We need some new ideas.  What are you going to do?

It is too easy to say that a 360 model is the way to go.  360 for who?  You or the “label”? What do you really need?  Who is actually going to provide the services required?  What does the team look like?  Where is the value, talent and capital going to come from?  Who is going to back your vision?

Think you have it figured out?

I am going to put together a team of people to search for the best new music business plans for musicians, songwriters and producers.  In the coming weeks we will put this competition together and announce it officially at SXSW or sooner.  Details will be forthcoming on how to enter, who the judges are and what the prizes will be.  I promise you it will be worthwhile and interesting.

So start working on your strategy and your business plans.  To be notified when the competition is announced, please click here and enter your email on the bottom of the page.

Please leave comments below on any ideas you have for judges, prizes, people to reach out to, etc.

Dave

Here’s a great post by Mike Masnick.

“As you look through all of these, some patterns emerge. They’re not about getting a fee on every transaction or every listen or every stream. They’re not about licensing. They’re not about DRM or lawsuits or copyright. They’re about better connecting with the fans and then offering them a real, scarce, unique reason to buy — such that in the end, everyone is happy. Fans get what they want at a price they want, and the musicians and labels make money as well. It’s about recognizing that the music itself can enhance the value of everything else, whether it’s shows, access or merchandise, and that letting fans share music can help increase the market and create more fans willing to buy compelling offerings. It’s about recognizing that even when the music is shared freely, there are business models that work wonders, without copyright or licensing issues even coming into play.

Adding in new licensing schemes only serves to distort this kind of market. Fans and artists are connecting directly and doing so in a way that works and makes money. Putting in place middlemen only takes a cut away from the musicians and serves to make the markets less efficient. They need to deal with overhead and bureaucracy. They need to deal with collections and allocation. They make it less likely for fans to support bands directly, because the money is going elsewhere. Even when licensing fees are officially paid further up the line, those costs are passed on to the end users, and the money might not actually go to supporting the music they really like.

Instead, let’s let the magic of the market continue to work. New technologies are making it easier than ever for musicians to create, distribute and promote music — and also to make money doing so. In the past, the music business was a “lottery,” where only a very small number made any money at all. With these models, more musicians than ever before are making money today, and they’re not doing it by worrying about copyright or licensing. They’re embracing what the tools allow. A recent study from Harvard showed how much more music is being produced today than at any time in history, and the overall music ecosystem — the amount of money paid in support of music — is at an all time high, even if less and less of it is going to the purchase of plastic discs.

This is a business model that’s working now and it will work better and better in the future as more people understand the mechanisms and improve on them. Worrying about new copyright laws or new licensing schemes or new DRM or new lawsuits or new ways to shut down file sharing is counterproductive, unnecessary and dangerous. Focusing on what’s working and encouraging more of that is the way to go. It’s a model that works for musicians, works for enablers and works for fans. It is the future and we should be thrilled with what it’s producing.”

Read a lot more here.

The music industry is being reinvented before our very eyes. Learn how it is developing from today’s entrepreneurs including Ian Rogers from TopSpin, Steve Schnur from EA, and Derek Sivers and how you can capitalize on the changing opportunities.

MPN is my latest project and an online service for music business people and music and artist managers creating the future of the industry. MPN provides online music business lessons, exclusive video interviews and advice, career and business planning tools and thousands of specially selected resources designed to help you achieve success in this ever changing industry. MPN gives you the tools, expertise and guidance to help you get organized and take your music career to the next level. Learn from industry experts, set your goals and realize your vision.

Learn more at Music Power Network.

It is great to see successful artists rally around causes bigger than declining record sales or online piracy.  The Green Music Group, founded by Guster’s Adam Gardner and his wife, environmentalist Lauren Sullivan along with Sheryl Crow, Willy Nelson, Dave Matthews Band, Bare Naked Ladies, Linkin Park and Bonnie Raitt and others is organizing to bring about widespread environmental change within the music industry and around the globe.

The newly formed coalition is focused on transforming the music business’s environmental practices in the areas of:

GMG is a large-scale, high-profile environmental coalition of musicians, industry leaders and music fans using our collective power to bring about widespread environmental change within the music industry and around the globe.

Leading by example, Green Music Group facilitates large-scale greening of the music community, and magnifies the work of national nonprofits, all while building a vibrant community committed to environmental action.

The broad support of our founding members paired with their leadership as environmental stewards enables GMG to inspire millions to action by:

1. Creating an engaging online community of musicians, music industry leaders, and music fans all committed to addressing our greatest environmental concerns.

2. Facilitating large-scale greening of the music community through touring, venue, and label standards, resource development, green grants mentoring, and viral video and public service campaigns.

3. Providing environmental nonprofits with a megaphone for their cause, allowing them to expand their reach and support base.

4. Creating a sustainable green music guild to support and inform the efforts of the music community and position leaders in the music industry as voices for change, working to shine a light on the most pressing environmental issues of our time.

I personally plan on getting involved in this and bringing Berklee along with me into the project.  We already run a very environmentally friendly online music school that avoids many of the traditional and costly expenses such as buildings, heat, transportation, and lodging involved in face-to-face schools.

I am hoping to encourage the Green Music Group to explore alternative experiences to touring such as online shows, virtual studio sessions and other ideas that can cut the costs and waste out of touring while still preserving a great experience for fans and artists alike.

Green Music Group welcomes all members of the music community to join!

Learn from Grammy award winning producers like David Kershenbaum and Phil Ramone and leading publishers, A&R reps and music supervisors on the secrets of being a successful musician, producer or songwriter.

MPN is my latest project and an online service for songwriters, music producers and independent music publishers. MPN provides online music business lessons, exclusive video interviews and advice, career and business planning tools and thousands of specially selected resources designed to help you develop yourself as a successful industry professional. MPN gives you the tools, expertise and guidance to help you get organized and take your music career to the next level. Learn from industry experts, set your goals and realize your vision.

Learn more at Music Power Network.

Another Wordle rendering.

This is how Wordle sees my blog

Here are some ideas that you can use as a musician, band or artist from Music Power Network from artists Kelly Cha, Jill Sobule and J the S. There are a lot more videos like this on the site.

MPN is my latest project and an online service for independent musicians and bands. MPN provides online music business lessons, exclusive video interviews and advice, career and business planning tools and thousands of specially selected resources designed to help you achieve success as a self-sustaining artist in an ever changing industry. MPN gives you the tools, expertise and guidance to help you get organized and take your music career to the next level. Learn from industry experts, set your goals and realize your vision.

Learn more at Music Power Network.