This is a great article on how a Washington DC club has become one of the best venues in the country.
Five Years of Jamming (and Java): "If you didn't know better, you'd probably drive past Jammin' Java without a thought. Set into one of the many strip malls that line Vienna's Maple Avenue, alongside a credit union, sub shop and Mandarin restaurant, Jammin Java's name recalls a folkie coffee shop in a laid-back college town. It certainly doesn't sound like a venue that concert-industry bible Pollstar called one of the top 100 clubs in the world in terms of ticket sales in 2005 or a concert hall with a top-notch sound system that offers more than a dozen shows a week, including children's entertainers and nationally recognized touring acts....
"'We're all ages, all the time. We're smoke-free. We're a rock club, and we're a listening room [with 170 seats] at the same time. We're accessible. We're in a safe area. We have plenty of parking.'
"...the key to their success is the venue's versatility. Commuters stop in at the coffee bar for mugs of joe at 7 a.m. Later in the morning, the performance space is more "Romper Room" than Viper Room, as bands such as Rocknoceros sing silly songs about washing your hands and brushing your teeth while toddlers jump up and down, dance and clap along.
"...'We have to pay the rent. Early shows, late shows -- I think that's how we got on the Pollstar list. We just do so many shows.'...
"'We try to capitalize on the whole suburbs thing,' Brindley explains. 'There are moms looking for stuff to do with their kids. We'd do a kids' show during the week, in the middle of the afternoon, for free and hope people would come in and buy coffee. And we started getting crowds. Then it went to five days a week -- every morning at 10:30, and it was packed. We decided we'd start charging a cover, and it didn't slow down. It went to three shows on Monday.'..."
music scene
live music
virginia
clubs
Tuesday, October 31, 2006
Monday, October 30, 2006
Still no substitute for a live concert
Still no substitute for a live concert - Newsday.com: "... what do you call someone who discovers an unknown band, then spreads the music to a larger audience? A few years ago, that person was called a full-time record executive. These days, he's a part-time blogger. Or he might be just a teenager who spends a lot of time on MySpace.
"That's where CMJ, now celebrating its 26th year, faces a challenge. With MP3 streams, bit torrents and up-to-the-minute Web sites, who needs a music marathon to get hip to the next big thing? Fans are as well-informed, if not more so, than the professionals who are supposed to be driving the trends. It's a shift in power that's roiling the music industry: Radio is struggling to stay relevant, retailers are closing shop and the Internet continues to confound profit-minded record labels. Does the venerable CMJ marathon still have a place in this new-fangled world?"
music scene
music festival
live music
cmj
"That's where CMJ, now celebrating its 26th year, faces a challenge. With MP3 streams, bit torrents and up-to-the-minute Web sites, who needs a music marathon to get hip to the next big thing? Fans are as well-informed, if not more so, than the professionals who are supposed to be driving the trends. It's a shift in power that's roiling the music industry: Radio is struggling to stay relevant, retailers are closing shop and the Internet continues to confound profit-minded record labels. Does the venerable CMJ marathon still have a place in this new-fangled world?"
music scene
music festival
live music
cmj
Sunday, October 29, 2006
A tiny town that survives on live performance
Twenty-seven years ago I lived in a small Colorado town, Silver Cliff. I had friends who made the trek over the mountains to hang out in Creede. People who live in these little towns are a mixed group of locals, artists escaping the big cities, and wealthy folks. If you ever watched "Northern Exposure," you'd get a sense of it. People are both isolated and creative, which lends itself to music festivals and theaters and the like.
On the Rio Grande, the World: "Only a handful of the three block’s worth of businesses in Creede — Mineral County’s seat and only incorporated town — stay open year round, among them the True Value Hardware, the Kentucky Belle Grocery and San Juan Sports, where two workers, Annie Butler and Alan Thomasson, are killing time playing poker on the counter with a tiny set of cards designed to be tucked into a backpack....
"The Creede Repertory Theater, which recently celebrated its 40th season, is the cultural, recreational and economic heart of Creede. Each May, the artistic director, Maurice LaMee, and four other year-round employees welcome 70 professional company members who produce nine plays on two stages. According to a study commissioned by the theater, Mineral County makes 70 percent of its living in four months of tourism, and 20 percent of that income — more than $4 million — is theater-related. In the six years since Mr. LaMee took over, the theater’s budget has more than doubled. 'When the company is here there is an insane energy,' he says. 'When it goes away it is both sad, and an enormous relief.'
On the Rio Grande, the World: "Only a handful of the three block’s worth of businesses in Creede — Mineral County’s seat and only incorporated town — stay open year round, among them the True Value Hardware, the Kentucky Belle Grocery and San Juan Sports, where two workers, Annie Butler and Alan Thomasson, are killing time playing poker on the counter with a tiny set of cards designed to be tucked into a backpack....
"The Creede Repertory Theater, which recently celebrated its 40th season, is the cultural, recreational and economic heart of Creede. Each May, the artistic director, Maurice LaMee, and four other year-round employees welcome 70 professional company members who produce nine plays on two stages. According to a study commissioned by the theater, Mineral County makes 70 percent of its living in four months of tourism, and 20 percent of that income — more than $4 million — is theater-related. In the six years since Mr. LaMee took over, the theater’s budget has more than doubled. 'When the company is here there is an insane energy,' he says. 'When it goes away it is both sad, and an enormous relief.'
The new live music venue
Some bands don't feel they can play to the same people every week and draw a crowd. And yet, churches are incorporating more live music as a way to attract people every week.
Just as bands are incorporating popular music and culture into their experience, I think there is something artists can learn from church: If you people a meaningful experience, they may seek you out every week.
People want community and they want to feel moved/uplifted/enriched.
St. Petersburg Times | A cool tweak to tradition: "On Sundays, the Italian Club in Ybor City becomes a haven for the young and hip.
"Blackout curtains cover the windows. Video screens project movie clips. And chairs fill with members of the MTV generation sporting multihued hairdos, hip huggers and tank tops.
"On stage, a rock band jams, covering songs from Coldplay and the All-American Rejects. Before long, a man clad in jeans and a T-shirt takes the stage. He cradles a Bible and a Starbucks pumpkin spice latte. His sermon lasts 27 minutes - about the time of the average sitcom.
"This is cool church."
Just as bands are incorporating popular music and culture into their experience, I think there is something artists can learn from church: If you people a meaningful experience, they may seek you out every week.
People want community and they want to feel moved/uplifted/enriched.
St. Petersburg Times | A cool tweak to tradition: "On Sundays, the Italian Club in Ybor City becomes a haven for the young and hip.
"Blackout curtains cover the windows. Video screens project movie clips. And chairs fill with members of the MTV generation sporting multihued hairdos, hip huggers and tank tops.
"On stage, a rock band jams, covering songs from Coldplay and the All-American Rejects. Before long, a man clad in jeans and a T-shirt takes the stage. He cradles a Bible and a Starbucks pumpkin spice latte. His sermon lasts 27 minutes - about the time of the average sitcom.
"This is cool church."
Saturday, October 28, 2006
New York City isn't dead after all
According to this NYTimes article, even though CBGB closed, all sorts of new clubs are popping up.
CBGB - CMJ Music Marathon - Cake Shop - Studio B - Union Hall - New York Times: "... in the next few months, at least five major spaces are set to open, giving the city’s rock infrastructure its most substantial expansion in years.
“'Right now there’s a renaissance of venues in New York,' said Adam Shore, the manager of Vice Records in Brooklyn and a veteran club trawler. 'This is a great time. It’s going to be pretty cutthroat for promoters, but it’s great for bands and agents and fans.'...
”There are no reliable statistics about the flux of the quantity of clubs over the years, but in general the ashes-to-ashes principle applies: when one closes, another opens. The biggest growth area is Brooklyn, which had few major clubs before Northsix planted its stake. Since then it has developed into a world that almost rivals Manhattan, with enough spaces — from tiny rooms like Pete’s Candy Store and Barbès to roomier places like Southpaw and Galapagos Art Space — to accommodate a range of acts and audiences.
"One promoter, Todd Patrick, a k a Todd P., has built a devoted underground following by mostly avoiding the clubs and putting on must-see shows in galleries, warehouses and vacant lots.
“'People always move to New York and say, "I wish I had been there for something like CB’s was in 1976, or the Factory in ’66, or whatever,"' he said. 'I hope that what I do is a part of something like that as well — that the people and the places I work with now make a scene that people will look back on in 20 years and wish they had been part of.'”
cmj
cbgb
music scene
CBGB - CMJ Music Marathon - Cake Shop - Studio B - Union Hall - New York Times: "... in the next few months, at least five major spaces are set to open, giving the city’s rock infrastructure its most substantial expansion in years.
“'Right now there’s a renaissance of venues in New York,' said Adam Shore, the manager of Vice Records in Brooklyn and a veteran club trawler. 'This is a great time. It’s going to be pretty cutthroat for promoters, but it’s great for bands and agents and fans.'...
”There are no reliable statistics about the flux of the quantity of clubs over the years, but in general the ashes-to-ashes principle applies: when one closes, another opens. The biggest growth area is Brooklyn, which had few major clubs before Northsix planted its stake. Since then it has developed into a world that almost rivals Manhattan, with enough spaces — from tiny rooms like Pete’s Candy Store and Barbès to roomier places like Southpaw and Galapagos Art Space — to accommodate a range of acts and audiences.
"One promoter, Todd Patrick, a k a Todd P., has built a devoted underground following by mostly avoiding the clubs and putting on must-see shows in galleries, warehouses and vacant lots.
“'People always move to New York and say, "I wish I had been there for something like CB’s was in 1976, or the Factory in ’66, or whatever,"' he said. 'I hope that what I do is a part of something like that as well — that the people and the places I work with now make a scene that people will look back on in 20 years and wish they had been part of.'”
cmj
cbgb
music scene
Hip hop and local scenes
This NYTimes article says the days of national hip hop artists selling millions of CDs may be over. Now the focus is on hometown boys selling locally and regionally.
Lil Boosie and Hip-Hop - New York Times, 10/19/06: "It’s easier than ever for fans to learn about regional scenes, from the Bay Area’s space-age hyphy movement to the rough beats and rhymes of Baltimore. The Internet has made it easier to get mixtapes, too ...
"...hip-hop feels both more local and more accessible, and nothing captures that combination like the continuing popularity of hip-hop dances. ... they filter up from clubs to YouTube, and then back down into bedrooms."
hip hop
music scene
Lil Boosie and Hip-Hop - New York Times, 10/19/06: "It’s easier than ever for fans to learn about regional scenes, from the Bay Area’s space-age hyphy movement to the rough beats and rhymes of Baltimore. The Internet has made it easier to get mixtapes, too ...
"...hip-hop feels both more local and more accessible, and nothing captures that combination like the continuing popularity of hip-hop dances. ... they filter up from clubs to YouTube, and then back down into bedrooms."
hip hop
music scene
Thursday, October 26, 2006
Music draws visitors to rural Virginia
Rural Virginia markets its music roots as a collection of stops along what is called The Crooked Road. The second article says the places have to be developed on their own, and then the collective marketing of them can happen.
Virginia hills come alive with mountain music: "In 1974, after the Carter family had gained widespread success in the music industry, Janette Carter decided to start inviting bands and performers of bluegrass, old-time and traditional country music to the Carter family homeplace in Hiltons, about 30 miles west of Bristol.
"The Carter Family Fold was formally established in 1979, and it still attracts performers every Saturday night throughout the year.
"Today, Rita Forrester, Janette Carter's daughter, continues the tradition.
"Forrester estimates that the Carter Family Fold typically draws anywhere from 300 to 500 people for the Saturday night shows, during which both dancing and enjoying from the stadium seating are encouraged.
"'I'm amazed, considering how far out we are,' Forrester said.
"The site also includes the restored cabin where A.P. Carter was born and the Carter Family Museum.
"But three things, she said, have helped keep the Carter Family Fold alive, particularly in the past four years – the Internet, the so-called 'O Brother, Where Art Thou?' phenomenon and The Crooked Road marketing effort.
"Part of the southwestern region of Virginia has been dubbed The Crooked Road, and an organization was established three years ago to economically develop this mostly rural section of the state, 'using music as a metaphor,' said Bill Smith, executive director of The Crooked Road project.
"'On the surface, we're just signs on the side of the road that connect the venues. but the real story is the people and the music,' Smith said. ...
"The Crooked Road is a 250-mile stretch that winds through 10 counties and 13 cities and towns in Southwestern Virginia. It promotes eight featured venues that highlight the history of traditional old-time, bluegrass, folk and country music."
___
Carving a niche on the Crooked Road - Roanoke.com: "'Those places didn't happen because the Crooked Road was initiated -- the Crooked Road happened because those places were already there,' said Wayne Angell, chairman of the Franklin County Board of Supervisors. 'To add a new one, you've got your work cut out for you. ... It's just a hard, hard task to make yourself different enough and significant enough that you'll attract a lot of people.'...
"'People are turning this a whole bunch of different ways, hopefully to their advantage,' Smith said. 'That's the strength of the Crooked Road, and that's its appeal. The music played in Franklin County is subtly different from the music played in Galax which is subtly different from the music played in Bristol which is subtly different from the music played in the coalfields.
"'With the Crooked Road, there's a new show every night,' Smith said."
virginia
crooked road
music scene
tourism
Virginia hills come alive with mountain music: "In 1974, after the Carter family had gained widespread success in the music industry, Janette Carter decided to start inviting bands and performers of bluegrass, old-time and traditional country music to the Carter family homeplace in Hiltons, about 30 miles west of Bristol.
"The Carter Family Fold was formally established in 1979, and it still attracts performers every Saturday night throughout the year.
"Today, Rita Forrester, Janette Carter's daughter, continues the tradition.
"Forrester estimates that the Carter Family Fold typically draws anywhere from 300 to 500 people for the Saturday night shows, during which both dancing and enjoying from the stadium seating are encouraged.
"'I'm amazed, considering how far out we are,' Forrester said.
"The site also includes the restored cabin where A.P. Carter was born and the Carter Family Museum.
"But three things, she said, have helped keep the Carter Family Fold alive, particularly in the past four years – the Internet, the so-called 'O Brother, Where Art Thou?' phenomenon and The Crooked Road marketing effort.
"Part of the southwestern region of Virginia has been dubbed The Crooked Road, and an organization was established three years ago to economically develop this mostly rural section of the state, 'using music as a metaphor,' said Bill Smith, executive director of The Crooked Road project.
"'On the surface, we're just signs on the side of the road that connect the venues. but the real story is the people and the music,' Smith said. ...
"The Crooked Road is a 250-mile stretch that winds through 10 counties and 13 cities and towns in Southwestern Virginia. It promotes eight featured venues that highlight the history of traditional old-time, bluegrass, folk and country music."
___
Carving a niche on the Crooked Road - Roanoke.com: "'Those places didn't happen because the Crooked Road was initiated -- the Crooked Road happened because those places were already there,' said Wayne Angell, chairman of the Franklin County Board of Supervisors. 'To add a new one, you've got your work cut out for you. ... It's just a hard, hard task to make yourself different enough and significant enough that you'll attract a lot of people.'...
"'People are turning this a whole bunch of different ways, hopefully to their advantage,' Smith said. 'That's the strength of the Crooked Road, and that's its appeal. The music played in Franklin County is subtly different from the music played in Galax which is subtly different from the music played in Bristol which is subtly different from the music played in the coalfields.
"'With the Crooked Road, there's a new show every night,' Smith said."
virginia
crooked road
music scene
tourism
A few thoughts on music sponsorship
Nothing too insightful here, but perhaps worth passing along.
Sponsorship Conference: How to pick the right partner: "'People are passionate about music, which means they are more open to engaging with brands that associate with it,' says Stephen Rogan, head of sponsorship at Virgin Mobile and also a panellist at Marketing's Sponsorship Conference. 'Music can be a powerful motivator for young people to adopt brands, and sponsoring music events gives brands access to this sought-after audience.'
"Partnering music events also gives brands the opportunity to add value to an experience. 'It is the little things that connect with people,' says Rogan; at this summer's V Festival, the operator set up a branded van offering free kebabs to Virgin Mobile customers.
"Virgin Mobile is a relevant sponsor of music festivals, given its parent brand's strong music heritage and the latest mobile phones' ability to play and download music. But for other brands there is a danger of a poor fit that could alienate a savvy youth audience. As much of the music industry is not yet fully set up to accommodate sponsorship opportunities, partnerships can also be much more difficult to develop."
Sponsorship Conference: How to pick the right partner: "'People are passionate about music, which means they are more open to engaging with brands that associate with it,' says Stephen Rogan, head of sponsorship at Virgin Mobile and also a panellist at Marketing's Sponsorship Conference. 'Music can be a powerful motivator for young people to adopt brands, and sponsoring music events gives brands access to this sought-after audience.'
"Partnering music events also gives brands the opportunity to add value to an experience. 'It is the little things that connect with people,' says Rogan; at this summer's V Festival, the operator set up a branded van offering free kebabs to Virgin Mobile customers.
"Virgin Mobile is a relevant sponsor of music festivals, given its parent brand's strong music heritage and the latest mobile phones' ability to play and download music. But for other brands there is a danger of a poor fit that could alienate a savvy youth audience. As much of the music industry is not yet fully set up to accommodate sponsorship opportunities, partnerships can also be much more difficult to develop."
Tuesday, October 24, 2006
Marketing ideas for location-based media
Here's an interesting site.
"Destination Cinema, Inc. (DCI) owns and operates giant screen theaters in tourist locations throughout North America, having pioneered the destination film and theater concept in 1984. One of the most prolific and successful producers of giant screen films, the Company owns a film library specializing in destination topics."
The company lists examples of promotions used for each of its films. Something similar could be done to promote local music.
Lewis & Clark -- Best Practices
Grand Canyon -- Best Practices
Mysteries of Egypt -- Best Practices
Whales -- Best Practices
"Destination Cinema, Inc. (DCI) owns and operates giant screen theaters in tourist locations throughout North America, having pioneered the destination film and theater concept in 1984. One of the most prolific and successful producers of giant screen films, the Company owns a film library specializing in destination topics."
The company lists examples of promotions used for each of its films. Something similar could be done to promote local music.
Lewis & Clark -- Best Practices
Grand Canyon -- Best Practices
Mysteries of Egypt -- Best Practices
Whales -- Best Practices
YouTube and location images
This article discusses how Downtown Los Angeles is portrayed through the videos people have posted on YouTube.
A community rich in culture can make for more interesting viewing (1) because more artists are there to do the filming and (2) there is more art/culture to be filmed.
LA Downtown News Online: "Type 'Downtown Los Angeles' into YouTube and dozens of Downtown scenes arise from the Internet ether. Some are inane personal vignettes, like a 10-second car ride through the Second Street tunnel. Others are poignant, such as a music video juxtaposing Skid Row with Rodeo Drive in Beverly Hills.
"With images of a colorful, painted elephant featured in the artist Banksy's warehouse exhibit last month, a drive through traffic on the 110 Freeway, military helicopters flying in between the skyscrapers, concerts like the recent Detour festival, rallies and loft tours, the videos capture Downtown's disparate facets, suddenly all visible at once."
A community rich in culture can make for more interesting viewing (1) because more artists are there to do the filming and (2) there is more art/culture to be filmed.
LA Downtown News Online: "Type 'Downtown Los Angeles' into YouTube and dozens of Downtown scenes arise from the Internet ether. Some are inane personal vignettes, like a 10-second car ride through the Second Street tunnel. Others are poignant, such as a music video juxtaposing Skid Row with Rodeo Drive in Beverly Hills.
"With images of a colorful, painted elephant featured in the artist Banksy's warehouse exhibit last month, a drive through traffic on the 110 Freeway, military helicopters flying in between the skyscrapers, concerts like the recent Detour festival, rallies and loft tours, the videos capture Downtown's disparate facets, suddenly all visible at once."
Great ROI from Denver's cultural investment
The Colorado Business Committee for the Arts just released its latest study on the value of cultural spending in the greater Denver metro area. There is even more info in the downloadable press release.
CBCA - Biannual Study Results: Culture created $1.4 Billion in metro area economic activity in 2005. Economic activity includes $785 million in audience spending, $597 million in operating expenditures, and $44 million in capital expenditures.
In 2005, culture generated $387 million in new money from cultural tourism, capital spending, and federal government grants.
Nonprofit scientific and cultural organizations paid almost $95 million in wages to 10,800 employees and over $16 million in seat, sales, and payroll taxes.
The attendance at 2005 cultural events reached 14 million.
Cultural activities attracted 2.4 million visitors from outside the metro area.
Each $1 in cultural spending creates $1.32 for other businesses.
Culture is a great return on investment. Building on $38.3 million in investment through the Scientific & Cultural Facilities District tax, the cultural sector returned $387 million in new money to our local economy, an impressive 10:1 return on investment.
CBCA - Biannual Study Results: Culture created $1.4 Billion in metro area economic activity in 2005. Economic activity includes $785 million in audience spending, $597 million in operating expenditures, and $44 million in capital expenditures.
In 2005, culture generated $387 million in new money from cultural tourism, capital spending, and federal government grants.
Nonprofit scientific and cultural organizations paid almost $95 million in wages to 10,800 employees and over $16 million in seat, sales, and payroll taxes.
The attendance at 2005 cultural events reached 14 million.
Cultural activities attracted 2.4 million visitors from outside the metro area.
Each $1 in cultural spending creates $1.32 for other businesses.
Culture is a great return on investment. Building on $38.3 million in investment through the Scientific & Cultural Facilities District tax, the cultural sector returned $387 million in new money to our local economy, an impressive 10:1 return on investment.
Nostalgia builds a community around hardcore
This article talks about 30 and 40-somethings turning out for hardcore shows and how the genre is becoming more popular now than when it first came out.
Out of the Box: Punk's Not Dead: "Aside from the noise, the defining feature of hardcore was its noncommercial nature. Bands and their fans largely organized their own concerts, zines and record labels because, as Paul Rachman, director of American Hardcore, said, 'There's no record companies, no managers, no lawyers [and] I can't hear it on the radio, I can't buy it in the record store.'
"The hardcore scene thus emerged as a virtually brand-free zone."
Out of the Box: Punk's Not Dead: "Aside from the noise, the defining feature of hardcore was its noncommercial nature. Bands and their fans largely organized their own concerts, zines and record labels because, as Paul Rachman, director of American Hardcore, said, 'There's no record companies, no managers, no lawyers [and] I can't hear it on the radio, I can't buy it in the record store.'
"The hardcore scene thus emerged as a virtually brand-free zone."
Monday, October 23, 2006
Promoting local music to a select few
This event is combining a high-level conference with a private showcase to highlight Canadian talent. It's a good idea if one of your goals is to make musicians are actually seen by industry types, who often end up partying with each other rather than checking out unknown bands.
CANOE -- JAM! Music - Karen Bliss's Lowdown: Insider Canadian music news: A new solution-minded music conference: "Vancouver's Transmission is a forward-thinking, solution-minded music conference restricted to 250 screened and accepted delegates from the international music and digital industries, who will participate in five roundtable discussions and two plenary sessions Nov. 30 to Dec. 2 at the Sheridan Wall Centre.
"There will also be a 20-act showcase for delegates only and a free outdoor concert open to the public called the Transmitnow Block Party on Dec. 2....
"'The key (criteria) for the artists is that they are export-ready and what we determined is that loosely means three main things,' says [co-producer Brad Josling of Diamond Dog Music].
"'First of all, they should've already established themselves domestically, done some strong touring, built a fan base, maybe done some international work. Secondly, they should be business ready, so they have to be supported by some sort of business structure whether it be strong management or a label, and those people have to be at the event with them, so that they can activate on the opportunity that's going to present itself at Transmission. Then, the third criteria is having a strong live show.' ...
"'The vision behind the festival has always been an artist development vehicle as well,' says Josling."
CANOE -- JAM! Music - Karen Bliss's Lowdown: Insider Canadian music news: A new solution-minded music conference: "Vancouver's Transmission is a forward-thinking, solution-minded music conference restricted to 250 screened and accepted delegates from the international music and digital industries, who will participate in five roundtable discussions and two plenary sessions Nov. 30 to Dec. 2 at the Sheridan Wall Centre.
"There will also be a 20-act showcase for delegates only and a free outdoor concert open to the public called the Transmitnow Block Party on Dec. 2....
"'The key (criteria) for the artists is that they are export-ready and what we determined is that loosely means three main things,' says [co-producer Brad Josling of Diamond Dog Music].
"'First of all, they should've already established themselves domestically, done some strong touring, built a fan base, maybe done some international work. Secondly, they should be business ready, so they have to be supported by some sort of business structure whether it be strong management or a label, and those people have to be at the event with them, so that they can activate on the opportunity that's going to present itself at Transmission. Then, the third criteria is having a strong live show.' ...
"'The vision behind the festival has always been an artist development vehicle as well,' says Josling."
Too much clutter and choice
A lot of amateur creative types, including musicians, have been encouraged by the "long tail" concept, which suggests that there is a market for all sorts of niche products.
But others have argued that the Internet won't open new doors for many people and all it will do is to help promote the usual superstars. (MySpace, for example, has largely been taken over by major labels promoting their bands).
Here's some reseach on the subject from Harvard. It's about movies, but the same should apply to music.
It points to the fact that there is lots to listen to online does not help people find it. In fact, on places like MySpace and YouTube, there tends to be a snowball effect. Once something becomes popular, more people check it out, increasing its popularity all the more.
Will the "Long Tail" Work for Hollywood? : "In the 2000-2005 period covered in the paper, the number of titles that sold only a few copies each week increased twofold—yet the number of titles that didn't sell at all was four times as high as in 2000.
"The increasing clutter may be a problem, she notes. With the right technology, anyone can offer a video via Amazon—but does that create the best environment for the consumer? Research on 'overchoice' by HBS professor John Gourville has shown that people can be so overwhelmed by the variety of products available that they go away without buying anything at all."
But others have argued that the Internet won't open new doors for many people and all it will do is to help promote the usual superstars. (MySpace, for example, has largely been taken over by major labels promoting their bands).
Here's some reseach on the subject from Harvard. It's about movies, but the same should apply to music.
It points to the fact that there is lots to listen to online does not help people find it. In fact, on places like MySpace and YouTube, there tends to be a snowball effect. Once something becomes popular, more people check it out, increasing its popularity all the more.
Will the "Long Tail" Work for Hollywood? : "In the 2000-2005 period covered in the paper, the number of titles that sold only a few copies each week increased twofold—yet the number of titles that didn't sell at all was four times as high as in 2000.
"The increasing clutter may be a problem, she notes. With the right technology, anyone can offer a video via Amazon—but does that create the best environment for the consumer? Research on 'overchoice' by HBS professor John Gourville has shown that people can be so overwhelmed by the variety of products available that they go away without buying anything at all."
Copenhagen Music Week
The MTV Europe Music Awards are in Copenhagen this year, so the city is going all out to showcase its music scene.
Copenhagen Music Week
Copenhagen Music Week
Sunday, October 22, 2006
Everyone wants to be a star
What a lot of musicians are having trouble adjusting to is the fact that audiences aren't like the used to be. Many artists are still hoping that if they produce great music, the world will love them and seek them out.
But those potential audiences are now more interested in creating their own music or at least using found music as a way to further their own dreams.
Everyone is asking, "What's in it for me?" So if your goal to sell music or make a living from music in some fashion, you have to have a ready answer.
Los Angeles Times: The iPod as a Reflection of You:
"Manufacturers feel that empowered customers are forcing them to offer some tailor-made something for each and every one of their ever-shifting whims. And they are.
"But what's going on underneath all this is that consumers want to displace producers entirely. What customers really want is to produce for themselves. And not just for themselves. Ultimately, they want to produce themselves.
"Things being what they are — things like refrigerators and cars and stoves — consumers can't actually become manufacturers. But wherever media technologies are making it possible for consumers to become the producers, they are doing it. The terms 'customer' and 'customize' have always been affiliated. Now they are fusing.
"As life becomes a production, it's only natural that it should be accompanied by a soundtrack. You are not only the star, after all, you are the director — and if you've learned anything from the movies, it's just how significant that soundtrack can be. Without the right song kicking in as you pull out of the gas station onto that desert highway in the evening light — without, say, Beck's 'The Golden Age' or maybe Neil Young's 'Helpless' — without something like that, well, it just wouldn't be you the way you want to be."
But those potential audiences are now more interested in creating their own music or at least using found music as a way to further their own dreams.
Everyone is asking, "What's in it for me?" So if your goal to sell music or make a living from music in some fashion, you have to have a ready answer.
Los Angeles Times: The iPod as a Reflection of You:
"Manufacturers feel that empowered customers are forcing them to offer some tailor-made something for each and every one of their ever-shifting whims. And they are.
"But what's going on underneath all this is that consumers want to displace producers entirely. What customers really want is to produce for themselves. And not just for themselves. Ultimately, they want to produce themselves.
"Things being what they are — things like refrigerators and cars and stoves — consumers can't actually become manufacturers. But wherever media technologies are making it possible for consumers to become the producers, they are doing it. The terms 'customer' and 'customize' have always been affiliated. Now they are fusing.
"As life becomes a production, it's only natural that it should be accompanied by a soundtrack. You are not only the star, after all, you are the director — and if you've learned anything from the movies, it's just how significant that soundtrack can be. Without the right song kicking in as you pull out of the gas station onto that desert highway in the evening light — without, say, Beck's 'The Golden Age' or maybe Neil Young's 'Helpless' — without something like that, well, it just wouldn't be you the way you want to be."
Saturday, October 21, 2006
How to brand culture
Here is an excellent article about Starbucks and its move into music, books, and film.
It's relevant to this blog because many local music scenes aspire to branding themselves, but for the most part don't do a good job of it.
Much of the problem stems from lack of focus. Compilation CDs, for example, featuring local artists are often a jumble of different genres and quality. Other than location there's nothing to tie them all together.
Starbucks has a well-defined image of its core customer ("educated, with an average age of 42 and an average income of $90,000") and its own brand and uses culture to reinforce both. “'Customers say one of the reasons they come is because they can discover new things — a new coffee from Rwanda, a new food item. So extending that sense of discovery into entertainment is very natural for us. That’s all part of the Starbucks experience,' said Anne Saunders, senior vice president of global brand strategy and communications."
The Starbucks Aesthetic - New York Times: "THE more cultural products with which Starbucks affiliates itself, the more clearly a Starbucks aesthetic comes into view: the image the chain is trying to cultivate and the way it thinks it reflecting its consumer."
It's relevant to this blog because many local music scenes aspire to branding themselves, but for the most part don't do a good job of it.
Much of the problem stems from lack of focus. Compilation CDs, for example, featuring local artists are often a jumble of different genres and quality. Other than location there's nothing to tie them all together.
Starbucks has a well-defined image of its core customer ("educated, with an average age of 42 and an average income of $90,000") and its own brand and uses culture to reinforce both. “'Customers say one of the reasons they come is because they can discover new things — a new coffee from Rwanda, a new food item. So extending that sense of discovery into entertainment is very natural for us. That’s all part of the Starbucks experience,' said Anne Saunders, senior vice president of global brand strategy and communications."
The Starbucks Aesthetic - New York Times: "THE more cultural products with which Starbucks affiliates itself, the more clearly a Starbucks aesthetic comes into view: the image the chain is trying to cultivate and the way it thinks it reflecting its consumer."
Friday, October 20, 2006
Music is important, but where's the money?
Without music, there would be no iPods. MySpace would be considerably smaller. P2P wouldn't be much of a story.
Everyday the media is full of music-related stories.
But here's the irony. It's getting harder to sell recorded music, because it is so easily pirated. That means live music is gaining in importance as a way for musicians to make money.
But local venues are closing. There are fewer places for bands to play.
If there are fewer places to play, there are fewer opportunities for young bands to gain experience in front of live audiences.
So we get an ever increasing number of hobby bands. They can create music in their basements, and they can put it on MySpace and YouTube, but they have no experience performing in front of audiences and they don't generate any money from their music.
When do you suppose we reach a critical point where we either start supporting local music as a way to develop talent, or we see a decline in the quality of music available, which in turn impacts all those networks and devices that depend on music to attract users?
It just might be in the music and electronics industries self-interest to sponsor some local music venues.
Digital Media Content Drives Consumer Electronics - 10/20/2006 - Electronic News: "The delivery of digital media content, including video and music, has emerged as a primary driver of the global consumer electronics industry and its associated semiconductor market, iSuppli Corp. believes.
"A look at all the hot products and services across the electronics value chain—from MP3 and portable media players (PMP), to Internet Protocol televisions (IPTV), to digital video recorders, to mobile TV and mobile music—reveals one thing in common: Their value is derived from the delivery of digital media content, and their growth is driven by achieving alignment among content, operator and platforms."
Everyday the media is full of music-related stories.
But here's the irony. It's getting harder to sell recorded music, because it is so easily pirated. That means live music is gaining in importance as a way for musicians to make money.
But local venues are closing. There are fewer places for bands to play.
If there are fewer places to play, there are fewer opportunities for young bands to gain experience in front of live audiences.
So we get an ever increasing number of hobby bands. They can create music in their basements, and they can put it on MySpace and YouTube, but they have no experience performing in front of audiences and they don't generate any money from their music.
When do you suppose we reach a critical point where we either start supporting local music as a way to develop talent, or we see a decline in the quality of music available, which in turn impacts all those networks and devices that depend on music to attract users?
It just might be in the music and electronics industries self-interest to sponsor some local music venues.
Digital Media Content Drives Consumer Electronics - 10/20/2006 - Electronic News: "The delivery of digital media content, including video and music, has emerged as a primary driver of the global consumer electronics industry and its associated semiconductor market, iSuppli Corp. believes.
"A look at all the hot products and services across the electronics value chain—from MP3 and portable media players (PMP), to Internet Protocol televisions (IPTV), to digital video recorders, to mobile TV and mobile music—reveals one thing in common: Their value is derived from the delivery of digital media content, and their growth is driven by achieving alignment among content, operator and platforms."
Thursday, October 19, 2006
The All-Ages Movement Project
Here's an interesting resource. You can find several PDF files with more in-depth info.
"The All-ages Movement Project is building a coalition of community-based organizations that connect young people through underground independent music and art."
This includes:
• Urban, hip hop, rap, punk, hardcore, indie rock, pop, electronic, avant garde, neo folk music shows and records
• Other - Zines, videos, films, performance art & installations, poetry, murals, products that overlap regularly with music and also exist in between the worlds of art and industry."
AMP has designed a database that now houses the names of over 300 organizations that embody a combination of the following things:
* youth empowerment component
* popular music focus
* participatory structure
* produce music related cultural products
"The All-ages Movement Project is building a coalition of community-based organizations that connect young people through underground independent music and art."
This includes:
• Urban, hip hop, rap, punk, hardcore, indie rock, pop, electronic, avant garde, neo folk music shows and records
• Other - Zines, videos, films, performance art & installations, poetry, murals, products that overlap regularly with music and also exist in between the worlds of art and industry."
AMP has designed a database that now houses the names of over 300 organizations that embody a combination of the following things:
* youth empowerment component
* popular music focus
* participatory structure
* produce music related cultural products
Looking for the new music community
There have been a number of articles about the glory days of Tower Records. But if your association with Tower was that of a corporate giant trying to muscle out your local independent music store, then you probably don't understand why anyone cares that it is going away.
Here's an article about Tower in San Francisco, where the store opened in 1968. It used to be a gathering place for music fans.
There's the online world now, but that doesn't give you a place to go when you want to get out of the house and see people.
For S.F. rockers, Tower Records was where it was all happening -- now the party's over: "'On Friday nights, the place was like an event,' says record promotion man Dave Sholin, who back in the '70s ran the city's ruling Top 40 station, KFRC. 'Just going in and seeing everybody in the place, the aisles jammed, all the new releases -- it would be hard to describe to someone who wasn't there.'
"Clerks like Powers were the rule, not the exception. They knew music and they worked at Tower because they liked it. They also recognized musicians and treated them to employee discounts. Michael Carabello, the original conga drummer with Santana, remembers going down to Columbus and Bay with his band's guitarist, Carlos Santana, and raiding the jazz section for Gabor Szabo albums, which miraculously cost nothing when they went to the cash register. That Santana went on to record Szabo's 'Gypsy Queen' on the band's breakthrough album, 'Abraxas,' makes Tower a fairly direct tributary into the cultural mainstream.
"It was a place that could be packed for in-store appearances by Joan Jett or Luciano Pavarotti. The opera in-stores were an annual event, in fact, and all the big names in the field made appearances. Tower always had the best selection of classical records at the lowest prices, too. Former manager Haynes remembers knocking down a wall in the store's warehouse to build the first opera room, laying down the tiles after the store closed at midnight. Inventories were also all-night affairs and such a party that employees vied for the assignment. ...
"Tower was more than a record store; it was a cultural hub. Tower was one of the main outlets for concert tickets in the days before computerized ticketing, and fans would line up for blocks outside the store when tickets for popular concerts went on sale. The chain also produced a giveaway tabloid called Pulse, full of record reviews, interviews and, of course, record company advertising. Tower was a market leader in innovations, such as in-store video plays or listening posts, which must have reminded Solomon of the old listening booths he used to maintain in his father's store."
Here's an article about Tower in San Francisco, where the store opened in 1968. It used to be a gathering place for music fans.
There's the online world now, but that doesn't give you a place to go when you want to get out of the house and see people.
For S.F. rockers, Tower Records was where it was all happening -- now the party's over: "'On Friday nights, the place was like an event,' says record promotion man Dave Sholin, who back in the '70s ran the city's ruling Top 40 station, KFRC. 'Just going in and seeing everybody in the place, the aisles jammed, all the new releases -- it would be hard to describe to someone who wasn't there.'
"Clerks like Powers were the rule, not the exception. They knew music and they worked at Tower because they liked it. They also recognized musicians and treated them to employee discounts. Michael Carabello, the original conga drummer with Santana, remembers going down to Columbus and Bay with his band's guitarist, Carlos Santana, and raiding the jazz section for Gabor Szabo albums, which miraculously cost nothing when they went to the cash register. That Santana went on to record Szabo's 'Gypsy Queen' on the band's breakthrough album, 'Abraxas,' makes Tower a fairly direct tributary into the cultural mainstream.
"It was a place that could be packed for in-store appearances by Joan Jett or Luciano Pavarotti. The opera in-stores were an annual event, in fact, and all the big names in the field made appearances. Tower always had the best selection of classical records at the lowest prices, too. Former manager Haynes remembers knocking down a wall in the store's warehouse to build the first opera room, laying down the tiles after the store closed at midnight. Inventories were also all-night affairs and such a party that employees vied for the assignment. ...
"Tower was more than a record store; it was a cultural hub. Tower was one of the main outlets for concert tickets in the days before computerized ticketing, and fans would line up for blocks outside the store when tickets for popular concerts went on sale. The chain also produced a giveaway tabloid called Pulse, full of record reviews, interviews and, of course, record company advertising. Tower was a market leader in innovations, such as in-store video plays or listening posts, which must have reminded Solomon of the old listening booths he used to maintain in his father's store."
Sponsorship guidelines
This article gives good overview of sponsorships, a case study ("Orange Playlist," which is an advertiser-funded music and entertainment show), and list of sponsorship dos and don'ts.
Marketing Sponsorship Manual: Worthwhile associations - Brand Republic: "'Brands must seek to enhance the event and therefore have a genuine reason for being there,' says Adrian Pettett, director of brand entertainment agency Cake. 'The best brands add value to the festival-goers' experience. When a brand gets this right, it enjoys an incredibly rewarding platform from which to promote the brand to a very specific target audience.'
"The burgeoning involvement of technology brands in festivals is illustrated by the calendar of music events, which includes the O2 Wireless Festival, Virgin's V festival and the Nokia Isle of Wight Festival. Tiscali and AOL also both sponsored smaller events this year. In many cases, brand awareness is not the ultimate goal. Sponsors value the chance to showcase their technology and to offer exclusive content to their customers, which provides a potential revenue stream across several media."
Marketing Sponsorship Manual: Worthwhile associations - Brand Republic: "'Brands must seek to enhance the event and therefore have a genuine reason for being there,' says Adrian Pettett, director of brand entertainment agency Cake. 'The best brands add value to the festival-goers' experience. When a brand gets this right, it enjoys an incredibly rewarding platform from which to promote the brand to a very specific target audience.'
"The burgeoning involvement of technology brands in festivals is illustrated by the calendar of music events, which includes the O2 Wireless Festival, Virgin's V festival and the Nokia Isle of Wight Festival. Tiscali and AOL also both sponsored smaller events this year. In many cases, brand awareness is not the ultimate goal. Sponsors value the chance to showcase their technology and to offer exclusive content to their customers, which provides a potential revenue stream across several media."
Wednesday, October 18, 2006
Cover bands -- it's always cover bands
The New Hampshire music scene is a lot like many others. But maybe it will make you feel better knowing that you're not alone if you have trouble finding gigs for original music.
HippoPress -- The Hippo -- Guide to Manchester and Nashua NH: "It ain't easy being original.
"For bands trying to play their own music in New Hampshire, the road to getting gigs can be a bumpy one. Many bars and restaurants feel original bands are too much of a risk. Cover bands (bands that play popular music and serve as sort of a live jukebox) are a safer bet and have an easier time keeping a crowd on the floor dancing and just generally in the bar, buying drinks."
HippoPress -- The Hippo -- Guide to Manchester and Nashua NH: "It ain't easy being original.
"For bands trying to play their own music in New Hampshire, the road to getting gigs can be a bumpy one. Many bars and restaurants feel original bands are too much of a risk. Cover bands (bands that play popular music and serve as sort of a live jukebox) are a safer bet and have an easier time keeping a crowd on the floor dancing and just generally in the bar, buying drinks."
Nightlife in Singapore
This article is about dance clubs rather than live music, but the emphasis on tourism and nightlife is of interest.
Channelnewsasia.com: "Singapore is aiming to be the clubbing capital of Asia and this year alone, over $48 million has been pumped into the nightlife scene....
"Champagne company, Moet & Chandon, says Singapore is its most important market in Asia.
"'Singapore is important because of finance, the power of Singapore goes beyond the country, so if you are strong in Singapore, you might also be strong in the rest of Asia,' said Jean Berchon, Vice President, Corporate Communications, Moet & Chandon.
"So can Singapore be the clubbing capital of the region?
"Many clubbers say the country is well on its way.
"The Singapore Tourism Board sees entertainment as a key sector that will help bring in 17 million visitors to spend S$30 billion by 2015."
Channelnewsasia.com: "Singapore is aiming to be the clubbing capital of Asia and this year alone, over $48 million has been pumped into the nightlife scene....
"Champagne company, Moet & Chandon, says Singapore is its most important market in Asia.
"'Singapore is important because of finance, the power of Singapore goes beyond the country, so if you are strong in Singapore, you might also be strong in the rest of Asia,' said Jean Berchon, Vice President, Corporate Communications, Moet & Chandon.
"So can Singapore be the clubbing capital of the region?
"Many clubbers say the country is well on its way.
"The Singapore Tourism Board sees entertainment as a key sector that will help bring in 17 million visitors to spend S$30 billion by 2015."
Saskatchewan hopes to boost its music industry
Gov't eyes boost to music industry: "While Saskatchewan's film industry is booming, the music industry falls short in comparison. The musical talent pool may be deep, but opportunities for musicians to perform, tour, record and sustain a decent living in the province are lacking.
"Crofford hopes this will change through incentives such as tax relief and added funding.
"'Our artists don't have as much access and understanding of new technology to reach not only the markets in Saskatchewan, and the younger markets, but markets around the world. The second thing is that people don't have enough resources to do promotion and marketing, so we need a way, as the (Culture, Youth and Recreation) Minister Glenn Hagel puts it, to be 'Proud out loud,' she said.
"During the province's centennial, 'showcase opportunities' for artists were higher. Crofford is hoping the industry receives a boost in the province with upcoming events such as the Juno Awards in Saskatoon, the Canadian Country Music Awards in Regina and the Western Canadian Music Awards in Moose Jaw, and past events such as the Rolling Stones concerts in Regina."
"Crofford hopes this will change through incentives such as tax relief and added funding.
"'Our artists don't have as much access and understanding of new technology to reach not only the markets in Saskatchewan, and the younger markets, but markets around the world. The second thing is that people don't have enough resources to do promotion and marketing, so we need a way, as the (Culture, Youth and Recreation) Minister Glenn Hagel puts it, to be 'Proud out loud,' she said.
"During the province's centennial, 'showcase opportunities' for artists were higher. Crofford is hoping the industry receives a boost in the province with upcoming events such as the Juno Awards in Saskatoon, the Canadian Country Music Awards in Regina and the Western Canadian Music Awards in Moose Jaw, and past events such as the Rolling Stones concerts in Regina."
Monday, October 16, 2006
CBGB's last concert
CBGB Brings Down the Curtain With Nostalgia and One Last Night of Rock - New York Times: “'CBGB is a state of mind,' [Patti Smith] said from the stage in a short preshow set for the news media whose highlight was a medley of Ramones songs.
“'There’s new kids with new ideas all over the world,' she added. 'They’ll make their own places — it doesn’t matter whether it’s here or wherever it is.' ...
“'When we first started there was no place we could play, so we ended up on the Bowery,' said Tom Erdelyi, better known as Tommy Ramone, the group’s first drummer and only surviving original member. 'It ended up a perfect match.' ...
"CBGB ... is the latest and highest-profile rock club to vanish from Lower Manhattan in recent years as rents and other expenses have continued to skyrocket. Last year the Bottom Line closed over a debt of $185,000 to its landlord, New York University, and Fez and the Luna Lounge shut down because of development. The Continental, another ragged temple of punk on Third Avenue in the East Village, quit live music last month. Other clubs have sprouted up in Manhattan, but the center of gravity of the city’s club scene has gradually been shifting to Brooklyn. ...
”The club’s interior — a narrow corridor with a bar to the right, the stage to the back, stalactites of grime dangling from the ceiling and miles of ancient posters and graffiti all around — is almost as cherished as its music."
cbgb
music scene
“'There’s new kids with new ideas all over the world,' she added. 'They’ll make their own places — it doesn’t matter whether it’s here or wherever it is.' ...
“'When we first started there was no place we could play, so we ended up on the Bowery,' said Tom Erdelyi, better known as Tommy Ramone, the group’s first drummer and only surviving original member. 'It ended up a perfect match.' ...
"CBGB ... is the latest and highest-profile rock club to vanish from Lower Manhattan in recent years as rents and other expenses have continued to skyrocket. Last year the Bottom Line closed over a debt of $185,000 to its landlord, New York University, and Fez and the Luna Lounge shut down because of development. The Continental, another ragged temple of punk on Third Avenue in the East Village, quit live music last month. Other clubs have sprouted up in Manhattan, but the center of gravity of the city’s club scene has gradually been shifting to Brooklyn. ...
”The club’s interior — a narrow corridor with a bar to the right, the stage to the back, stalactites of grime dangling from the ceiling and miles of ancient posters and graffiti all around — is almost as cherished as its music."
cbgb
music scene
Sunday, October 15, 2006
All Ages Club a Labor of Love
Here's an article about an all ages club in New Hampshire that is looking for a new place because the building is being sold.
I'm posting this because most people acknowledge the value of all ages clubs, both as a place for teens to hang out and also as a way to exposure younger audiences to live music. Yet many communities have no all ages clubs, and those that do often have trouble hanging on to them.
Church groups and YMCAs are probably some of the few groups that have the facilities and the funding to do something like this. The fact that churches can offer a place for wholesome music targeted to teens benefits the Christian rock/pop music significantly.
When I was a teenager living on a Navy base in the Philippines, we had a teen club and it was the center of our lives. That's where we gathered every Friday and Saturday night.
The Telegraph Online: "Drifters draws fewer than 100 people on a decent night, Christian Skinner said. Patrons pay a $10 cover charge. ...
"The Skinners have been running all-ages venues out of pocket with no help from the government or private organizations for 11 years, Christian Skinner said.
“'Every dime that comes into this business goes right back into it; there’s no profit in it.'
"They’ve considered raising the cover charge, but they fear that would deter their biggest customers – the 13- to 18-year-olds, who barely can afford $10, they said.
"The Skinners make money to support themselves and their three children – Nissi, 5, James, 3, and Stella, 7 months – though a home-based business selling vitamins and health-care products."
The article goes on to quote a number of musicians who praise Drifters as a place where they either got their start, could play in a friendly alcohol-free atmosphere, or both.
I'm posting this because most people acknowledge the value of all ages clubs, both as a place for teens to hang out and also as a way to exposure younger audiences to live music. Yet many communities have no all ages clubs, and those that do often have trouble hanging on to them.
Church groups and YMCAs are probably some of the few groups that have the facilities and the funding to do something like this. The fact that churches can offer a place for wholesome music targeted to teens benefits the Christian rock/pop music significantly.
When I was a teenager living on a Navy base in the Philippines, we had a teen club and it was the center of our lives. That's where we gathered every Friday and Saturday night.
The Telegraph Online: "Drifters draws fewer than 100 people on a decent night, Christian Skinner said. Patrons pay a $10 cover charge. ...
"The Skinners have been running all-ages venues out of pocket with no help from the government or private organizations for 11 years, Christian Skinner said.
“'Every dime that comes into this business goes right back into it; there’s no profit in it.'
"They’ve considered raising the cover charge, but they fear that would deter their biggest customers – the 13- to 18-year-olds, who barely can afford $10, they said.
"The Skinners make money to support themselves and their three children – Nissi, 5, James, 3, and Stella, 7 months – though a home-based business selling vitamins and health-care products."
The article goes on to quote a number of musicians who praise Drifters as a place where they either got their start, could play in a friendly alcohol-free atmosphere, or both.
Even smaller communities can have active music organizations
I lived in Pueblo from 1989 to 1991. This was before the Pueblo Songwriters and Musicians Association was formed, but my then-husband played in bluegrass jams just about every week (many of them at our house).
Pueblo was once a major steel town, but when the steel mill closed down, it was looking for a new identity. When I lived there, I met many of the artists in town, who were drawn to Pueblo in part by cheap housing and inexpensive studio space. My daughter did a summer internship at the Sangre d Cristo Arts and Conference Center.
Pueblo has a little over 100,000 people. This music association sounds more active and more cohesive than in many other communities, perhaps because there is less to do in town and more incentive to work together.
The Pueblo Chieftain Online: "From the ashes of the Acoustic Cafe rose the Acoustic Gallery, to this day a mainstay of the PSMA agenda. Started in May 1998 at the Sangre de Cristo Arts and Conference Center, the Cafe - which spotlights musicians playing unamplified instruments - is held at 7 p.m. on the second Tuesday of the month at Zippers.
An amplified cousin to the Acoustic Gallery is the Electric Gallery, which marks its six-year anniversary this month. Like the Cafe, the Electric Gallery also takes place at Zippers, at 7 p.m. on the fourth Tuesday of the month.
Other events that have had a PSMA presence include the Riverfest, the Colorado State Fair and the Chile and Frijoles Festival.
While PSMA members are dedicated to the local music scene and its players, lending a helping hand to the less fortunate through music has always been a paramount goal. To this end, PSMA for six years has staged the Wayside Cross Homeless Benefit, a multi-day event featuring a parade of bands and musicians volunteering their time and talent for the local homeless mission.
Another priority is the Adopt A Music Student program, started in 1999 to provide musical instruments and support to underprivileged schoolchildren. Through the years, the association has donated instruments and funds to music programs at Corwin Middle School, Cesar Chavez Academy, Central High School, Desert Sage Elementary and Beulah School."
Pueblo was once a major steel town, but when the steel mill closed down, it was looking for a new identity. When I lived there, I met many of the artists in town, who were drawn to Pueblo in part by cheap housing and inexpensive studio space. My daughter did a summer internship at the Sangre d Cristo Arts and Conference Center.
Pueblo has a little over 100,000 people. This music association sounds more active and more cohesive than in many other communities, perhaps because there is less to do in town and more incentive to work together.
The Pueblo Chieftain Online: "From the ashes of the Acoustic Cafe rose the Acoustic Gallery, to this day a mainstay of the PSMA agenda. Started in May 1998 at the Sangre de Cristo Arts and Conference Center, the Cafe - which spotlights musicians playing unamplified instruments - is held at 7 p.m. on the second Tuesday of the month at Zippers.
An amplified cousin to the Acoustic Gallery is the Electric Gallery, which marks its six-year anniversary this month. Like the Cafe, the Electric Gallery also takes place at Zippers, at 7 p.m. on the fourth Tuesday of the month.
Other events that have had a PSMA presence include the Riverfest, the Colorado State Fair and the Chile and Frijoles Festival.
While PSMA members are dedicated to the local music scene and its players, lending a helping hand to the less fortunate through music has always been a paramount goal. To this end, PSMA for six years has staged the Wayside Cross Homeless Benefit, a multi-day event featuring a parade of bands and musicians volunteering their time and talent for the local homeless mission.
Another priority is the Adopt A Music Student program, started in 1999 to provide musical instruments and support to underprivileged schoolchildren. Through the years, the association has donated instruments and funds to music programs at Corwin Middle School, Cesar Chavez Academy, Central High School, Desert Sage Elementary and Beulah School."
Saturday, October 14, 2006
Indie labels thrive in Canada
Indie labels thrive in the Great White North| Reuters.com: "From the windswept island of Newfoundland across the rolling prairies to the northern Yukon province, flourishing Canadian labels are offering an outlet to local traditional and folk-styled artists.
"Although largely unknown in mainstream music circles, these entrepreneurial boutiques are highly visible in their individual regions in mom-and-pop 'variety' stores, gas stations and tourist gift shops as well as such mass merchants as Wal-Mart and Zellers.
"Eight-year-old Avondale Music specializes in Newfoundland's distinctive roots music ... Lyle Drake, co-owner with his wife, Dolores, estimates that 90 percent of sales come from within the island itself.
'There's no stigma here attached to buying local product,' Drake says. 'People buy local product as readily as they do the new Madonna.'"
"Although largely unknown in mainstream music circles, these entrepreneurial boutiques are highly visible in their individual regions in mom-and-pop 'variety' stores, gas stations and tourist gift shops as well as such mass merchants as Wal-Mart and Zellers.
"Eight-year-old Avondale Music specializes in Newfoundland's distinctive roots music ... Lyle Drake, co-owner with his wife, Dolores, estimates that 90 percent of sales come from within the island itself.
'There's no stigma here attached to buying local product,' Drake says. 'People buy local product as readily as they do the new Madonna.'"
Using text messaging at festivals
Here's a plan to use cellphone text messaging to enhance a local festival experience. Finding out when bands will actually play (versus when they are scheduled to play) would be a godsend for those trying to decide when to be where.
Dane101 | The Collaborative Blog for Madison, Wisconsin: "Halloween goers can sign up for text alerts at CRASHMadison.com. Ejercito said he will start the posts with an update on the weather so anyone heading out know if they should bundle up or bring an umbrella. other information provided will be information on options for reporting harassment and safe transportation options.
"From there, utilizing a team of volunteers scattered throughout State Street and other Halloween hot spots around Madison, as well as reports from citizens, he will give updates on line conditions (where the shortest and longest lines are), updates on when bands will be taking the stage, and of course reports on dangerous situations."
Dane101 | The Collaborative Blog for Madison, Wisconsin: "Halloween goers can sign up for text alerts at CRASHMadison.com. Ejercito said he will start the posts with an update on the weather so anyone heading out know if they should bundle up or bring an umbrella. other information provided will be information on options for reporting harassment and safe transportation options.
"From there, utilizing a team of volunteers scattered throughout State Street and other Halloween hot spots around Madison, as well as reports from citizens, he will give updates on line conditions (where the shortest and longest lines are), updates on when bands will be taking the stage, and of course reports on dangerous situations."
Where music is headed
The concept of building a community -- in its many forms -- makes a great deal of sense.
TheStar.com - Hipsters put their cool brand on the local scene: "Ukula includes but is not limited to: a lifestyle concept; a website community; a free magazine; a dj night; a party spot featuring emerging Toronto bands such as Born Ruffians; and a store that sells one-off handbags. This four-city, two-continent, interconnected project was dreamed up in 2002 by two enterprising lads from Edinburgh.
"Graeme Maclean and Kevin Renton built this online/real-life community to link the music, fashion and literature scenes in Toronto, Montreal, New York and London. The goal is to provide 'an independent global network for communication and exposure like no other,' according to ukula.com.
"And the network is expanding, with last month's opening of the Ukula store on College St.
"... It's also a coffee shop and hang-out spot for whoever happens to drop by.
"'It's not just about the clothes,' says 30-year-old Maclean. 'It's a cafe, it's a music lounge, a place to meet people. Our music editor's very happy because now he's got a place to meet bands and he's here every night.'"
TheStar.com - Hipsters put their cool brand on the local scene: "Ukula includes but is not limited to: a lifestyle concept; a website community; a free magazine; a dj night; a party spot featuring emerging Toronto bands such as Born Ruffians; and a store that sells one-off handbags. This four-city, two-continent, interconnected project was dreamed up in 2002 by two enterprising lads from Edinburgh.
"Graeme Maclean and Kevin Renton built this online/real-life community to link the music, fashion and literature scenes in Toronto, Montreal, New York and London. The goal is to provide 'an independent global network for communication and exposure like no other,' according to ukula.com.
"And the network is expanding, with last month's opening of the Ukula store on College St.
"... It's also a coffee shop and hang-out spot for whoever happens to drop by.
"'It's not just about the clothes,' says 30-year-old Maclean. 'It's a cafe, it's a music lounge, a place to meet people. Our music editor's very happy because now he's got a place to meet bands and he's here every night.'"
Thursday, October 12, 2006
The power of music
This quote comes from Daniel Levitin, author of the book, This Is Your Brain on Music: The Science of a Human Obsession.
Wired News: Music Makes Your Brain Happy: "(Research has shown that) if women could choose who they'd like to be impregnated by, they'd choose a rock star. There's something about the rock star's genes that is signaling creativity, flexibility of thinking, flexibility of mind and body, an ability to express and process emotions -- not to mention that (musical talent) signals that if you can waste your time on something that has no immediate impact on food-gathering and shelter, you’ve got your food-gathering and shelter taken care of."
Wired News: Music Makes Your Brain Happy: "(Research has shown that) if women could choose who they'd like to be impregnated by, they'd choose a rock star. There's something about the rock star's genes that is signaling creativity, flexibility of thinking, flexibility of mind and body, an ability to express and process emotions -- not to mention that (musical talent) signals that if you can waste your time on something that has no immediate impact on food-gathering and shelter, you’ve got your food-gathering and shelter taken care of."
Wednesday, October 11, 2006
Gobbling up NYC venues
This was written in November 2005, before CBGB closed, but after a number of other clubs were shuttered.
Is NYC still the nation’s prime rock ‘n’ roll city?: "The problem isn’t a shortage of talent. People with that end up here pretty consistently. It’s got more to do with infrastructure and economics. In the current real-estate bubble, selling or renting housing to the deep-pockets crowd is so much more profitable than hosting the arts (or practically anything else) that landlords all over town have decided to cash in. Those whose tenants are music venues may or may not care that when they extract the maximum commercial value from their own property, they also chip away at the general cultural atmosphere that’s had so much to do with making NYC property valuable in the first place."
Is NYC still the nation’s prime rock ‘n’ roll city?: "The problem isn’t a shortage of talent. People with that end up here pretty consistently. It’s got more to do with infrastructure and economics. In the current real-estate bubble, selling or renting housing to the deep-pockets crowd is so much more profitable than hosting the arts (or practically anything else) that landlords all over town have decided to cash in. Those whose tenants are music venues may or may not care that when they extract the maximum commercial value from their own property, they also chip away at the general cultural atmosphere that’s had so much to do with making NYC property valuable in the first place."
Great article on open mic nights
Many musicians get their start at open mics, which are at the heart of many local music scenes. This is a very thorough article with a number of resources.
The article also quotes Sam Shaber, who I know because she performs in Colorado quite a bit. Now that she has relocated from NYC to LA, she's also performing with a number of Colorado ex-pats (like Matt Moon) who now live out there, plus other artists who do the circuit from LA to Colorado and back again (like Jay Nash).
Onstage article: "Open mic nights are a rich and often overlooked resource for musicians. You can gain performing experience, test new material, network with area musicians, find and audition for gigs, or all of the above. And contrary to popular belief, open mic nights are not just for beginners or acoustic-guitar-slinging singer-songwriters."
The article also quotes Sam Shaber, who I know because she performs in Colorado quite a bit. Now that she has relocated from NYC to LA, she's also performing with a number of Colorado ex-pats (like Matt Moon) who now live out there, plus other artists who do the circuit from LA to Colorado and back again (like Jay Nash).
Onstage article: "Open mic nights are a rich and often overlooked resource for musicians. You can gain performing experience, test new material, network with area musicians, find and audition for gigs, or all of the above. And contrary to popular belief, open mic nights are not just for beginners or acoustic-guitar-slinging singer-songwriters."
Bar and nightclub patrons prefer live music to DJs, jukeboxes, or house systems
Here's an interesting survey. Nightclub & Bar Magazine - Let the Music Play
Bar and nightclub patrons were asked about the music they prefer. Particularly significant is that they want live music.
45% said live music.
19% said DJ.
19% said jukebox
17% said house system.
They also want a little variety in their music at one venue.
38% want a slight mix.
31% want a wide mix.
17% want certain genres each night.
14% want the same genre.
In terms of genre, in bars 44% prefer rock/alternative. The next most popular music was 80s, mentioned by 29%.
In nightclubs, 28% prefer 80s music, 25% prefer rock/alternative, and 21% hip-hop.
Bar and nightclub patrons were asked about the music they prefer. Particularly significant is that they want live music.
45% said live music.
19% said DJ.
19% said jukebox
17% said house system.
They also want a little variety in their music at one venue.
38% want a slight mix.
31% want a wide mix.
17% want certain genres each night.
14% want the same genre.
In terms of genre, in bars 44% prefer rock/alternative. The next most popular music was 80s, mentioned by 29%.
In nightclubs, 28% prefer 80s music, 25% prefer rock/alternative, and 21% hip-hop.
Tuesday, October 10, 2006
Las Vegas festival still trying to find its focus
Las Vegas Business Press: "To counterbalance initially slow ticket sales, Vegoose promoters are focusing part of their efforts on the Las Vegas fan base. Last year, only 10 percent of the attendees were from Southern Nevada (compared to 32 percent from Southern California), something everyone involved would like to see change....
"Despite an increased focus on local patrons, the primary goal of Vegoose is still to boost tourism on Halloween weekend, a traditionally lackluster period for the area's gaming properties. According to post-event analysis compiled by R&R Partners, a total of 36,825 visitors came to the area for the first Vegoose. Of an estimated total economic impact of $37.3 million, $30.4 million came from non-gaming revenue; 27,150 hotel rooms were utilized, 78 percent of those on the Strip, 24,425 by out-of-town fans who came to Las Vegas just for the festival. For 16 percent of the out-of-state attendees, it was their first trip to Las Vegas."
"Despite an increased focus on local patrons, the primary goal of Vegoose is still to boost tourism on Halloween weekend, a traditionally lackluster period for the area's gaming properties. According to post-event analysis compiled by R&R Partners, a total of 36,825 visitors came to the area for the first Vegoose. Of an estimated total economic impact of $37.3 million, $30.4 million came from non-gaming revenue; 27,150 hotel rooms were utilized, 78 percent of those on the Strip, 24,425 by out-of-town fans who came to Las Vegas just for the festival. For 16 percent of the out-of-state attendees, it was their first trip to Las Vegas."
Monday, October 09, 2006
The continuing importance of local music in a global world
A book review.
Popular Music and Society: Sound Tracks: Popular Music, Identity and Place: "The local not only continues to be the place in which most people encounter music and its potential meanings, according to Connell and Gibson, but conceptualizations of the local have become even more crucial in the global context. Often, the local lingers in new transnational situations as a reinvented ideal of authenticity, allowing senses of place to be voraciously commodified. But so too, Connell and Gibson note, locality and place help people cope with, transform, or even resist, the disruptive, harmful aspects of the growing global market."
Popular Music and Society: Sound Tracks: Popular Music, Identity and Place: "The local not only continues to be the place in which most people encounter music and its potential meanings, according to Connell and Gibson, but conceptualizations of the local have become even more crucial in the global context. Often, the local lingers in new transnational situations as a reinvented ideal of authenticity, allowing senses of place to be voraciously commodified. But so too, Connell and Gibson note, locality and place help people cope with, transform, or even resist, the disruptive, harmful aspects of the growing global market."
Sunday, October 08, 2006
Cultural events are good for your health
Attendance at cultural events, reading books or periodicals, and making music or singing in a choir as determinants for survival: According to this study, people who go to movies, plays, concerts and other forms of live music, museums and art exhibits, and sporting events live long than those who don't. In other words, cultural activities keep you alive.
Consumption of the live music experience
On a Denver music discussion board, there's been a discussion of who best supports the local music scene.
One person suggested that if you don't get out to see a variety of different bands, you can't claim to be much of a booster.
But it occurred to me that local music scenes really depend more on fans who go see a few bands repeatedly than on fans who go see lots of bands less frequently.
Here's the logic in that: If you go to hear a variety of different bands, chances are you will encounter some you don't much care for. If you hear enough of those, you may get bored with bar/club hopping and do something else with your time/money.
On the other hand, if you limit yourself to bands that you really like, you'll have a better time and you'll also become more invested in the process. You become part of that band's community: you become a regular with the band and their other fans. It becomes sort of a "Cheers" experience -- where everyone knows your name.
So the bread-and-butter of local music scenes are repeat fans. Their musical tastes may be narrowly focused, but they are the ones who can be counted on follow bands around to a variety of venues, thus insuring a predictable flow of income for those bands.
Here's someone's blog entry on this very subject:
Dan's Review: Club Crawl Fall 2006 | TucsonScene: "It is no secret that I have mixed feelings about the Club Crawl. It is a great showcase for local musicians and bands. Perhaps some of the folks that attend will become interested in a musician or band and will get out to see them again. Obviously, that is a good thing. I walked around last night for a half hour or so and heard a bunch of bands in relatively short period of time. I spent the most time at The Rialto for Found Dead on the Phone and really enjoyed their set.
"On the other hand, the phrenetic and sometimes drunken masses can be overwhelming. After about an hour I was ready to escape and headed toward Plush. Walking into the back room at Plush was like coming home. The atmosphere there was like old friends gathering around the fire to share music and stories."
denver music
music scene
tucson
One person suggested that if you don't get out to see a variety of different bands, you can't claim to be much of a booster.
But it occurred to me that local music scenes really depend more on fans who go see a few bands repeatedly than on fans who go see lots of bands less frequently.
Here's the logic in that: If you go to hear a variety of different bands, chances are you will encounter some you don't much care for. If you hear enough of those, you may get bored with bar/club hopping and do something else with your time/money.
On the other hand, if you limit yourself to bands that you really like, you'll have a better time and you'll also become more invested in the process. You become part of that band's community: you become a regular with the band and their other fans. It becomes sort of a "Cheers" experience -- where everyone knows your name.
So the bread-and-butter of local music scenes are repeat fans. Their musical tastes may be narrowly focused, but they are the ones who can be counted on follow bands around to a variety of venues, thus insuring a predictable flow of income for those bands.
Here's someone's blog entry on this very subject:
Dan's Review: Club Crawl Fall 2006 | TucsonScene: "It is no secret that I have mixed feelings about the Club Crawl. It is a great showcase for local musicians and bands. Perhaps some of the folks that attend will become interested in a musician or band and will get out to see them again. Obviously, that is a good thing. I walked around last night for a half hour or so and heard a bunch of bands in relatively short period of time. I spent the most time at The Rialto for Found Dead on the Phone and really enjoyed their set.
"On the other hand, the phrenetic and sometimes drunken masses can be overwhelming. After about an hour I was ready to escape and headed toward Plush. Walking into the back room at Plush was like coming home. The atmosphere there was like old friends gathering around the fire to share music and stories."
denver music
music scene
tucson
Music venue research
Here's a 2000 study. VENUE AND PROMOTERS PERCEPTIONS OF LIVE MUSIC EVENTS IN THE NORTH OF ENGLAND. I didn't find any new revelations in the results, but it might be of interest to some.
Here is a companion piece, done in 2001, on why people don't go see live music. Among the results: "Respondents are looking for value for money when attending live music performances. Cheaper admission price, better variety of bands and better choice of venue were the three most important factors, which would motivate non-attendees to attend a live music event."
Here is a companion piece, done in 2001, on why people don't go see live music. Among the results: "Respondents are looking for value for money when attending live music performances. Cheaper admission price, better variety of bands and better choice of venue were the three most important factors, which would motivate non-attendees to attend a live music event."
Saturday, October 07, 2006
Friday, October 06, 2006
Music venues working together in Spokane
Spokane Music Coalition: "... an alliance between downtown businesses, promoters, artists and patrons to support rather than compete with one another. It cross-promotes, cross-sponsors and cross-pollinates events. ...
"The group is the Lights Out Coalition (www.myspace.com/spokaneloc). It has no leader. It's a network for like-minded individuals and businesses interested in turning the scattered bright spots downtown into a constellation of a vibrant nightlife."
"The group is the Lights Out Coalition (www.myspace.com/spokaneloc). It has no leader. It's a network for like-minded individuals and businesses interested in turning the scattered bright spots downtown into a constellation of a vibrant nightlife."
Making music about places
An article about a band that understands the importance of place.
The Hold Steady - New York Times: " ... surely it can’t be a coincidence that, just as the Hold Steady is starting to reach a few more of the boys and girls in America, Mr. Finn has refocused on Minneapolis. He’s clearly obsessed with the link between small stories and big ones, between local favorites and national successes, between punk-club stages and dive-bar jukeboxes, between bands no one’s heard of and songs everybody knows.
"This, maybe, is his idea of what it means to be an American band: singing about Minneapolis, and all the Minneapolises across the country. A dull street corner gets transformed into a rousing refrain; a fictionalized town inspires its real-life counterpart. That album title, 'Boys and Girls in America,' really isn’t so misleading; it’s a salute to the neighborhood kids in the songs, and outside them too. The Hold Steady’s made-up map of the country is looking a little bit less imaginary."
The Hold Steady - New York Times: " ... surely it can’t be a coincidence that, just as the Hold Steady is starting to reach a few more of the boys and girls in America, Mr. Finn has refocused on Minneapolis. He’s clearly obsessed with the link between small stories and big ones, between local favorites and national successes, between punk-club stages and dive-bar jukeboxes, between bands no one’s heard of and songs everybody knows.
"This, maybe, is his idea of what it means to be an American band: singing about Minneapolis, and all the Minneapolises across the country. A dull street corner gets transformed into a rousing refrain; a fictionalized town inspires its real-life counterpart. That album title, 'Boys and Girls in America,' really isn’t so misleading; it’s a salute to the neighborhood kids in the songs, and outside them too. The Hold Steady’s made-up map of the country is looking a little bit less imaginary."
Location, Location, Location
A NY Times piece on a state-of-the-art theater built in a location that no one visits. Location is also critical to music venues, so this article seems relevant. The hope for this facility is that in time both production companies and fans will discover and appreciate it. Similarly, for a music venue in the same situation, the question is, "Do its owners have enough financial reserves to keep it afloat until it is profitable?"
37 Arts : "Erik Orton, whose musical 'The Ark' ran at 37 Arts for a month, raved about the space’s facilities, but he questioned whether its locale hurt sales. 'We had a show that was very family- and tourist-friendly; the neighborhood is neither,' he said. 'The theater is in the middle of nowhere. Anyone who came said: "This is the most amazing theater. Why did they build it here?"'”
37 Arts : "Erik Orton, whose musical 'The Ark' ran at 37 Arts for a month, raved about the space’s facilities, but he questioned whether its locale hurt sales. 'We had a show that was very family- and tourist-friendly; the neighborhood is neither,' he said. 'The theater is in the middle of nowhere. Anyone who came said: "This is the most amazing theater. Why did they build it here?"'”
Thursday, October 05, 2006
Going Out in Novosibirsk
This just goes to show that any place can have a music scene.
Going Out in Novosibirsk: Music, Entertainment, and Restaurants: "Novosibirsk is considered to be the foremost city of Western Siberia....
"Novosibirsk is the place to go if you want to hear the music of various ethnic cultures. Its proximity to Altai mountains and Tuva republic makes it easy for authentic musicians to come and perform their traditional songs. The kind of music they play is very different to categorize (and is uneeded also), but to give you an idea, it is a mix of throat singing (which sounds really strange and enticing) and traditional play of ethnic Siberian people's musical instruments.
"We highly recommend you to attend such performance, if you have a chance. Below is a list of places where you can hear this kind of music. You can also contact them to get more info on upcoming venues."
The article also mentions the city's jazz, blues, rock, and dance venues.
Going Out in Novosibirsk: Music, Entertainment, and Restaurants: "Novosibirsk is considered to be the foremost city of Western Siberia....
"Novosibirsk is the place to go if you want to hear the music of various ethnic cultures. Its proximity to Altai mountains and Tuva republic makes it easy for authentic musicians to come and perform their traditional songs. The kind of music they play is very different to categorize (and is uneeded also), but to give you an idea, it is a mix of throat singing (which sounds really strange and enticing) and traditional play of ethnic Siberian people's musical instruments.
"We highly recommend you to attend such performance, if you have a chance. Below is a list of places where you can hear this kind of music. You can also contact them to get more info on upcoming venues."
The article also mentions the city's jazz, blues, rock, and dance venues.
Five Ways the Music Industry Is Changing in Seattle (and Everywhere Else)
A 2005 article I just found.
Five Ways the Music Industry Is Changing in Seattle (and Everywhere Else) (Seattle Weekly): "Seattle used to hang on the periphery of the music business, as a place where bands occasionally broke out, as a convenient place to begin or end a national tour, as a classic midsized secondary market—half college town, half hidden treasure. That began changing around the turn of the '90s, particularly (but not exclusively) in the wake of the Nirvana/Pearl Jam/Alice in Chains/Soundgarden juggernaut. But in 2005, Seattle is not only a strikingly diverse musical place, it's also at the very heart of the industry. Sub Pop, Barsuk, and other indie labels flourish. The tech industry, always important to the biz and never more so than now, thrives here (even if Apple, the canniest marketer/manufacturer of music-related gizmos—hello, iPod—doesn't). Venues are aplenty, there's no shortage of new talent at any given time, and you're as liable to bump into an internationally renowned techno producer at your local tavern as you are a member of an up-and-coming garage band. It's a great time and a great place to be a music fan."
Five Ways the Music Industry Is Changing in Seattle (and Everywhere Else) (Seattle Weekly): "Seattle used to hang on the periphery of the music business, as a place where bands occasionally broke out, as a convenient place to begin or end a national tour, as a classic midsized secondary market—half college town, half hidden treasure. That began changing around the turn of the '90s, particularly (but not exclusively) in the wake of the Nirvana/Pearl Jam/Alice in Chains/Soundgarden juggernaut. But in 2005, Seattle is not only a strikingly diverse musical place, it's also at the very heart of the industry. Sub Pop, Barsuk, and other indie labels flourish. The tech industry, always important to the biz and never more so than now, thrives here (even if Apple, the canniest marketer/manufacturer of music-related gizmos—hello, iPod—doesn't). Venues are aplenty, there's no shortage of new talent at any given time, and you're as liable to bump into an internationally renowned techno producer at your local tavern as you are a member of an up-and-coming garage band. It's a great time and a great place to be a music fan."
The history of jazz places
An interesting piece on the importance of "place" for music, which is pretty much the theme of my blog.
Jazz Places: "Every art work has to be someplace. Physical works, like paintings and sculptures, have to be someplace: a museum, a gallary, a home, a public square. Music and dance and theater have to be performed someplace; a court, a theater or concert hall, a private home, a public square or street. Books and similar materials take up space too--in bookstores and distributors' warehouses and people's homes. What places are available to exhibit or perform or keep and enjoy works in? Who is in charge of them and responsible for them? How does this organization of place constrain the work done there? What opportunities does it make available? I'll restrict myself to the case of 20th century jazz, for the most part in the United States, for the somewhat unrespectable reason that this is a subject I know well. And I will rely on my own memory as well as on what scholarship is available."
Jazz Places: "Every art work has to be someplace. Physical works, like paintings and sculptures, have to be someplace: a museum, a gallary, a home, a public square. Music and dance and theater have to be performed someplace; a court, a theater or concert hall, a private home, a public square or street. Books and similar materials take up space too--in bookstores and distributors' warehouses and people's homes. What places are available to exhibit or perform or keep and enjoy works in? Who is in charge of them and responsible for them? How does this organization of place constrain the work done there? What opportunities does it make available? I'll restrict myself to the case of 20th century jazz, for the most part in the United States, for the somewhat unrespectable reason that this is a subject I know well. And I will rely on my own memory as well as on what scholarship is available."
Using jazz to brand Kansas City
Kansas City, Here They Come - Los Angeles CityBeat: "Only four American cities have contributed distinct styles that account for separate epochs of jazz history: New Orleans, Chicago, New York, and Kansas City, Missouri. ...
"So it’s no surprise that some civic leaders are now trying to find ways to turn this legacy into tourist dollars. What is surprising is that opposition looms. The struggle represents larger social, political, economic, and even musical battles within the city."
"So it’s no surprise that some civic leaders are now trying to find ways to turn this legacy into tourist dollars. What is surprising is that opposition looms. The struggle represents larger social, political, economic, and even musical battles within the city."
Frisco CO finds support for its music events
Summit Daily News : "The Town of Frisco just released results from its 2006 community survey, which gathered input in July from more than 700 Frisco voters, homeowners and business-owners....
"The town's special events ... garnered healthy levels of support. A majority of respondents from all three groups (voters, homeowners and business-owners) felt that a continued wide variety of festivals and events were the best way to support the local economy. The most popular special event was the July 4 festivities, followed by the Colorado Barbecue Challenge, Town Clean-Up Day, Music on Main, and Music at the Marina."
"The town's special events ... garnered healthy levels of support. A majority of respondents from all three groups (voters, homeowners and business-owners) felt that a continued wide variety of festivals and events were the best way to support the local economy. The most popular special event was the July 4 festivities, followed by the Colorado Barbecue Challenge, Town Clean-Up Day, Music on Main, and Music at the Marina."
Albuquerque promoting its music talent
City's showcase gives songwriters the spotlight : Local : Albuquerque Tribune: "Albuquerque's Music Office is setting aside the first Thursday of every month to host a low-key jam session in which a handful of performers will play and talk about their songs...
" ... the goal of the songwriters series goes beyond just a monthly hootenanny.
"'I'm looking at it from more of a business and economic development standpoint than a cultural one," [said Tom Frouge, a music adviser in the city's Economic Development Department.] 'We want to get people to realize there are a lot of craftspeople in the music industry.'"
" ... the goal of the songwriters series goes beyond just a monthly hootenanny.
"'I'm looking at it from more of a business and economic development standpoint than a cultural one," [said Tom Frouge, a music adviser in the city's Economic Development Department.] 'We want to get people to realize there are a lot of craftspeople in the music industry.'"
Wednesday, October 04, 2006
Local music scene economic studies
Here are downloadable studies about the economic impact of music in five different cities.
The Role Of Music in the Austin Economy
The Economic Impact of the Music Industry In the Nashville
The Economic Impact of Seattle's Music Industry
The Economics of the Commercial Music Industry in Atlanta
Downtown Ithaca Entertainment Study and Strategic Plan
music scene
economic development
tourism
live music
clubs
Nashville
Austin
Atlanta
Seattle
Ithaca
The Role Of Music in the Austin Economy
The Economic Impact of the Music Industry In the Nashville
The Economic Impact of Seattle's Music Industry
The Economics of the Commercial Music Industry in Atlanta
Downtown Ithaca Entertainment Study and Strategic Plan
music scene
economic development
tourism
live music
clubs
Nashville
Austin
Atlanta
Seattle
Ithaca
The Christian Music Market
Christian Today : "Each year, over 22 million fans of Christian music attend live events in venues ranging from small church gatherings to huge arena-based shows. According to Bob Thompson of Atlanta Fest, the group’s newly-elected president: 'Each summer, well over a million of those fans attend multi-day events, known as Christian music festivals, from coast to coast.
“'The Christian music festivals put on by CFA members are attended by over 1.2 million of those fans. Collectively, these festivals send out over 2.5 million direct mail pieces, send E-mail blasts to over 4 million potential attendees and hang posters in nearly a million churches, schools and retail locations,' Thompson said.
“'Collectively, the CFA member websites attract over 150 million annual hits. These marketing efforts are augmented by significant electronic media coverage on Christian radio and TV stations nationwide.'”
“'The Christian music festivals put on by CFA members are attended by over 1.2 million of those fans. Collectively, these festivals send out over 2.5 million direct mail pieces, send E-mail blasts to over 4 million potential attendees and hang posters in nearly a million churches, schools and retail locations,' Thompson said.
“'Collectively, the CFA member websites attract over 150 million annual hits. These marketing efforts are augmented by significant electronic media coverage on Christian radio and TV stations nationwide.'”
Tuesday, October 03, 2006
Austin sets the standard again
HAAM Benefit Day: "Mayor Will Wynn declared Oct. 3, 2006 'HAAM Day' and asks businesses across the city to donate at least 5% of the day's proceeds to Health Alliance for Austin Musicians. 'HAAM has proven its success in its first year of services with more than 450 member musicians now receiving medical, dental and mental health care services,' says Mayor Wynn. 'We applaud our musicians for all they bring to our economy and in return we need to show our support to the Health Alliance so it can continue to keep them healthy and able to do what they love.' "
A resource for environmentally friendly festivals
This is just the sort of sharing of info I like to see and hope to encourage.
A Greener Festival: "Agreenerfestival.com is committed to help music and arts events and festivals around the world adopt environmentally efficient practices through providing information, by providing education resources and by swapping ideas. The basic purpose of the site is to provide information about how environmentally friendly methods are currently employed at music and arts festivals and to provide a forum for discussion about how the impact of festivals on the environment can be limited at future events. We hope to do this by by providing information on the best ideas for greener festivals from around the world.
"
A Greener Festival: "Agreenerfestival.com is committed to help music and arts events and festivals around the world adopt environmentally efficient practices through providing information, by providing education resources and by swapping ideas. The basic purpose of the site is to provide information about how environmentally friendly methods are currently employed at music and arts festivals and to provide a forum for discussion about how the impact of festivals on the environment can be limited at future events. We hope to do this by by providing information on the best ideas for greener festivals from around the world.
"
Monday, October 02, 2006
Why people love live music
Don Strasburg is a major fixture on the Colorado music scene. He is co-owner of the Fox Theater and until recently was vice president of Live Nation’s Rocky Mountain Region. He has just gone to work for rival AEG (Anschutz Entertainment Group) Live.
He's been involved in booking most of the major acts coming through Colorado over the last 15 years, first as part of his responsibilities for the Fox Theater and then more recently for Clear Channel/Live Nation.
Here he explains what has motivated him.
Marquee Magazine, October 2006: "Strasburg: To me this is a culture of people who love music and love the live music experience and love to dance. And it’s a culture of people that feel that it’s their job to produce these events and make sure they’re done properly. We can make a living doing it, but there is also a sense of personal pride in knowing that we’re responsible for helping our community have that kind of outlet and I feel like it’s a political outlet. I believe that hundreds or thousands of people dancing in a room together is inherently a political statement, even if it’s just one of having fun. It says that we believe in being human people with love and communicating with each other and letting go of the bullshit to just enjoy each other and be together in a larger group. Sometimes people want to go listen to punk rock and vent and God bless that they can vent together and it’s a great outlet to express it. I’ve always felt I was given a God-given responsibility to protect our community’s live environment and as I get older, my role changes and I go from being on the front lines to the back room, but either way my job is to nurture the other people that do what I’ve done and set an example for the community."
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Here's some info on Strasburg's background with the Fox.
Westword 2002-02-28: "The Fox's early detractors now have about ten years' worth of crow to eat. In the course of producing approximately 4,000 shows at the theater, Strasburg has morphed into one of the city's more daring promoters, with an ear for emerging talent. The Fox was the first venue in Colorado to book bands like Radiohead and White Zombie, and among the first small halls in the country to feature Phish as a headliner. It was also one of the only Colorado venues willing to take a chance on the then-burgeoning hip-hop movement. Nowadays, the Fox has a reputation as a proving ground for underground acts like Jurassic 5, Kool Keith and Ludacris (who sold out the theater last Sunday), artists that stop in Boulder on their way up. (As a consultant to Clear Channel Entertainment, Strasburg helps place bands that have graduated from Fox-sized spaces to larger ones, such as the Fillmore.)"
He's been involved in booking most of the major acts coming through Colorado over the last 15 years, first as part of his responsibilities for the Fox Theater and then more recently for Clear Channel/Live Nation.
Here he explains what has motivated him.
Marquee Magazine, October 2006: "Strasburg: To me this is a culture of people who love music and love the live music experience and love to dance. And it’s a culture of people that feel that it’s their job to produce these events and make sure they’re done properly. We can make a living doing it, but there is also a sense of personal pride in knowing that we’re responsible for helping our community have that kind of outlet and I feel like it’s a political outlet. I believe that hundreds or thousands of people dancing in a room together is inherently a political statement, even if it’s just one of having fun. It says that we believe in being human people with love and communicating with each other and letting go of the bullshit to just enjoy each other and be together in a larger group. Sometimes people want to go listen to punk rock and vent and God bless that they can vent together and it’s a great outlet to express it. I’ve always felt I was given a God-given responsibility to protect our community’s live environment and as I get older, my role changes and I go from being on the front lines to the back room, but either way my job is to nurture the other people that do what I’ve done and set an example for the community."
____
Here's some info on Strasburg's background with the Fox.
Westword 2002-02-28: "The Fox's early detractors now have about ten years' worth of crow to eat. In the course of producing approximately 4,000 shows at the theater, Strasburg has morphed into one of the city's more daring promoters, with an ear for emerging talent. The Fox was the first venue in Colorado to book bands like Radiohead and White Zombie, and among the first small halls in the country to feature Phish as a headliner. It was also one of the only Colorado venues willing to take a chance on the then-burgeoning hip-hop movement. Nowadays, the Fox has a reputation as a proving ground for underground acts like Jurassic 5, Kool Keith and Ludacris (who sold out the theater last Sunday), artists that stop in Boulder on their way up. (As a consultant to Clear Channel Entertainment, Strasburg helps place bands that have graduated from Fox-sized spaces to larger ones, such as the Fillmore.)"
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