I really don't want to be "that guy" and start posting about how amazing Michael Jackson was, but let's be honest here OK? The guy was beyond incredible. It's one of those things where you realize you've taken someone for granted for so long and now we realize that we let go of Michael Jackson the performer and hung onto someone who was just a little different than everyone else, and exploited him. I don't want to defend or accuse Michael of anything. But I just want to talk about his music.
Having not entered this world until 1985, I never knew music without Michael Jackson, The Beatles, Jimi Hendrix, Bach, Mozart, Miles Davis, Coltrane, Parker, etc. It had ALWAYS been in my life. The media was ALWAYS following Michael Jackson and was ALWAYS reporting on what he was doing no matter how private it should have been. My parents grew up with Michael Jackson, then I grew up with Michael Jackson. It would have been great for my kids(or pets since I don't have kids) to grow up with an old Michael Jackson, still touring like The Stones, Aerosmith, etc at the age of 65. If you look back on Michael's life, you'll notice something.
Michael Jackson spent most of his time, trying to please others.
Whether it was fans, friends or family he was always just trying to please everyone. He holds his new child up in front of a mass crowd to let them see and we claim he was "dangling his child from a balcony" and call him a bad father. Unfortunately that's just one of the many instances where we misunderstood Michael. Whether you think he was guilty or innocent in his recent court trials, you have to admit that he was shaped by us, the public, to be who he was. If you'd like to know what someone is like when their entire life is made up of making mass amounts of people, in excess of tens of millions, happy...now you know.
Unknowingly and unintentionally through his family, the media, and yes you and I, the fan we collectively denied Michael Jackson a childhood. He spent his entire adult life trying to relive it and just when things looked like they were looking up for Michael, having been equitted on all charges in his trial, and getting ready for a 50 date stint in London at the 02 Arena, he was denied his old age.
I quote Bob Lefsetz when I say, "How fucked up is that?"
I watched in 2001(at least that's when I viewed it, but I think it was live) as Michael took the stage with his brothers to be on stage once again as The Jackson Five and although he stood out like a sore thumb, the performance gave me goosebumps. Michael Jackson was the epitome of the word "performer". No one could out dance him, out sing him, or out entertain him. He was the Michael Jordan of music. The best, EVER.
Every couple hundred years someone comes along that defies everything we know and hold true as a standard to the threshold of human beings. Bach created music notation and was the foundation for what we now know as classical music and contemporary music notation. Mozart was unmatched in his ability to compose and hear arrangements. Miles Davis revolutionized jazz and contemporary music as we know it. Michael Jackson is in that category. Everyone knows Bach, Mozart, and Miles Davis. And 500 years from now when we're all gone and music has reached levels we'll never be able to comprehend in our lifetime, someone somewhere will be popping in Thriller for the first time(probably downloading it directly into your body for listening pleasure from within...no headphones or speakers...hey it's the future I can dream!) and wondering, "so who's the Michael Jackson guy?". Then they'll be blown away.
We won't remember Brittany or Justin. But our history books and archives will always have Michael Jackson.
Michael is now being welcomed by the musical genius' of the past, but he will forever influence our future.
R.I.P. Michael Jackson.
Saturday, June 27, 2009
Wednesday, June 24, 2009
The Importance of Promoting Your Show
I'm sure this is not secret to anyone out there. Promoting your show is the MOST IMPORTANT ASPECT OF THE SHOW. Getting your band ready, having a great merch booth, and learning how to throw your guitar around your body while your play is only cool if you've got people to play for.
I'm sure everyone is sick of playing for the same 25 people or else you wouldn't be reading this, so I'm going to list a few things you can do for your next show to get some more peeps through the door, and leave with a few new fans.
1. Flyers. Now 10, not 50, not even 100. I'm talking 4-500 flyers, everything Friday and Saturday night 2-3 weeks prior to the show. If nothing else this will help brand your band. I expect to take some heat for pushing flyering out their as many will say it's a dinosaur, but mark my words, you flyer it...and they will come.
2. Radio Advertising. This may be a little advanced for some of the bands out there, but having an advertisement on the radio for your show is a big help to get new fans. People think if something is on the radio it's a big deal. $4-500 should get a you a great package for the week or so before the gig. Investigate it, and if you've got a good ticket percentage/garuntee with the promoter, give it a shot...it may make the difference between $200 and $800 at the end of the night.
3. Social Networking. I've said it before and I'll say it again, MySpace and Facebook are two of your best assets. Use them. For more info check out my post on Social Networking/Marketing here.
4. Clubbing. This is what I call going to the club you are playing at and handing out free CD's and swag every Friday and Saturday 2-3 weeks prior to your gig. This is also a great way to see the other bands on the scene, as well as see what their draw is and how they operate. If you're a little weary about giving your CD away for free, let me ease your mind a bit. You are NEVER going to make a penny off your CD without fans, and until you have them you might as well give it away, or at least a sample of it away. And please, at the show don't make your disc more than $5. I'm not going to buy a band's album if it's got 8 songs and is $10, specially if it's my first time seeing them. Keep it cheap or go home with a full box of CD's.
5. Contests/Fan Interaction. If you've got at least a small fan base this is a great way to get them involved. Have them sell tickets for you. For the first fan to sell 5 tickets gets free entrance to the show and a free t-shirt. Get creative and give your fans a reason to come back, even after they've been to your show 5 times and you haven't written a new song in months.
The five ways listed above to promote your show is only a sample of the possibilities. Bands that make it get extremely good at promoting. At times it seems like too much work, but that's the game. It's sad but true, the next Led Zeppelin is in some basement in Your Town, USA...and no one will ever know about them because they have no idea the importance of promoting.OVER AND OUT.
I'm sure everyone is sick of playing for the same 25 people or else you wouldn't be reading this, so I'm going to list a few things you can do for your next show to get some more peeps through the door, and leave with a few new fans.
1. Flyers. Now 10, not 50, not even 100. I'm talking 4-500 flyers, everything Friday and Saturday night 2-3 weeks prior to the show. If nothing else this will help brand your band. I expect to take some heat for pushing flyering out their as many will say it's a dinosaur, but mark my words, you flyer it...and they will come.
2. Radio Advertising. This may be a little advanced for some of the bands out there, but having an advertisement on the radio for your show is a big help to get new fans. People think if something is on the radio it's a big deal. $4-500 should get a you a great package for the week or so before the gig. Investigate it, and if you've got a good ticket percentage/garuntee with the promoter, give it a shot...it may make the difference between $200 and $800 at the end of the night.
3. Social Networking. I've said it before and I'll say it again, MySpace and Facebook are two of your best assets. Use them. For more info check out my post on Social Networking/Marketing here.
4. Clubbing. This is what I call going to the club you are playing at and handing out free CD's and swag every Friday and Saturday 2-3 weeks prior to your gig. This is also a great way to see the other bands on the scene, as well as see what their draw is and how they operate. If you're a little weary about giving your CD away for free, let me ease your mind a bit. You are NEVER going to make a penny off your CD without fans, and until you have them you might as well give it away, or at least a sample of it away. And please, at the show don't make your disc more than $5. I'm not going to buy a band's album if it's got 8 songs and is $10, specially if it's my first time seeing them. Keep it cheap or go home with a full box of CD's.
5. Contests/Fan Interaction. If you've got at least a small fan base this is a great way to get them involved. Have them sell tickets for you. For the first fan to sell 5 tickets gets free entrance to the show and a free t-shirt. Get creative and give your fans a reason to come back, even after they've been to your show 5 times and you haven't written a new song in months.
The five ways listed above to promote your show is only a sample of the possibilities. Bands that make it get extremely good at promoting. At times it seems like too much work, but that's the game. It's sad but true, the next Led Zeppelin is in some basement in Your Town, USA...and no one will ever know about them because they have no idea the importance of promoting.OVER AND OUT.
My next album will cost $80,000...per song
The Capitol Records vs. Jammie Thomas-Rasset case has finally reached a verdict. Jammie Thomas-Rasset was proven to have downloaded and distrubed at least 24 songs using Kazaa's network. She actually had over 1700 songs on her computer in the "shared music" folder that were most likely illegally downloaded, but she was only charged with 24 songs.
The verdict rewarded Capitol Records the amount of $1,920,000, or $80,000 per song downloaded and distributed.
You may think this verdict is a little harsh.
It is.
$80,000 per song is 228,571 times the actual damages.
This case has been plagued with different issues ranging from testimony to evidence. One side was over-lawyered while the other was under-lawyered. Not to mention the fact that the plaintiff was not required to prove infrigment of the distribution right. Google "Capitol Records vs. Jammie Thomas-Rasset" and you can see all the problems involving this case. The reason I'm writing this post is because I can't wrap my head around the idea of $80,000 per song.
There are so many legal ways to download a song. You can go to iTunes and rip it for $.99 per song, you can go to Amazon and get one for $.79, and you can even go to lala.com and get a web song for $.10. That's right. $.10.
Now before we talk about the reasons why Thomas-Rasset couldn't download the song legally, let's talk about the value of a song. How much is a song worth? What does the artist who created, put blood, sweat and tears into, and labored over it think it's worth? Here's a better question,
Who is the RIAA to decide how much a song is worth?
Let's just get this straight. Jammie Thomas-Rasset absolutely illegally downloaded at least 24 songs. She broke the law. That we know is true. But how can you justify and prove (although since the plaintiff wasn't required to prove many things, this verdict is not suprising) that the damages incurred for downloading and distributing music illegally results in $80,000 per song?
You can't.
That's rediculous.
I'm an artist. I'd be ripped if my record label went to court over something like this. The artist will never see a dime of that $1,920,000. I understand that the RIAA and Capitol Records are just trying to make an example of Thomas-Rasset, but what they're essentially doing is making an example out of the United States. Let's give the rest of the world ANOTHER reason to laugh at us.
On a more positive note, Jammie Thomas-Rasset will never pay a dime of that money. The case will go to trial a third time.
Quick Fix: Charge Thomas-Rasset $.99/song and make her pay $24.00. The retail value for each song. Hell, you can even charge her tax so Uncle Sam is happy.
The verdict rewarded Capitol Records the amount of $1,920,000, or $80,000 per song downloaded and distributed.
You may think this verdict is a little harsh.
It is.
$80,000 per song is 228,571 times the actual damages.
This case has been plagued with different issues ranging from testimony to evidence. One side was over-lawyered while the other was under-lawyered. Not to mention the fact that the plaintiff was not required to prove infrigment of the distribution right. Google "Capitol Records vs. Jammie Thomas-Rasset" and you can see all the problems involving this case. The reason I'm writing this post is because I can't wrap my head around the idea of $80,000 per song.
There are so many legal ways to download a song. You can go to iTunes and rip it for $.99 per song, you can go to Amazon and get one for $.79, and you can even go to lala.com and get a web song for $.10. That's right. $.10.
Now before we talk about the reasons why Thomas-Rasset couldn't download the song legally, let's talk about the value of a song. How much is a song worth? What does the artist who created, put blood, sweat and tears into, and labored over it think it's worth? Here's a better question,
Who is the RIAA to decide how much a song is worth?
Let's just get this straight. Jammie Thomas-Rasset absolutely illegally downloaded at least 24 songs. She broke the law. That we know is true. But how can you justify and prove (although since the plaintiff wasn't required to prove many things, this verdict is not suprising) that the damages incurred for downloading and distributing music illegally results in $80,000 per song?
You can't.
That's rediculous.
I'm an artist. I'd be ripped if my record label went to court over something like this. The artist will never see a dime of that $1,920,000. I understand that the RIAA and Capitol Records are just trying to make an example of Thomas-Rasset, but what they're essentially doing is making an example out of the United States. Let's give the rest of the world ANOTHER reason to laugh at us.
On a more positive note, Jammie Thomas-Rasset will never pay a dime of that money. The case will go to trial a third time.
Quick Fix: Charge Thomas-Rasset $.99/song and make her pay $24.00. The retail value for each song. Hell, you can even charge her tax so Uncle Sam is happy.
Getting Your Music Reviewed
Over the past few weeks I've been submitting Highway Jackson's album for review in a number of publications across New England. I've also been seeing this topic spring up on online forums so I thought it'd be a great time to touch upon the subject of how to get your record reviewed, whether it be through your local paper or a music blog.
Build a Relationship:
One of the most important things to remember, and this goes really for anything, is that building a relationship is so much more important than getting your record reviewed. If you go about the task with that mentality it will help the process along ten-fold.
It's way too easy to just grab a list of 25 emails and put out a massive email like this:
"Hey So and So,
I'm sending along [insert artist name here]'s new album and I was hoping you would consider it for review.
Thanks!
-You"
On a local level you really want to establish a relationship with the person you're hoping to review your album. If you can't do that, a simple email like this should suffice:
"Hey So and So (make sure you know their actual name!!!),
This is Your Name from the Portland based band "Your Band Name". I am contacting youin regards to possible inclusion in an upcoming local music section to focus on our new EP"Album of the Year", which is set for release on September 1st. I'd be more than happy tosend a copy of the CD over to you but have not been able to find an actual mailing address. I'd love to get some more info on how to go about this. Oh and I also wanted to thank the "8 days a week" crew for the very large photo and caption of us that was placed on page's 12 and 13 of the July 25th-31st issue. It was a nice surprise. Thanks.
-Name Here
www.myspace.com/yourbandpage"
By metioning a past issue of the publication you let the reviewer know that you're familiar with the magazine. I happen to know this particular reviewer and band. Because of this initial email they recieved a review in the magazine. Because of their music, it was a positive review.
Building a relationship also helps for future releases. A reviewer that you've already worked with in the past is that much more likely to review your act again if you've maintained that relationship!
So next time someone says, "Let's keep in touch", do it. It'll pay dividends in the end.
Over and Out! -Kris
Build a Relationship:
One of the most important things to remember, and this goes really for anything, is that building a relationship is so much more important than getting your record reviewed. If you go about the task with that mentality it will help the process along ten-fold.
It's way too easy to just grab a list of 25 emails and put out a massive email like this:
"Hey So and So,
I'm sending along [insert artist name here]'s new album and I was hoping you would consider it for review.
Thanks!
-You"
On a local level you really want to establish a relationship with the person you're hoping to review your album. If you can't do that, a simple email like this should suffice:
"Hey So and So (make sure you know their actual name!!!),
This is Your Name from the Portland based band "Your Band Name". I am contacting youin regards to possible inclusion in an upcoming local music section to focus on our new EP"Album of the Year", which is set for release on September 1st. I'd be more than happy tosend a copy of the CD over to you but have not been able to find an actual mailing address. I'd love to get some more info on how to go about this. Oh and I also wanted to thank the "8 days a week" crew for the very large photo and caption of us that was placed on page's 12 and 13 of the July 25th-31st issue. It was a nice surprise. Thanks.
-Name Here
www.myspace.com/yourbandpage"
By metioning a past issue of the publication you let the reviewer know that you're familiar with the magazine. I happen to know this particular reviewer and band. Because of this initial email they recieved a review in the magazine. Because of their music, it was a positive review.
Building a relationship also helps for future releases. A reviewer that you've already worked with in the past is that much more likely to review your act again if you've maintained that relationship!
So next time someone says, "Let's keep in touch", do it. It'll pay dividends in the end.
Over and Out! -Kris
Gigging 101
Getting the Gig:
1. Send the promoter/club owner an initial email introducing the band with a link to your electronic press kit, or make an initial email requesting an address to send a traditional press kit to.
2. Follow-up with the promoter/club owner 1-2 weeks after sending the email or kit making sure they received it. If they have, ask if they’ve had a chance to check it out. If not, ask them to take time to look at your press kit.
3. After you know the promoter has received the kit, follow-up in 2-4 weeks to negotiate a date.
Promoting the Gig:
1. Don’t expect the promoter to promote! Some promoters will do advertising for bigger shows, but if this is your first time at a club, DO NOT expect the promoter to do as much as put a flyer up. It’s up to YOU!
2. Make a flyer, and email it to the promoter. Also put it up in any and all local shops within 10 miles of the club who will let you. CD stores, book stores, coffee shops are all great places to start.
3. Invest some time in finding local press and media companies who would be interested in checking out your show for review. Send them a package with your album, and some information about the band and the show. Many times the local press will do reviews of albums by the bands coming through town the week they will be there. What better way to promote a show to thousands of people than through press who is praising your work!
4. If you’re a local artist, build a buzz through radio advertising. Most packages start out at $400, and play at great times for bands. To the naked ear, if your name is on the radio, you’re the real deal. Even if people have never heard your music, they’ll be intrigued to see you just because they heard you on their favorite station.
Before the Gig:
1. CALL/EMAIL THE PROMOTER confirming the gig one last time. It’s not cool when you show up and you find out the gig has been cancelled, especially if you’ve driven hours and hours to get there. Be SURE the gig is still on!
2. Arrive on TIME! Nothing pisses off promoters and club owners more than bands who put them behind schedule with soundchecks and getting the club ready for the show.
Your Merch Table:
1. Set up your merch booth. BRING LIGHTS! Every merchandise table needs lights so people can see what they’re buying. Black T-shirts, CD’s, and stickers do not sell well in a black room. And no offense to the guys out there, but it’s a proven fact that a pretty girl behind the table dramatically increases sales.
2. Make sure you have EVERY size t-shirt! There are extremely thin as well as extremely large people out there, so just getting medium and large sizes will NOT cut it.
3. It’s a harsh reality, but no one is going to by your 6 track EP for $10. CD sales have been declining for the past 10 years, so keep it cheap! Good rule of thumb is, 10 songs is $5.00. I know you’re saying that’s low, but I’m serious, you want to get your unknown band known? 10 songs $5.00. Lose the ego.
4. Make a deal. T-shirts 10, CD’s 5, buy both for $12.
5. Many all ages venues that allow 21+ to drink will sell tickets for $10.00, then give $3.00 back to 21+ at the door. If you’re at a club like this, make your CD available for $3.00. It might be a little less than you want, but EVERY person in that club has $3.00 on them. If they like your music in anyway, they’re two times more likely to purchase something when it’s exactly the amount of money sitting in their pocket.
At the Gig:
1. Make a mailing list sheet and ask EVERY SINGLE PERSON in the venue to sign up for it. This is the only way you can track and keep up with your fan base.
2. Have a stage show. No one wants to see Billy, John, Bob and Larry stand on stage with their heads down. Practice moving around and interacting with each other. Performance is more important than the music. Deliver it with passion.
3. Thank the promoter and everyone for coming.
4. PLUG PLUG PLUG PLUG YOUR MERCH BOOTH!
5. Let everyone know about your myspace or website, and have them friend you!
6. Try to talk to everyone there and ask them how they liked the show, it will also help you build relationships with your fans.
7. Don’t get drunk and suck. That’s the biggest turn off for a music fan. A musician who doesn’t take their craft seriously. You’re nothing, remember you’re like a new business trying to get new customers. Be as professional as you can. When you’re backstage and Aerosmith is opening for you, that’s when you can have Jack Daniels delivered to your room so you and Jay-Z can have a good time before you go on stage.
After the Gig:
1. Email everyone that signed the mailing list thanking them for coming to the show.
2. Email the promoter/club owner thanking them for the show opportunity and establish a contact for a follow-up show.
3. If any press or media companies came to the show, or reviewed your album before hand, thank them and offer to send them a merch package or free tickets to your next show.
4. If you’ve gotten pictures of the show, upload them to your myspace/website and put out bulletins letting everyone know they can check them out.
1. Send the promoter/club owner an initial email introducing the band with a link to your electronic press kit, or make an initial email requesting an address to send a traditional press kit to.
2. Follow-up with the promoter/club owner 1-2 weeks after sending the email or kit making sure they received it. If they have, ask if they’ve had a chance to check it out. If not, ask them to take time to look at your press kit.
3. After you know the promoter has received the kit, follow-up in 2-4 weeks to negotiate a date.
Promoting the Gig:
1. Don’t expect the promoter to promote! Some promoters will do advertising for bigger shows, but if this is your first time at a club, DO NOT expect the promoter to do as much as put a flyer up. It’s up to YOU!
2. Make a flyer, and email it to the promoter. Also put it up in any and all local shops within 10 miles of the club who will let you. CD stores, book stores, coffee shops are all great places to start.
3. Invest some time in finding local press and media companies who would be interested in checking out your show for review. Send them a package with your album, and some information about the band and the show. Many times the local press will do reviews of albums by the bands coming through town the week they will be there. What better way to promote a show to thousands of people than through press who is praising your work!
4. If you’re a local artist, build a buzz through radio advertising. Most packages start out at $400, and play at great times for bands. To the naked ear, if your name is on the radio, you’re the real deal. Even if people have never heard your music, they’ll be intrigued to see you just because they heard you on their favorite station.
Before the Gig:
1. CALL/EMAIL THE PROMOTER confirming the gig one last time. It’s not cool when you show up and you find out the gig has been cancelled, especially if you’ve driven hours and hours to get there. Be SURE the gig is still on!
2. Arrive on TIME! Nothing pisses off promoters and club owners more than bands who put them behind schedule with soundchecks and getting the club ready for the show.
Your Merch Table:
1. Set up your merch booth. BRING LIGHTS! Every merchandise table needs lights so people can see what they’re buying. Black T-shirts, CD’s, and stickers do not sell well in a black room. And no offense to the guys out there, but it’s a proven fact that a pretty girl behind the table dramatically increases sales.
2. Make sure you have EVERY size t-shirt! There are extremely thin as well as extremely large people out there, so just getting medium and large sizes will NOT cut it.
3. It’s a harsh reality, but no one is going to by your 6 track EP for $10. CD sales have been declining for the past 10 years, so keep it cheap! Good rule of thumb is, 10 songs is $5.00. I know you’re saying that’s low, but I’m serious, you want to get your unknown band known? 10 songs $5.00. Lose the ego.
4. Make a deal. T-shirts 10, CD’s 5, buy both for $12.
5. Many all ages venues that allow 21+ to drink will sell tickets for $10.00, then give $3.00 back to 21+ at the door. If you’re at a club like this, make your CD available for $3.00. It might be a little less than you want, but EVERY person in that club has $3.00 on them. If they like your music in anyway, they’re two times more likely to purchase something when it’s exactly the amount of money sitting in their pocket.
At the Gig:
1. Make a mailing list sheet and ask EVERY SINGLE PERSON in the venue to sign up for it. This is the only way you can track and keep up with your fan base.
2. Have a stage show. No one wants to see Billy, John, Bob and Larry stand on stage with their heads down. Practice moving around and interacting with each other. Performance is more important than the music. Deliver it with passion.
3. Thank the promoter and everyone for coming.
4. PLUG PLUG PLUG PLUG YOUR MERCH BOOTH!
5. Let everyone know about your myspace or website, and have them friend you!
6. Try to talk to everyone there and ask them how they liked the show, it will also help you build relationships with your fans.
7. Don’t get drunk and suck. That’s the biggest turn off for a music fan. A musician who doesn’t take their craft seriously. You’re nothing, remember you’re like a new business trying to get new customers. Be as professional as you can. When you’re backstage and Aerosmith is opening for you, that’s when you can have Jack Daniels delivered to your room so you and Jay-Z can have a good time before you go on stage.
After the Gig:
1. Email everyone that signed the mailing list thanking them for coming to the show.
2. Email the promoter/club owner thanking them for the show opportunity and establish a contact for a follow-up show.
3. If any press or media companies came to the show, or reviewed your album before hand, thank them and offer to send them a merch package or free tickets to your next show.
4. If you’ve gotten pictures of the show, upload them to your myspace/website and put out bulletins letting everyone know they can check them out.
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