Why we should support indie music It is important that people who care about music — and consider music an art form — support the independent music community. I believe in the power of music: its ability to shed light on feelings, thoughts and emotions that we all feel at some time or another. I believe music is as high an art form as literature, film, painting, sculpture or anything else — and I'm not just talking about classical music. I believe music is important to our lives; imagine the monotony of life without it. And while I support music in its myriad forms and genres, there is most certainly a division among musicians and, more specifically, within the music industry: music released by major record labels versus music released by independent labels or by musicians themselves. Before going any further, let me be clear about one thing: I am not against the existence of major labels, and I will gladly buy albums released by major labels if I like the music. But on the whole, I believe that most of the musicians in the world who feel the way I do about music — who put art before profit and celebrity — are releasing music either through independent labels or on their own. And these musicians deserve our — that is, music fans' — moral and financial support. We all can think of a number of bands and artists whose music we love and enjoy keeping up with. And we can probably imagine a void that would be present without that music in our lives. While we'll always have our old favorites, most of us will experience a frequent need to find new music. For the most part, I am not finding new music that I like through major labels. Fortunately, in the past few years I've been turned on to the incredible independent music scene and all it has to offer, thanks in no small part to the Internet and communities of indie music fans online. I've found bands and artists in numerous genres who are making amazing music and dedicating their lives to their art. This is music that will likely never be heard on Top 40 radio and never be seen on MTV. And that doesn't matter at all. I hear people complain about contemporary music, how it's getting worse and worse. I often tell people that there is good music out there but that they will probably have to go looking for it. Unfortunately, such comments are often brushed away; few people are willing to take on the task — enjoyable as it can be — of seeking out new music. Thus, I strongly encourage people to spread the word about the music they love, independent or otherwise. Indie musicians generally lack, above all else, widespread exposure in comparison to musicians signed to major labels. Word-of-mouth publicity is priceless, and it's one of the best ways a person can give music the recognition it deserves. As I said before, I subscribe to the philosophy of art before profit. But that's not to say money doesn't have its place in music. Anyone who's ever recorded music knows that it's not an inexpensive endeavor. Even in this age of more affordable home-recording setups, good equipment is not cheap. Furthermore, most musicians know how hard it is to make any significant amount of money playing original music live, particularly on the local or regional levels. It's for these reasons that it's important for music fans to support independent musicians financially, and this can be done in the two basic ways it's been done for decades: by purchasing merchandise and attending shows. I would never ask or expect anyone to go out of his or her way to support music he or she doesn't completely believe in. But I hope that when people hear music that truly moves them — music whose melodies and lyrics resonate for days or weeks straight — that they will spend a little time and a little money to show their appreciation for the people who created that music. Power
to the people By Kenny Love In today's musical climate, operating without a professional promoter or publicist in the upper echelon of the music industry is akin to driving a vehicle without liability insurance: Eventually, a major accident will cost you far more than your monthly premiums. Even though it is now, practically, an "independent" musician's world, more and more, we are reading how increasingly important it is for unsigned and independent recording artists to have professional third-party representation in the forms of record promoters and publicists. In fact, a prominent publicist recently stated that all serious artists who understand how competitive the industry has become, and what it truly takes to make it in today's music industry, have at least one of these services working for them (and preferably both) as opposed to attempting to go it alone. Many artists, however, seem to believe that because it is an independent's music world today, technologically speaking, that promoting their music is somehow easier and that they can, indeed, go it alone, and all the way. However, that is not the case. Not even close. Think about it! With major label artists, who already have a (pardon the pun) track record, reputation and money, and who are jumping ship from the majors or are being dropped from labels as soon as their contracts are up, along with all of the unsigned and independent artists who join the industry daily, logically, how can you expect that marketing yourself is suddenly easier? Just doing the math alone will quickly show you that it isn't. Sure, technology has opened a few more virtual doors, but be advised that your competitors are not dummies, nor deaf, for they too have heard these virtual doors creaking open as well, and have entered the gladiator arena. Furthermore, while technology has allowed for ease to some degree, the media largely expect the same level of representation that they have been accustomed to all along. In other words, for the most part, radio expects to receive media kits from familiar record promoters it has established business relationships with, while print media also expects to receive media kits from publicists with whom they are familiar. Add to that the follow-up and tracking in both of these areas that is vital. Even further, take a look at the unsigned and independent artists who are being selected and are performing and headlining the major concerts and festivals of today. Invariably, you will discover that most, if not all, are being represented professionally by promoters and publicists. But you say, "I don't have a budget for a promoter or publicist." Well, to that I say, get one! And do it quickly! For, just as you obviously formulated a budget for your production, or have a band fund for touring in case of on-the-road mishaps, you equally require a budget for marketing your music competitively and successfully. In fact, in today's music industry, it is highly illogical to operate in the industry and expect to satisfactorily succeed without knowledgeable third-party representation in the forms of promoters and publicists. Doing so basically says to the music industry that: 1. You do not truly understand the necessary business mechanics and requirements of the music industry and, therefore, are a risk, financial or otherwise. 2. You are too cheap to hire representation. 3. By presenting the media in "first person" will ensure that your career is short-lived and, therefore, they need not waste their time on assisting you in an unsuccessful attempt to build it. To be both highly effective and competitive, if you are a performing artist who is also marketing a music release, it is imperative that you have third-party representation to handle your day-to-day business affairs, i.e., radio promotion, media publicity, etc. This should be evident simply by how many artists are unable to properly maintain consistent promotion for their regular gigs alone, aside from their ongoing failure to properly promote their music releases to even earn back their production investment or break even. All in all, it is as simple and as real as this... With human nature being what it is, most of us prefer and trust familiarity. For example, a friend usually takes precedent over an associate or stranger. Applying this hypothesis to a radio music director, program director or music print editor, let's say that two media kits arrive on his desk simultaneously. One media kit is from a trusted familiar promoter or publicist who continually and consistently provides great product, and has built a great business reputation, connection and relationship with the media source. The other media kit is from you, whom the music director, program director or editor has never heard of. Now, in your own words, which package do you feel will be most likely to be opened first and is likely to be granted a quick listen, review and consideration? Now, you don't really want (or need) me to answer that, do you? Kenny Love is president of MuBiz.com, a multi-faceted music organization for independent musicians, which includes radio promotion, media publicity and a number of additional administrative services.
On
your mark ... get set ... slow down!
However,
in my repeated experiences, aside from artists usually not having appropriated
funds or a budget for consistent promotion, they seem surprised when
they cannot acquire the same positive and successful results as another
fellow indie artist. Kenny Love is president of MuBiz.com, a multi-faceted music organization for independent musicians, which includes radio promotion, media publicity and a number of additional administrative services.
Canned music goods: tasteful or not? By Kenny Love In my daily walk of this musical life, I approach quite a few recording artists in an effort to obtain them as clients and assist them with radio promotion and print publicity. And, invariably, and ever so often, certain artists request to know if the letter that I sent them is the same “canned letter” that I send to all prospective clients. On one hand, I wonder why that is of any concern to them or why this is any of their business at all, but on the other hand, I already suspect the answer. I believe they want to feel special and honored by a unique letter just for them. Well, I do not do that. To do so is impractical in the interest of time management. When I receive such queries, I restrain myself (sometimes) from asking them if, with each press kit that they send out, if they: 1. Include a different CD, with a different song arrangement or a different label or color on it? 2. Do they alter each press release that they send to the media, or use the same "canned" release and either print straight from their computer, or if they make tons of copies at OfficeMax? 3. And, what about that photo? Do they send out a different photo to 300 different media contacts or is all the media blessed with the same shot? 4. Above all, what about the cover letter in their mail-outs? Did they create a different one for each radio or press contact, or was that mail-merge feature in their word processing program far too enticing to ignore? Hmm ... In short, a "canned" cover letter, bio, press release, CD or other promotional material is tasteful if it appropriately serves and applies to you and your situation successfully, whether you are an artist, or a media resource. Kenny Love manages www.MuBiz.com, a radio promotion and media publicity firm.
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