08
Feb
10

Lefsetz discusses listeners’ preference for singles and the death of the album

He seems to hit the nail on the head with this article
(http://lefsetz.com/wordpress/index.php/archives/2010/02/03/albums-vs-singles/)

The album does seem to be dying, and the new generation of listeners and music fans have a different concept of how they listen to music. After all, who needs albums now unless you’re an audiophile?

That’s why I’m buying up cheap albums in the dying record stores while they’re on special -i.e. cheaper per track than itunes.

I did a few cartoons in a previous post

(http://strugglingmuso.wordpress.com/2009/12/11/indignant-about-article-on-how-to-bundle-articles-digitally/)

06
Feb
10

Joanna Wang -the savior of the Chinese pop scene

Having lived in Asia for several years (China, Taiwan, Korea) sometimes I like to check out the CD stores in Chinatown -there’s one artist recently who I first came across called Joanna Wang…

After decades of ‘Canto-pop’ and ‘Mando-pop’ from Hongkong and Taiwan dominating the Chinese music industry, Joanna Wang is a refreshing change and in my mind virtually the savior of the Chinese pop scene…

Why? Because she’s different, honest and original (She has a great jazzy voice -not unlike Sarah Blasko, with a kind of jazz-cabaret indie style of songwriting). Her style markedly contrasts with the conservative pop blandness of 90% of the pop divas, boy bands and girl bands. It doesn’t surprise me the Asian public seek this kind of refreshing change.

Mind you I listen to a few Asian pop idols -I’m a fan of Jay Chou, just because he’s a great songwriter. And I became a fan of Coco Lee after hearing the “Hidden Dragon Crouching Tiger” soundtrack -I’d no idea how well she could sing. However, not all the songs on her albums are of the same songwriting and production caliber as a song accompanied by Yoyo Ma.

Generally speaking the Chinese and Koreans have loved their pop idols. The Chinese have a saying to describe the top pop stars – The Four Great Heavenly Kings of pop. They love their pop songs, their love ballads, their sexy dance tracks etc… Other genres have always suffered -from what I hear the indie rock scene makes virtually no money, has virtually no media support and are pretty much unknown by the mainstream population except a few eager students. But perhaps with online avenues of promotion and distribution things are changing.

My impression is there isn’t enough support in the industry by passionate supporters who are not so focused on making money but rather seeking to support some great indie and alternative bands. The feeling is the desire and knack to make it in the pop world is the prime motivator of labels, where as in the West, boy bands and divas may dominate but there’s still a lively support for indie music and many indie musicians seem to make a good living from their art.

Joanna Wang is fortunate in that her father is a prominent music producer and she grew up in the states with different influences.

But I suppose Asia is more “karaoke dominated”  -they’re more inclined to sing a balled rather than pick up a guitar -though that’s a very broad generalization.

04
Feb
10

The ‘unconditional Surrender’ contract of the music industry -cartoon

02
Feb
10

The ultimate struggling artist: Guardian article about Benjamin R Haydon

Came across this book review in the Guardian:

Wrong artist, wrong time, wrong place” review about “A Genius for Failure: The Life of Benjamin Robert Haydon” by Paul O’Keeffe (Review by Andrew Motion)
(http://www.guardian.co.uk/books/2009/dec/19/genius-failure-benjamin-haydon-review)

It’s not so much the book I’m interested in as the review itself spoke quite a bit about Haydon, who was an artist that crossed paths with early 19th century English painters and politicians, and he was a friend of Wordsworth and even did a portrait of the poet. But it seems, from the article, that his failure stemmed from a desire for glory in art that blinded him from using the real talents he’d possessed.

For example, he seemed to have a talent for doing portraits, but instead chose to strive for “large canvases which told historical and biblical narratives”. But this involved long periods of no income, and unless the paintings were really good, they simply wouldn’t pay off. By the end of his life Haydon had been in prison four times for debt and he ended up taking his own life.

As Andrew Motion puts it: “Misapplied energy, lack of self-knowledge and vaingloriousness first sapped, then corrupted the energy and devotion to high ideals that he had shown in his early years. They also distracted attention from the things he really did do well, even if he didn’t value them: writing a great journal, painting a few good portraits…”

I guess, as a ’struggling artist’ and a ’struggling muso’, it’s important to explore your talents and find out what works best. It’s easy to become distracted by ‘ideals of glory’ -and Haydon was no different to many of us today. He aspired to be “the British Raphael”, but that was like putting a square peg in a round hole… In the modern age we may aspire to be the next Pearl Jam, or Britney Spears, or Joe Satriani or a great writer or director etc… It’s fine to be inspired by your idols, but if you have expectations to become like them, or as great as them, you could be setting yourself up for major disappointment.

But we’re lucky the internet allows for a world of niches, so you have to find your niche and your expertise, and this isn’t necessarily easy. And it involves humbling yourself, accepting things about your art and skills that you may not want to accept.

Throughout my twenties I placed all my hope and desire music-wise on being in a band. That’s what I wanted to be -a guitarist in a band. I wanted to be like my idols -Nirvana, Pearljam and The Clash, … and I wanted to play guitar like Jimi Hendrix… I was in a band (Rhombic Void) but nothing eventuated -we never made it beyond ’serious hobby’ status.

So we broke up -which was a good and necessary, because looking back on it, we couldn’t have succeeded for several reasons. But if someone had told me back then “this can’t work” I wouldn’t have listened.

I still enjoy doing music, but I know I can’t place all my eggs in one basket the way Haydon did -I’m also backing myself up with a trade qualification.

It’s good to come face to face with yourself. One of the problems with modern maxims tossed around by marketing gurus and entertainment industry self-help books is “you gotta believe in yourself. Don’t give up until you reach the top”. Not necessarily bad advice, but it’s got to be clarified… There’s another saying my auntie used to tell me: “Know Thyself”.

This is why I discussed the “karate tournament” idea -when you compete in a tournament you really get to face yourself by facing opponents. It doesn’t have to be Karate, it can be any sport, but if you want to be a champion, you have to start at the bottom and work your way up.

I went into a martial arts tournament once but just for fun -I didn’t get past the first round, so it was a waste, right? Wrong. I found out about myself -that is, how unhealthy I was, because I was puffing after the first few minutes. It was revealing to me how unfit I actually was and encouraging me to take my fitness more seriously. I wasn’t trying to be champion, just learn something.

But the problem with producing art and culture, it’s harder to accept feedback and failure, and easier to delude yourself. In sports you get beaten, you can either make excuses or you can examine your weaknesses and train accordingly.

But if you want to make money from your music/art/writing, let alone be a champion, then you need to learn more about yourself. Haydon failed to learn these lessons and use his real talents to the best of his ability. It’s too easy to blind yourself, to fail to see where your weaknesses are because art is more subjective and abstract.

Furthermore, getting feedback about our art can hurt our egos, which often gets deeply tied to our own self image as a ‘great artist/musician’ etc…You’re not a rock star until you’re a rock star, just like you’re not a tennis champion until you’re won a grand slam. People who haven’t even made it into a professional tennis circuit don’t go walking round like they’re Federer or Serena Williams, why go walking around like you’re a popstar when you’re not?

You have to start at the bottom. So for a struggling muso, that could mean putting you’re songs out their on Youtube and gauging the feedback and how popular they become, or joining in a social networking site that allows musicians to give feedback with each other. But you don’t have to accept everything -someone may say your song isn’t ‘pop’ enough, but you aren’t trying to be ‘pop’ anyway, -so of course you need to take things with a pinch of salt. Consider who is giving feedback, and gauge things from the stats on webesites as well.

Or test yourself at open mic-nights if you’re a songwriter -just the experience of getting up on a stage, even if it’s in front of three people, is a good learning experience.

Also, try to find what people like about your music -maybe they like your singing, but don’t like the actually song -that may mean you should team up with a songwriter -and vice-versa, your song’s good but your singing can’t let it shine… Or you’re really a good guitarist -then focus on that. Or you’re a boring guitarist -cut short the solos and let the song shine through.

Try different things, different genres, different instruments, and look for the feedback on something like Youtube. You may hit on something that inspires people.

I wonder how Hayden’s life might have turned out if he realized his strength was portraits and he just honed in on that -he might’ve made a decent living and painted many more famous people.

31
Jan
10

Some deals you just can’t refuse in entertainment (cartoon)

23
Jan
10

Good news from Amazon perhaps for struggling writers…(Kindle writer split)

Here’s the link of a press release from Amazon, it seems like more opportunities for writers on the internet, saving costs by keeping things online rather than printing with a 79% royalty option on the Kindle digital text platform…

http://phx.corporate-ir.net/phoenix.zhtml?c=176060&p=irol-newsArticle&ID=1376977

21
Jan
10

What it means to ’support’ in the music biz (cartoon)

19
Jan
10

About no longer needing to tour and MIDEM on China

I finally bought “The Long Tail” by Christ Anderson -it was on something like a 80% discount which probably indicates that I’ve missed the boat by a few years, but it seems to be a good read as I’m just getting into it. Most blog writers regarding music and the future of music have not only read it but all the counter arguments by now as well. Anyhow…

But it’s interesting some of the things I’ve been coming across in blogland. One writer claims that in contrast to the trend of today’s musicians who tour and build a fan-base, in the future they won’t need to tour, just package their digital content and sell it well.

That’s good news for me because I’m not a touring muso.. but isn’t touring essential for musical and performance development?  And I’m a bit skeptical about some of these predictions -from what I observe the music industry varies according to genre, place and size of fanbase… How can you issue blanket statements about what the future musicians will be doing to make a living?

Not only that, it depends on what revenue streams an artist may be lucky enough to tap into -they could do a soundtrack for a movie, or they could get a residency for a venue, or their songs could be covered by an international act, or they could do ad jingles, or their main income could be live performance.

On to China and beyong

 -I came across an excellent article about digital sales of music in Asia (especially China, Philippines, Vietnam etc) and it looks back on the past decade at how the Asian consumer has really lost out.

The article is titled “Asia’s Neglected Music Consumers”. (MIDEM 2010 speaker Mathew Daniel, vice president of R2G and Wawawa). It gives 7 indepth considerations for those hoping to license music in Asia. Well worth a read.

http://midemnetblog.typepad.com/midemnet_blog/2010/01/asias-neglected-music-consumers.html

17
Jan
10

Another Billboard article about loss of revenue in music biz in 2009

http://www.billboard.biz/bbbiz/content_display/industry/e3ieea0d35bc59ea6b92e4491c9d9e7ff61

16
Jan
10

Joined the itunes bandwagon but not ecstatic

I’ve just joined the iTunes bandwagon since receiving some gift cards this Christmas. I’ve had an ipod for over a year, but that’s just mainly to play music from my CD selection, and I still prefer to rummage through CD stores for any gems or good deals.

I was a little disappointed but not surprised when trying out iTunes for the first time. Tracks are $1.69 per track (Australian dollars) or around $16 per album generally, but I did notice a lot of classic songs selling for over $2.

At that price I’ll only buy downloads if I’m a dedicated fan, but lately I’ve been finding good enough music in CD stores for $10 -admittedly they’re usually discount bins, but I’ve seen stuff like Jeff Buckley, Groove Amada, 2pac sold for this price.

The plus side of itunes is you can listen to samples before you buy. I wanted to check out Japanese court music, because I like some traditional Asian music, but when I listened there was an awful hiss, so I didn’t buy it. But I did buy a track from a Taiwanese band I’m interested in, and there’s no way I’d find a CD copy in a shop.

Interestingly there’s an article from Billboard about the decline in growth of digital sales:
Analysis: It’s Official – The Digital Slowdown is Here
(http://www.billboard.biz/bbbiz/content_display/industry/e3i015c08bd6f66cc49307cb5fcab50d82b)
And it touches upon the price of itunes (in the US).

I feel in Aus, generally speaking, $1 is the best price for digital downloads -it’s an unlimited supply, why make it so pricey? If I can by $1 per song now in some CD stores (or less now that they often add bonus tracks) and have the album artwork and pics and add it to my shelf, why pay more for a download?

And why make consumers worry about the math -if it’s a dollar per song, they immediately know that with a $20 card they’ve got twenty songs -why be stingy and make them work out how many songs they can squeeze from a twenty dollar card at $1.69 per track?

And maybe there’s a tipping point. If tracks are so cheap, people will sign up and add tracks in large numbers without tallying each song. They’d be more likely to take gambles on music, check out bands in their town, look into new music. But at $1.69 per track I guess they’re not going to. If it’s convenient and tracks are 20c, that’s like a phone call. No one worries about tallying up their local phone calls -they make em’ all day long.

But this is a gamble for musicians and the industry. For it to work consumers would have to download 10 times more -but it’s possible if it’s convenient to do so. And the supply is inexhaustible -isn’t that an important economic fact?

But I suppose this is all in the ‘music like water’ debate.




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