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I got into the music business because I was passionate about artists and music. I had a heart for it and wanted it to be all around me. That dream came true and has moved me into places I could have never imagined. Despite the positive aspects of working in the radio and music industries for 20+ years, there is inevitable fallout. Music that may have reached me as a fan now may be met with a shrug. Artists that I idolized as a fan now are just normal people who I may still respect, but they don’t lift me to another plane.
It’s easy to reason why. Being immersed by the music, artists, and inner workings of the business for a long period of time has tinkered with the emotional mechanism in some way. The lines can blur between what is genuine passion and what is just part of your job. Call it jaded, over saturated, or being more critical – it happens to all of us for better or worse. Plus the aspect of just growing up and having less and less free time.
There is no doubt I still love and am passionate about music and artists (I should find another career if not), but it takes more to move me to a purchase of music or tickets to a show. It requires something extra special to make me commit my time, energy, and resources. When I find those artists and music that rock my world it reminds me of why I wanted to work in the music industry in the first place. It rejuvenates me and like some retroactive switch causes me to become the fan I was before, again.
That’s where I am currently with several artists in various genres, with the pinnacle being MuteMath. This band had me at the first listen of a sample EP back in 2002 and then after seeing their unbelievable shows at the Exit Inn and SXSW. Boom, done!
Sometimes these musical highs cool down to earth and I move on to the next one, but this trip continues after purchasing their first three projects and catching a few more shows. Now they are coming back to town this Sunday and I am absolutely going. I purchased the MuteMath VIP package via their website. Not only was it a great idea for the band to market, but it was priced right. All of you artists and labels pay attention now……..in the package was a CD, full album download w/ exclusive bonus tracks, t-shirt, invitation to a local mobile listening party of album prior to release, signed lithograph, and a “first in line” pass. All bundled up for $49. Totally worth the price because I am a fan.
I am a freaking fan and it feels good.
From Seth Godin:
The risk/reward confusion
It’s easy to to adopt the policy of avoiding risk at all costs, that whenever possible, the products you launch or the engagements you have should be flawless and without downside.
Here’s the problem: in most endeavors, a small increase in risk can double the reward. It’s the second doubling of reward that brings serious risk with it. But the first leap is relatively painless.
In the chart above, notice that going from point A to point B brings almost no incremental risk. It might feel scary, but rationally, it’s not. Doubling reward again from B to C, though, brings significant incremental risk. It’s this second doubling that gets you through the Dip, that leads to a breakthrough, that makes you remarkable.
But I’m not even talking about that. I’m just hoping you’ll warm up by making the tiny leap of avoiding all risk. Riskless is hardly worth your effort.
A short but important piece from Dan Miller’s weekly newsletter. Find Dan’s blog HERE.
There is a PBS special running right now on the music of David Foster (Hit Man – David Foster and Friends). As the hosts asked him about his early years in music, one response jumped out at me. David said he loved music as a child and his parents allowed him to take lessons in classical music. But David said: “I was good, but not great.” He went on to explain that if he had been a better musician he would likely have ended up as an anonymous face in some orchestra. Not being great forced him to look for other ways to be involved in music. So he writes and produces for other musicians. It has been said that Foster’s songs have made “many famous singers into superstars.” Many of his songs have become well known through the voices of Celine Dion, Barbra Streisand, Andrea Bocelli, Josh Groban, Whitney Houston, Madonna, Micheal Buble, and Boz Scaggs. And his own fame and fortune has far surpassed what he could have possibly hoped for as a “great” musician.
In The Millionaire Mind author Thomas Stanley looks at the common characteristics of people who have ended up extremely wealthy. Their average GPA is 2.7. Why isn’t it that all 4.0 students become wildly successful? Maybe their “greatness” came too easily and they missed the benefits of the struggle.
If “greatness” has not come easily for you have you given up the pursuit and settled for mediocrity? Or have you looked for alternative approaches for success anyway?
Maybe “greatness” that comes too easily is itself an obstacle. We’ve all seen athletes, musicians, writers, and speakers who were so naturally great they never had to exercise the discipline to survive the hard times – and quickly faded into oblivion.
Maybe not being “great” is your biggest hidden asset.
Dan Miller, President of 48 Days, LLC, in Franklin, TN, and Founder of The 212° Connection, specializes in creative thinking for increased personal and business success.
I recently did a 10 Questions feature with All Access and it is being featured on their site this week. I’m re-posting it here, not to be self serving, but to continue to highlight the amazing work Compassion is doing and the way we are connecting with country artists, radio, and industry partners. This is the time to impact the world.
If you have a question that I did not get asked here, then please feel free to contact me.
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NAME: Mike Severson
TITLE: Artist & Radio Relations for Country format
COMPANY: Compassion International
BORN: Cedar Rapids, Iowa
RAISED: Inola, Oklahoma
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Please outline your career so far:
1988 – 1994 Radio (KWEN and KCKI in Tulsa, OK)
1994 – 2002 MCA Nashville
2003 – 2004 All Access Music
2004 – 2005 Rounder Records
2005 – 2008 Midas Records
2008 – present Compassion International & Freelance Consulting/Promotion/Marketing
1. Last time we spoke with you was 2005 and you were working for Rounder Records. Catch us up on what has been going on in your life for the past few years.
Wow, it’s been too long since we have spoken! I went from Rounder directly to being hired by Bob Reeves as we helped launch Midas Records in early 2006. Worked some great music and artists, but the roller coaster ride ended in July 2008. From there I had a short stint at another indie label and most recently was hired by Compassion International this past December as their consultant in the Country format.
2. Tell us what Compassion International is and a little bit about the company’s history and focus.
Compassion International is a Christian child development ministry dedicated to helping children in need around the world through one-on-one sponsorships. Compassion’s programs help release children from poverty and enable them to become responsible, fulfilled adults. They offer educational opportunities, health care and health-related instruction, nutrition, life-skills training, social activity, and spiritual growth. As for the history, Compassion was founded in 1952 and now serves over 1 million children in 26 countries around the world. The organization is also involved in other critical areas of need including, but not limited to, disease prevention, fighting hunger, clean water projects, disaster relief, HIV/AIDS initiatives, and the global food crisis. You can check out more at www.compassion.com.
3. What exactly is your role with Compassion?
I am essentially artist and radio relations for the Country format. I am currently educating and forming relationships with artists and radio stations that are interested in partnering with Compassion on a world-wide basis. I will then be the Country point person for those artists and stations for strategic planning and implementation.
4. Compassion International has been pretty visible in the Christian music format for a while now, correct? What made the company decide to move into the Country format as well?
It just feels like a natural progression. The two formats share an enormous amount of listeners, target demos, and there is a foundational element of Faith in our format. Country artists, radio, listeners, and fans have huge hearts as well and there is incredible opportunity to make an impact on children around the world while letting our format shine beyond our preconceived borders and notions. The bottom line though is that I believe Country music can have a life changing impact on the lives of hundreds of thousands of children around the globe.
5. You have been working this job for about six months now, what has the response been from the Country music community?
I am thrilled at the response and the interest. There are so many artists, radio stations, and industry professionals that are looking to connect with an organization who is involved with fighting extreme poverty and where they can make a direct impact on a child in need. Sometimes it is difficult to know what organization to support and identify where the money is actually going. But when they see how Compassion does not indiscriminately throw money at a problem, but through direct one-on-one sponsorships is lifting kids and families out of deep poverty, it gives them an opportunity to see that the monthly contribution from the sponsor is truly helping their specific child. It also is a plus that Compassion has a 30+ year history in the music industry and knows how to build relationships and connect the dots. That’s huge.
6. You recently had the opportunity to visit El Salvador with Valory Music Co. group Emerson Drive. Tell us about that experience.
Compassion actively takes artists and radio folks who are interested in a partnership on actual trips. Typically a 3-4 day journey to Central or South America, although Africa and India are possible for those who want to dive into at least a week-long trip. Spence Smith (Compassion artist rep) and I were excited to take the Emerson Drive guys down to Central America to get a first hand experience of what Compassion is all about and see the work they do. We visited a few of the 150 Compassion programs within the heart of the communities in El Salvador. We met the children, staff, volunteers, and the families of some of the kids. The band also had the opportunity to walk the streets and visit the homes of families in these impoverished communities who live in the midst of brutal circumstances that we in the States cannot imagine. Since I was already friends with the guys in the band, I knew they had big hearts, but seeing all of this with their own eyes really made it hit home. They can now communicate what they have experienced, what Compassion actively does to change lives, and how people can get involved.
7. How can radio stations and Country artists partner with Compassion?
There are a number of ways artists can partner through incentive programs, fan clubs, social networking, live shows, CD inserts, text campaigns, and countless other relevant ways. Radio had the opportunity to partner through special events as KKGO/Los Angeles did last September. Compassion has worked with over 350 radio stations in various campaigns and combined that experience with the passion of PD Tonya Campos to set up a full day event to help find sponsors for waiting children. Tonya took a trip to Nicaragua where she met her own sponsored child and also recorded video and audio content for the event. See some of that here. The results were so successful and powerful that they have booked another event for early 2010. Compassion provides a detailed turn-key tool kit and also is willing to offer extra revenue and compensation opportunities for participating stations. It’s a complete win for everyone involved. It’s also a very flexible model for each individual station based on their market and needs. Other opportunities could involve active web content to not only drive traffic to the site, but also generate non-traditional revenue.
8. I know you have been involved with Compassion for quite some time as a sponsor, but what made you want to take that step and work for the company? You must have had a strong belief in the company and in the people involved in Country music to make the change.
I have sponsored a child from Brazil for 6 years. During that time we have written to one another and sent photos back and forth. She draws and colors pictures for me that I can hang up in our home. When I look at her photo I know that my monthly donation is going to help her get an education, medical attention, nutrition, and social and spiritual development. Things she would never have without my help. I’ve seen so many examples of kids who came into the program with no hope of life to graduating high school and college. I investigated how Compassion operates and how consistently high it is rated with the charity watchdog groups. Plus having artists I know and respect giving their support was a factor as well. When I started talking with the people at Compassion about the potential move into Country I wanted to help out however I could. I believe in this amazing organization more than I have believed in any record I have worked. I love the music industry and this community, but I also was at a place where I desired to make an impact on lives of those in severe poverty and suffering. I’ve never seen an organization do it better than Compassion.
9. What exciting things do you have coming up with Compassion within the Country music community in the near future?
Many ideas and plans are in the works. Obviously taking artists and radio who are interested in partnering with Compassion on trips to see first hand the work Compassion does. We are taking the model that is working successfully for KKGO and calling on other stations to join in this worldwide impact of children and families. There are artists who are excited about partnering with Compassion and we are talking with them about how they want to be involved since the possibilities are endless. Compassion is excellent at the aspect of relationship and helping to design something that works for each music industry partner whether it is in our sponsorship or child development programs or cause specific like HIV/AIDS, malaria, clean water, and global food crisis initiatives.
10. If you could pick any artist in Country music involved with Compassion, who would you chose?
Obviously I would love to have any artist that has a heart for this and is interested in what Compassion is doing. Each and every artist has something special to offer through their music, personality, passion, and experience. For obvious reasons artists like Carrie Underwood, Brad Paisley, Keith Urban, Kenny Chesney, Rascal Flatts, and Taylor Swift come to mind. Their fan base alone could make an unimaginable impact on the lives of tens of thousands of children in deep poverty. Country radio has that same enormous potential.
Bonus Questions
1. To go from record label promotion person to working for a non-profit Christian agency must be quite a leap. What skills that you learned as a promo guy have come in handy in your new job?
It may appear to be a leap from the surface, but I’m still the same person. I came into this business because I had a passion for artists and music, not necessarily to be a label rep. That passion continues even stronger today as I combine it with a purpose to be involved in something relevant that positively impacts and transforms lives.
2. You have been on two Compassion trips now, right? Where have you been and where are you planning to go next?
I traveled to Honduras in February, El Salvador in March, and Ghana is in the works for August. Guatemala has just been confirmed for September 3-6 with Tonya Campos, Carter’s Chord, Megan Mullins, pop artist Rob Blackledge, and any other radio station or artist that is interested in exploring a partnership. Africa is being tossed around for December or January as well. We are also open to designing trips around artist’s schedules who are sincerely interested in making the journey. Any takers? It will blow you away.
My friend and writer extraordinaire Ken Tucker has a blog. It’s one of my favorites, so you should check it out. About a month ago he posted this piece on the deconstruction of local radio and the move toward a national format.
I don’t know why I’m surprised, but I am, at least to some extent. None of the radio industry trades have offered any analysis of yesterday’s announcements by Clear Channel regarding “Premium Choice” programming (sounds like a satellite television menu offering) and increased attention to localism. Each and everyone of them pretty much reprinted the Clear Channel press releases intact.
I take that back. Tom Taylor on Radio-Info.com does seem to view the proceedings with more than a little skepticism. “Now it’s up to the local PDs (says Clear Channel) to select ‘large portions, single pieces or none of the offered programming’,” Taylor writes. “But if a particular daypart hasn’t measured up lately – do you really think the option would be ‘none’?”
The gist of the story is this: local programmers can select from a menu of “premium choice” programming options to fill their local line-up. Morning guy not working out? Plug in Ryan Seacrest. Afternoon guy’s ratings starting to fade? Plug in Seacrest (his show apparently fits almost anywhere).
Now, I’m not a Clear Channel hater. I never have been. I have friends that work for the company and there are things I admire about it. These initiatives are not among them.
Call me old fashioned and out of touch, but when I was a teen I remember driving with a group of friends to downtown Cleveland to see the Sunday night jock on WGCL (G98) do his show through a window that faced the street. He wasn’t particularly friendly, but he was there.
I also remember calling in a request to Dancin’ Danny Wright, the morning man on that same station, and then listening for him to play it back on-air.
Not any more.
These days the country station in Cleveland, WGAR, only has two local dayparts, mornings and afternoons. Middays and nights are voice tracked out of Baltimore and overnights are syndicated. Cleveland, Ohio. Not Cleveland, Tenn.
CC is also increasing the number of PSAs stations do and making it easier for local officials to reach station management. Go figure.
Dan Miller, a longtime local television anchor here in Nashville, recently died suddenly. Thousands of viewers in the area are still mourning his loss because they saw him as a trusted friend—someone who came into their house every night. Competing stations ran stories about him, and two of those stations even covered news and answered the phones at his former station while his colleagues attended his funeral.
That’s localism. A couple more PSAs on a radio station with a few, if any, local talent is not the same thing.
I just don’t get how radio station owners can continue to fight calls for localism regulation from Capitol Hill and turn stations into satellite operations.
Gerry House on WSIX has built a large and loyal following and when the day comes that he dies (hopefully no time soon), he will be remembered in the same way as Miller: a trusted friend who was a part of our lives.Then what? The country version of Seacrest syndicated from Tampa or somewhere else?
It won’t be the same.
“PLAIN SPEAK”: A blog that aims to communicate without trying to impress. Risible, egregious, pedantic, hubris, multifarious? You won’t find those words here, unless they’re used in jest. Never use a five dollar word when a fifty-cent word will do the job.
A recent article from The Tennessean:
Sarah Sidwell, a 19-year-old freshman at Belmont University, loves listening to music but doesn’t buy it that often. Instead, she listens to top artists on Pandora, a free online radio station that she customizes to play her favorite songs.
It’s a phenomenon adding to the overall decline in music buying and even the legal and illegal downloading of tunes, according to New York-based NPD Group, a research firm. Instead of buying music, many consumers stream it online without ever opening their wallets to pay artists or record labels for their work.
With tens of millions of dollars in revenue at risk, music labels and musicians in Nashville have been scrambling to find new ways to make money at a time when sales are shrinking and digital downloads haven’t managed to fill the gap.
Adding to the challenge is the fact that more music is becoming available for free.
“Just as music piracy and the advent of digital music ended the primacy of the CD, we are beginning to see new forms of listening challenge the practice of paying for music,” said Russ Crupnick, NPD’s vice president and senior industry analyst.
Teen and young adult consumers increasingly stream their favorite artists on MySpace pages, listen to music over online radio while doing homework or preview an artist’s CD via an online music service before the album’s release date — all without paying a penny.
“The need to buy has diminished because (music) is so accessible,” said Heather McBee, vice president of digital business at Sony Music Nashville.
Web offers samples
Virtually all record companies and artists are trying to target music fans more aggressively on the Web.
For example, country music star Keith Urban is marketing his album Defying Gravity, which hits stores Tuesday, using iLike, an online service that lets users tell friends what music they like and track concert dates.
Since March 17, Urban has exclusively revealed a song off his album each day, along with a video explaining the song. Consumers can click on a link directing them to iTunes to purchase the song for 99 cents.
“We’re specialized for music,” said Ali Partovi, CEO of Seattle-based iLike, adding that his Web site is designed to drive sales. Partovi said even though his company is not yet profitable, about 60 percent to 70 percent of revenue comes from national brand advertising. He declined to provide annual revenues.
Urban has promoted past albums and tours on iLike. One benefit of using the Web site is it provides statistics for artists showing how many people streamed the album or checked out Urban’s profile, said Genevieve Jewell of Borman Entertainment, which works with Urban’s management.
ILike has a universal dashboard that pushes content out to other channels such as Facebook, Orkut or Ask.com, allowing Urban to reach more fans than the average social networking site can reach on its own, Jewell said in an e-mail.
“It’s hard to exactly pinpoint how successful this campaign will end up being, but I think the percentage of sales that end up being digital will be a good way to measure the success,” Jewell said.
Leadership Music’s annual Digital Summit is one of the most valuable and high-impact events in the Nashville music industry community. Join over 600 artists, ISPs, songwriters, venture capitalists, managers, content aggregators, labels, digital music services, publishers, service providers, mobile operators, consumer product developers, retailers, and media to shape the next generation of music in the marketplace.
FEATURED SPEAKERS INCLUDE:
*Ted Cohen, TAG Strategic
*Dorrian Porter, Mozes
*Greg Scholl, The Orchard
*Jim Lucchese, The Echo Nest
*Ali Partovi, iLike
*Jim Cicconi, AT&T
*Dave Ulmer, Motorola
*Ted Cohen, TAG Strategic
*Dorrian Porter, Mozes
*Greg Scholl, The Orchard
*Jim Lucchese, The Echo Nest
*Ali Partovi, iLike
*Jim Cicconi, AT&T
*Dave Ulmer, Motorola
Two days & pre-event kickoff March 23-25, 2009
Added Networking Opportunities and More Live Music
Hot Topics: Mobile, ISPs, Social Net, Intellectual Property and Money
Great Value: All Registration Fees at or below 2008 prices
REGISTER NOW for as low as $129!
All the details are at www.digitalsummit.org
I attended last year’s event and found it to be a stimulating time of learning, growing, and expanding new world thinking.
The worst kept secret in the radio and record industry came to pass as Clear Channel let go of 1850 employees. I actually thought there might be a slight chance the CC brass wouldn’t do it on the same day as the inauguration as rumored, but they indeed did. The only reason anyone can think of for picking that particular date is that it wouldn’t make much noise on the mainstream news. You must figure they didn’t want bad press for firing 9% of their employees. I find irony in it happening on inauguration day since it is exactly the sort of thing politicians do in Washington. Wait for a big event, put on a parade, strike up the band, and divert the public attention away from the shifty and questionable moves being made.
I wish all of the Clear Channel casualties the best as they look to the future. It is never easy to lose a job, trust me, but invariably it works out for the best. For some of you it will be a prime opportunity to escape the trappings of radio and for others it will only inspire you further to get back in the game. Whatever your decision or calling, our thoughts and prayers are extended to you.
Onward and Upward.
It is said, “Insanity is doing the same thing, over and over again, but expecting different results.”
Is the music and radio industry insane? How long will we keep trying to do the same thing and expect a miracle?
As long as we have the excuses of a weak economy or if we continue to blame others for our lack of vision, we will perish. There will be no relevancy or need for us.
A handful of companies are diving into the future and embracing new ideas, innovation, strategies, and creativity. They are exploring new business models and coming up with original ways to market and engage the consumer where they are at and the direction they are going. These companies are not only forming atypical and interesting ideas, but putting them into practice.
So many others are still trying to sell people a product they don’t really like much in its current form and not engaging the consumer on their own terms. Typical. Predictable. Boring. Insane.
The radio and music business must grow and be the innovation. Not wait for the innovation to come to them, because by then it will be too late. We’ve seen that happen countless times over the last decade.
There never has been more opportunity than there is at this very moment. Seize it, or move on and let those you claim to lead show you the way.
There is another quote of use here, if we just change the words a bit.
“I think the best way of doing good to the poor, is not making them easy in poverty, but leading or driving them out of it.” – Benjamin Franklin
An excellent and ever relevant quote in itself, but if we change it just for the moment to:
“I think the best way of doing good to the radio and music industries, is not making them easy in their insanity, but leading or driving them out of it.”
Get away from welfare thinking and create a way out of this madness and into imagination, achievement, and victory. Be inspired. And how can you not like a good Braveheart quote for a time like this?!
“People do not follow titles, they follow courage.
If you will just lead them onto the battlefield, they will follow you.” - Bravehart
Back in June I posted about how much older our core demo is getting. It was based on research that I had read about and the concern was that we may be chasing the older demo off the cliff and the future with them. We’d be in a tough place wondering how we let the younger generation slip away and regret not reaching out to them early so they will stick around for life.
Well, we now have successfully saturated ourselves with younger artists, with younger skewing music, and celebrity driven culture. The music industry pendulum has swung and everyone seems to be chasing the young un’s all over town. That’s as dangerous as letting your aging demo fade away into Oldies land.
Now the debate is which is better – aiming for a fickle younger demo who could be here one moment and then gone the next or not letting the perpetual adult core of the Country format get away? Good reason and relevant arguments on both sides. The younger demo could leave us with our hat in our hand and ratings in the toilet when they decide to chase the next hip format and the older demo could squeeze us from ever capturing the next generation of listeners and record buyers.
The subject is once again a hot topic and was recently covered in an interesting article from Sean Ross. The question is back. Do we split the format up or keep it all inclusive?
On one hand I think what we need for the time being are level heads and balance. This format has always had an amazing variety of sounds, artists, and music. It hasn’t always been presented in the best way, but there is so much opportunity now to showcase how diverse and inclusive our format is. There are those that think we can still remain solidly Country and include both demos, without leaning to far one way or the other.
On the other hand…..if we can somehow make two country formats work, imagine the opportunity for new artists. It would theoretically open up the playing field to so many deserving and talented artists that aren’t getting the break they deserve. Some in radio will wonder if there are enough quality acts to wrap around Taylor Swift on a younger 18-34 Country format and I say absolutely yes! I’ve heard so many fresh new artists in Nashville that challenge anything currently on the radio including Taylor. Most have no idea the powder keg of singers and songwriters in Nashville.
Does playing to the middle of both adult and younger demos cause a dilution of our format to the lowest common denominator? Do we need to split the format up to make let it be all that it potentially can be?
I’m torn between the two, but for the first time in my career I see a solid validity for a “Hot Country” and “Mainstream Country” or whatever you wish to title them. It could solve the problem of what to do with all of the celebrity artists flooding over from American Idol, Nashville Star, and various other launching pads. It would also insure George, Alan, Reba, Vince, Martina, Tim, and countless other relevant mature artists are carrying on the country tradition and satisfying the adult demos.
The timing may be right to test the waters.
From Dan Miller:
There seems to be a subtle shift that takes place in the history of most businesses. Let’s say Barney was a cave man who made great wagons. But there are only 20 people who live in his known world so as soon as he makes 20 wagons he’s out of business. If he can’t imagine using his skills for anything but wagon-making we might then see him sneaking around at night burning the wagons to rekindle demand. Or the town witch doctor knows he would not be needed if everyone were healthy. So he “creates” illness to keep his patients coming back rather than help them attempt to find ultimate health.
Now fast forward to 2008 in America – same deal. We have auto manufacturers who can’t risk making a car that really lasts – they need 5-year obsolescence. Parts that wear out and systems that malfunction are a necessary component of keeping the machine of making cars in place. It would be self-defeating to make a car that semi-permanently met the customer’s needs. You have to hope the customer doesn’t stay happy with their purchase for too long.
Do you really think we aren’t smart enough to make a lightbulb that would last essentially forever? But what would that do to the sales of lightbulbs?
What if a counselor or chiropractor really helped every client they saw? Got them to a point of healthy functioning on their own? How would he/she pay the mortgage the next month? Keeping people dependent on their services may become more important than seeing them get better.
If you realize your “work” is more dependent on keeping a system in place than on meeting the real needs of your customers, you are indeed vulnerable. Real estate developers, publishing houses, record labels, auto manufacturing and “investment” firms are all suffering in their attempts to keep systems in place rather than responding to the changes in demand of the marketplace.
What we need are new ways to engage our creative skills; not government support to allow us to keep doing what no longer works.
I happen to be a car enthusiast, but I think it’s a joke that someone “decided” we needed new models every calendar year? My primary car is a 1991 Mercedes 500SL – it’s 18 years old! It looks great, has great styling and is fun to drive. I’d love to see a 5-year car – where nothing changed for at least 5 years, or even 10. Can you imagine the streamlining of parts and service, and the reduced waste from excessive manufacturing?
Now – what are you doing in your work or business to make sure you are serving your customer’s needs, even if those needs change?
The Digital Music Forum West was this past weekend in Hollywood, CA. A Wired blog captures the highlights of “The Future of Mobile Music” panel. Some interesting observations, predictions, and concerns are shared by the guest executives, who like typical panelists, don’t always see eye to eye. At least they are all looking to the future as we make the transition from hard to soft media.
Check out the summary HERE.
A new recording format is being introduced by SanDisk, the world’s leading supplier of flash memory cards . It’s called “Slot Music” and it is the latest attempt by major labels to offset the major slide of CD sales. I personally haven’t utilized it, but sure seems like more of the same to me. 
They are billed as high quality, DRM-free MP3 music on microSD cards. The initial 29 albums are scheduled for release soon and will be available at Best Buy and Wal-Mart. The small memory chips will be preloaded with full albums of MP3 music, art work, videos and other content. Each card will be around $15.
The advantage of Slot Music is the convinience and ability to function in multiple devices including phones. However, if consumers aren’t willing to pay $15 for a CD or a CD/DVD bundle, I don’t know why they would be interested in paying the same price for another full album format. It seems like a good idea if there was real value attached to it or if the micro cards were being given away for free at shows or with other purchases. It has potential to be a tool for labels and artists, but I have doubts about it being the answer to the industries woes.
Check it out here and make up your own mind.
So Rascal Flatts getting shut out of the Country Music Award nominations is a big deal apparently. It has also previously happened to Toby Keith and Tim McGraw at the height of their popularity too. One of the leading country format trades, Country Aircheck, published a front page story in their issue this week. Here are a couple of excerpts:
“…..but far more insidious and potentially damaging is the view from many in the industry that the voting process is flawed and skewed to the mega-labels. Some point out that the commonality among McGraw, Keith and the Flatt’s is their stand-alone label affiliation. The inference is that artists in those situations cannot overcome the perceived block-voting believed to be taking place in major label groups.”
“…..the exclusion of Tim and Toby in the past and the Flatts this year simply doesn’t pass the “smell test.” While intense examination of the ballots does not produce a smoking gun, the preponderance of evidence seems to suggest there is, at least, something within the process that puts some artists at a distinct disadvantage.”
This is not news to those of us who have worked in this business for a good amount of time. There are major label groups in town that tend to sweep a majority of nominations and end up having the champagne flowing at the post show party as they celebrate all of their winners. Although block-voting is now prohibited, many can’t help but think that certain powerful people and label groups in this town have overwhelming sway as to what artists get nominated and which get prime performances.
Let me give you an example of something a friend of mine experienced many years ago while working at a major label. I will withhold the name and company.
Since the company paid for membership dues, nearly every employee at this company would receive nomination ballots for ACM and CMA awards. The instructions to employees were to not fill them out and take the ballot to the head of the class, where they would be completed by a single person. That particular individual would then check them all off in exactly the same manner. Certain artists would receive straight ticket votes, which was to obviously give them an advantage over other competitors. If this is the definition of block-voting, then that’s what it was.
I don’t know how well it actually worked, but you can imagine the impact it made on skewing those vote totals. It was just another part of the industry that made me uneasy. It made me uneasy because I was also part of the same company at the time. Don’t get me wrong, I believe in supporting my artists, but to try and hijack my opinion about what I thought was the best our format had to offer, well……I just couldn’t play that game. My friend and I refused to turn our ballots over each time they were requested.
So, maybe there are other games going on right now. I wouldn’t doubt it. Some people will stop at nothing, including outright cheating, to win. But to say that there must be something wrong if a certain popular artist doesn’t automatically get the expected nominated by their peers (not fans mind you), may be presumptuous. After all, Alison Krauss is one of the best female voices in country music, any music actually, and she doesn’t always make it to the final round. I’m glad she did this year. There are many other examples as well – and you can always start with “Entertainer of the Year”. One or two nominees in that category baffle me year after year and they end up excluding other more deserving finalists who are far more entertaining.
If this vote was indeed legitimate, maybe our peers are sending a message. Are they purposefully shaking things up to make it more interesting and allow fresh emerging talent to enter the proceedings? If the vote is not legitimate, then the CMA has to continue to fight the good fight because the same people will try to break the rules to win at every moment.
The Tennessean has more on the exclusion of Rascal Flatts here.
Authenticity is so crucial for the success of our format. Nothing is worse than Nashville putting out artists and songs that are contrived and tedious. Oh wait, yes there is – radio playing them.
I’ve often thought that this is a time for reality. Not reality shows or individuals who have been on reality shows. That sort of manufactured “reality” has made people even more hungry for music that is true and genuine.
Whether that authenticity comes in the form of grit, passion, vulnerability, or sincerity – people will respond in the most positive way. They want realness.
A recent CMT article from Chet Flippo explains the important authenticity that both Kitty Wells and Kid Rock have brought to Music City and what they can teach us on how important it is to be real in the country format.
Check it out HERE.
From Brennon Slattery, PC World Blogger:
Faced with huge song royalty increases, Net radio may soon face extinction. That is according to Internet radio Webcaster Pandora’s founder Tim Westergren. He told the Washington Post his popular music Webcasting site is about to go offline because of increases in royalties his company must pay to the music industry. Westergren says that the Copyright Royalty Board’s agreement with SoundExchange, the royalties collecting arm of the Recording Industry Association of America (RIAA), is about to increase fees Pandora pays and thereby turn its small profits into a deficit.
This year, according to Westergren, Pandora’s royalty fees accounted for 70 percent of its $25 million in revenue. Based on the Copyright Royalty Board’s decree, by 2010, Pandora’s royalty fees will soon double from where they were 2 years ago. And that, Westergren says, will put his firm in the red.
By comparison to traditional radio stations, Westergren points out, Web radio stations are not treated equally to others music broadcasting businesses. And because of this inequity, Westergren says, Pandora and other firms like his face a murky future. Traditional radio stations do not have to pay per song royalty, Westergren points out. And satellite radio pays 6 or 7 percent of its revenues to copyright holders, or roughly 1.6 cents per hour. Net radio, on the other hand, pays for every song and every listener-2.91 cents per listener, per hour.
“This is like a last stand for webcasting,” Westergren told the Washington Post. “We’re losing money as it is. The moment we think this problem in Washington is not going to get solved, we have to pull the plug because all we’re doing is wasting money,” Westergren continued.
This time last year, the Digital Media Association (DiMA) won a small victory when it agreed with SoundExchange agreed on a $50,000 cap for the $500 per-station fees. Also, a bipartisan Senate committee drafted the Internet Radio Equality Act, but the bill now appears to have been abandoned. Representative Howard L. Berman (D-CA) may attempt a last-minute save but even he isn’t hopeful. Time has shown that these steps may have done little for the Net radio’s salvation.
Tough as it is for Pandora, smaller Net radio stations will almost certainly crumble beneath the weight of these costs, which account for 100 to 300 percent of their revenue.
Westergren says desperate times call for desperate measures. Pandora, he says, will seek new methods of advertising revenue, including between-song advertisements. So expect to hear “The next half hour is brought to you by,” in the near future. Ads are currently only located on Pandora’s Website next to the Pandora player interface. Pandora also appears to get a cut from music sales initiated through its site.
Will we see smaller Net radio stations fail? Time will tell.
If the the royalty hike will cripple Web radio I don’t see how that can be good for music fans, the artists, or the labels. Lets hope the this all gets sorted out soon and we can all keep tapping our feet to the sound of Web radio stations both big and small.
I’m now doing my thing at 1720 Entertainment. I’m thrilled to work with Bill Macky and his solid promotion team. I have worked with all but one of the crew at some point in my career and have the utmost personal and professional respect for them. I am also excited to be working with talented artists Rissi Palmer and Jamie O’Neal. They are both putting out top-notch music and have an extraordinary amount to offer the format.
Onward and Upward.
Yes, that’s right my friends. Since I am no longer with the affiliated record label, no one can accuse me of self serving bias. This is one great band no matter where I am.
The members of Whiskey Falls are all individually successful and extremely talented. They can play, sing, and perform with the best of them, and they “get it”. They understand how the industry works and, most of all, how it doesn’t. They are savvy about the future of our industry and are light years ahead of a majority of acts when it comes to connecting the dots.
Whiskey Falls has a harmony and a sound that should be all over the radio, which interestingly enough is the only media passenger that hasn’t yet completely boarded this train. Plus, they are the nicest guys you will ever meet. The band was a pleasure to work for and I expect great things for the guys in the future.
The Music Advisory suggests you do yourself a favor and get to know the band HERE and become their friend. You won’t regret it. I haven’t.
Finally someone is doing something that makes sense in this town. Will it work? Based on the demo segment who purchase music from Taylor Swift I think it will. The price points may be a little high for the basic CD and digital download pre-sale and they probably should have given an incentive along with it. Although, Taylor does have a passionate fan base, so they may need no bonus enticement.
If it falls short, then it was a good move in forward thinking. It is only the beginning of what can be accomplished with innovation, incentive, and creative marketing. I noticed the “Pink Ticket” gimmick is taken right from the Chocolate Factory. Willy Wonka would be proud.
We have to be of the thinking that Wal-Mart and Target do not sell music any longer. It’s not very far fetched. How do we engage our consumer, give them a real reason to purchase music online (or the incentive w/ free music), and make them long term partners in a career?
Nashville typically lags behind the curve and likes to make excuses for it which only perpetuates the lag. Yes, times are tough and present many challenges for the future, but within those challenges are huge opportunities. We do indeed have to be Fearless.
We were rolling down the road in our small bus in Kigali, Rwanda when we came to a stop in traffic. Next to us was a local man who was listening to music in his car. It was rather loud and the windows were down. What did I hear? Alan Jackson.
Shortly after that in Italy I was told that Keith Urban is becoming very popular and country music is being received more readily because of the “new sound” that is appealing to them.
That got me thinking.
With brands expanding and the world shrinking, many products are making their way all around the global economy. Whatever can cross borders (including into our own) or break boundaries will experience growth. Those that cannot make a connection with other parts of the world will not experience the same growth and will be relegated as a niche or regional product.
The world of music and entertainment may also be held to this economy. Beyond the U.S. there is potential growth for a number of musical genres besides Top 40. Some, like Country, are distinctly American by birth and audience. With numbers shrinking over the past 10 years within the U.S., how can we grow a format that has not only a battle within our own borders, but strike out and be relevant to other cultures and countries? How do we effectively grow our share in the states and market to the rest of the world, while maintaining our musical integrity?
There are many ideas I’m certain, but one answer is our format must diversify. Diversify meaning welcoming talent of various colors and cultures without surrendering the validity of the genre. Country music has dabbled with it in the past by welcoming a solitary hispanic and black artist into the format. Satisfied, we patted ourselves on the back with one hand and then ushered them out the back door with the other. The musical atmosphere is currently seeing promising signs, but more must be accomplished for us to be respected and successful as a format in the years to come.
Country music is focused heavily on relatable and meaningful lyrics depicting everyday life. It’s about family, freedom, love, relationships, and faith – the fundamental core of our format. These are not just white rural American interests, but are things important to a majority of society. Even the country lifestyle group is more expansive than we make it. Certain acts have strong appeal beyond our self imposed borders and we should take advantage of that. I don’t think we fully are. I also don’t think we are inviting other cultures and ethnicities into our own backyard to participate in the future legacy of this format.
There is much opportunity.
A hypothetical situation here……
A particular segment of business has certain rules and regulations that companies are to abide by. Some are set in stone and others are unspoken rules. It essentially becomes the accepted framework of conducting fair business. Of course everyone is looking for an edge to win, but they all start from a level playing field.
One day, a particular company finds a loophole in the system and knowingly exploits it. The result is to the advantage of this company, but it clearly goes beyond the framework and fair business practices. They say it is “working the system” or being “creative” while the rest of the competing companies say that they are essentially cheating.
So the question is, did they do what any company would have done to get ahead and to beat the competition or were they caught cheating as they looked to win “at all costs”?
I believe we should aspire to win, but not at “all costs”. There is desperation in selling your ethical soul and a considerable risk of losing integrity and respect within the business community.
I have an idea of how to do business. How about we give all that we can, do the best that we can, be innovative, creative, passionate, and savvy in the process; but do it with integrity and respect for others. Call me crazy.
Sometimes it becomes necessary to make self inflicted changes or allow fate to intervene and shake things up. It is the only way you can regain a vision of the larger story, allow your dormant ideas to take actually take shape, and tackle fresh challenges to bring you back to life.
I’m looking forward to traveling on a new road. A journey that will allow me to reside in the new world of the music industry, to encourage forward thinking, and to make a real impact with people who “get it”.
Interestingly enough, this is not the only new adventure I am on right now. There is another one happening within my life that I can’t mention at the moment, but I will soon…..when the time is right. It is beyond exciting and places this career drama into its rightful perspective.
Life is good and getting better all the time.
John Pisciotta
Ripcord, Inc.
Previous employment/companies: Session Guitar, (Vince Gill, Pink, Amy Grant, Peter Cetera, Michael Omartian), Sony Tree writer/producer, Paradiso Music, Founder Lead Producer, Ripcord Entertainment, Founder, Creative Director
Years in the biz: 14
Marital Status: Married to Robin Welty
Children: None
You do a wide variety of things at Ripcord. Can you give us a rundown of everything you are involved in? Sure, Ripcord inc. is an Artist Experience company. A music business 2.0 company committed to expanding how artists are experienced in a post record label world.
Under the Ripcord umbrella we have three Divisions: Paradiso Music Productions, which is a production/artist alignment company, Ripcord Music Publishing, and Ripcord Entertainment, the Artist Experience Company.
Artists nowadays are on two trajectories, 1: I wanna be a rock star trajectory, and 2: I want to build the empire myself. So what we are seeing is a pretty drastic shift towards the “build you empire” trajectory. A perfect example, we recently finished production/artist alignment for a new artist. I think the total production budget was around $40,000. Before were done with the record we have recouped the entire budget. So the artist is able to be profitable from record one. It’s a different model, so for the right artist, it works amazingly well.
There are rarely average days I’m sure, but how would you describe a normal day? Meetings in the morning, in sessions during the day.
How did you get started in the music business? Hmm, big question, Technically, I would say, writing and producing at Sony.
What do you look for in artists and songwriters? For Artists: Talent is a givin; you have to be amazing at what you do. But really talent is the easiest part of the equation, what is rare is the drive and passion that coincides with building a career.
For writers: people that are amazing at their “thing”. Lyrics, hooks, and beat making are important on a song level, but on a personal level, being pleasant to be around is a big part as well, work ethic, the list goes on an on.
Do you feel most traditional record labels have dropped the ball in A&R and artist development? I don’t know they have dropped the ball, things have just shifted, if you look at the development of the artist, and open it up, you have a lot of things that are hard to quantify. Labels have to quantify and measure the profitability of the artist. And they should, Finding your voice, re-invention, experimentation, connecting with and finding your audience, a lot of these right brain elements have never fit in the label model. In the past, labels could try things and a few would work, and system supported it. Now the system doesn’t hold. So creatively speaking, labels gotten out of “the music” and really become marketing divisions. I see it a good thing where every body does what they are best at rather than the old school A&R model.
If so, why do you think that is? I think you’re looking at 2 completely different ways of thinking, there are “creators” and there are “sellers” or right brain/left brain, either way. In the last 10 – 12 years we’ve seen a split. Labels used to try to do all of the above, now they can’t afford to. I started a company in 94 built around this. Paradiso Music Productions is a creative catalyst company that works with pro artists, creating the right world for the artist to thrive in. So we see A&R, managers, and booking agents coming in wanting to hear what were working on. It really is a win-win. Everybody does what they are best at.
It just takes a while to do it right, you can do it fast but it’ll sound that way. Paradiso Music Productions, has three legs under it: Songwriting, Production, and Artist Alignment. We are song people and songs matter more than ever. Nothing is harder than producing a “good song” and by good I mean completely adequate, “ok” song. These are the songs we try to keep “off” our artist’s records. Good really is the enemy of great, ESPECIALLY with songs. I describe a great song as “a song that makes you feel like your flying”, those are the ones that we look to cut for our artists. Songs FIRST, songs Last.
What is the most pressing problem the music industry faces today? Impatience, the tyranny of the familiar, Inability to change
Where do you see the music industry going within the next 5 years? The center of the pie, the label, is pretty much gone, so I would put in its place “a sustainable artist career”. The future is going to be built on an artist centric model, rather than label centric. Taking “care” of right brain people is gong to take more and more of a place in the conversation. Instead of signing an artist and 18 months later their broke divorced and working a star bucks.
The Music Business 2.0 will be built around protecting the right brain artists (the golden goose) and surrounding them with people who can serve them rightly. Understanding the creative mind will be very important, you can’t force an artist to be in output mode 24/7, because it will, and it has, killed artist’s careers.
A perfect example is what Mark at Echo music here in town is doing great stuff with their online central hub model. Very artist centric, very well structured.
I’ve thought of it as resembling Russia in the 80s. You had a superpower that was fragmented out and Balkanized into littler countries, this is what’s happening in music. Everything is still being made, but it is just split out differently. We just have to watch out for the “Russian mafia” effect happening.
Many Nashville indie labels still try to compete with the bigger labels in attaining radio airplay. What means do you use to reach the audience for your artists? Radio comes when you’re ready for it, when you’ve earned it, when your audience is well established. Ripcord is an artist’s experience company, so multiplying ways for the audience to experience their artists is huge for us. Creating an unbelievable experience is what we think about, and work towards. We’re really more interested in listening to the fans and how they wish to engage with an artist that moves them. We really get back to basics, building the right team around the artist. Intangibly, we see an amazing connection with the audience as paramount. Tangibly, digital downloads, touring, merch, online, endorsements, and silver CDs are a few of slices of the artist experience pie.
Who has had the most influence on you in your career thus far? Why? Wow, I’m a huge believer in having mentors and being a mentor, so I would say a handful of people:
Randy Cox, who poured into me big time, during my time as a writer/producer at Sony Tree
Jody Williams, Jody Williams Music and VP at BMI, who has been a priceless in regards to new joint ventures, and structuring them rightly.
Rory Bourke, Hall of fame songwriter, a mentor to our writers and us. Just the kindest man on the planet, and oh yeah, amazing songwriter.
I would also say Michael and Stormie Omartian, A hero of mine, who I remember watching win the Grammies in 1981, working with him, and seeing how he works and approaches things has been unbelievable.
Ripcord also bucks the industry trend and accepts unsolicited demos from songwriters and recording artists. How has that worked for you? Well, you don’t know where greatness will come from; we get recommendations from all over, our peirs in marketing, management, BMI ASCAP. Again it goes back to our model, is not about competing with Clear Channel, we are attempting to create some great, not something HUGE. We like being small.
What is a highlight of your career thus far? I would say the American Music Award or a song of the year nomination last year, anytime we bring an artist to CAA, William Morris, Warner, and Virgin.
What advice would you give artists wanting to get into the music industry? Create the job you wish for. Treat people unbelievably well.
How do you keep motivated? Seeing artists multiply their talent.
What is the most important thing you have learned within the last year? I would say two things “God makes it grow”, and “We have no idea what we can’t do”
What are you looking forward to most? Well it stated out as a hobby, I guess we can talk about it now, but recently, I am creator and co-author of “The Fear Killer”. It’s a series of books and built around the idea of “How to Dismantle Fear in Your Daily Living, Dreaming and Doing”. It is really been cool to work on and see God grow this thing. Its first event is in March with 10-12,000 people. There are some very exciting things going on with it, which are still being put together, but suffice it to say, it is a very exciting, humbling, thing to be a part of. I could talk for hours about it. I think has grown from a desire to multiply talent, and fear just mucks it up.
What do you like to do when you “unplug”? Read, break-dance, and run with the bulls. Not really.
What is the best music or artist you have recently discovered? We have a new artist David Ask who is amazing. His voice will lift you an inch and a half off the floor. You’ll be hearing a lot form him in the near future.
THANKS JOHN!
So many indie labels in Nashville are set up to try and compete directly with the huge corporate labels. Others are not even interested in that game and prefer to find niches and micro-markets for their artists and music. Which is the better route?
By way of The Long Tail, Seth Godin breaks it down:
A lot of people don’t seem to understand a key implication of the long tail: Given the choice, it’s better to make a hit.
If you have a choice of cutting a top 10 record or making a track of Jamaican polka music for iTunes, go for the hit.
If you have a choice between being on page 30 of the Google results for “Bolivian sushi” or the number one match for “buy life insurance”, go for the latter. No brainer.
The problem, of course, is that you don’t have a choice. You can give the hit a shot, but it’s awfully crowded at that end of the curve.
The implications of the long tail have nothing to do with this false choice. What it explains in a powerful but subtle way is:
- Collecting many many products among the tail permits you to amalgamate a market that may be just as big or bigger than the short head. But you need a lot of them. Squidoo is my proof–a profitable site with no real short head. So are eBay and YouTube and dozens of other places. Which is going to be worth more in ten years: the leaky boat of a network TV franchise or the relentlessly growing collection of long tail video at YouTube?
- Within the long tail, there are micro long tails. The long tail permits entirely new micro-markets to emerge (exercise clothing, for example) and within that market there are hits and then the tail. It’s sort of a fractal curve of new markets living within markets. (Simple example: Amazon enabled an entire eco-system of books on presentations and graphics to emerge).
Read the rest of Seth’s article here.
I think it is possible to be set up to do both, or at least be prepared to. Nashville indie labels (heck, all labels) are having a tough time going for the hit at radio with every artist and release. If they are fortunate to attain the big hit, then the challenge is to hopefully sell enough product to cover the marketing of the hit. That is, if they can get the CD into Wal-Mart.
It would seem the indie model really wasn’t set up to focus on what everyone else has done in the past and the current failings plaguing the industry. The structure should be one of innovation and flexibility; being able to move at a moments notice and to ride close to the curve of technology and culture.
Sure, radio should be in the mix and a hit should be welcomed and worked for if the music warrants. But if that is the sole marketing strategy of the label, then count on the investor(s) to get very nervous after a short couple of years. Trust me on this one.
Thanks to all of you who have reached out today: Jesse, Jim, Beverlee, Carol, Luke, Kevin, Chris, Patches, Andy, Chad, Tim, Stephanie, Tony, Denise, Nathan, John, Mary, Frank, Rosey, Jim, Bill, Andrew, Jackie, Greg, Randy, Clayton, Tom, Jeff, Elizabeth, Brian, Lisa, Kelly, Erin, Peter, Shane, David, Cara, and Barry. I know I’m leaving some people out, but I appreciate the emails and phone calls from everyone.
It’s refreshing to see how people actually care in what can be a cold hard business. But all is well in God’s time and purpose. I feel good and very hopeful about what is next. There are so many known and unknown possibilities. I will be exploring them all and continuing to blog in the process.
Onward and upward.
There is a sign I often see on the back of dump trucks lumbering down the interstate full of gravel, dirt and rocks. Some of the trucks have top covers and others don’t. The sign is always something like ”Not responsible for vehicle damage” or “Not responsible for damage from debris”. Oh REALLY!? It might as well be a sign that reads, “Not responsible for our trucks inability to contain waste properly”.
Is that all it takes? A sign to make it legally binding? I can think of some much needed signs I need to post on my car, in my office, and on the mailbox if that’s the case.
I also recently saw “No Soliciting” signs on the front door of Bank of America and Sprint. You have got to be kidding, right? They are allowed to solicit me all day if they choose, but I can’t return the favor?
By Eliot Van Buskirk from Wired.com
The German media company Bertelsmann is considering escaping the flagging music sales industry by selling its 50 percent share in Sony/BMG to Sony. Apparently, no other parties are interested. Sony’s board is scheduled to meet July 29th to decide whether to buy out its partner of four years, becoming the sole owner of the major label.
According to Drew Lipsher, a partner at the venture capital firm Greycroft Partners (via Yahoo/Billboard), the label could become more nimble if Sony becomes the sole owner. “By controlling the whole show, they stand a chance,”he said. “A single parent with a single perspective is better-positioned to make far more aggressive and, especially over the short term, unpopular decisions.”
Bertelsmann had apparently been considering selling its share of Sony/BMG to Sony for $2.8 billion, but considering the economy and an increasingly rough climate for labels, their asking price is rumored to have dropped to $1.5 billion.
Lefsetz lets loose with comments on digital sales for the week of 7/13. Here a few choice morsels that should wake you up if you are living in the past……….
SINGLE TRACKS
27. Madonna (featuring Justin Timberlake) “4 Minutes”
Sales this week: 35,751
Percentage change: -17
Weeks on: 17
Cume: 1,904,262
Stunningly, the album, “Hard Candy”, didn’t make the Top 50 digital album sales chart this week.
Overall album sales are 589,961, with the package residing at number 63.
Sure, you might say she was always a singles artist. But she used to move millions of albums. Now, people only want her single.
102. Kenny Chesney “Better As A Memory”
Sales this week: 12,244
Percentage change: -18
Weeks on: 12
Cume: 186,035
This is utterly astounding. This was a NUMBER ONE RECORD, and it only sold 186,035 copies?
Obviously, the country music business is on the verge of turmoil. Because once its audience gets computers and iPods the Nashville cats are gonna lose control. They’re still living in the nineties, thinking it’s all about radio dictation. But when one gets an iPod, one’s tastes/desires broaden and one is no longer limited to what’s being forced down one’s throat.
ALBUM CHART
13. Blind Pilot “3 Rounds & A Sound”
Sales this week: 4,444
There is no physical album.
It’s only $7.99 on iTunes and was released on the indie Expunged Records.
I’d say this is the future.
Word spreads online, people buy it online. No sales department, no returns, no accounts issues. You may not know about this act, but they and their label don’t care. They’ve got fans who believe they’re credible (no singles on the chart) and they’re on their way to making money, since their overhead is so low.
Either you sell the act, making people believe they stand for something and will be here tomorrow, or you sell the single. There’s more money in the album, but the public, especially the young, net-savvy public, has been burned so many times, it’s wary of albums. Or, it just doesn’t believe in albums, viewing music as evanescent grease. Make them believers if you want to establish a retirement account.
From eMarketer.com:
The music industry is learning a hard lesson: The mobile platform works better as a marketing and customer relationship tool than it does as a retail sales channel.
“Bands and artists are increasingly using mobile to form direct relationships with their fans that are then monetized through other means, such as tickets to live shows, merchandise and fan clubs,” says John du Pre Gauntt, senior analyst at eMarketer and author of the new report, Mobile Music: Ads to the Rescue. “In addition, given consumers’ reluctance to pay for music on their phones, marketers are finding new opportunities to partner directly with carriers, labels and even music artists themselves.”
It’s not that there won’t be mobile music sales, they just won’t be as large as many in the industry hoped for.
Check out the rest of this article with facts and figures HERE.
U.S. album sales continued a steep decline at the mid-year point with an 11% fall to 204.6 million units, according to Nielsen SoundScan. Country sales are off considerably more than that. The music business sales experts are saying that this dip is due to gas prices hard economic times. Of course they would say that. They are doctors of spin.
The sales drop is not a big surprise with the way things have been going. Retailers are carrying less and less CD product, labels are just crawling out from under the CD rock into a digital world, business models are in flux, and there is a wide array of experimentation going on to find quick results. The problem is that there are no quick fixes to this. It requires innovation and creative planning for the years ahead.
It’s like being dug in the fox hole and hoping not to get taken out. At some point you have to plan the attack and move forward or your losses become so heavy you can’t advance. Game over.
Suddenly I have a vision of Band of Brothers in my head. Did you ever see that masterpiece television series? It is my all time favorite.
In one scene the U.S. troops were dug in at the Battle of the Bulge near Bastogne. They were taking a fierce beating trying to hold the line. It was a critical point. They either hold the line and allow for an advance or they retreat or surrender and the entire war takes a turn for the worse. Fortunately for us all the troops endured and had the resolve to hold their position in Bastogne and move forward and attack all along the Western front.
I’m not equating WWII with the current battles the music business faces. That would be monumentally stupid. I’m only comparing the strategies and boldness necessary to be successful.
The industry is taking a beating and we must get out of the fox holes. We can’t look back. Even though things look bad, there is opportunity through innovation, strategy, and resolve. And keeping the music first and foremost.
But is anyone leading?
Every time I hear a debate about music and the charts, without exception one person will chime in and say ”the cream always rises to the top”. Meaning that the best songs will always prevail. REALLY? Honestly, do they? Something inside me screams when I hear that blanket statement designed to end an debate about an uncomfortable reality – the cream does not always make it to the top. At least as far as music and airplay is concerned.
First we have to declare what the definition of cream is, because it it relative depending on your vantage point. Is it……
- Songs that “test” big and as a result are propelled up the chart?
- Superstar artists that deliver an adequate single and propelled up the chart by star power?
- Songs that appeal to the very lowest common denominator? (see A)
- Songs that are released by stars from a reality show, talent competition, television program, or another music format? In essence piggybacking off of previous success or awareness.
- Songs that have enough money, promotion, and marketing thrown behind it?
- Songs that drive powerful Soundscan numbers?
- Songs that are original, well crafted, and strike a passionate chord of feeling/emotion or thought with the audience?
- (insert own definition here)
There is no one size fits all answer, but my own opinion would be more closer to #7 in this multiple choice question. Of course, the answer is relevant to what you feel is a “hit”, but I am certain that the best songs don’t always win the chart game. I’ve seen it happen to artists all along Music Row. Great singles get lost in the crowd for any number of reasons and much of it has to do with an addiction to homogenization and formula. I’ve also seen stellar singles from new or mid-range artists lost in the mix of superstars releasing lame music.
The debate will always be there, but don’t think for a minute that if a song somehow makes it into the Top 10 that it must be the cream of the crop. Dig a little deeper.
I’ve been talking with artists, managers, and booking agents about how gas prices are impacting artists tours, as those costs have tripled within the last 10 years. Working musicians are feeling the economic impact and it is changing the way they are doing business. From travel, to scheduling, to equipment……many smaller touring acts must make adjustments or hang it up.
Austin360.com has an article on bands dealing with the economics of being on the road.
BEVERLEE BRANNIGAN
Operation Director and PD Journal KFDI/Wichita
Previous Stations & Positions:
KJJY/Des Moines ’81 to ’01 (Middays/Afternoons, PD)
WOKQ/Dover-Portsmouth-Rochester ’79-’81 (PM Drive, Promotions)
Years in the biz: 29
Marital Status: Married to Scott
Kids: I forgot to have any.
What is your favorite thing about Wichita? In the middle of “Tornado Alley” you might think this is a crazy answer, but…The weather! I love the weather here. I’m happy to dodge the occasional tornado (and we get good warnings from KFDI when they’re headed our way)…in exchange for 225 sunny days a year. It gets hot here, but it’s less humid than Iowa, and spring comes early to Wichita. It’s my favorite climate I’ve ever lived in.
You have worked in several Midwestern markets. What makes that area of the U.S. unique to the country music format? Country music is very mainstream in the Midwest, so it’s like we’re all speaking the same language. The values are second nature and innately understood. It makes programming Country radio a lot of fun here.
There are an abundance of country stations in your market. What are the unique challenges of programming in Wichita and how do you set yourselves apart? Yes, I think we’re up to 101 country stations in Wichita now… Oh! Wait! There’s another one! LOL. The market is challenging. You have to take some of what you “know” about programming and throw it out the window. We’ve learned some things about operating in a country-saturated environment that fly in the face of traditional wisdom. And, no, I’m not sharing them. J.
Journal has won many awards for news coverage. How have you made priority news programming work for you and how much of an impact does it make in branding yourself locally? The KFDI News Dept. is a huge image and driver for KFDI as a whole. News at the top of the hour and, “When news breaks out, we break in.” I love to say that. It’s so….so…Les Nessman. But, that’s what people know us for…breaking news and severe weather coverage. No matter who you are, active rock listener, AC listener, country listener, when there’s a scary looking cloud in the sky, or flames on the horizon, you turn your radio to KFDI to find out what’s going on. The downside of the news brand, of course, is that we can’t play as many songs per hour as our competitor. But, in a tornado, I’m always glad we’re not the station playing “Boot Scootin’ Boogie.” (*note to Brooks & Dunn: dig the song, just not during a tornado. Love you, mean it.)
Are you currently utilizing, or planning to utilize: podcasts, video, texting or other digital technology in your programming and promotions? If so, in what way? Podcasts, Yes. Video, Yes. Texting, Yes. All of the above. We try to find an interactive link to everything we do.
What is the most pressing problem radio faces today? How do you think it should be resolved? Well, we could write a book on this, couldn’t we? We’ve done a terrible job of making radio listeners out of young people. Arbitron has done a terrible job of addressing the cell-phone-only issue soon enough, so they don’t find the young folks. The ratings suffer on the young end, advertisers aren’t buying them…and meanwhile the young guys and gals are out there consuming large amounts of music and media, spending their disposable income, and we’re on the sidelines. We need an initiative to re-engage youth.
What can record labels and artists do to better serve you and your station?
I have some really terrific label reps who really get it. There are a few stuck in the 90’s but most are working their butts off. I’ve got very little criticism here.
If money and time were no object, what would you most like to do? I love languages and would like to learn more. We have a Regional Mexican station in our cluster, and I speak some Spanish, but I’d like to get fluent in it so I can understand the jokes! Then, I’d like to learn German.
Who has had the most influence on you in your career thus far? Why? Sorry, I can’t pick just one. I have had too many mentors in my career. I’ve gotten the most from the ones who modeled great character. Those lessons you never forget. The best feeling in the world is to work in an environment where the people you work for are fans of yours. That’s my job at Journal now. I am so blessed.
What is the most ridiculous thing about the music business? I respect the need for serious discussion on performance royalties, and I’m sure there’ll be some movement on the issue. But, some of the folks arguing for it are on crack! So, let me get this straight…radio needs to pay performance royalties because Radio’s getting all the benefit and you get no benefit from radio playing your songs on the radio? And yet, you’re spending HOW MUCH a year on your Promotion Departments, whose sole reason for existence is to get radio to play your songs? Hmmm…. I’m confused.
What advice would you give someone wanting to get into the music business?
There’s a nice Dairy Queen for sale down the road.
What are your plans for the rest of 2008? Win!
What do you do to “unplug”? I blow up a big pink floating chair, insert lime slice into Corona, and bob on the lake with Scott.
What is your assessment of how the Braves are doing thus far? Oh, you had to bring that up. Look what’s happened to all our pitchers! We have been snake bit this year. Smoltzy…more surgery. Sigh…. Your prediction? They might have a chance if they get healthy in the second half of the season. But, how ‘bout Chipper? #10 was battin’ 400 for awhile!
Thanks Beverlee!!
What do you get when you put the NAB, RIAA, Department of Commerce, artists, attorneys, and members of Congress in the same room? A mess.
They are fighting it out in Washington D.C. regarding radio performance fees. Business Week has an update on the complicated situation.
From Coolfer:
Opposing sides will speak tomorrow before the House Subcommittee on Courts, the Internet, and Intellectual Property. The issue is H.R. 4789, the Performance Rights Act, which calls for terrestrial radio to pay performance royalties for broadcasting sound recordings. The National Association of Broadcaster has backed a non-binding resolution that calls for the exemption of not only radio stations but “any business for such public performance of sound recordings” (such as bars, retail stores and other public places).
Where you stand on the matter could depend on how much you think radio play influences music sales. I think it’s a big influence on some people. Consumers discover music in various ways — print, TV, word of mouth — but radio allows for the sort of repeated listens that encourages familiarity and, thus, purchases. But how many people use radio for discovery and not as a substitute for purchases of recorded music?
Where you stand on the matter could depend on how much you think radio play influences music sales. I think it’s a big influence on some people. Consumers discover music in various ways — print, TV, word of mouth — but radio allows for the sort of repeated listens that encourages familiarity and, thus, purchases. But how many people use radio for discovery and not as a substitute for purchases of recorded music?
Read the rest of this well done article.
From Digital Music News:
In a democratized media environment, shouldn’t fans pick promising bands from the start? That is currently a theoretical debate, especially given the filtering role that labels have traditionally played.
Of course, bands now have the ability to reach and develop fans directly, a shift that eliminates a critical label function. But millions of artists are now competing for the attention of a fragmented internet audience, one that has limitless media options and limited time.
The situation could spell opportunity for the startup that gets it right. Currently, SellaBand (sellaband.com) and Slicethepie (slicethepie.com) are tossing fan-focused A&R concepts into the ring, though the experiments are just beginning.
On Tuesday, Slicethepie pointed to a number of early metrics. The company has now amassed one million reviews from its stable of scouts, a crew of roughly 50,000. Those critics review the music of unidentified artists, and the best-rated bands (top 2 percent) become eligible for funding from the community.
Since launching in June of last year, a total of 16 bands have received financing from fans and investors totaling 250,000 pounds ($493,675). Additionally, Slicethepie has collectively paid its scout reviewers a total of 50,000 pounds ($98,735) for their efforts. Slicethepie keeps a portion of the funding, as well a cut from future sales.
An excert from Jerry Del Colliano’s Inside Music Media:
“They are producing too much music that is unremarkable. In an era when music is stolen and shared routinely, the labels need to focus on polishing up their best acts.
They also need to be out there finding new acts across all genres.
But if there was ever a last ditch option for a record label it is to prepare professional music and acts as no one else can. The music industry critic Bob Lefsetz says why not produce one good album a year for fewer artists. He has a point.
Free is the new radio and the labels either don’t get it or don’t want to get it.
Just as radio stations used to influence the record buying public by playing music for free over the air, free filesharing serves that role today. Back then, consumers could have recorded music off a radio station on, say, a boom box – at lesser fidelity and with dj patter included, but most opted to go to Tower Records or Sam Goody.
The record business is not going to survive by selling all music but some music very well produced, done and packaged.
The RIAA campaign against record label customers has one foot in the grave and the other on a banana peel. The labels find it hard to stand down even though piracy increases ever year in spite of the threat of lawsuits. The situation just gets worse for labels. I give it a few more years and then even they will throw in the towel.
The question is: Is the record industry “Mission Impossible” or “Get Smart”?
Only they can change the channel — and time continues to run out.”
Read the entire article on Jerry’s blog HERE.
A new study by the Pew/Internet & American Life Project titled “The Internet and Consumer Choice: Online Americans Use Different Search and Purchase Strategies for Different Goods”. It examines how music is being purchased and information is gathered.
Check out a good summary of the report at Coolfer.
The full 42 page study is here.
Successful artists typically fall into two categories: passionate art and commercial appeal. A third category, between the two sweet spots, is a gap where artists can fall into and have a hard time working out of.
Seth Godin explains in his blog:
“A delta blues guy who plays for tiny audiences in Memphis is in the sweet spot of the passionate. John Mayer is in the sweet spot of pop. Both are great guitarists, neither is too edgy or too trite. Both made a choice. But there are a thousand guitarists who are neither. They’re afraid to embrace one curve or the other and end up with neither.”
I’ve witnessed it only occasionally where art and commerce converge in an ultra successful union. Typically artists will either be in one of the sweet spots (some sweeter than others) or they will fall through the cracks within the gap because labels, radio, and retail don’t know what to do with them. It doesn’t necessarily have anything to do with how talented they are either.
Read the rest of Seth’s article which is spot on applicable to what happens often in the music industry. Check it out here.
The recent news that Wal-Mart is demanding a CD price cut from record labels sent ripples throughout the music industry. Wal-Mart is the nation’s largest music retailer, and they are threatening to pull out entirely from selling CD’s to make room for more profitable product lines (such as iPods, video games, DVD’s). The chain’s recent success selling the Eagles CD exclusively (bypassing traditional labels and music distribution) gives them even more leverage in a rapidly changing music retailing landscape.
Other music retailers watching from the sidelines will await the outcome of this latest skirmish and will also demand concessions of their own to remain competitive. With the costs of doing business at the labels (including finding, launching and developing new artists) on the increase the pressures mount on several fronts. Labels and artists are being pressured to perform like never before.
If Wal-Mart decides to stop selling CD’s it will not have a significant impact on their sales, as they maintain music only accounts for about 1% of their sales volume. Unfortunately the labels (especially certain genres like country) rely on Wal-Mart to the tune of about 40% or more of their sales base on every release. Imagine the quantum shift Wal-Mart’s exodus would create for the music industry. Labels are struggling as-is to not only break new artists but maintain sales bases for their established acts at retail.
Digital sales, while on the upswing do not offset the losses on the physical side at retail. Another trend is the consumer’s desire to pick and choose only the hits, or the songs they like and not the entire album. The next generation of music consumers will not be tied to the prior generation’s album-mentality when it comes to their buying habits. Labels and artists have to develop new sales models to maintain revenue streams and incentivize consumers to step up for their product. Many are experimenting with product exclusives, such as bonus tracks and video content. Some are attempting to drive customers to their web sites for bonus material or opportunities for fans to obtain early access to concert tickets.
The emergence of Live Nation (who recently inked several high-profile deals with the likes of Madonna and U2) as a powerhouse in the music industry indicates the savvy artist is taking more control over key aspects of their careers. The labels are seeking new models and partnerships with retail and radio, along with Internet vehicles to expose artists to consumers. The competition for the entertainment dollar is fierce in the marketplace, as today’s buyer has many more choices than their predecessors.
MySpace, Facebook and other web-based environments are finding their foothold as launching pads for new artists to grow and cultivate fan bases. The marketing gurus in this new arena are seeking and finding alternatives to traditional radio and TV outlets to expose their art. Consumer-driven and designed content is the new conduit. The music and entertainment customer wants to make their choices and have their individual stamp on the finished product, whether it’s picking their own songs to burn to CD or designing their blog pages.
Another challenge this creates for the labels is the artist development process. How long can a company stick with a new artist until they see payoff? What costs should be shared by the artist in this plan? Look at the development of classic artists like Bruce Springsteen, Billy Joel, et al (neither of which had early commercial or radio success) and wonder if they would have stood a chance in today’s environment. Where is the next generation, and who is passing the baton? The future of the industry will evolve at its own pace, but hopefully the “gatekeepers” will make the right decisions and there will continue to be viable artists.
Meantime, the retail landscape will continue to be a challenge for the labels and the artists, regardless of who is in charge or picking up the checks…
David Sanders is Nashville Label Manager for Koch Entertainment Distribution
One of the more interesting panel discussions of the Leadership Music Digital Summit yesterday was “Digital Retail: What’s The Future?”
On the issue of the future of CD product, UMG Nashville EVP Sales, Marketing & New Media Ben Kline said, “I can’t imagine CD’s ever going away. I can’t imagine Wal-Mart and Target not selling hard product. It’s the ones (retailers) in the middle that will be hurt. I don’t think you’ll be able to walk into a mall and purchase a CD.” Kline went on to comment, ”We still can’t afford to be in the singles business” when asked about the current state of selling digital singles and why labels are not being more singles driven.
One of the major discussions prevailing was how to grow digital sales as CD sales fall. Each panelist had their own ideas including:
- Better devices
- Ubiquitousness
- Multiple product offerings in one bundle
- Player compatibility and coordination between platforms
- Exceed experience of music ownership with consumers
- Stop narrow focusing on subscription based models
On the subject of future business models within retail, the industry vets responded with:
- Ben Kline: “Demand price models (where price is equal to the demand of the music). Not every song should be .99 cents.”
- EMI CMG VP Sales & Marketing Mark Adkinson added, ”Steve Jobs can’t run our business for us or he will run it right into the ground. He wants to sell devices, not music.” Mark also stressed the need for pervasive distribution within the music industry.
Tim Jones
Program Director – Citadel WGKX Memphis
Previous employment:
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KBQI/KSYU Albuquerque PD
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Clear Channel HD Format Lab PD
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WDDD Marion-Carbondale, IL PD
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KEZS Cape Girardeau, MO PD
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KDXY/KDEZ Jonesboro, AR PD
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WYCQ Nashville, TN On-Air
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KFIN/KIYS Jonesboro, AR Evening Personality
Years in biz: 18
What do you miss about Albuquerque? The golf courses, my cousin Mark and various friends, the dry weather and the Sandia mountains.
What is your favorite restaurant in Memphis? Hands down… always will be the world famous Rendezvous.
What are the unique challenges of programming in the Memphis market? Memphis is a great market to program in but just like Albuquerque I find myself in an ethnic battle for the top spot. This is not only challenging but often frustrating.
Are you currently utilizing, or planning to utilize: podcasts, video, texting or other digital technology in your programming and promotions? If so, in what way? We are doing some podcasts and video. The texting is on the horizon for us as well. I am excited about the future of technology hence why I have an Iphone. I love it.
What is the most pressing problem radio faces today? How do you think it should be resolved? Shrinking budgets and audience. I believe you have to put money in to make money. I am very fortunate that Citadel still believes in this as well. I am very blessed to be in this company. As far as audience goes, people’s tastes change, we have to change with them and give them what they want or they will go somewhere else.
What can record labels and artists do to better serve you and your station? I think country does a great job. You will not find rock or pop artists doing what country will. We are very lucky.
If money and time were no object, what would you most like to do? Travel around the world on my time schedule with no cell phone and on my own personal jet with my best friends and family in tow.
I’ve never known a time where Rita did not work the front desk. How long has she been there now? 14 years and counting, she rocks.
What are your favorite web sites and blogs? I am a Perez Hilton/TMZ addict. I also check out NY times, All Access, Ebay, Mediabase and Yahoo daily. Crazy thing is my search engine is GOOGLE but my home page is Yahoo. I know, doesn’t make sense to me either.
What is the most ridiculous thing about the music business? That could turn into a novel. Do you really want me to go there?
Do you ever play local or regional country acts? If so, do you have a success story? I am a fan of a local guy here: The Brad Kessler Band. This kid has something. We’ve spun him here and there and he always opens for us when we need him.
What advice would you give someone wanting to get into the music business? This too could be another novel. Main point would be …be careful who you are getting into business with. Personally, I think some of the old blood in Nashville needs to move on because they are way behind times. Sorry, that was my inside voice.
How important is it for a station to be local for their specific market? That’s the thing that keeps us close to the listener…no matter what anyone tells you…this is the key!
THANKS TIM!
A couple of Lefsetz gems this week:
“The major labels have lost their luster. By wanting to reside in the twentieth century, by playing by old rules. By wanting instant success, instant riches, at a high price to the consumer. But that era is never coming back.
Today we’re closing the door on the twentieth century. Today we’re drawing a line in the sand, that acts last, not executives. The future of this business will be based on artistry. The music will come before commerce. It has to. The old tricks of scarcity and publicity used to drive the old moguls’ priorities no longer work in the new world. There will be a new set of moguls. Who know this. No one from the old world has evidenced an ability to adapt.”
and this………
“Madonna may have made a deal with LiveNation, but that does not mean she’s the ubiquitous cultural icon she once was. No one can be. There’s no center and too much choice. We watched those shows on network television in the sixties because we had no choice. As soon as we had options, we abandoned the networks for cable. And now some are abandoning the box completely for the Web.
It’s kind of funny to see Madonna trying so hard. And that’s what she’s doing. Rather than kicking back and figuring out how to play in the new world, she’s just ramping it up old style. Add on the glitz, add on the glamour… Like someone under forty who wasn’t around the first time through is even going to give a shit. Like kids are going with their buddies to see her at overinflated prices because of the new hit. Nah, if they go to the show at all it will be with their parents, as nostalgia.
Give Radiohead and Trent Reznor props. They’re living in the now. Madonna is living in the twentieth century. It’s as if Michael Jordan assembled a superstar team of young ‘uns to go for an NBA championship… It would be creepy. And just looking at Madonna is creepy. Wasn’t she the one with the air conditioned teeth and the chubby thighs? Wasn’t she the one with the sassy mouth, but the body of the girl next door? Wasn’t she attractive because she was playing dress-up? Wasn’t she Susan in that movie? Wasn’t that truly her own screen success? When she was an underdog, someone who didn’t fit in, as opposed to a superstar giving dictation?
But this isn’t solely about Madonna. It’s about Jay-Z. It’s about anybody who sold millions of albums under the old paradigm. You just can’t do it anymore. You just can’t get enough eyeballs. You’re a niche product, no matter how hard you flog yourself.
I was sitting in a restaurant in Toronto. And I put forth the question, have you heard the new Madonna track?
Karen, one of Canada’s foremost music journalists, on the trail of everything new and trendy, said no.
Tanya, an exec at EMI Music Publishing, said no.
Felice said no.
And I said no too.
But according to the chart, the Madonna track was number one.
I guess the chart doesn’t mean much anymore.”
Tempted to throw away that old promo copy from a label? UMG says that sort of action is “unauthorized distribution” and therefore illegal. Read the details here.
So what happens when a radio station gives a promotion CD away and the winner turns around and sells it at a garage sale or tosses it in the trash? Could the contest winner be sued as well?
Goodwill and Salvation Army better watch their backs!
This is so 1990’s.
50 Cent and Universal Music Group are being sued for promoting the “gangsta lifestyle”. Read about it here.
That got me thinking about what lifestyle country music is promoting. Who could sue us? Soccer moms? Former 70’s rock fans? The state of Texas?
See comments and please feel free to add your own.
How would you feel about a music site that organizes music according to your moods? What would be your thoughts about a destination where you can legally download MP3’s based on emotions?
Guitarati is conducting this grand sonically visual experience by assigning colors to music.
It is certainly unique and outside the box, but will it resonate?
A short Businessweek.com article on labels trying to play catch up with digital opportunties and the latest music partnership with MySpace. Click this to check it out.
