(source: Madras Geek)
But how does anyone make any MONEY outta music?
This was what a group of us ex-music execs were discussing last night before saying, to hell, with it and losing ourselves in the bowels and bosom of a karaoke club that David Lynch would find weird.
But before this, we played the latest popular app called Candy Crush which is something like the son of Angry Birds and from which the music AND racing industries can learn from.
(Source: App Advice)
Candy Crush has to do with being rewarded for reaching certain “levels” and from an edutainment and new business stream level, following the thought process of this simple app, music can be sold through paying to play a higher level of, let’s say, a music trivia version of the game.
(Source: Web Ring)
In the same way and through an app that includes some simple questions about racing along with music, fashion, food etc, a forward thinking racing club like the HKJC can make casual racegoers understand the rudiments of how to bet on something more than a win/place waste of money.
Here’s the problem from a music company point of view- and that of a racing club: Far too many who cannot see the forest for the trees and a traditional music and racing media with no rollerdecks outside the norm along with the guilty pleasures of speaking to each other, all of which becomes insular and results in navel gazing.
(Source: MC Gill)
The similarities and problems of the music and racing industries are uncannily similar. But until one leaves one or the other, thinking is blinkered and it all becomes a herd mentality made up of lemmings.
(Source: Sirius Buzz)
As Joni Mitchell sang- and her new version is brilliant- having seen Both Sides Now, there is some very flawed thinking- and, ironically, a racing club like the HKJC, doing far more for music and musicians and selling music.
Someone like Simon Fuller will get it and the legend that is Chris Blackwell will prove that one can teach old dogs new tricks. Why? They are out of “the system” and not saddled with blinkered thinking.
It’s getting my ex-boss at Universal Music- Max Hole- whom I respect greatly, and also UMG Chairman Lucien Grainge to understand this, think out of the box, and invite someone like Winfried Engelbrecht-Bresges, CEO of the HKJC, to be a keynote speaker at one of those tedious, ponderous and pointless music conferences where many show up not knowing why- and leave also not knowing why.
(Source: Evan Brandt)
This habit of speaking to and listening to those from the same industry gets no one anywhere. It results in loud sucking noises, formulaic thinking and never catching up with the consumer.
Where did music companies start to go wobbly?
For me, it was bending over backwards and getting royally screwed by MTV. How? Why? Giving all their content for free to what was then a music channel in exchange for that horrible word called “promotion.”
When joining PolyGram after being the head of Creative in an ad agency and being forced to work with the music company’s “marketing gurus”, I was appalled at their stupidity.
Marketing? What fucking marketing? They were given these titles but with squat ideas what bona fide marketing meant and zero experience in any aspect of the Creative process which was why committees of dullards were needed to approve 15-second tv commercials and why CD covers were always examples of tackiness.
(Source: Funny Junk Site)
At best, these hires were junior promotional person- even those way at the top in “head office” and who sat in judgement of the minions who had to report in to these twats.
How these highly-salaried executives could not see the folly of their ways in being subservient to the craftiness of MTV and most of their incompetent hires was mind-boggling. It did my head in.
(Source: 2 Days Woman)
But this was how it had always been and despite the emergence of Napster, not ONE head of a music company saw the impending doom approaching. Their solution to what would be known as a DIY world was the usual one: Sue the bastards.
The problem was that this bark had lost its bite and “the bastards” had taken over the asylum and the music industry blinked and ended up bringing in musical morons like private equity toilet guru Guy Hands- and what a fucking troll he was- and, more recently, the Russian bloke who now owns Warner Music and part of EMI. And now what?
“Now what?” is still “now what?” as too many in what is still called the music industry are taking baby steps and going around in circles- downloads, streaming, promotions, Spotify- I’m starting to nod off.
In the meantime, artists who have become brands are making money hand-over-fist through endorsements and their own range of products and which have nothing to do with music and which means music companies make zero outta any of this.
(Source: Beauty Blogging Junkie)
The perception might be that they do, but the reality is that they don’t.
Think Rihanna needs her music company or is it the other way around?
(Source: I Am Top Flight)
But it is the new artists who have not immediately become a Bruno Mars and is making music for free or who gets their royalty cheque and weeps at the $290 is what this is all about: Making money outta their art- and business- called Music.
In this region, there are, at the most, three music execs worth anything. The rest are in their companies ‘cos they have nowhere else to go- something they’ll readily admit.
If busy keeping their heads down and hoping no one will see that they are doing bugger all, how can they make money outta music and for all those new musicians that have been signed up?
See what’s wrong with this picture?
(Source: Lagrande Online)