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Gumption and Soul; Street Cred; Community and Complexity
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Bossbass just sent me a video link of a faux interview of System Of A Down's lead vocalist, Serj Tankian. This is a funny, but at the same time, serious video about all the aspects of "the music game" from lyrics, production and pizza's, to the role of sound engineers, music label executives, and A & R reps. The need for specialization and, thus, intermediation in music is evident in an increasingly complex society. [One man, even the versatile ST, simply cannot do it all!]
The video produced by Serj Tankian, who is an established and experienced musician actually serves as a good introductory lesson at our Nightschool For Entrepreneurs to address from yet another angle the burning issue of what will be the "music business model of the future" that we are all struggling to define as both artists and fans.
Borrowing some terms of reference from Riesman's landmark study of [human] character, most musicians are "inner-directed" rather than "other-directed". There are, of course, exceptions; but we are referring to the generality of those with an artistic calling. In broad terms, artists tend to focus more on "soul" to discover the potential within themselves rather than to relate to broader, outer-directed social norms of a consumption oriented society. It follows that there still must be "intermediaries" to bring the work of an artist to public fruition - those who focus more on the business side of the creative process. Of course, we are all aware of the dangers lurking in the triumph of the "other-directed" society but we still remain largely victim to it.
Labels performed [and continue to perform] many of the necessary functions in creating linkages between artists and fans. In the past, due to economies of scale, the labels that were "good" grew from strength to strength until they achieved critical mass as "majors." Over time, according to an almost immutable business law, many "intermediaries" became bloated with bureaucracy and corrupted by the arrogance of bigness, thereby losing the "street cred" that resonated with the fans and that the inner-directed artists could tolerate and accept from working colleagues. As a result, the symbiotic system of artist/intermediary/fan has broken down. Artists are seeking new models and methods of networking [creating linkages], industry execs and A & R reps are adrift, the music discovery and distribution system is in chaos [including retail sales, marketing, ticketing].
The new model still needs the intermediaries, who, I argue, will either be truly independent labels that learn how to avoid the pitfalls of bigness [and the mind-meld of the prevailing other-directed society] or independent business managers who truly understand the artistic cycle and the travails of the artist's life, and who at the same time understand the nuances and power of the web and technological innovation.
The new business model then still will comprise of -
(i) mostly "inner-directed" artists [only a few will possess both the soul, and the gumption and other-directed ability to publicize their work in the brave new world];
(ii) a vast and expanding multitude of enlightened intermediaries [indie labels/managers/consultants] with real "street cred" and integrity and a new technological awareness and aptitude; and
(iii) focussed music communities with flexible and open, web-based platforms such as Fuzz and a mulititude of other music sites that these (i) inner-directed artists and (ii) enlightened intermediaries can utilize to optimize what they do best in the creative process.
The future of music is now dependent upon this new tri-partite business model that is yet to find proper definition and balance in an increasingly complex society.
The video produced by Serj Tankian, who is an established and experienced musician actually serves as a good introductory lesson at our Nightschool For Entrepreneurs to address from yet another angle the burning issue of what will be the "music business model of the future" that we are all struggling to define as both artists and fans.
Borrowing some terms of reference from Riesman's landmark study of [human] character, most musicians are "inner-directed" rather than "other-directed". There are, of course, exceptions; but we are referring to the generality of those with an artistic calling. In broad terms, artists tend to focus more on "soul" to discover the potential within themselves rather than to relate to broader, outer-directed social norms of a consumption oriented society. It follows that there still must be "intermediaries" to bring the work of an artist to public fruition - those who focus more on the business side of the creative process. Of course, we are all aware of the dangers lurking in the triumph of the "other-directed" society but we still remain largely victim to it.
Labels performed [and continue to perform] many of the necessary functions in creating linkages between artists and fans. In the past, due to economies of scale, the labels that were "good" grew from strength to strength until they achieved critical mass as "majors." Over time, according to an almost immutable business law, many "intermediaries" became bloated with bureaucracy and corrupted by the arrogance of bigness, thereby losing the "street cred" that resonated with the fans and that the inner-directed artists could tolerate and accept from working colleagues. As a result, the symbiotic system of artist/intermediary/fan has broken down. Artists are seeking new models and methods of networking [creating linkages], industry execs and A & R reps are adrift, the music discovery and distribution system is in chaos [including retail sales, marketing, ticketing].
The new model still needs the intermediaries, who, I argue, will either be truly independent labels that learn how to avoid the pitfalls of bigness [and the mind-meld of the prevailing other-directed society] or independent business managers who truly understand the artistic cycle and the travails of the artist's life, and who at the same time understand the nuances and power of the web and technological innovation.
The new business model then still will comprise of -
(i) mostly "inner-directed" artists [only a few will possess both the soul, and the gumption and other-directed ability to publicize their work in the brave new world];
(ii) a vast and expanding multitude of enlightened intermediaries [indie labels/managers/consultants] with real "street cred" and integrity and a new technological awareness and aptitude; and
(iii) focussed music communities with flexible and open, web-based platforms such as Fuzz and a mulititude of other music sites that these (i) inner-directed artists and (ii) enlightened intermediaries can utilize to optimize what they do best in the creative process.
The future of music is now dependent upon this new tri-partite business model that is yet to find proper definition and balance in an increasingly complex society.
Comments
The new business model you describe is alive and well thank goodness. Those of us who are without management/labels/consultants have found that taking matters into our own hands about our careers is a very good start indeed. By doing this, as well as maintaining a strong web presence will help to facilitate the meeting and building of relationships of those with the business acumen and street smarts required to either maintain or move forward with our musical works.
I agree, the Serj T. video helps to illustrate the possible pitfalls an artist may, or even has found themselves involved in when their creative control over their works is guided by others. It also allows a refreshing note and reality check about how fortunate artists are today to be able to compile their own music at their own pace, and even further, retain the control of their own master recordings, which is of paramount importance in an artist's future.
The platform that Fuzz provides does indeed assist artists who wish to optimize what they do best.
BB