Chicago-based indie rockers OK Go caused a sensation with the video for their 2006 song “Here It Goes Again”. The video featured a choreographed treadmill dance routine, and reached nearly 50 million views on Youtube, and inspired scores of remakes. The band became the perfect example of viral marketing in the new music industry.

So, any follow-up would be a tough task, and would need to be a pretty impressive video. “This Too Shall Pass” premiered yesterday, and has received some great reviews so far. The latest project collaborated with Syyn Labs on a two-story Rube Goldberg machine. The machine, constructed in a warehouse in Echo Park, keeps perfect time with the band’s latest single “This Too Shall Pass,” thrashing TV sets, dropping pianos, launching paper airplanes, blasting paint, and much more in spectacular synchronicity with the song. Check it out here at US Music Jobs.

What do you think of the video? Do you see it being another hit for the band? How relevant are music videos in the internet age? This will definitely inspire a further music video post from me, and I would like to hear your views.

Lee Jarvis.

To celebrate the video release, OK Go will be taking part in a concert fundraiser for LACMA Muse. Friday, March 5, 2010, LACMA West Penthouse, 8 pm–12 am. More info here.

I’m a fan of Berkleemusic, the online school of the esteemed Berklee College of Music, and often read many of the great blogs from David Kusek, Mike King and co.

Berklee recently launched their Winter 2010 term with two new music marketing courses available; Online Music Marketing with Topspin (co-authored by King and Topspin’s Shamal Ranasinghe), and Online Music Marketing: Campaign Strategies, Social Media, and Digital Distribution.

Having studied several of their courses, I know that the Berkleemusic system is a good one, and these new courses have inspired me to sign up again next term.

In the fast-moving, ever-evolving new music industry, I see digital marketing strategies being of huge importance. Artists need to do as much groundwork as possible themselves, and when they cannot, know the correct people and resources to help. Being efficient at selling your music online, and building your fan base with social networking communities is critical for bands and musicians looking to make a living from their music and music-related activities.

Here, Mike King explains some of the Online Music Marketing course details and how you can use analytics to drive your career decisions.

Also worth mentioning is the course textbook, which is a great read even if you aren’t studying at Berkleemusic. Music Marketing: Press, Promotion, Distribution, and Retail is also written by King, and you can sample a free chapter here…

If anyone is taking the course this term, please let me know how you are getting on. If you are signed up for Spring 2010, I may well see you there!

Lee Jarvis

ArtistData is an innovative tool for the independent musician and can certainly help music job members seeking to make the most of their time and efforts. They build solutions to help an artist save time with the “monotonous updating” of their online music profiles, Myspace calendars, Facebook and Twitter updates, and the endless stream of concert calendars and gig websites. Being able to enter the data once, to the ArtistData website, then allows more time for being creative – something that is at the core of every musician.

Named a “Top 10 Indie Marketing Tool” by Hypebot, the Chicago-based ArtistData has created a lot of buzz recently. Rian Rochford of Universal Motown / Universal Republic says “ArtistData has provided a priceless tool enabling us to provide accurate and up to date artist info in the most efficient way possible”, and the site has also been awarded a Chicago Innovations People’s Choice Award.

Founder Brenden Mulligan was interviewed by Tim Jahn for part iof his Beyond the Pedway creative businesses series. Here he speaks about the about starting of the company, and also how artists and startups are alike.

Having only recently discovered ArtistData, I am still learning how to best use it for my music career, but can already see the possibilities of being far more efficient, and also being able to reach new markets and create new opportunities with the tools offered. It is always exciting to see new companies emerge in this ever-changing new music industry, and I feel that ArtistData is sure to be a part of that.

If anyone has any use of the website, please contribute! Post your comments here in the music jobs blog.

Lee Jarvis.

The New Music Seminar is about “seeing the music business and your opportunities a new way”. The event was originally held from 1980 – 1995, and after a long hiatus, was revived this July in New York, featuring speakers and panelists from a variety of music companies, websites, institutions and backgrounds.

The Chicago event on October 6th was attended by artists, managers, label owners, and other individuals wanting to learn about the new evolving industry, and hoping to hear advice from inventive young music companies and long-time veterans who can acknowledge the recent changes and struggles of emerging artists and indie labels. Contributors such as Lou Plaia, the co-founder of Reverbnation, Michael Spiegelman, head of Yahoo! Music, Paul Resnikoff, founder and editor of Digital Music News, and Martin Atkins, author of Tour:Smart. Certainly enough interesting people and ideas for me to attend and report back here for our Music Jobs members.

Founder Tommy Silverman started the day with some shocking statistics. Although, he did point out that they should only concern you if you are on the board at one of the majors. The fact that only 110 albums released in 2008 sold over 250,000 copies that year is not an issue for a new independent artist. What it does enforce is something I’ve tried to help people with for some time, and that is re-evaluating your idea of success. You are not going to get scooped up by a label and go platinum. You CAN work hard and earn a living form your music, and if we are all in it for the love of the art, shouldn’t that be a more than reasonable level to consider success?

However, one statistic that you should pay attention to, is that of the 105,575 albums released in 2008, only 5945 sold more than 1,000 copies that year. This is the line of obscurity that you want to vault over. With a good strategy and understanding of the new music industry, you will sell enough albums and earn many valuable fans for you to reach this newly defined success.

Michael Spiegelman delivered a keynote focused on the tools that Yahoo and other services can provide to help an artist publish, market, engage, sell and monetise effectively. He emphasised the need to find relevant tools and fans, and how you can pull this information from the internet via different traffic sources, and how to act upon it using analytics. When asked by the audience what he saw as the latest in disruptive technologies, he replied that the cycle has moved from the initial surge of new ideas to a ‘maturity’ time, where we figure out what is sustainable and build a business model on top of that. In other words, the abundance of new websites and technologies over the last few years will slow, and some lesser ones will be brushed aside, as stronger ideas are built upon and emerge into a key part of the future industry.

The fist panel session was probably my favourite, for the fact that they shared some great advice, stayed focused on the topics at hand and made sure what they were saying was relevant given the audience. Emily White, of Whitesmith Entertainment pointed out the importance of communicating directly with your fans, and how you can do that with the help of Google Alerts and social networking tools such as Twitter. I couldn’t agree more with this, and Lou Plaia backed this up by saying that the more you do now and try to generate your own attention the more power you have further down the line – not just for bargaining with labels but the awareness of how this all works is healthy and will help propel you further by maximising any opportunities you come across.

The panel discussed the idea that 1000 “super fans” are something of a milestone to aim for, as these super fans are the people who are likely to spend around $100 a year on your work. This would give you a total income of $100,000 per year, and lead you to making a living from your music.

David Hazan, Chief Marketing Officer at The Bizmo encouraged artists to be creative in terms of merchandise offerings, as one ticket, one T-shirt and one album doesn’t equal $100 bucks. He offered that one band had handwritten lyrics and notes, which they uploaded as PDF, and their “super fans” paid for access to that premium content. This idea had the added bonus of no distribution costs, therefore earning the band good money.

To be honest, the next two panels lost the vibe a bit, as a result of lacking direction. Several long rants from panel members about their own achievements did not help. Some of the saviors were Ariel Hyatt of Cyber PR and Corey Denis of Reapandsow, both sharing great advice on social networking for musicians. DJ veterans Steve ‘Silk’ Hurley and Bad Boy Bill had some interesting points, sharing a different angle having been in electronic music, and therefore seen a different market for singles, EPs and mixtapes over the years. If only they could have fit in more comments instead of a majorly ill-fitting (and misguided) panel member spouting not only incredulous ideas, but contradicting himself, often within the same poorly structured sentence.

The final session was where Martin Atkins stole the show. Impervious and humble advice, shared with clear and concise translations for the entire audience, and demonstrated with a sense of humour produced great effect. I’m a Martin Atkins fan anyway, and if you ever choose to buy any music industry book at all (which you should), it should be his Tour:Smart masterpiece.

Overall, the seminar was interesting, and it was great for me to hear some speakers that I respect for the first time, but overall it was lacking something. I would prefer a closer connection with the industry experts, more interaction from them with the audience, and a working Wi-Fi network

I look forward to the event evolving in the future.

Lee Jarvis

“That’s great”, I hear you say, “you’re always going on about NIN, but we can’t afford to do this or have as many resources”. Well, Masnick also shares how other musicians are using similar ideas and implementing them in their own careers. It’s not about copying what Reznor thinks, he’s a pioneer and can do things on a grand scale thanks to selling million of albums, concert tickets and merchandise items. But you can learn to think outside the box; detach yourself from the idea that music is a product that you must sell via a record label. Experiment, and think about all the revenue streams, technical possibilities, and other perks and positive impacts that you can generate from your music endeavours.

It’s only 25 minutes, so grab some coffee and check it out…

(original video hosted at Vimeo)

Lee Jarvis.

NIN does it again.

Trent Reznor has a great project called NIN|JA 2009 , giving away a 6 track EP from three different bands (Nine Inch Nails, Jane’s Addiction and Street Sweeper) to help promote their extensive summer ’09 tour.

Any readers of my industry blog know that I’m not just a Nine Inch Nails fan, but a huge supporter of Reznor’s music strategies. Giving your music away in order to raise awareness and generate future revenue, in this case, ticket sales. The idea worked very well for the Ghosts I-IV album last year, where releasing the first volume for free download not only resulted in $1.6m in first week sales (of physical CDs, deluxe boxsets and digital downloads), but also helped contribute to a hugely popular 2008 tour of both South and North America.

Obviously NIN are a globally famous band, but that’s not to say that lesser-known artists can’t use the same idea to help raise awareness. Imagine how impressed any venue booker would be if you could help sell out a show. Not to mention that while you have a captive audience, a well placed and stocked merchandise table will help recoup any ‘losses’ of giving away a free download or two.

Making money because of your music instead of directly from it is a lesson that many artists can learn from.

Lee Jarvis.

This was the first MET summit, organised by Chicago Booth GSB Students and held at the Harper Center, and I’m sure I’m not the only one who considered it a great success. The summit focused on Media, Entertainment and Technology (there’s the ‘M’, ‘E’ and ‘T’ for those of you paying attention), and featured some well chosen panelists and keynote speakers from a variety of backgrounds. I chose to follow the Social Entertainment and Music panels and will touch on them here as I feel they all shared good advice that you can apply to promotion of your music career / artist management / online marketing / record labels and much more. (note: Part 2 next week will go into the keynote speeches)

Session 1 – Social Entertainment
Cliff Warner, Principal/CEO, Thinkwell Design & Production; Matt Freeman, CEO, Betawave Corporation; Anisha Ahluwalia, Associate Director, Denuo; David Goldberg, CEO, Youbet.com

The panel spoke well about various types of customer engagement in the digital world, touching on the gap between huge scale tools such as Yahoo adverts which can reach millions of consumers but may only return impression figures, and the kind of niche tools that really help you to understand your customers needs when you connect with them in a relaxed state of mind and retain their attention; finding the right combination for your business / career holds the best possibility of engagement and ultimately, success.

With less disposable income and more choice than ever before it is harder to keep customers interest and retain return visits, and any business having strong offline comparables will have to offer something more compelling online. This may be as simple as ‘being able to shop at home in your underwear’, it may mean creating more interesting additional features to support custom, displaying reams of data that could not be processed or viewed physically, or offering real-time updates allowing instant changes to orders / decisions. Nike plus did this well and brought the physical act of running to an online state by offering a community to share advice and support.

We also heard about brands that needed to actually discover what their brands mean before launching into social media, and perhaps when it is unsuitable or just plain weird they are better off partnering other companies or launching a community based on a related but diverted niche of the brand. The panel finished up by suggesting where they see social entertainment moving in the future, and the points raised are something that I agree strongly with and will feature in future blogs, namely ‘mobility’, ‘filtering’ and ‘authenticity’. Customer will want access and entertainment on the go, and products such as the iPhone allow new ways to engage them all the time. They will also want and need ‘filters’, meaning that with more and more content being created and shared online, recommendation and guidance will bring quality to the end user and create a strong appeal. Lastly, authenticity is something that people crave, and with people becoming numb to faceless internet spamming, that means that genuine conversations, a strong offline connection and authentic actions / reactions create trust and loyalty to your brand (company / artist).

Session 2 – Music
Beverly Jackson, Sr. Marketing Manager, The Recording Academy; Jonas Tempel, CEO/Co-founder, Beatport.com; Peter Strand, Founding Partner, The Law Offices of Peter Strand; Brenden Mulligan, President & Director of Business Development, ArtistData

Well, obviously here is my forte, and the very well chosen panelists meant that i could have happily listened to a two hour speech by each of them, but I feel we covered a fair bit of ground in the session. Upon entering the room, there were already postcards advertising the Grammys (3 weeks late?!) and Recording Academy artists on all the seats… hmmm. Speaking of the Grammys, quote of the day goes to Jonas Tempel, who said after seeing the Jonas Brothers and Stevie Wonder performance, “I’m not sure if I was confused or offended”. Jonas and the panel also offered a wealth of knowledge regarding the music industry, mentioning that publishing rights are one revenue stream that should be protected, although I was a bit concerned at how this evolved into ‘illegal downloading is wrong’ and ‘they will get you if you do so’ style comments (maybe because of the watchful eye of the RA representative?). 10 years after the Napster hooplah started I thought there would be less of that.

We did move on, and somewhere that the panelists saw potential growth is in the live music sector. Concert tickets may be high, but people are obviously willing to pay that and even more on ebay and the like, so the demand for shows and discovery of music doesn’t seem to have slowed at all. Best Buy is apparently making shelf space in their stores for low-end musical instruments, obviously as a demand reflex rather than a good-will incentive to encourage young music types.

A variety of music players / widgets / promotion sites were brought up, all available to aid artists’ careers, and the panel agreed that independent artists are in a strong position in this shift in the industry, and also the new interesting ways of artist promotion such as the Prince CD giveaway with the Mail on Sunday in England, himself being a music visionary and now a savvy industry marketer and businessman. I would have loved someone to emphasise that the giveaway almost certainly helped Prince sell out 15 of 21 shows at London’s O2 Arena within the first hour of tickets becoming available.

Something I consider very important and is quite a hot topic recently is the Creative Commons Licensing. I wanted to ask the panel their thoughts, especially as to if this relates to the remix competitions that Beatport offers and to what the Recording Academy thought of the huge popularity and financial success of Nine Inch Nails’ operation with this licensing, but unfortunately we had run out of time.

I thought the discussions such a success and inspiration that I will endeavour to contact the recent panelists and other music industry professionals and report back with some interviews / quotes in the near future.

For more info on each of the panelists and keynote speakers, as well as general MET summit details is at www.metsummit.com, and I strongly suggest that you keep an eye out for next year’s event; if it is carried out as passionately and as smoothly as this year’s then I see it being a great opportunity for young entrepreneurs to enhance their knowledge and a key event to forge interesting relationships with intelligent forward-thinking media companies in 2010.

Lee Jarvis.

Well, here we go with the launch of the US Music Jobs blogs! We hope to make your visit to the Music Jobs website a bit more informative and enjoyable, with news, reviews, advice and gossip from around the world. My ‘specialist subject’ is discussing the digital music revolution, music 2.0, music marketing strategies, social networking and share music job finding tools.

Having said that, I aim to cover as much of the music world as possible. I love going to live gigs, so you’ll hear my rants on Dance, Jazz or Rock, and I’ll also bring you news from major labels and their latest troubles. I hope to cover these as completely as I can, and I expect a flurry of adulation / abuse as I attempt to do so. You guys may know more or feel different about what I write, so tell me so!  I enjoy the honest replies – blogs are supposed to be interactive, so please comment on anything you feel strongly about. I need to know what amuses and disgusts you so that I can delve deeper into the subjects that you all want to hear about. The Music Industry is a big ol’ world, and I only have two hands and one groggy brain to try and get it all across to you…. but bear with me, it’ll be a fun journey.

Lee Jarvis.