Category: History


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レコーディングアーティストKreayshawnは、カメラの背後にあるパーソナルアシスタントTragik日本の彼女のツアーでの経験を文書化します。最近コロンビアレコードと$120万ドルの契約を締結しKreayshawnは、文字通り “、グッチ、グッチ”のみ彼女の最初のヒットの勢いを構築しないよう日本の回路を引き裂いただけでなく、夏に設定された彼女の今後のデビューアルバムの興奮を作成するtenatively”Kreayについて何かを。”と題したリリースを ブラスコのジェイソン·ブラスコ、創始者は、広報を言う

Jason Blasco, Blasco Says Publicity

Kreayshawn goes to Japan:

Part No. 1 – http://www.youtube.com/watch?v=dDGgFVYuClc&list=UUP4vIL84k78_tAM–K9hPtQ&index=2&feature=plcp

Part No. 2 – http://www.youtube.com/watch?v=XxVCFjQ_iKw&list=UUP4vIL84k78_tAM–K9hPtQ&index=1&feature=plcp

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One would think veteran radio personality Sammy St-John Martinez had a detailed strategy in place when she created the Fishbowl Network.  With streaming media currently grabbing headlines in radio, television, and music, you might think Sammi G had the gift of foresight to develop an innovative concept of streaming radio with programmers and directors. Such is not the case. A combination of divine inspiration, the state of flux in the industry, her passion for radio, and the desire to change the diluted programming was the catalyst that prompted her out of retirement into the 13-hour grind that is the nature of the business.  “I really didn’t have a plan,” admitted Sami G, who had a successful 30-year career as a radio personality and programmer . “I am glad it appears that way, but the honest truth is it wasn’t a plan or a vision, but a prayer. Over the years, I’ve seen a lot of my colleagues lose their jobs because of the economy, or because companies were downsizing. Then, I taught broadcasting and the day of kids getting their big breaks didn’t exist anymore because of the corporate structure. I had an amazing radio career, and I felt really bad for these kids that wanted to do what I got to do but weren’t getting those breaks. With my station, I get to help the newcomers and veterans have some of the opportunities that I had in my career.”

Into the ocean of the worldwide web?
After her inspiration, Sami decided to consolidate the good parts of traditional radio with the new methods of streaming. Instead of over-saturating her company with blog talk, she created a velvet rope to avoid the lack of quality in the broadcast of her particular model.  “I wanted to take the good of the old and merge it with the technology of streaming,” Sami G. said. “I had a lot of questions when I first started this, and I just kept telling myself ‘do it,’ ‘do it.’ Now, we have a roster of about half veterans and half of them new to the industry. It’s a good mix because it makes people that are new to the industry become more polished, and it gives those that have been in the industry for a while the platform to be creative without the corporate parameters.”

Sami G, who began booking her first radio acts in August of 2009, has started a trend that many companies have copied, which includes developing a format of streaming radio stations with a more professional quality to them. Although she currently has no broadcasting boundaries, her company follows the traditional rules of the Federal Communications Commission (aka the FCC) in order to maintain family programming and broadcast original content from 9 am to 9 pm, with repeating programs after 9 pm that aired earlier in the day.  Armed with program and marketing directors, it gives those new to the industry an opportunity for professional presentation. It has also spawned a new industry of radio. “I hope to see lots of little Fishbowls everywhere. I don’t know if that is what I set out to do. I was originally retired,” Sami G. said. “Now, I am back to putting in the 13 or 14 hour days. Obviously, with the ways in which we are doing it, it would be cool to place fishbowls all over the world. However, I am in a fishbowl right now, and I am not ready to expand.”

Streaming with the sharks
Sami G said in order for us to gain a firm grasp on the future, we have to look at the devices and ways in which the younger generation is currently consuming information. “You just have to look at the younger generation and how they are choosing to get their information. They stream their music through components such as lap tops, so they don’t really have the radio or record player like previous generations had,” Sami said. “They use their phones, iPods, iPads and listen to stations on the internet.”

Streaming killed the television star?
Sami G. sees streaming as an opportunity to retrieve the creativity that got lost in the shuffle of corporate restrictions that are currently in place with giants such as Clear Channel and CBS affiliates. “The great thing about streaming on the internet is that the moment you turn on the microphone, you just quadrupled your listener base. Instantly, you are all over the world and your audience has increased with the content of your message,” Sami G. said.

As a program director for major radio corporate radio stations, Sami acknowledged that streaming has been something that many companies consider a secondary component of their content, and still haven’t made it the focal point. As far as how it affects the business of music, she sees the new avenues of distribution to be a double-edge sword. “I don’t know. There is a positive and negative side in terms of the music industry,” Sami G said. “Being streamed means an artist can gain exposure without the aid of a record label, and it’s a great thing for a bunch of artists who normally would not have had that exposure. However, there is a negative side. There is no need for a syndicate or a record label because a person can do everything on their own. The dynamics and the traditional methods of how things are done are dying because of it.”  Sami G. believes streaming is going to open the flood gates for the creativity and regional flavor that was strangled by strict corporate parameters in  the medium of radio.

-Jason Blasco

Even as a one-woman band, the San Fransisco native’s musical tools consist of a cello, A Mac Book Pro, and her relentless drive for creating music. Her music has become the definition of avant-garde by incorporating a multitude of electronics with an unparalleled depth, and has fans worldwide clamoring for her work. Keating has used her keen business ability to develop a fan base that has capitulated her to No. 1 on iTunes Classical four times throughout her career. Her last album, “One Cello x 16: Natoma,” sold 30,000 copies without the aid of any marketing money.  Zoe has accomplished all of this while wearing a number of hats, including acting as her own manager, producing all of her own marketing and promotions, and relying on touring to create a buzz. Keating, who started as a musician in 1996 and went full time in 2002 before the internet gave her the opportunity to broaden her fanbase and create new streams of revenue, credits her gift of foresight of new mediums as one of her keys to success.

Despite being a visionary and working for a software company involved in one of the most technologically progressive areas in the world, Zoe doesn’t see streaming as the wave of the future because it hasn’t added to her bottom line. “I would always hear a lot of people saying streaming is the future,” Keating said. “It’s been my experience that it may not be the case. In my particular case, my audiences are spread across different genres, and it’s not a monolithic answer. Different genres of music will still be distributed in different ways. For more mainstream music such as Lady Gaga, I think streaming will be a relevant way of generating income. I don’t think this is going to hold up in the realm of art music. With that said, I am not opposed to streaming. I just think it will become another method of consumption rather than a dominant way in which people listen to music.”

Currently, Keating’s revenue is split between iTunes sales, physical sales, and song licensing, which is about a 60/40 split considering the only merchandise the self-proclaimed, hard-core environmentalist sells at her shows is physical CDs.  Keating also expressed concerns about the potential harm streaming could cause for independent artists who are trying to establish a voice. “I’ve never seen any money off of streaming,” Keating said. “There is no way for me to make any money off of streaming, and I’ve tried.  If streaming is the future of music, I worry about how independent artists are going to fit in. I think streaming will have relevance, and become more prevalent in the future. The field of music is diversifying. This is great because before, everything was too monolithic. CD’s, MP3s streaming, and music distribution will just continue to be diverse and vary from genre to genre.”

MARINA DEL RAY- The life of a DJ has always involved shameless self-promotion in order to gain enough clout to break out other artists when promoting their work. This vicious and seemingly never-ending cycle of blasting emails, invading social networks, making phone calls to both promoters and club goers, and the constant bombardment of winning the next gig known as “the grind,” has been complicated by the clutter of the invention of the “Virtual DJ.”  Prior to the invasion of digital distribution’s low cost, user-friendly equipment that anyone can learn to use, a DJ’s job included spinning the one’s and two’s, crate digging through sacred vinyl, and doing everything possible to bring in enough heads to satisfy club promoters and gain influence over the record-buying public.

Push a button, mix a song
Hollywood, California based DJ Awesomo 3000 has been part of the industry for only two years and has already witnessed a multitude of changes, including the inevitable death of the traditional DJ. Awesomo 3000, who works as a house DJ in two clubs in the greater Los Angeles area and was  featured as a dance extra in videos Miley Cirus and Mars Bruno, said technology has made developing his business difficult. Consumer-based programs and the internet have created opportunities for countless independent and unsigned artists. It’s become a logistical nightmare for those trying to make a living, “Well, there have been so many new DJs that just cruise around and have their own laptop, it’s become really hard to make a living,” Awesomo, who also has his own duo called Kids From Mars, said. “It’s becoming more difficult because a DJ that may be less experienced, and not as good, may undercut you. I’ve had that situation a few times, where I’ll get a call from a club promoter and they will tell me that they are going with someone else who charged less than I did.” Longtime traditional radio DJ Funkmaster Flex discussed this very issue with Kid Cudi in last year’s Hot 97 interview shortly after he was named as the coveted XXL 2009 Freshman of the Year. Don’t tell me, stream me DJ Awesomo has adapted to the swarm of DJs that have emerged, and the furious competition that the internet has created. “I go through blogs in different languages, and don’t even understand what is going on. I get some crazy Japanese voices and Australian drum loops. It’s more about individual artists and just music, in general,” Awesomo said.  Awesomo has taken a look at the different avenues of streaming and digital promotion by not limiting himself to the various websites.  “Right now, I am using Ustream because you don’t just call someone and tell them that the party is hot. You can actually show them through live streaming in real time,” Awesomo said. “I think this is going to become more commonplace. Eventually, there will be iPods and other devices that will be built specifically for streaming. It will also give opportunities for other artists because you can build a whole set list of unknown artists now.”  Awesomo worries that technology could kill the art of being a disc jockey, and the traditional DJ will eventually and inevitably evolve into something else.   “A lot of it has to do with the virtual DJ, who can easily mix. If it can get intricate enough, it could kill the art of it,” Awesomo said. “I see it happening already. There are some DJs working at clubs who are just pressing buttons. That’s not a DJ. I think there should be another name for them.”  What is in store for the new generation DJ? As Dr. Dre said “Chill till the next episode.”

After more than thirty years in the music industry, King Trick has witnessed many trends in methods of distribution, marketing, and promotions.  Trick, a member of the hip hop group Mixxxmastarzs and the official West Coast protege of hip hop legend Kurtis Blow, has been involved in every form of distribution from vinyl, cassettes, and iTunes, to the new wave of streaming media. Trick said he felt, in order to gain a good perspective of where the chaotic music industry is headed, it is essential to journey back in time and take a look at where it’s been while simultaneously understanding that the devices may have changed, but the basic fundamental psychology of the consumer has stayed the same.

Back In The Day

As the West Coast King of the Zulu Nation and manager/producer of the new movie Crush Groove Two that is currently in preproduction, memories flicked through King Trick’s mind when asked about the methods in which music was distributed back in 1985. His knee-jerk response was, “Wow… you are talking brick and mortar days right there.”  Trick said one of the major differences, besides the emphasis strictly on physical sales, was the money record labels allocated towards artist development that no longer exists in today’s economic climate.  “Motown was a good example of a label that had the premier concept of developing artists,” King said. “The more education you got, the stronger your craft was going to be from a standpoint of songwriting, writing songs for artists, getting them on the road, and putting them on tours. The most important thing they did was polish their product and essentially test market it.”   Not only were companies spending money for artist development, but they were also distributing advances to acts that had potential. That has become the responsibility of independent labels or major label subsidiaries today.

The first major shift of the industry

With traditional revenue-sharing models and artist development remaining fairly stagnant throughout the mainstream of record labels during the 80s, the hip hop movement that developed in the late 1970s as a major underground circuit became more organized with labels such as Def Jam emerging. The main shift in music occurred with the underground movements who changed the nature of the traditional methods of standard operating procedures for the record labels.   “I think the biggest shift is when independent companies started to gain a voice,” King Trick said. “I think you can attribute a lot of that to the rap industry of the underground in the 80s. Then, when the internet became part of the program, independents began to rule the day. Suddenly, that destroyed the corporate structure in music.”  The movements also developed a style of marketing for specific demographics that fragmented listening audiences forever. “The original “brick and mortar” rock was big. Then you figured the underground scene really developed in a big way, and funk was probably the predecessor of that. You even can go all the way back to the ‘chitlin circuit’ and punk circuit of the late 60s and 70s. That was really the grass roots of guerrilla marketing,” King said.

Too many artists, not enough recipes

With Napster developing and illegal downloading increasing in the late 1990s, the corporate world, with all their money and resources, experienced a phenomenon that they were unprepared for. The music industry’s talent pool became saturated and watered down due to a multitude of tools available to promote yourself on the internet, . King said he felt that the cream will eventually rise to the top again with new distribution methods such as streaming. King believes this will create more opportunities for the corporate structure and independents with strong marketing and promotions to properly market their artists, and the fundamental elements of music that took a backseat to the bottom line will return.   “I think the new method will be a beautiful thing,” King said. “You are going to start having to give a portion of your music away and deal on the true side of being an artist to get your money. This includes doing live performance, and being able to dance, sing and play an instrument. The rest of the group that isn’t as talented will be forced to get the day jobs they really should have been getting from the beginning.”In order to market his own projects, Trick is working with one of the pioneers of the internet, Harold Wahey.  “You are talking about the online world becoming similar to the movie The Matrix, with a lot of people whose lives are becoming more dependent on the online world,” said King Trick. “You are talking about our whole lives being involved more to what will eventually evolve into a virtual world. There are Realtors right now selling virtual property and making 400,000 a year in real money. If you analyze those circumstances with more and more people online, and taking a look at streaming video and music, you can even take a look one step further. In the future, music will be selling merchandise for their acts designed to their virtual character. Going to a virtual concert is something I forsee. With this real technology coming in, it will put an emphasis on parts of music that have been lacking, like live performance with singing and dance. Music, such as life, will come full circle 360 degrees.”