I'm just at the invitation of Popbüros Baden-Wuerttemberg in Stuttgart to here as part of the annual "Pop Open" with colleagues from Switzerland and Germany on the "360-degree model to discuss .
I was not sure from the beginning whether I should therefore rather flattered or offended - after all, I was here as an obvious advocate and practicing these "evil", big new ultimate model of the music industry hergesetzt.
The 360 ° model - a misunderstanding
Accordingly, I have in the course of the discussion revealed my business model and explained the matter as it really is in my view. We quickly agreed that it is the "360 model" for any well-defined somewhat differently. In summary one can say that the money in one place is just to understand above all the major record companies that they need to get somewhere else, if they are to survive. This is of course legitimate, since no one looks happy to stand by as his business dies and is waiting gleefully for death.
The foreign word sustainability.
The problem of the "Great" is not their business strategy (to get by and by merchandising companies or booking agencies in the boat), but is far deeper. And competition from neighboring areas such as event planning their increasingly dominant role understands it and rather than take-over (and in turn buys record companies). Thus companies like Live Nation laced suddenly all-inclusive packages for Madonna and leave their former record companies look stupid from washing.
Like so many other examples in the brave new digital world the example can not on the small business or break down the little band. For a very important question here is: Who makes it in the future for innovation, product development, artist development?
have taken in the 80s and 90s, nor the record companies a lot of money in hand to create with exorbitant sums of marketing a "brand", so there was no longer possible due to the shift of the market. If "build artists' Live Nation?
Anders.
And here comes the model into the game, which we operate. I do not like the degree thing at all, rather prefer a term such as "artist development and support. " We allow artists, of which we are convinced, publishing panels - and continue to serve primarily as a way to exist with the media. The media work in the positive case reporting, etc. airplay brings with it helps strengthen to create the brand positioning. In addition to airplay sales caused the author and publisher so that side - and of course it offers a strong case to include the artist on a stage. Even this money makers, the live segment, the side effect that he also plays the author and publisher to the account.
All these are parts that have a "developed" Artists often or almost normally to various partners who mitnaschen has outsourced. Now if this whole complex in one hand, the major risks - but also greater opportunities. The total volume that we are able to invest, because of the many participation opportunities greater than we would cover only a part. This capital is controlled from a single source, it can also be used much more focused and controlled, an overall strategy and not be subordinated to the interests of a "record company", a "booking agency" or anyone else to be sacrificed. The point is that the artist has developed as a brand on - this is achieved, benefit all (and in fact: it does not succeed, we sit the first-ever in trouble, just because much has been invested - a terrific pressure for ourselves).
The elimination of intermediate agencies wastage reduced by an artist in communication - consumer, which is ultimately what is essential. The largest is a negative point, however the emergence of a huge dependency - but there is a misconception, one would think that existed in other scenarios, such as against a record company not (apart from that we have mechanisms that attempt to mitigate this problem).
paradigm shift.
And this is the essence of the Stuttgart discussion at. In the "golden age" of the record companies dominance, there were restrictive contracts with long, long bond, the A & R was king of the world, all knew well, threw out his wallet and left the artist's sense of omnipotence. The money rushing (in a positive case), the artist was a "product" - and thus a subject with which you worked.
shaped by these experiences, the music industry has completely forgotten who the real capital is in this game: the artist. Understanding this, to respect the artists and take in a position like mine back and understand first and foremost as a service - because their structures and the big firms fail much more than about the evil downloaders at the computer.
The fear of democracy.
The money in the music industry is still there, it is just distributed differently. And the "old" companies get scared because the dogma crumbles of its market power to define. Computer and Internet appliances as potentially largest democracy in human history, artists have self-made bolder. Even produce even publish market them - this is possible today - and of course a massive cut in the seats said "old" industry. Omniscience and possibility of the majors is a story of yesterday. Yet no one is
- and shows my experience, unfortunately, least of all artists - with know-how and networks born, "make yourself" so of course it works now only up to one (or the other way again until a) certain point. We sit as a "music workers" at a critical spot, to help where the imparting of know-how, the integration in decision-making processes, enabling a further step is the focus.
power conversion.
The artist, who uses his office and says "I want to be a star" to wait in the episode, what is done with him, is as of yesterday. On the contrary, he must be an active part in this model. He maintains his social networks, he is the only one who can provide authentic, where to go the journey. So he is, please! Labels, publishers, bookers - will they still play their part, who now make just a little different manner than it was fifteen years ago. The Times They Are A Changing. The people around him, the "experts" to take the "professional", the economic part of this mission, but they are mainly companions, perhaps Directory.
grow this new image of the artist needs to build and in the minds of industry people Find a place - and, if you will allow me: It is high time. A bond like this is certainly require enormous confidence and a great desire for fairness. That held in small cells like ours a lot easier to manage and control is beyond doubt. And as a Swiss colleague noted, this is the hardest part, because the industry has learned how to cheat each other until everyone finds it normal to cheat too.
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