For the purpose of this blog post, I have researched two experts, Guy Kawasaki and Dan Schawbel, regarding business investments. I first heard of Guy Kawasaki in an Executive Leadership course at Full Sail University. As a well-published author, Kawasaki has solidified his placement in business education and commentary conversation. Interestingly enough, Kawasaki was integrated into one of my first blog entries at Full Sail and now he is also part of one of my final blog assignments. Dan Schawbel is making his Hertzblog debut with this post.
A highly praised branding and entrepreneur expert, Dan Schawbel gives valuable insight into the development of business plans. Recognized by New York Times as the “personal branding guru,” Schawbel is the managing partner of Millennium Branding, LLC. Schawbel is also responsible for an international best-seller. Like Kawasaki, Schawbel is also a highly sought-after national speaker enlightening audiences on his views of various business topics relevant today. Schawbel has taught that investors seek business plans that include a variety of key elements; the return on investment is probably the most important element of the business plan to an investor. Other crucial variables to a business plan include in-depth knowledge of the demographics, industry, and competitors.
Schawbel and Kawasaki have different views on business plan development but both realize the importance of a solid business plan. In his blog, The Zen of Business Plans, Kawasaki provides 9 do’s and don’ts for professionals preparing a business plan to be presented to an investor. I found the entry very useful as Guy explains what he looks for and what will best attract investors. According to Kawasaki, the fundamentals of the business plan should always include the following: Executive Summary, Problem, Solution, Business Model, Underlying Magic, Marketing and Sales, Competition, Team, Projections, Status and Timeline, and Conclusion. He adds that each section should ideally be one page in length but expects a ‘fudge factor’ of 9 pages. The shorter and cleaner the plan, the more likely it will be read.
Developers may also find it easier to create the pitch before the plan. This helps with having a better deliverable pitch and plan because it’s easier to master the pitch and make changes than it is for the actual plan.
Dan Schawbel put an emphasis on the scheduled review of the business plan in his blog entry titled “Build an Extraordinary Business Plan to Kick Your Brand into High Gear.” Schawbel says that every plan should begin with a review schedule. By creating the schedule in the beginning of the project, the team will be better focused and informed. Noticed I said ‘team.’ Kawasaki believes one person should create a business plan while Schawbel recognizes that groups develop most plans. Kawasaki believes a plan created by only one person reads more cohesive and incorporates a better flow of information. Either way, a review plan would be beneficial to a developing business plan.
Friday, September 30, 2011
Wednesday, September 14, 2011
Free Streaming Music & Playlist Discovery Made Simple With Songza
I am just going to get right to the point here and tell you that I am onboard and proud to be on the Songza fan-wagon. Less than 24 hours ago I had never even heard of Songza. A good reason for this may be attributed to the fact that Songza has only be available to the public for just a day now. What’s-a Songza you ask? It’s quite simple (and free). Songza is a (free) digital music provider that allows subscribers to stream entire playlists at just a click, tap, swipe, or press of button. The extensive inventory of playlists have already been crafted, compiled and categorized for your convenience making music discovery uber-easy with Songza.
Brand new and free, Songza comes available in two forms if you’re interested (and trust me, you should be), mobile app and website. In case I failed to mentioned earlier, the membership is totally free. Currently, Songza has a library of over 14 million tracks which puts it in the same size category as Spotify while trumping Pandora. What sets Songza apart from competitors is the ease and time, or lack thereof, needed to produce the perfect playlist. Right now there are well over 75,000 playlists already available on the site. That number continues to grow as users contribute their selections to that list.
Navigating the website is simple. In just two clicks from the homepage you can be enjoying music catered to your desires. Users can search the catalog via two methods: entering artist’s name or playlist into a search field, or browsing categories. I love discovering new music so dabbling about the various categories is my browsing method of choice. The categories include Genres, Activities, Moods, Decades, Culture and Record-store Clerk. Each category is full of subsections chockfull of music available for almost any occasion. Check it out!
Thursday, September 1, 2011
Future iTunes, No 'Match' For Me (Yet)
We, music enthusiasts, are facing some new and exciting movements within the industry. One interesting and anticipated advance is coming from Apple. Many Apple product owners, commentators and speculators are clamoring about the new iOS 5, which is due to reach consumers this fall. The iOS 5 will include many cool new features that we have come to expect from Apple, of course, but one of the most talked about addition will be the iTunes cloud service. The cloud service will include a great little sleuth of a feature called iTunes Match, designed to compete with services introduced by Amazon and Google.
Apple recently announced that iTunes Match will give users the option to download or stream their music libraries on up to 5 devices including iPads, iPhones, iPods, etc. Apple, keeping many details of how the iTunes Match service will actually work under wraps, has said that all music ‘matched’ or copied from the Apple’s master library will play at a decent quality (256kbps). However, for tracks in your library that iTunes cannot ‘match’ with Apple’s offerings can only be streamed from the cloud after it has been uploaded. Either way you will have complete access to your music catalog (up to 25,000 songs) on your various iOS devices and computers.
I am personally not sold on this Apple service just yet. To be quite honest, I just do not have the need for a service like this one, yet. I listen to my music from my home computer, which is connected to a sound system that my neighbors and I both can appreciate. And currently I use my iPhone to access my songs both in the gym and in the car. Being that I do not even get workable service in parts of my gym, how would a streaming service even work?
The ability to store your library in the cloud comes to us at a price of $24.99 each year. Apple already receives enough of my wages each month as it is. I will just need to keep that in mind before I am convinced that I just cannot live without this new iTunes service.
Apple recently announced that iTunes Match will give users the option to download or stream their music libraries on up to 5 devices including iPads, iPhones, iPods, etc. Apple, keeping many details of how the iTunes Match service will actually work under wraps, has said that all music ‘matched’ or copied from the Apple’s master library will play at a decent quality (256kbps). However, for tracks in your library that iTunes cannot ‘match’ with Apple’s offerings can only be streamed from the cloud after it has been uploaded. Either way you will have complete access to your music catalog (up to 25,000 songs) on your various iOS devices and computers.
I am personally not sold on this Apple service just yet. To be quite honest, I just do not have the need for a service like this one, yet. I listen to my music from my home computer, which is connected to a sound system that my neighbors and I both can appreciate. And currently I use my iPhone to access my songs both in the gym and in the car. Being that I do not even get workable service in parts of my gym, how would a streaming service even work?
The ability to store your library in the cloud comes to us at a price of $24.99 each year. Apple already receives enough of my wages each month as it is. I will just need to keep that in mind before I am convinced that I just cannot live without this new iTunes service.
Friday, August 26, 2011
When It Rains, It Pours
With the recent destruction of the Sony distribution center in the UK, I have thought about the evolution of the music industry in terms of products sold. It seems that every so often music is distributed on a new and hopefully better format. Today’s candy of choice seems to be the mp3 as the industry’s digital evolution has steamrolled the compact disc. CDs had it coming really. Look what the evolution did to cassettes. And of course the cassette would not last either although it did knock out vinyl, which definitely had its heyday. So what about the mp3?
I am usually an early adapter and sometimes even an innovator in regards to new products surfacing in the market. However, when it comes to music I have sometimes made the format transitions a bit later, falling into the majority, early and late. The reason being is quite simple: I don’t want to have to repurchase my music collection. Now here we are today with the lovely, transferable, duplicable, and much cheaper mp3. With cloud and streaming services shooting to the music industry as a new and more efficient solution like boiling water to dry, stiff pasta, the mp3 is getting a second life. We can still purchase and do whatever we (legally) desire with mp3s but now we have different means to access them. I, being the sometimes stubborn guy that I am, will be waiting to see how this one pans out.
One of the first things that occurred to me with the unfortunate destruction of the Sony distribution center and it's physical stock was that digital cannot easily be destroyed. Sure one can lose their laptop or music player. And one could also say that copies of CD’s could be lost in a similar fashion but you will never hear of a warehouse of mp3’s going up in flames. Digital cannot only be transferred easily now between devices but can apparently float high above the reaches of evil in some almighty cloud. The real question is how long with this cloud stay afloat. Am I pessimist? Not hardly. I am simply finding reasons to cling to my old fashion ways. And besides, services like streaming and cloud computing certainly have a way to go before being perfected.
I am usually an early adapter and sometimes even an innovator in regards to new products surfacing in the market. However, when it comes to music I have sometimes made the format transitions a bit later, falling into the majority, early and late. The reason being is quite simple: I don’t want to have to repurchase my music collection. Now here we are today with the lovely, transferable, duplicable, and much cheaper mp3. With cloud and streaming services shooting to the music industry as a new and more efficient solution like boiling water to dry, stiff pasta, the mp3 is getting a second life. We can still purchase and do whatever we (legally) desire with mp3s but now we have different means to access them. I, being the sometimes stubborn guy that I am, will be waiting to see how this one pans out.
One of the first things that occurred to me with the unfortunate destruction of the Sony distribution center and it's physical stock was that digital cannot easily be destroyed. Sure one can lose their laptop or music player. And one could also say that copies of CD’s could be lost in a similar fashion but you will never hear of a warehouse of mp3’s going up in flames. Digital cannot only be transferred easily now between devices but can apparently float high above the reaches of evil in some almighty cloud. The real question is how long with this cloud stay afloat. Am I pessimist? Not hardly. I am simply finding reasons to cling to my old fashion ways. And besides, services like streaming and cloud computing certainly have a way to go before being perfected.
Tuesday, July 26, 2011
Publishing Podcasts
I was recently asked to review several podcasts that are related to music publishing and digital music liabilities. In doing so, I have expanded my personal learning network to include several free podcasts that were found on iTunes. I have started subscriptions to Oxford Internet Institute, USC Libraries and The Music Law Podcast.
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The easiest to digest and my favorite of the three sources is The Music Law Podcast. Narrated by entertainment attorney Mark Quail, I listened to two podcasts pertaining to publishing appropriately titled “Music Publishing Law” parts one and two. The two podcasts spoke on the different types of royalties, licensing, publishing contracts and the general duties of music publishing companies. Reinforcing the basics of music publishing is the greatest personal benefit to adding this to my learning network, as I would like to start my own publishing company.
The USC Library is the second source to which I now subscribe. I listened to “The Future of Publishing in the Digital Age: Two Views,” which was delivered by N. Lynne Withey and Katherine Hayles. Withey explained the current and future states of the publishing industry. Primarily, digital publishing is used for its convenience. As technology advances, publishing companies will reform their processes to match. Publishers should be prepared to have creative works in digital archives that can be transmitted and utilized in various digital formats. Hayles spoke on how digital tools changed the way we think. She argues that digital formats contain more information than traditional formats. It will be interesting to hear more views like the two featured on this podcast. Following the evolution of protecting and licensing copyrighted works is paramount to a thriving publisher.
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The last of the three podcasts I reviewed comes from Oxford Internet Institute. Matthew David narrated “Peer to Peer and the Music Industry: The Criminalization of Sharing.” I found this podcast interesting as it illustrates how peer-to-peer sharing is not a new phenomenon but as technology advances, infringement increases. David describes the evolution of record label business models and the impact of peer-to-peer file sharing sites. Publishing, of course, is not immune to the harm of file sharing. It is legal for the public to upload and download only small parts of an entire copyrighted work. However, the result is just the same as if someone made multiple copies of one copyrighted item and distributed the copies to other people which is illegal. New technologies and processes are expected to continue affecting the digital rights management of a publisher.
The easiest to digest and my favorite of the three sources is The Music Law Podcast. Narrated by entertainment attorney Mark Quail, I listened to two podcasts pertaining to publishing appropriately titled “Music Publishing Law” parts one and two. The two podcasts spoke on the different types of royalties, licensing, publishing contracts and the general duties of music publishing companies. Reinforcing the basics of music publishing is the greatest personal benefit to adding this to my learning network, as I would like to start my own publishing company.
The USC Library is the second source to which I now subscribe. I listened to “The Future of Publishing in the Digital Age: Two Views,” which was delivered by N. Lynne Withey and Katherine Hayles. Withey explained the current and future states of the publishing industry. Primarily, digital publishing is used for its convenience. As technology advances, publishing companies will reform their processes to match. Publishers should be prepared to have creative works in digital archives that can be transmitted and utilized in various digital formats. Hayles spoke on how digital tools changed the way we think. She argues that digital formats contain more information than traditional formats. It will be interesting to hear more views like the two featured on this podcast. Following the evolution of protecting and licensing copyrighted works is paramount to a thriving publisher.
The last of the three podcasts I reviewed comes from Oxford Internet Institute. Matthew David narrated “Peer to Peer and the Music Industry: The Criminalization of Sharing.” I found this podcast interesting as it illustrates how peer-to-peer sharing is not a new phenomenon but as technology advances, infringement increases. David describes the evolution of record label business models and the impact of peer-to-peer file sharing sites. Publishing, of course, is not immune to the harm of file sharing. It is legal for the public to upload and download only small parts of an entire copyrighted work. However, the result is just the same as if someone made multiple copies of one copyrighted item and distributed the copies to other people which is illegal. New technologies and processes are expected to continue affecting the digital rights management of a publisher.
Wednesday, June 29, 2011
The Music Industry vs. LimeWire
For just over 10 years, LimeWire created a platform for its users to freely distribute digital music without properly licensing the music and therefore inducing copyright infringement. LimeWire began in May of 2000 and after several well publicized court cases finally ended with a federal injunction in October 2010. The company’s software was easily downloaded to the user’s computer and was accessed with several membership plans. Most users opt for the free version that allowed them to share and download copyright protected video and audio files.
One of the biggest changes that has occurred in the recent evolution of the music industry is the predominately electronic distribution channels in which users receive their music. Unfortunately, this makes it easier for piracy of copyright protected works to occur. With file sharing sites such as LimeWire facilitating the distribution without legal sale of music it has been said that singers, composers, songwriters and record labels have lost billions of dollars in revenue.
The Grokster case paved the way for the entertainment industry to go after file sharing sites in efforts to not only recover lost revenue but also to ultimately shut down operations promoting what is now deemed as illegal file sharing. In the Grokster case, the United States Supreme Court ruled that business with the intent to of encouraging copyright infringement should be held liable. Grokster was eventually shut down. Currently, the Grokster’s site hails a message to all visitors that 1) sharing copyright protected material is illegal and 2) “There are legal services for downloading music and movies. This service is not one of them.”
Since the ruling in the Grokster case, numerous entertainment companies and advocacy groups have brought filing sharing sites to the courts. According to the a press release by the National Music Publishers Association, eight of its filed suit against LimeWire seeking damages for knowingly facilitating copyright infringement through LimeWire’s web application. The publishing companies originally sought $150,000 for every song that was illegally shared through LimeWire. The case eventually settled and the terms were undisclosed.
In October 2010, the injunction filed by the Recording Industry Association of America (RIAA) against LimeWire was approved in federal court. Judge Kimba Wood found LimeWire’s creator, Mark Gordon, completely liable for the application’s user’s copyright infringement. This was a huge win for the entertainment industry as one of the major players of illegal file sharing would soon shut down operations. The RIAA argues the huge drop in revenues is directly linked to file sharing sites like LimeWire. Estimates from the RIAA indicate a drop from $14.5 billion 1999 to $7.7 billion in 2009.
One of the biggest changes that has occurred in the recent evolution of the music industry is the predominately electronic distribution channels in which users receive their music. Unfortunately, this makes it easier for piracy of copyright protected works to occur. With file sharing sites such as LimeWire facilitating the distribution without legal sale of music it has been said that singers, composers, songwriters and record labels have lost billions of dollars in revenue.
The Grokster case paved the way for the entertainment industry to go after file sharing sites in efforts to not only recover lost revenue but also to ultimately shut down operations promoting what is now deemed as illegal file sharing. In the Grokster case, the United States Supreme Court ruled that business with the intent to of encouraging copyright infringement should be held liable. Grokster was eventually shut down. Currently, the Grokster’s site hails a message to all visitors that 1) sharing copyright protected material is illegal and 2) “There are legal services for downloading music and movies. This service is not one of them.”
Since the ruling in the Grokster case, numerous entertainment companies and advocacy groups have brought filing sharing sites to the courts. According to the a press release by the National Music Publishers Association, eight of its filed suit against LimeWire seeking damages for knowingly facilitating copyright infringement through LimeWire’s web application. The publishing companies originally sought $150,000 for every song that was illegally shared through LimeWire. The case eventually settled and the terms were undisclosed.
In October 2010, the injunction filed by the Recording Industry Association of America (RIAA) against LimeWire was approved in federal court. Judge Kimba Wood found LimeWire’s creator, Mark Gordon, completely liable for the application’s user’s copyright infringement. This was a huge win for the entertainment industry as one of the major players of illegal file sharing would soon shut down operations. The RIAA argues the huge drop in revenues is directly linked to file sharing sites like LimeWire. Estimates from the RIAA indicate a drop from $14.5 billion 1999 to $7.7 billion in 2009.
Monday, June 6, 2011
Had a great time sweating for ESPN
Today a few classmates and I were extras at a promotional taping for ESPN. It was HOT.
Wednesday, April 13, 2011
Famous and Breaking the Bank
Many aspiring artists have goals both professionally and personally that when met are often overshadowed with financial illiteracy. Fame and fortune have many costs but for the sake of this blog entry, let’s focus on the financial aspect. Too often we hear of musicians filing for bankruptcy due to various reasons. And in some cases musicians declare bankruptcy more than once. The most notable repeat offender, Toni Braxton, recently filed for bankruptcy a second time.
When Stanley Burrell, also known as MC Hammer, was signed to signed to Capitol Records in 1987 I am sure he was not thinking of the financial woes he would meet just years later. It was reported that Burrell spent an estimated $12 to $20 million on a custom-build mansion alone. Forbes estimated Burrell’s net worth at $33 million in 1991 but only 5 years later was claimed a debt of approximately $13 million. A lavish lifestyle with homes, furnishings, cars and an entourage without the proper financial aptitude is to blame for Burrell’s bankruptcy.
A record deal does not secure an artists’ wealth by no means. In fact, the artist only receives monies after the record label recoups the costs spent toward producing and marketing the recorded music. Whether it is a bad contract signed or the upkeep of celebrity image, poor financial management is to blame.
The Grammy Award winning Toni Braxton is known for a string of hits in the 90’s, her show in Las Vegas, Dancing With the Stars, and her financial failures. A repeat offender, Braxton declared bankruptcy first in 1998 and often the public rumored a bad recording contract was at fault. Later in 2010, Braxton filed for Chapter 7 bankruptcy protection. According to court documents, Braxton had debt ranging from $10 to $50 million while only holding $10 million of assets. Resilient, Toni Braxton continues to entertain. Braxton is currently working along side her family in Braxton Family Values airing on WE tv.
Big dreams and a record deal should not be synonymous with fame and fortune. Financial mismanagement will certainly have an artist dreaming of another chance at making it “big” someday.
When Stanley Burrell, also known as MC Hammer, was signed to signed to Capitol Records in 1987 I am sure he was not thinking of the financial woes he would meet just years later. It was reported that Burrell spent an estimated $12 to $20 million on a custom-build mansion alone. Forbes estimated Burrell’s net worth at $33 million in 1991 but only 5 years later was claimed a debt of approximately $13 million. A lavish lifestyle with homes, furnishings, cars and an entourage without the proper financial aptitude is to blame for Burrell’s bankruptcy.
A record deal does not secure an artists’ wealth by no means. In fact, the artist only receives monies after the record label recoups the costs spent toward producing and marketing the recorded music. Whether it is a bad contract signed or the upkeep of celebrity image, poor financial management is to blame.
The Grammy Award winning Toni Braxton is known for a string of hits in the 90’s, her show in Las Vegas, Dancing With the Stars, and her financial failures. A repeat offender, Braxton declared bankruptcy first in 1998 and often the public rumored a bad recording contract was at fault. Later in 2010, Braxton filed for Chapter 7 bankruptcy protection. According to court documents, Braxton had debt ranging from $10 to $50 million while only holding $10 million of assets. Resilient, Toni Braxton continues to entertain. Braxton is currently working along side her family in Braxton Family Values airing on WE tv.
Big dreams and a record deal should not be synonymous with fame and fortune. Financial mismanagement will certainly have an artist dreaming of another chance at making it “big” someday.
Monday, April 4, 2011
Fan-Funding Made Easy
One of the most common hurdles faced by the do-it-yourself artists when beginning new projects is funding. Major record labels bring to the table major marketing and production budgets that are not accessible by independent artists. Many independent musicians lack the financial resources needed to properly promote, manufacture and create recorded music.
There are a variety of ways that indie artists circumvent inadequate funding. Technology today allows artists to reach fans effectively and more cost-efficiently than ever before. Social media, home studios and digital music retailers are becoming more prevalent in the music industry, which also equates to lower costs for the DIY artists. Sites like Kickstarter.com, Artistshare.com and Indiegogo.com provide a platform for fan-funded projects to develop.
Through Artistshare.com, Yeahwon Shin, a South Korean vocalist and arranger, is releasing her U.S. debut album with the help of her fans. Her project’s page on the site shows video footage of Shin throughout the recording process. Click on the month and watch the progress she makes on the record. There are various messages from the Shin on the page to view as well. However, access to some of the messages requires donations.
Fans donations are broken down by purchase prices. The donations provided by Shin’s fans vary as does the benefits received. Prices for purchase range from $12.95 for the ‘Yeahwon Download Participant’ to the $12,500.00 ‘ArtistShare Executive Producer Participant.’ By purchasing the album, fans may receive a credit listing on the physical CD, a chance to participate on a track, an invitation to a recording session, VIP access to Shin’s performances for an entire year, an opportunity to name the album and more depending on the price paid.
Kickstarter.com is another popular site for indie artists to use as a platform for raising funds. Panacea, a hip-hop group from Washington D.C., used Kickstarter.com to fund a limited vinyl pressing of their album ’12 Step Program.’ The band gave fan-packages in exchange for donations. One premium donation of $1,000.00, which sold within 24 hours, gave a fan the chance to be included on the record. By the end of the first day of the project’s posting on kickstarter.com, nearly one-third of the goal had been met. The group raised the needed funds in less than 5 days.
There are a variety of ways that indie artists circumvent inadequate funding. Technology today allows artists to reach fans effectively and more cost-efficiently than ever before. Social media, home studios and digital music retailers are becoming more prevalent in the music industry, which also equates to lower costs for the DIY artists. Sites like Kickstarter.com, Artistshare.com and Indiegogo.com provide a platform for fan-funded projects to develop.
Fans donations are broken down by purchase prices. The donations provided by Shin’s fans vary as does the benefits received. Prices for purchase range from $12.95 for the ‘Yeahwon Download Participant’ to the $12,500.00 ‘ArtistShare Executive Producer Participant.’ By purchasing the album, fans may receive a credit listing on the physical CD, a chance to participate on a track, an invitation to a recording session, VIP access to Shin’s performances for an entire year, an opportunity to name the album and more depending on the price paid.
Kickstarter.com is another popular site for indie artists to use as a platform for raising funds. Panacea, a hip-hop group from Washington D.C., used Kickstarter.com to fund a limited vinyl pressing of their album ’12 Step Program.’ The band gave fan-packages in exchange for donations. One premium donation of $1,000.00, which sold within 24 hours, gave a fan the chance to be included on the record. By the end of the first day of the project’s posting on kickstarter.com, nearly one-third of the goal had been met. The group raised the needed funds in less than 5 days.
Sunday, March 27, 2011
Starting point: GRAMMYU
It was not a hard decision to make when I thought about of which trade associations I would pursue. Being an active seeker and sometimes participator in the happenings of the music industry, I had a list of organizations that I already monitored. The various benefits of these trade associations are not always exclusive to its members. For example, some associations have industry-related programs which involve supporting changes to legislation or educating the community. I joined GrammyU, a network created by The Recording Academy, so that I could learn more about the current trends, regulations, and developments influencing the music industry. So far, the most valuable benefit of my membership with GrammyU is the networking opportunities made available.
By providing musical performance opportunities, networking, and educational programs, GrammyU prepares members for careers in the recording industry. GrammyU has chapters all over the United States and caters to university students. The Florida Chapter, based in Miami, Fl, holds networking events each month located in different cities throughout the state. The first GRAMMYU meet-and-greet that I have attended was in Tampa. The event gave me an opportunity to introduce myself to other participating members of GrammyU, prospective members, as well as several current members of The Recording Academy.
Recognizing the achievements of industry professionals is what most people think of when they hear of the association. The Recording Academy’s members include producers, singers, songwriters, managers and many other professionals within the industry. Other than producing the GRAMMY Awards, The Recording Academy also established the GRAMMY Foundation, MusiCares, and GRAMMY’s on the Hill. The Recording Academy helps amplify the voice of the professionals in the music industry when adjustments to legislation are needed. Preserving the integrity of the industry and cultivating the talented minds that are the current and future members of the music community are the primary goals of the association. Of all the trade organizations to choose from today in the music industry, a membership with The Recording Academy was a good place for me to begin.
By providing musical performance opportunities, networking, and educational programs, GrammyU prepares members for careers in the recording industry. GrammyU has chapters all over the United States and caters to university students. The Florida Chapter, based in Miami, Fl, holds networking events each month located in different cities throughout the state. The first GRAMMYU meet-and-greet that I have attended was in Tampa. The event gave me an opportunity to introduce myself to other participating members of GrammyU, prospective members, as well as several current members of The Recording Academy.
Recognizing the achievements of industry professionals is what most people think of when they hear of the association. The Recording Academy’s members include producers, singers, songwriters, managers and many other professionals within the industry. Other than producing the GRAMMY Awards, The Recording Academy also established the GRAMMY Foundation, MusiCares, and GRAMMY’s on the Hill. The Recording Academy helps amplify the voice of the professionals in the music industry when adjustments to legislation are needed. Preserving the integrity of the industry and cultivating the talented minds that are the current and future members of the music community are the primary goals of the association. Of all the trade organizations to choose from today in the music industry, a membership with The Recording Academy was a good place for me to begin.
Thursday, March 3, 2011
Chimamanda and the Single Story
We have all heard stories before. When we think of places unknown it is easy for us to revert to only what we have been told. Sometimes what we have been told merely describes only one shade of the vast colors in a landscape. We could not know otherwise and therefore we have fallen victim of a single story. A landscape of people and places go misunderstood with a palette incomplete. The danger of the single story is what Chimamanda Adichie spoke about at the TED convention in 2009.
A Nigerian native, Adichie is a novelist who warns of the misunderstandings that come when limited information is known about a people or place. Adichie has been victim to both sides of the single story. She tells of the undeniable shame felt when realizing that her conception has been wildly incomplete at times when the single story engulfed her view. Conversely, the same narrow mind, single-colored palette, she used on others was the very same used to illustrate her. For Africa is full of color, people, ideas, ambition, and life but some of us only see a dark shade of catastrophe, poverty and disease.
I have felt the shame of which Adichie spoke. It has been easy to hear and believe just one idea. The challenge is to believe that there is more to know, accept ignorance and have an open mind. Adichie’s speech inspires me to take on that challenge. The great stories are often the ones that teach and inspire us. Chimamanda Adichie is a storyteller who has done just that. I am often eager to learn more of people and places that I have previously known little for I do not want to continue as another victim of the single story.
Take a minute to listen to the story that has inspired me.
A Nigerian native, Adichie is a novelist who warns of the misunderstandings that come when limited information is known about a people or place. Adichie has been victim to both sides of the single story. She tells of the undeniable shame felt when realizing that her conception has been wildly incomplete at times when the single story engulfed her view. Conversely, the same narrow mind, single-colored palette, she used on others was the very same used to illustrate her. For Africa is full of color, people, ideas, ambition, and life but some of us only see a dark shade of catastrophe, poverty and disease.
I have felt the shame of which Adichie spoke. It has been easy to hear and believe just one idea. The challenge is to believe that there is more to know, accept ignorance and have an open mind. Adichie’s speech inspires me to take on that challenge. The great stories are often the ones that teach and inspire us. Chimamanda Adichie is a storyteller who has done just that. I am often eager to learn more of people and places that I have previously known little for I do not want to continue as another victim of the single story.
Take a minute to listen to the story that has inspired me.
Wednesday, February 16, 2011
mySpoonful: The Perfect Portion for New Music Seekers
For those who crave new music but are not quite sure where to look there is now a great solution. mySpoonful is a site designed for the busy, interested and lazy indie-music enthusiast alike. Each week a team of “expert music writers” present three picks for consideration. Each week’s top picks are accessed on both the homepage of this uber-user-friendly site and conveniently in the subscriber’s email box. Subscriptions are free and so are downloads from the site. Amazingly so, this is all legal.
Straight from the start, the homepage displays the latest selections for visitors. mySpoonful boasts a just-enough-information approach for prospective subscribers to get a taste of new music. The first thing you see is the musician’s picture with the title of the featured track underneath. The origins and short description of artistic flavor are also listed which can be considered before the actual listen. If the song hits the spot then listeners can share it via Twitter, Facebook, MySpace and Digg, just to name a few. The songs can even be downloaded for free right there on the homepage. If further reading on the artist is desired, a simply click on “read more” will be the fix. This will bring those hungry site googlers to the artist’s page where they’ll find additional information including tour dates, website address and more. For more downloads on the artist in interest mySpoonful will redirect traffic to iTunes.
The best things in life are free, right? Well, so is mySpoonful. The site deserves a peek or two from the people who enjoy indie-music and especially from those who don’t know where to find it or who don’t have the time to look. Navigating through the expert’s picks is quick and easy. What’s really great is that the music posted is first reviewed by the site's writers and then again by the public. All FREE.
The best things in life are free, right? Well, so is mySpoonful. The site deserves a peek or two from the people who enjoy indie-music and especially from those who don’t know where to find it or who don’t have the time to look. Navigating through the expert’s picks is quick and easy. What’s really great is that the music posted is first reviewed by the site's writers and then again by the public. All FREE.
Tuesday, February 8, 2011
Tune into Rdio
When considering streaming Internet music services, consumers now have a variety of sites from which to choose. It appears that new sites are popping up everyday each with different prices, benefits, and drawbacks. Some of the deciding factors for deciding on the music service are accessibility, costs, and music selection. The public will become more aware of the key players in the market in addition to their pros and cons as the need for music on-demand grows. Fortunately for everyone involved, technology advances and competition will most likely keep prices low while more features become available.
Rdio, a streaming music service spawned by the founders of Skype, has just the right arsenal to keep the competition (e.g., Pandora, Last.fm, Rhapsody) at bay. For starters, Rdio offers listeners two subscriptions with the only difference being price and connectivity. The subscriber who pays $4.99 will be able to access the music inventory from the pc only. For $9.99, the subscriber is accessing the music from not only a pc but also mobile devices. For now, Rdio offers about 5 million songs to listeners and has plans to expand the library in the future. With a subscription to Rdio, listeners are able to share music and playlists with friends and family on Facebook as well.
With the growing selection of streaming music services entering the market, a little research will help determine the most suitable site for satisfying the needs and wants of the consumer. In this process, some consumers may find that music on-demand is not for them at all as they will not own the music but only have access a music library for the duration of the subscription. On-demand services will of course take some getting used to just as consumers warmed up to CDs after cassettes and mp3s years later. When consumers are ready, Rdio should be first in the line of consideration.
Rdio, a streaming music service spawned by the founders of Skype, has just the right arsenal to keep the competition (e.g., Pandora, Last.fm, Rhapsody) at bay. For starters, Rdio offers listeners two subscriptions with the only difference being price and connectivity. The subscriber who pays $4.99 will be able to access the music inventory from the pc only. For $9.99, the subscriber is accessing the music from not only a pc but also mobile devices. For now, Rdio offers about 5 million songs to listeners and has plans to expand the library in the future. With a subscription to Rdio, listeners are able to share music and playlists with friends and family on Facebook as well.
With the growing selection of streaming music services entering the market, a little research will help determine the most suitable site for satisfying the needs and wants of the consumer. In this process, some consumers may find that music on-demand is not for them at all as they will not own the music but only have access a music library for the duration of the subscription. On-demand services will of course take some getting used to just as consumers warmed up to CDs after cassettes and mp3s years later. When consumers are ready, Rdio should be first in the line of consideration.
Monday, January 24, 2011
Will Sony's Digital Music Venture Prove Unlimited?
Digital music downloads are on the rise so it makes sense that more and more companies want a piece of the pie. In 2010, digital downloads were up 12% in 2009 and profits reach $4.2 billion worldwide. Here in the U.S. we’re probably familiar with the big names like iTunes, Amazon, Beatport, etc. when we think to download mp3’s. But we also have digital music subscriptions to consider. Rhapsody and Napster are two companies that offer music subscriptions for purchase although the sites have not really become mainstream. MySpace Music, YouTube, Grooveshark, and Lastfm, just to name a few, are sites that the public can use to listen to songs for free. Sony now hopes to capture some of the market as the music industry continues to go digital.
What is Sony thinking?
Sony’s Unlimited powered by Qriocity hopes to be the next step in the evolution of digital music services. This cloud-based digital music service will offer millions of songs and video to subscribers with Sony products (i.e., Sony Viaos, PS3s, Bravia TVs). The media catalogue will include roughly 6 million songs and videos from major labels. The list will of course grow after the initial launch.
Subscriptions are inexpensive and as it stands now there are two from which to choose. The lesser of the two subscriptions allows users to create a streaming personalized radio station. The premium subscription will allow customers to create playlists and listen to songs on demand.
Sounds oddly familiar to me
So don't we already have music subscription services out there? What will set this apart from the competition? The service will only be offered at first for Sony devices. And 6 million songs? I think I have that many mp3s on my phone. That also brings up a good point. I have access to free and legal music via smart phone so long as I have a decent connection to the internet (just as one would require for accessing Unlimited's music library). Featuring music from the major labels is great for the masses but is limited.
This service will hopefully help in turning around the decline in music sales and lessen the piracy efforts. However, I am not convinced at this time that Sony’s Unlimited will take much of the digital music pie. Not yet at least. People still want to own their own music. And at the very least, people want to incorporate their digital music libraries and that’s something that will not be possible with Sony’s Unlimited. Not yet at least.
What is Sony thinking?
Sony’s Unlimited powered by Qriocity hopes to be the next step in the evolution of digital music services. This cloud-based digital music service will offer millions of songs and video to subscribers with Sony products (i.e., Sony Viaos, PS3s, Bravia TVs). The media catalogue will include roughly 6 million songs and videos from major labels. The list will of course grow after the initial launch.
Subscriptions are inexpensive and as it stands now there are two from which to choose. The lesser of the two subscriptions allows users to create a streaming personalized radio station. The premium subscription will allow customers to create playlists and listen to songs on demand.
Sounds oddly familiar to me
So don't we already have music subscription services out there? What will set this apart from the competition? The service will only be offered at first for Sony devices. And 6 million songs? I think I have that many mp3s on my phone. That also brings up a good point. I have access to free and legal music via smart phone so long as I have a decent connection to the internet (just as one would require for accessing Unlimited's music library). Featuring music from the major labels is great for the masses but is limited.
This service will hopefully help in turning around the decline in music sales and lessen the piracy efforts. However, I am not convinced at this time that Sony’s Unlimited will take much of the digital music pie. Not yet at least. People still want to own their own music. And at the very least, people want to incorporate their digital music libraries and that’s something that will not be possible with Sony’s Unlimited. Not yet at least.
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