How I sell without being spammy or salesy, Part.1

John O.Reilly I recently received an email from someone who has been following me and my advice for several years now. And he wrote this “it seems that to be successful, I’ll have to be over the top salesy, high pressure and throw a spam fest at people in order to make any money at this. This is just not me!” So how do I stay real, build an audience with my message and stay true to myself?… Fair question! So I’d like to draw a real distinction here, the distinction between being over-the-top salesy and spammy as you pointed out. And being really passionate about what it is that you have, and that you know it has true value to your tribe. You need to realize that It’s you that has to motivate people and inspire them to take action. Not long ago I’d gone from being a more “behind the scenes” consulting kind of guy, to being more out-front with the publishing of my first book. Having the kind of success that it has achieved. This has caused me from having being more laid-back, to being more aggressive in my approach to doing business online. You see I know that what I’ve done, what I’ve created has value. It helps people and will continue to help people, by inspiring them to take action. I know it’s good because it helps people build businesses, and with patience become profitable.  

David Bowie Accurately Predicted The Music Industry’s Future…

I don’t even know why I would want to be on a label in a few years, because I don’t think it’s going to work by labels and by distribution systems in the same way. The absolute transformation of everything that we ever thought about music will take place within 10 years, and nothing is going to be able to stop it. I see absolutely no point in pretending that it’s not going to happen. I’m fully confident that copyright, for instance, will no longer exist in 10 years, and authorship and intellectual property is in for such a bashing. Music itself is going to become like running water or electricity. So it’s like, just take advantage of these last few years because none of this is ever going to happen again. You’d better be prepared for doing a lot of touring because that’s really the only unique situation that’s going to be left. It’s terribly exciting. But on the other hand it doesn’t matter if you think it’s exciting or not; it’s what’s going to happen.” David Bowie, 2002 in New York Times

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How One Generation Was Single-Handedly Able To Kill The Music Industry

    introvenious-MUSIC_-5         MUSICTHOMAS HONEYMAN • JUN 6, 2014 – 2:30PM The old music industry is dead. We’re standing in the ruins of a business built on private jets, Cristal, $18 CDs and million-dollar recording budgets. We’re in the midst of the greatest music industry disruption of the past 100 years. A fundamental shift has occurred — a shift that Millennials are driving. For the first time, record sales aren’t enough to make an artist’s career, and they certainly aren’t enough to ensure success. The old music industry clung desperately to sales to survive, but that model is long gone. Even superstars have it tough. Pitbull — despite having 50 million Facebook fans and nearly 170 million YouTube plays — has sold less than 10 million albums in his entire career. This is the reality of the new music industry, which is built off of liquid attention, not record sales. Why? Well, the answer lies with us ,  the Millennials. We’ve taken over the music industry by controlling the two things that matter most: 1. The Demand The music industry is just like any other big business: It follows cash. Over the past two decades, music has suffered through the CD bubble, torrents, Napster, iTunes (with Apple taking a 30 percent cut of everything) and now, the ubiquity of streaming services, which reduces sales below the already rock-bottom level. The music industry has been rocked by new trends and over the past few years, has succumbed to a state of near free-fall. It’s clutching whatever few straws are left in an attempt to salvage profit from the remains of its broken business models. As music becomes more and more entrenched in the digital realm, Millennials have emerged as the dominant consumers. More importantly, we dominate the most promising emerging market for music: mobile devices. We use music, media and entertainment apps more than 75 percent more and social sharing apps about 20 percent more frequently than any other age group.In a nutshell, Millennials consume the most music and tell the greatest number of people about it. While it’s obvious that consumption is important, why is it so important that we share what we listen to? The old music industry had a banner metric of artist success: album sales. For years, album sales have been declining and the growth of singles and streaming services have accelerated the trend. As we’ve transitioned into a digital music economy, new measures of success have emerged. A new generation of artists has hit the scene and they thrive on attention rather than units of music they sell. The attention has become just as valuable as our likelihood to purchase, as it leads to festival and performance attendance, merchandising sales and other sources of revenue. However, we still won’t buy your music. EVER_DIMISHING_RECORD_SALES_13             Brands know this, too. Companies like GUESS, Red Bull and Steve Madden will pour more than $1.34 billion into sponsoring music venues, festivals and tours this year. Over a billion dollars will be spent for the opportunity to build customer relationships and brand equity with digital natives. In contrast, the top 10 highest-earning electronic artists last year cumulatively made just over $240 million  —  less than 20 percent of what brands will spend in 2014 to capture Millennials’ attention. What brands understand is that music is an important part of Millennials’ identity. It’s more than entertainment for us. The music we listen to can be as important as how we dress and influences who our friends are. Going to festivals and shows is an expression of identity. Brands know that if they can identify with a DJ like Skrillex and his dedicated fan base, they’ll have more than just the consumer’s brief attention. The brand will become part of the fans’ lifestyle. That’s why Steve Madden is teaming up with up-and-coming female DJs to attract Millennials.The end result is that the music industry and the big brands are both chasing the new generation of artists; artists who can capture, retain and monetize attention — instead of album sales — and who can keep Millennials interested. 2. The Supply All that’s required to make a modern record is a computer and a piece of affordable recording software. One of the most powerful professional DAWs (a digital audio workstation, used to produce music) is Logic Pro from Apple, which costs only $200. Inside the DAW are virtual instruments like pianos, synthesizers and drums, as well as all the necessary tools to edit and produce audio. Most of the equipment required to create music has been absorbed into the DAW, while the software continues to get easier and easier to use. The end result is that artists can create music more quickly, more efficiently and less expensively than at any other time in history. Gotye created his song “Somebody That I Used to Know” in his parents’ house near Melbourne, Australia. The self-produced track reached number one on more than 23 national charts and charted inside the top 10 in more than 30 countries around the world. By the end of 2012, the song became the best-selling song of that year with 11.8 million copies sold, ranking it among the best-selling digital singles of all time. A young Dutch producer named Martin Garrix reached the top of the charts in more than 10 countries with his smash hit, “Animals,” which he produced and released at 17 years old. The song hit number one on Beatport, making Garrix the youngest person ever to receive the honor. Millennials, who can simply record after class or work, are mostly familiar with this technology, but our open-source attitude toward learning is much more important. Search “How to use Logic Pro” in YouTube and you’ll find thousands of free tutorials. Sites like Reddit have entire communities with tens of thousands of members who are dedicated to learning about music production. Technology is cheap and high-quality learning resources are free. As the result, artists have massively successful records without having set foot in a recording studio. 3. Music Discovery Is At An All-time High It goes without saying that music discovery and music production go hand in hand. However, just as technology has enabled easy music production for young, emerging artists, it has also provided them with a way to reach fans all over the world. There are the classic success stories like Justin Bieber and Lana Del Rey, of course, but below the YouTube empire rests an entire culture of Millennials who are discovering music online. Platforms like SoundCloud have more than 250 million active users each month and Millennials discover their music predominately through these digital platforms. Incidentally, when digital natives produce new music, they release it first on the digital platforms. YOUTUBE_STATS__1430             This is how Millennials are playing both sides of the field: They’re creating more music than ever and releasing it onto platforms where their peers go to discover music. The music industry middleman has been cut out and a back-and-forth conversation replaced it. Of course, huge stars like Katy Perry still dominate sales, but Millennials are eroding that model with a new, grassroots discovery model. ________________________________________ 4. Millennials Are Forming Dominant Musical Teams Powerhouse songwriting and production teams back dominant artists like Rihanna, Taylor Swift and Katy Perry. These production teams are one of the main drivers that keep the superstar artists on top. Working in teams allows these writers to churn out tons of highly listenable pop tracks. Now, Millennials are breaking down this final barrier, too. Services like FindMySong are connecting independent musicians so they can form their own dominant songwriting and production teams. The FindMySong model takes advantage of the fact that there are more independent musicians than ever before who want a piece of the major artist success without the major label strings. With cheap recording technology and an effective way to distribute the music, these independents team up online to rival major labels. REAL_NUMBERS__1441         You have the power now. What are you going to do with it? For the first time in its long history, the American music business is firmly in the hands of the artists and the consumers. You have the ability to lead the industry wherever you want it to go. Photo via We Heart It MAVERICK LIVE MEDIA.COM

Trent Reznor’s Upward Spiral

This summer — Nine Inch Nails‘ first as a living, breathing entity in four years — Trent Reznor has been taking the stage alone. Muscular and short-haired, he opens his shows by marching to a synthesizer in full view of tens of thousands of festival goers, all of whom had strong reason to believe they might never see this band again. Usually wearing a sleeveless black t-shirt, heavy boots, and cargo shorts, he begins to sing the stealthy “Copy of A,” a track from Hesitation Marks, the imminent new NIN album those same festival goers had equally strong reason to believe might never exist.

Top 10 Reasons Why the Music Industry is Failing

Introduction You know what? I miss my vinyl records. I miss going to the record store (a real community experience) and buying an LP for $10-$15. I miss the larger sleeves with the cover art and the inside liner notes which told you who wrote what and who played on which track. The last time this reality was in full form was the late 80s (perhaps early 90s). And since that time a number of changes occurred which created the mess the music business is in today (most of it self inflicted). So without further adieu, here follows the Top 10 Reasons why the Music Business is Failing from both the perspective of a fan and a singer/songwriter.

Inside the Big Business of Celebrity Tequilas

In the heady early days at MTV, the drink of choice was tequila, according to network co-founder Bob Pittman. At company celebrations, tradition dictated that employees congregate and drink a shot, flinging the glasses against whatever wall was convenient. This bit of controlled mayhem was a galvanizing force, even if, as Pittman says, “we had to stitch up a few bloodied feet in the process.” Rumbling behind the scenes at rock ‘n’ roll shows, tequila has inspired more than its share of monster jams and postgig revelry. But during the past half-decade, its allure has attracted public figures into brand partnerships and ownership. This ever-expanding group includes rockers Carlos Santana (Casa Noble) and Motley Crue’s Vince Neil (Tres Rios), country star Toby Keith (Wild Shot) and Justin Timberlake (901 Silver). This year, George Clooney and nightlife entrepreneur Rande Gerber (with real estate developer Mike Meldman) debuted Casamigos, named for Clooney’s and Gerber’s adjacent properties in Cabo San Lucas. In 2009, Pittman launched Casa Dragones, which at $275 a bottle ranks as the category’s priciest. Travel to the Mexican state of Jalisco, and it’s not uncommon to run into celebrity entourages at distilleries. Everyone from Shaquille O’Neal to Sean Combs is rumored to have interest in investing in a tequila brand.

Marketing is an Extension of You and Your Band

JOHN O.REILLY It’s everything you and your band already are, but brighter, louder, faster, stronger, and in everyone’s face! Music marketing was Judas Priest wearing leather and riding around on motorcycles. Music marketing is Diddy flying around in a private jet and drinking his branded vodka. Music marketing is you living your music by doing whatever you do.  For a band like my Nephew’s, it may be driving across the country in a van with 7 or 8 band mates  in the back.  For  rappers, it may be about their fashion or the neighborhood where they grew-up or now  live. Music marketing is coming up with a complete package that sells music, gets people to shows,(if so inclined) and makes your band money….Understand? Like anything, there is “A lot more to this.”  Helping you figure that out is where I,or someone like me comes in.  For now, I just want you to understand that, although you may feel like you hate music marketing,or God forbid “ branding yourself “, you’re already doing it…like it or not…Get over it. Please leave a comment in the box below, let me know what you think. viagra

Takeaway Marketing Lessons from the Grateful Dead

Marketing Lessons from the Grateful Dead is a short and sweet book on a self-explanatory subject. The authors David Meerman Scott and Brian Halligan dissect how the Grateful Dead became one of the most successful touring bands of all-time, partly though unconventional marketing and business approaches that can be applied to modern marketing. Here are some of the memorable ideas from the book. Give away content for free During concerts, The Grateful Dead would encourage fans to record their songs, a stark contrast to the rest of the record industry that often prohibits concert attendees from using recording devices during shows. The Grateful Dead fans were able to share their experience and their passion with their friends by sharing their recordings, which probably resulted in many more fans. Takeaway: Give away valuable content and it can generate demand for your product or service. Do the opposite of the competition There were many examples of how the Grateful Dead debunked conventional industry practices. Instead of performing the same scripted list of songs every night, they improvise and play songs that often aren’t their greatest hits. Instead of banning third parties from selling Grateful Dead merchandise outside their shows, they partnered with them and encouraged it. Instead of using a concert ticket broker, they sold tickets directly to their fans. Takeaway: If everyone is your industry is doing the same thing, do the opposite to stand out from the crowd. Reward your best fans The Grateful Dead offered a mail in ticket service for fans in which they did not know the location of the seats until they received them. David Meerman Scott comments that although the location of their seats seemed random, they were always better than the second class citizens who purchased through Ticketmaster. This commitment to fans helped build loyalty from their best customers. Takeaway: Reward your best customers to build a lasting loyalty to your brand. Build Community You may think building community may be easy for a rock band but how do you create community around a simple product or service. In another book by David Meerman Scott, he describes the fan club of the WD40 which has over 70,000 members which demonstrates that you can build a community around almost anything if you take the right approach. The Grateful Dead quickly developed a community of loyal fans who were known as Deadheads. Long before there was Facebook, The Grateful Dead sent out a newsletter to help fans stay informed and connect with each other. “The fans could opt in, connect with each other at shows, share common interests, be informed of upcoming events, feel like they were part of a community”. The Grateful Dead created a sense of community that was so strong that the common interest often turned strangers into great friends. Takeaway: If you can build a community that connects fans with each other, your company can add additional value to customer’s lives and increase brand loyalty.