Ok Go Explains There Are Lots Of Ways To Make Money If You Can Get Fans
from the everything's-possible dept
Over the last few years, we've covered many of the moves by the band Ok Go -- to build up a fanbase often with the help of amazingly viral videos, ditch their major record label (EMI), and explore new business model opportunities. In the last few days, two different members of Ok Go explained a bit more of the band's thinking in two separate places, and both are worth reading. First up, we have Tim Nordwind, who did an interview with Hypebot, where he explained the band's general view on file sharing:
Obviously we'd love for anyone who has our music to buy a copy. But again, we're realistic enough to know that most music can be found online for free. And trying to block people's access to it isn't good for bands or music. If music is going to be free, then musicians will simply have to find alternative methods to make a living in the music business. People are spending money on music, but it's on the technology to play it. They spend hundreds of dollars on Ipods, but then fill it with 80 gigs of free music. That's ok, but it's just a different world now, and bands must learn to adjust.
Elsewhere in the interview, he talks about the importance of making fans happy and how the band realizes that there are lots of different ways to make money, rather than just selling music directly:
Our videos have opened up many more opportunities for us to make the things we want to make, and to chase our best and wildest ideas. Yes, we need to figure out how to make a living in a world where people don't buy music anymore. But really, we've been doing that for the last ten years. Things like licensing, touring, merch, and also now making videos through corporate sponsorship have all allowed us to keep the lights on and continue making music.
Separately, last Friday, Damian Kulash wrote a nice writeup in the Wall Street Journal all about how bands can, should and will make money going forward. In many ways the piece reminds me a bit of my future of music business models post from earlier this year -- and Kulash even uses many of the same examples in his article (Corey Smith, Amanda Palmer, Josh Freese, etc.). It's a really worthwhile read as well. He starts by pointing out that for a little over half a century, the record labels had the world convinced that the "music" industry really was just the "recorded music" industry:
For a decade, analysts have been hyperventilating about the demise of the music industry. But music isn't going away. We're just moving out of the brief period--a flash in history's pan--when an artist could expect to make a living selling records alone. Music is as old as humanity itself, and just as difficult to define. It's an ephemeral, temporal and subjective experience.
For several decades, though, from about World War II until sometime in the last 10 years, the recording industry managed to successfully and profitably pin it down to a stable, if circular, definition: Music was recordings of music. Records not only made it possible for musicians to connect with listeners anywhere, at any time, but offered a discrete package for commoditization. It was the perfect bottling of lightning: A powerful experience could be packaged in plastic and then bought and sold like any other commercial product.
But, he notes, that time is now gone, thanks in large part to the internet. But that doesn't mean the music business is in trouble. Just the business of selling recorded music. But there's lots of things musicians can sell. He highlights Corey Smith and Smith's ability to make millions by giving away his music for free, and then touring. But he also points out that touring isn't for everyone. He covers how corporate licensing has become a bigger and bigger opportunity for bands that are getting popular. While he doesn't highlight the specific economics of it, what he's really talking about is that if your band is big, you can sell your fan's attention -- which is something Ok Go has done successfully by getting corporate sponsorship of their videos. As he notes, the sponsors provide more money than the record labels with many fewer strings:
These days, money coming from a record label often comes with more embedded creative restrictions than the marketing dollars of other industries. A record label typically measures success in number of records sold. Outside sponsors, by contrast, tend to take a broader view of success. The measuring stick could be mentions in the press, traffic to a website, email addresses collected or views of online videos. Artists have meaningful, direct, and emotional access to our fans, and at a time when capturing the public's attention is increasingly difficult for the army of competing marketers, that access is a big asset.
...
Now when we need funding for a large project, we look for a sponsor. A couple weeks ago, my band held an eight-mile musical street parade through Los Angeles, courtesy of Range Rover. They brought no cars, signage or branding; they just asked that we credit them in the documentation of it. A few weeks earlier, we released a music video made in partnership with Samsung, and in February, one was underwritten by State Farm.
We had complete creative control in the productions. At the end of each clip we thanked the company involved, and genuinely, because we truly are thankful. We got the money we needed to make what we want, our fans enjoyed our videos for free, and our corporate Medicis got what their marketing departments were after: millions of eyes and goodwill from our fans. While most bands struggle to wrestle modest video budgets from labels that see videos as loss leaders, ours wind up making us a profit.
Of course, that only works if you have a big enough fanbase, but that doesn't mean there aren't things that less well known bands can use to make money as well. He talks about an up-and-coming band in LA that doesn't even have a manager that was able make money:
The unsigned and unmanaged Los Angeles band Killola toured last summer and offered deluxe USB packages that included full albums, live recordings and access to two future private online concerts for $40 per piece. Killola grossed $18,000 and wound up in the black for their tour. Mr. Donnelly says, "I can't imagine they'll be ordering their yacht anytime soon, but traditionally bands at that point in their careers aren't even breaking even on tour."
The point, Kulash, notes, is that there's a lot of things a band can sell, focusing on "selling themselves." And, the thing he doesn't mention is that, when you're focusing on selling the overall experience that is "you" as a musician or a band, it's something that can't be freely copied. People can copy the music all they want, but they can't copy you. "You" are a scarce good that can't be "pirated." That's exactly what more and more musicians are figuring out these days, and it's helping to make many more artists profitable. And, no, it doesn't mean that any artist can make money. But it certainly looks like any artist that understands this can do a hell of a lot better than they would have otherwise, if they just relied on the old way of making money in the music business.
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John Fund is very, very upset over the FCC's weaksauce Net Neutrality declarations and he's aiming at 'wealthy left-wing' organizations as the culprits. This makes me happy. When a winger can only squirm over something so weak and toothless as to be useless, it's a good day. But look at who he aims at! Paranoid, much?
Free Press and allied groups such as MoveOn.org quickly got funding. Of the eight major foundations that provided the vast bulk of money for campaign-finance reform, six became major funders of the media-reform movement. (They are the Pew Charitable Trusts, Bill Moyers's Schumann Center for Media and Democracy, the Joyce Foundation, George Soros's Open Society Institute, the Ford Foundation, and the John D. and Catherine T. MacArthur Foundation.) Free Press today has 40 staffers and an annual budget of $4 million.
These wealthy funders pay for more than publicity and conferences. In 2009, Free Press commissioned a poll, released by the Harmony Institute, on net neutrality. Harmony reported that "more than 50% of the public argued that, as a private resource, the Internet should not be regulated by the federal government." The poll went on to say that since "currently the public likes the way the Internet works . . . messaging should target supporters by asking them to act vigilantly" to prevent a "centrally controlled Internet."
To that end, Free Press and other groups helped manufacture "research" on net neutrality. In 2009, for example, the FCC commissioned Harvard University's Berkman Center for Internet and Society to conduct an "independent review of existing information" for the agency in order to "lay the foundation for enlightened, data-driven decision making."
Considering how openly activist the Berkman Center has been on these issues, it was an odd decision for the FCC to delegate its broadband research to this outfit. Unless, of course, the FCC already knew the answer it wanted to get.
Wow. Openly activist? The Berkman Center? Here's the Berkman Center's Berkman@10 page, with some of their research projects and discussions posted online. Such terribly activist things. Open innovation, The Dilemma of Games, The Musician and the Scientist, and yes, Network Neutrality (not Internet Neutrality, by the way), as well as one called The Battle for the Web. Hardly activist.
Current projects include a Law Library wiki, a discussion of money in politics, and a paper about online political organizing. Again, not activist. Wonky. Educational. But not activist. I confess to zooming in on Fund's remarks about Berkman because I am a huge fan and avid reader of Doc Searls, who has been a Berkman Fellow for the past 4 years.
Berkman aside, the issue of Net Neutrality has always been about a democratic internet, one where everyone has equal access to content and pipes. The organizations Fund villifies in his post are organizations dedicated to the preservation of freedom of speech and free flows of information, so I'm struggling to reconcile the conservative maxim of constitutional freedoms above all with his abuse of organizations who strive to protect it.
I didn't have to struggle too long. A closer reading of his rant reveals a corporate agenda which trumps any speech rights.
The net neutrality vision for government regulation of the Internet began with the work of Robert McChesney, a University of Illinois communications professor who founded the liberal lobby Free Press in 2002. Mr. McChesney's agenda? "At the moment, the battle over network neutrality is not to completely eliminate the telephone and cable companies," he told the website SocialistProject in 2009. "But the ultimate goal is to get rid of the media capitalists in the phone and cable companies and to divest them from control."
A year earlier, Mr. McChesney wrote in the Marxist journal Monthly Review that "any serious effort to reform the media system would have to necessarily be part of a revolutionary program to overthrow the capitalist system itself." Mr. McChesney told me in an interview that some of his comments have been "taken out of context." He acknowledged that he is a socialist and said he was "hesitant to say I'm not a Marxist."
I am neither a socialist nor a Marxist, but I believe that the Internet should be preserved as something everyone can access equally, and am frustrated on a near-daily basis by the stranglehold providers have on that access. Fund's suggestion that net neutrality and regulatory authority over access somehow stifles innovation is to believe that the sole innovators are cable and telephone companies. In fact, the opposite is true. The true innovation has come from many different sources, including inhabitants of the Internet itself.
Facebook, Twitter, Google and blogs were not the invention of AT&T, after all.
The real threat to innovation is handing the keys to all of the Internet gates to the likes of Comcast, AT&T and Verizon. And yet, that is exactly what the FCC did with their weird ruling yesterday.
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