- YouTube is set to be the 2nd largest distributor of money for music (after iTunes) thanks to new rights management technology. 

- More than 3 billion songs have been shared via Facebook in the past 4 months (though later I heard the # quoted as 4 billion and 5 billion so who knows).

- If you log into TicketMaster with Facebook you can see where your friends are sitting and buy tix near them.

- Every time someone posts their ticket purchase via TicketMaster on Facebook, it increases TicketMaster revenue by an average of $5.

- Technically, a record label can "pass through" another label's distribution network going through a digital content management system like Fuga to get to an aggregator to get to a digital delivery company like 7digital who can then push that music to a branded store (like within Samsung Mobile) to get to a customer. So that is 7 layers between the artist and the consumer. And to top it off, if one customer is in the U.S. and one is in the U.K. the beginning point of the music and some of the points in the middle can be the same, but the pathway, and thus payment distribution, can follow two different paths.

- The existing Internet bandwidth infrastructure is just about tapped out. The remaining physical distributors of music and video are seeing a continued strong demand for physical product. As the demands on bandwidth continue to grow, many people will choose the less time-consuming option of having physical product (yes, wait for physical delivery in the mail, but plug and play once you have the disc). As one distributor said to me "If a 6 billion dollar industry is decreasing by 6% this year, there are still billions of dollars to be sold. I can live with that."

- One of the top social media music coaches in America got sick of coaching artists how to do social media because they were not willing to invest the time doing the work they needed to do to be successful.

- "World Music" is very present at Midem. Everyone who made it to Midem this year survived to the sales bottom. It's a clean slate. Everyone still alive are equals at the New Starting Line. Get ready.

- Dmitri Vietze, CEO, rock paper scissors, inc.

People have called it World 2.0. Music journalists and scholars are thinking about it, the tectonic shift in the Western consumption and understanding of music from elsewhere. The transformative effect of the underground circulation of recordings, often vintage cuts from musicians heavily influenced by Western music but recreating and reimagining it in their home scene. Labels are releasing and bloggers are posting disembodied field recordings, static-filled recordings straight from taxi radios, or battered cassettes from some obscure open-air market. This kind of global music is sneaking into unexpected places, repurposed from an unknown context into a radically divergent one.

The diversity of World 2.0 sounds, as ethnomusicologist Dave Novak points out in a recent essay, share two interesting qualities.

1)      They have a kinship with Western pop aesthetics, either by drawing directly on them, using instrument or effects from them (the wah wah pedal or Farfisa organ, say), or by using traditional elements that happen to fit into Western subcultures (gritty vocals, rebellious or critical lyrics, trance-inducing structures);

2)      They are local productions, turned from analog local phenomena into a worldwide digital experience that can be downloaded, manipulated, remixed.

Novak sees in this process a departure from earlier ethnographic and commercial iterations of the global music market. This is creating new kinds of listeners/consumers, not just new versions of old recordings. As he puts it, “In online networks, earlier imaginaries of local production and musical independence are juxtaposed with technical platforms that offer unprecedented accessibility to cultural material. World Music 2.0, then, is more than just the end point of a chain of misbegotten appropriations. It is the subject of an emergent open source culture of global media.” 

By taking up music from elsewhere and transferring it to the shifting arena of the internet, something new has happened. Something unprecedented by Graceland and Deep Forest: finding and distributing lost or ephemeral global sounds with unknown contexts has a democratic element, Novak argues, that defies past appropriation, be it scholarly or commercial.

Tom Silverman, industry veteran and founder of Tommy Boy Records, recently tossed down the gauntlet to all the industry doomsayers: The numbers are in, and the music industry is recovering from its low point (which Silverman says hit in February 2010).  

Silverman points hopefully to growing sales for everything from vinyl records to digital “albums,” to the continuing interest in physical CDs, and to rising amounts of li censing and royalty fees—including those collected from digital and non-traditional broadcasters. Instead of an inevitable demise, the music industry appears to be experiencing a transitional moment, the kind that shook up the business several times over the course of history.

Social media platforms—YouTube in particular—seem to be playing a major part in driving this boom, in particular in the “discovery” of new artists. How all this plays out for "global" music remains to be seen: While more and more artists seem poised to break into once unimaginable media spaces, the deepening of online trusted sources and recommendation engines seems to be taking longer for global sounds than indie rock.

See Silverman’s full post here, complete with lots of very cool charts and graphs.

People attending the Arts Presenters conference should consider downloading the Unofficial Guide to Global Music Showcases here: http://on.fb.me/Unofficial2012

Here is a snapshot of select APAP sessions that might be of interest to attendees interested in global music:

 

January 6 Friday

9 am to 12 pm World Music and Outdoor Festival Panels. Part I: Madeline Boughton, Ireland; Rene Schreiber, Israel; Pavla Niklova, Czech Republic; Cees de Bever, The Netherlands; Kelly Langgard, Canada; Anna Efraimsson, Sweden. Part II: Scott Aiges,  New Orleans Jazz and Heritage Foundation; Erika Elliott,  Summer Stage, New York City; Danny Melnick, Absolutely Live Entertainment, LLC, New York City; Dan DeWayne, California World Fest, Grass Valley, Ca. and Director, Chico Performances, Cal State University Chico.

1 pm to 3 pm How World Music Presenters Can Increase Organizational Media Presence. Moderated by Dmitri Vietze, rock paper scissors. Not to be missed :)

2 pm to 3 pm U.S. Regional Arts Organizations' New International Funding Initiatives - Arts Midwest and MidAtlantic Arts Foundation

January 7 Saturday

8 am to 9 am Center Stage Special Session, 10 Intl Artists Touring in 2012, Sheraton, Conf. C

10 am to 11:30 am World Arts: An Investment in your Community. With Dawn Elder; Ranjanaa Deva, Asian Arts & Culture Program, University of Massachusetts; Matt Wolf, Kimmel Center, Inc.; Ismael Ahmed, University of Michigan; Jordan Peimer, Skirball Cultural Center; Matias Tarnopolsky, Cal Performances; Simon Shaheen, Homayoun Sakhi.

January 8 Sunday

9 am to 11 am Visa Tips Consultation Salon

9 am to 11 am Foreign Artist Tax Withholding: Not! Consultation Salon

January 9 Monday

9 am to 11 am Foreign Artist Tax Withholding: Not! Consultation Salon

Full schedule here

CD Baby's DIY Musician put together a handy little year-end round up.

It includes a couple different directions you can pursue to raise your profile and manage your band's impact and career.

Highlights:

• Search Engine Optimization for your band/project (ostensibly in layperson's terms);
• Building a fine Wikipedia page for your group;
• How musicians can use Creative Commons.

What useful tips or advice have you found in the past year?

An NPR producer once spent a few months living in the small college town where rock paper scissors is headquartered. I took him to a demolition derby and he took me up in a two-seat airplane; he was an amateur pilot. It was pretty wild being above the clouds in such a small plane held up by old-school propellers. Especially when he had me take the wheel. 

But while we were in the air, he told me a great pilot saying: "You cannot use the runway behind you or the sky above you." Though you would think it would be safer to be closer to the ground, it's safer to be higher away from the ground so that when your engine dies, you have more time to find a good emergency landing location. The same goes for the runway on take-off: Never start in the middle of the runway. Start as far back as you can so that if something comes up, you have more time to strategize and figure out an alternative. 

The same approach that works for daredevil pilots works for thinking about the lead time you need for a successful publicity or marketing push. You can start too soon; people wouldn't be ready to make the purchase. But in most cases, it’s easier to start farther back, with ample space and time to make changes in your strategy. The more time you have--the more sky beneath you and runway ahead of you--the better.

If a strategy is not working for your album release, tour publicity, or festival launch, wouldn’t it be nice to have enough time to change course? That doesn’t work so well after an album is released or, worse yet, after a concert is over. Once of the simplest ways to use the runway is to start further back; that is, schedule your release or event with more time.

What are you waiting for? Hurry up and schedule something with more lead time.

Dub MC is sponsored by rock paper scissors, the global music publicity firm.

It’s a cliché: The internet has utterly transformed the way Westerners hear music from elsewhere, throwing the notion of “world music” into (even more) confusion and doubt.

In his recent thoughtful essay for MTV Iggy, music writer Simon Reynolds finds a new angle on this worn story—and name-checks some interesting artists—by tracing the recent history of trans-cultural appropriation and reverberation. He points to some dynamics sparking new sound phenomena (or at least new in the West; follow the links to hear more):

• There’s a slew of genres considered shady and nasty in their home communities that have turned into hot club music in the West, thanks to European and North American DJs and producers, some of whom hail from immigrant communities.
  
  Reynolds gives the examples of Brazilian carioca funk (Zuzuka Poderosa; baile DJ mix), Angolan kuduro (the wildly popular Costuleta; DJ mix), and pan- African dance crazes like coupé decalé (Congo-born, France-based singer Jessy Matador, say)—all of which Euro and American DJs have taken a shine to, as the proliferation of mixes shows. He also points to the back-and-forth between émigrés and club kids, citing the fascinating Dutch subgenre of Bubblin’ and artists like Anti-G;
  

• The Western craving for vintage global re-imaginings of American and British pop forms, from Japanese rock (The Mops, say) and Indonesian rock to psychedelic Turkish folk bands and, of course, Brazil’s Os Mutantes;
  
  
• The intense hipster pursuit of undiscovered (especially African) recordings, of global rarities and exotic digital ephemera with all their glitches and scratches (like Sublime Frequencies’ releases of cell phone music from the Sahara—check out this track from Niger);
  
  
• The long, long history of the fascination of key jazz, pop, and rock figures with turning global traditions into sounds for the shaping (starting with Miles and ending most recently with young, hip bands like Gang Gang Dance).
  
  

For Reynolds, these trends and bands prove a central point: that just as temporal lines are blurred and increasingly ignored online in the (re-)creation of new music (retromania) “geographical boundaries are becoming meaningless,” in a Western drive to consume the culturally exotic (xenomania). And he connects this swelling, boundless appetite for the world’s music with the sad state of Western pop and rock. Groaning under the weight of their own extensive historyies—and perhaps struggling in a post-label world—the pop/rock/classical scenes need an infusion of fresh energy, as their own potential feels so used up.

In other words, global sounds—even the goofy, raunchy ones—are breathing new life into Western music.

Part II in a series, Getting the Bang for your Publicity Buck

In the days of yore—you know, ten years ago—there were lots of people writing album reviews. These reviews made it to print and to the eyes of readers. These reviews stood alone: The artist may have never even set foot in the city where the publication came out, and the reviewers’ taste (or lack thereof) governed what got covered and what didn’t.

Everything has changed. Traditional outlets have gone under, cut staff dramatically, rethought their strategies, and so on and so forth. You know the story. Sure, there are still critics and CD reviews aplenty, and there are high-impact, national, regional, and local outlets where reviews still run—and the competition to get their attention is fierce.

So what’s a musician to do to seriously liven up an album publicity campaign? Answer: Play live.

We’re not talking a massive national tour that starts on New Years and ends on Halloween, hitting every stadium from Bangor to Bellingham. A few shows, in major markets or regional hubs. A really good show at a venue with some clout and cache (and a couple other nearby dates, to fill things out). An unexpected festival appearance (Iroquois drummer at Bonnaroo!).

And lo! The press gets more interested.

Why does this work? A significant slice of the coverage in the national, regional, and local outlets open to rising musicians (as opposed to Jay Z or Keith Richards) is now almost completely yoked to local shows. Even in big markets like New York. The stand-alone reviews of yesteryear have been exchanged at many alternative weeklies and papers for the review-with-concert-mention, using live dates to power content. 

There may also be a psychological element to all this. A live show is a deadline. Journalists today, overburdened and under-supported after staff cuts or as freelancers, need something to nail down potential coverage. Looking at a huge pile of CDs may be a thing of joy for the critics of old, but may feel like a stack of despair to someone trying to cover a major city’s music practically singlehandedly. And, mysteriously, even big national outlets sometimes respond more to a project that involves performances as well as a new album. Go figure.

This doesn't mean you can't get reviews for your album without a tour. But if you have the option, getting the stars to align with a live show+album release will maximize your publicity investment and boost your campaign's potential. So when you’re wrapping up those mixes, think booking, and you'll double your chance of landing press for the album.

Each year global music PR firm rock paper scissors, inc. compiles an unoffical guide to all the global and cross-cultural music taking place during the annual APAP/Arts Presenters Conference which takes place in New York City. Following in the wake of the popular annual globalFEST showcase, a huge number of global and globally-minded performers take the stage in New York during APAP. Some are official showcases, some less formal, some are curated by local concert presenters, some are produced by booking agents (of all sizes), and some are pulled together by independent artists. While the walls of the "world music" category melt into this era of extreme eclecticism, the Unoffocial Guide to Global Music at APAP still has a role to play to help performing arts professionals with a global ear (or two) wade through the thousands of concerts, magic shows, ice capades, and comedy routines on tap.

How to submit a global concert/showcase to this guide?

• Download this Excel spreadsheet
• Add you showcase(s)
• Save the spreadsheet to your computer
• Email the spreadsheet to guide [at] rockpaperscissors [dot] biz by deadline: 12/15/2011

What will happen with the Guide?

• We will post the final guide here on DubMC.com for APAP attendees to print out on their own and use as a guide for selecting showcases to attend.
• We will let people know about it on FA-World, Facebook (via the rock paper scissors page), and on Twitter.

How much does it cost?

• We do not charge to be in the guide.
• We do not charge to use the guide.
• You can get prime real estate in the official APAP website and program here and purchase a trade hall exhibitor stand through APAP here.

We encourage anyone serious about booking a tour to register and attend APAP. Our intent with this unsanctioned, unofficial, informal guide is to help the global music professional community. Please check all times, locations, and details with the organizer of eaxch individual showcase before planning your schedule as thie is a crowd-sourced schedule that is bound to have errors.