Monday, April 27, 2009
Danilo Perez: Fearless Playing
By Jon Regen
Jazz pianist, composer, and educator Danilo Perez has been playing close to the edge for over two decades. From his Grammy Award-winning work with bebop pioneer Dizzy Gillespie to his recent efforts with legendary artists like Wayne Shorter and Roy Haynes, the gifted Panamanian performer demonstrates a keen ability to blend elements from Latin, jazz, and world music into a progressive style all his own.
Perez has skillfully navigated a wide array of musical formats in his recording career as a leader. From the classic piano trio sound of his 1996 release Panamonk to the Latinmeets- bebop flair of his Grammy-nominated album Motherland, his recorded solo works are as impressive for their breadth of imagination as they are for their technical mastery. He continually pushes musical boundaries aside, looking for new sonic stories to tell; in the words of Herbie Hancock, “Danilo Perez is not afraid of anything.”
Now with the release of his eighth outing as a leader, Across The Crystal Sea, Perez once again proves his skill and adventurousness. With lush string arrangements by the legendary Claus Ogerman and ace production and engineering work by Tommy LiPuma and Al Schmitt, Perez tackles the art of orchestral recording with the same pioneering spirit he brought to his previous albums. Not content to simply make a conventional record with strings, Perez floats across the bar lines as if he were a fellow string instrument himself, pushing, prodding, and lifting the arrangements to new heights. He plays with an acute awareness of space, phrasing artfully amidst the hushed tones of the orchestra. A triumph of ensemble interplay, Across The Crystal Sea is a welcome surprise from a performer with a penchant for the unexpected.
Perez calls me from his home in Boston, Massachusetts, on the evening of his departure to Panama — where he serves as artistic director and founder of the Panama Jazz Festival — to talk about his influences, his latest album, and his reputation for playing “without a net.”
You are consistently mentioned among musicians as someone who isn’t afraid to challenge conventions. Many people, including Herbie Hancock and Wayne Shorter, and younger musicians like Aaron Parks, have all called you “fearless.” Where does that sense of adventure come from?
I think that for all of my life, ever since I was a kid, I was fearless. I started working when I was 12 years old with my father, playing at night in his band, and having responsibility. Also, the entire environment my mother and father provided me with was very adventurous — they put me into situations that were very challenging. I went to one of the toughest schools in Panama — a great school, but full of diversity as far as people’s backgrounds were concerned. My father thought that if I could survive in that environment from early on, with my parents’ guidance for support, then I’d have a lot of opportunities to work things out as I grew up.
Another really important thing is that because of Panama’s location as a country, being in the middle of the Americas, there are many different influences and cultures coming together. So I grew up with a lot of diversity. The radio in Panama at that time was called “No Format.” So you’d hear Papa Luca from Puerto Rico, and then Vladimir Horowitz, and then Marvin Gaye, and Michael Jackson. So that’s how I thought things were supposed to be normally, and I developed a love for music beyond boundaries. I played a lot of gigs in Panama, even playing accordion. I played tango, Brazilian, and salsa with my father’s band — music was always presented in a diverse way to me. So the environment was crucial, and my family and their support were crucial as well in giving me this sense of freedom and the ability to take chances and enjoy the process. Who were some of the
Who were some of the mentors that helped you refine your musical identity, and helped instill this kind of freedom in your playing?
I’m extremely grateful to my mentors. I really have been around the masters of adventure, like Dizzy, and saxophonist Lee Konitz, who I just went on the road with in November with the trio. Really, he’s so inspiring. He’s 82, and to see him on the road was amazing. He has so much energy. He gets up and practices — then we would go and play duets without a script. He has so much determination. It made me cry sometimes.
Then of course, playing with Wayne [Shorter] has converted me. This is the only way I know how to play now. Wayne taught us that struggle leads you into places that are exciting. He always says,“How can you rehearse the unknown?”
The new album Across The Crystal Sea is surprising in that the piano doesn’t dominate the soundscape. It’s an integral part of the entire ensemble, unlike many records that soloists record with orchestras. Was it difficult to assume that kind of role?
Very. What made that record so challenging for me was to do it under the eyes of what Claus [Ogerman] was seeing, to interpret the illusions he envisioned. Making that album is another example of adventure. When I heard it finished I was like, “Wow, that’s what he had in mind. Okay!”
I learned a lot through that project, because it put me in a situation that was very challenging. We didn’t record with the orchestra, so one thing I had to be very aware of was where the musical windows were — otherwise there could have been a train wreck!
So you actually recorded with just the rhythm section, and the strings were added afterwards?
Exactly. I wish people could have seen the entire process of how this project was made, because it was amazing. We had to try and read the mind of Claus the entire time. He had this thing he was hearing in his head. He told me, “Danilo, you know what I love in your playing? The immediacy of it. There’s a sense of redemption in it, in the moment.” As a matter of fact, he didn’t send me the music until the last minute. I figured out that he didn’t want me to really know it, because he wanted it to be fresh in my ears.
Did he arrange the string parts based on what you guys laid down in the initial recording sessions?
No, I think he had them ready. He didn’t want rehearsals. What he had were ideas about moods. He told me, “This is going to be very challenging. You have this many bars of open piano, and I want you to color like this.” He was describing what he wanted in a different way. For example, he asked me, “Do you know Christina Branco?” And I said, “No.” And he replied, “She’s a Portugese Fado singer. Check her out — she has redemption in her singing and playing.” He also talked about not having the solos overtake the music.
So there was a real focus on simplicity, like he wanted the music to reach more than just a jazz person or a classical person. He wanted it to have a universal effect.
Exactly.
Are there plans to tour the record with an orchestra?
This is something that is happening naturally, so I have to get myself ready for it. We had no expectations at all, but we’re getting so many requests to do it, I’m working on it now. Probably at the end of 2009 we’re going to do some dates. I’m really excited about how it happened on its own. People really want to hear the music live.
You’re teaching now at both the Berklee College of Music and the New England Conservatory of Music in Boston. What kinds of things are you instilling in your students?
I teach piano, ensemble, and composition to different instrumentalists, from pianists to drummers and horn players. My approach is always an individual one for each specific student. I don’t have any preset ideas of how to teach the kids. I focus on how to help each individual, and that’s how I’ve been teaching for years.
For example, I listen to somebody and focus on what they want to do, what kind of pieces they want to play. I act in a guidance role, with open feedback between the student and me. I don’t have just one system that I teach from. But I do teach things that I think are valuable to know. I always say to trust in the common tones — I like to focus on what brings us together, not what is different between us. This is something that really interests me. At one point on your
At one point on your recent Live At The Jazz Showcase album, it sounds as if, when you’re soloing, your hands are crossing each other and playing two completely independent lines. It’s totally unexpected — and I guess, totally normal for you, since you don’t think adventure is scary, but that it’s the only way you know how to move forward.
Exactly. One thing that has become clear to me that my father used to say from early on, is that music is a powerful tool, and it can help us generate a greater appreciation of the life we live.
One time we played on the West Coast, and Carlos Santana came and said something I will never forget. He said, “Danilo, you guys are the masters of the unseen. You are making something visible out of the invisible.” And I thought, wow — we all have that ability. As musicians, we are creating music on the spot, but we are also tuning into the frequencies that might actually generate communication on a very deep level. In other words, I see it as a big responsibility to be creative.
There are moments you have when you’re playing and communicating as a musician that you actually think to yourself, “If people could get along like this in real life, the world would be okay.” Is that the kind of responsibility you’re talking about?
That’s it, man. I think musicians nowadays are becoming immediately more relevant with all the struggles going on in the world. We need more of them to get involved, and teach the values that the music has taught us. You can show people the value and power of teamwork, not only in music, but in life.
A Selected Danilo Perez Discography
As a Leader
Across The Crystal Sea (Verve)
Live At The Jazz Showcase (Artist Share)
. . . ’Till Then (Verve)
Motherland (Polygram)
Panamonk (Impulse!)
Danilo Perez (Novus)
With David Sanchez
Cultural Survival (Concord)
With Wayne Shorter Beyond the Sound Barrier (Verve)
Alegria (Verve)
With Lizz Wright
Salt (Verve)
With Roy Haynes Trio
The Roy Haynes Trio (Verve)
With Dizzy Gillespie and The United Nations Orchestra
Live at the Royal Festival Hall (Enja)
Jazz pianist, composer, and educator Danilo Perez has been playing close to the edge for over two decades. From his Grammy Award-winning work with bebop pioneer Dizzy Gillespie to his recent efforts with legendary artists like Wayne Shorter and Roy Haynes, the gifted Panamanian performer demonstrates a keen ability to blend elements from Latin, jazz, and world music into a progressive style all his own.
Perez has skillfully navigated a wide array of musical formats in his recording career as a leader. From the classic piano trio sound of his 1996 release Panamonk to the Latinmeets- bebop flair of his Grammy-nominated album Motherland, his recorded solo works are as impressive for their breadth of imagination as they are for their technical mastery. He continually pushes musical boundaries aside, looking for new sonic stories to tell; in the words of Herbie Hancock, “Danilo Perez is not afraid of anything.”
Now with the release of his eighth outing as a leader, Across The Crystal Sea, Perez once again proves his skill and adventurousness. With lush string arrangements by the legendary Claus Ogerman and ace production and engineering work by Tommy LiPuma and Al Schmitt, Perez tackles the art of orchestral recording with the same pioneering spirit he brought to his previous albums. Not content to simply make a conventional record with strings, Perez floats across the bar lines as if he were a fellow string instrument himself, pushing, prodding, and lifting the arrangements to new heights. He plays with an acute awareness of space, phrasing artfully amidst the hushed tones of the orchestra. A triumph of ensemble interplay, Across The Crystal Sea is a welcome surprise from a performer with a penchant for the unexpected.
Perez calls me from his home in Boston, Massachusetts, on the evening of his departure to Panama — where he serves as artistic director and founder of the Panama Jazz Festival — to talk about his influences, his latest album, and his reputation for playing “without a net.”
You are consistently mentioned among musicians as someone who isn’t afraid to challenge conventions. Many people, including Herbie Hancock and Wayne Shorter, and younger musicians like Aaron Parks, have all called you “fearless.” Where does that sense of adventure come from?
I think that for all of my life, ever since I was a kid, I was fearless. I started working when I was 12 years old with my father, playing at night in his band, and having responsibility. Also, the entire environment my mother and father provided me with was very adventurous — they put me into situations that were very challenging. I went to one of the toughest schools in Panama — a great school, but full of diversity as far as people’s backgrounds were concerned. My father thought that if I could survive in that environment from early on, with my parents’ guidance for support, then I’d have a lot of opportunities to work things out as I grew up.
Another really important thing is that because of Panama’s location as a country, being in the middle of the Americas, there are many different influences and cultures coming together. So I grew up with a lot of diversity. The radio in Panama at that time was called “No Format.” So you’d hear Papa Luca from Puerto Rico, and then Vladimir Horowitz, and then Marvin Gaye, and Michael Jackson. So that’s how I thought things were supposed to be normally, and I developed a love for music beyond boundaries. I played a lot of gigs in Panama, even playing accordion. I played tango, Brazilian, and salsa with my father’s band — music was always presented in a diverse way to me. So the environment was crucial, and my family and their support were crucial as well in giving me this sense of freedom and the ability to take chances and enjoy the process. Who were some of the
Who were some of the mentors that helped you refine your musical identity, and helped instill this kind of freedom in your playing?
I’m extremely grateful to my mentors. I really have been around the masters of adventure, like Dizzy, and saxophonist Lee Konitz, who I just went on the road with in November with the trio. Really, he’s so inspiring. He’s 82, and to see him on the road was amazing. He has so much energy. He gets up and practices — then we would go and play duets without a script. He has so much determination. It made me cry sometimes.
Then of course, playing with Wayne [Shorter] has converted me. This is the only way I know how to play now. Wayne taught us that struggle leads you into places that are exciting. He always says,“How can you rehearse the unknown?”
The new album Across The Crystal Sea is surprising in that the piano doesn’t dominate the soundscape. It’s an integral part of the entire ensemble, unlike many records that soloists record with orchestras. Was it difficult to assume that kind of role?
Very. What made that record so challenging for me was to do it under the eyes of what Claus [Ogerman] was seeing, to interpret the illusions he envisioned. Making that album is another example of adventure. When I heard it finished I was like, “Wow, that’s what he had in mind. Okay!”
I learned a lot through that project, because it put me in a situation that was very challenging. We didn’t record with the orchestra, so one thing I had to be very aware of was where the musical windows were — otherwise there could have been a train wreck!
So you actually recorded with just the rhythm section, and the strings were added afterwards?
Exactly. I wish people could have seen the entire process of how this project was made, because it was amazing. We had to try and read the mind of Claus the entire time. He had this thing he was hearing in his head. He told me, “Danilo, you know what I love in your playing? The immediacy of it. There’s a sense of redemption in it, in the moment.” As a matter of fact, he didn’t send me the music until the last minute. I figured out that he didn’t want me to really know it, because he wanted it to be fresh in my ears.
Did he arrange the string parts based on what you guys laid down in the initial recording sessions?
No, I think he had them ready. He didn’t want rehearsals. What he had were ideas about moods. He told me, “This is going to be very challenging. You have this many bars of open piano, and I want you to color like this.” He was describing what he wanted in a different way. For example, he asked me, “Do you know Christina Branco?” And I said, “No.” And he replied, “She’s a Portugese Fado singer. Check her out — she has redemption in her singing and playing.” He also talked about not having the solos overtake the music.
So there was a real focus on simplicity, like he wanted the music to reach more than just a jazz person or a classical person. He wanted it to have a universal effect.
Exactly.
Are there plans to tour the record with an orchestra?
This is something that is happening naturally, so I have to get myself ready for it. We had no expectations at all, but we’re getting so many requests to do it, I’m working on it now. Probably at the end of 2009 we’re going to do some dates. I’m really excited about how it happened on its own. People really want to hear the music live.
You’re teaching now at both the Berklee College of Music and the New England Conservatory of Music in Boston. What kinds of things are you instilling in your students?
I teach piano, ensemble, and composition to different instrumentalists, from pianists to drummers and horn players. My approach is always an individual one for each specific student. I don’t have any preset ideas of how to teach the kids. I focus on how to help each individual, and that’s how I’ve been teaching for years.
For example, I listen to somebody and focus on what they want to do, what kind of pieces they want to play. I act in a guidance role, with open feedback between the student and me. I don’t have just one system that I teach from. But I do teach things that I think are valuable to know. I always say to trust in the common tones — I like to focus on what brings us together, not what is different between us. This is something that really interests me. At one point on your
At one point on your recent Live At The Jazz Showcase album, it sounds as if, when you’re soloing, your hands are crossing each other and playing two completely independent lines. It’s totally unexpected — and I guess, totally normal for you, since you don’t think adventure is scary, but that it’s the only way you know how to move forward.
Exactly. One thing that has become clear to me that my father used to say from early on, is that music is a powerful tool, and it can help us generate a greater appreciation of the life we live.
One time we played on the West Coast, and Carlos Santana came and said something I will never forget. He said, “Danilo, you guys are the masters of the unseen. You are making something visible out of the invisible.” And I thought, wow — we all have that ability. As musicians, we are creating music on the spot, but we are also tuning into the frequencies that might actually generate communication on a very deep level. In other words, I see it as a big responsibility to be creative.
There are moments you have when you’re playing and communicating as a musician that you actually think to yourself, “If people could get along like this in real life, the world would be okay.” Is that the kind of responsibility you’re talking about?
That’s it, man. I think musicians nowadays are becoming immediately more relevant with all the struggles going on in the world. We need more of them to get involved, and teach the values that the music has taught us. You can show people the value and power of teamwork, not only in music, but in life.
A Selected Danilo Perez Discography
As a Leader
Across The Crystal Sea (Verve)
Live At The Jazz Showcase (Artist Share)
. . . ’Till Then (Verve)
Motherland (Polygram)
Panamonk (Impulse!)
Danilo Perez (Novus)
With David Sanchez
Cultural Survival (Concord)
With Wayne Shorter Beyond the Sound Barrier (Verve)
Alegria (Verve)
With Lizz Wright
Salt (Verve)
With Roy Haynes Trio
The Roy Haynes Trio (Verve)
With Dizzy Gillespie and The United Nations Orchestra
Live at the Royal Festival Hall (Enja)
Wednesday, April 15, 2009
Perfectas, incluso sin terminar* Fuente: Artelista.com
¿Cuándo una obra de arte está finalizada? Ésta es una de las preguntas que todo creador se ha hecho alguna vez a lo largo del proceso de ejecución de una pieza, entre la indecisión, el perfeccionismo y el reparo a realizar añadidos innecesarios. A lo largo de la historia pueden encontrarse múltiples ejemplos de obras inacabadas, en unos casos debido al fallecimiento del autor, por decisión propia en muchos otros (respondiendo a una forma de concebir la plasticidad aún muy adelantada a su época). Gaudí, Rembrandt, Goya, Rodin o Miguel Ángel son tan sólo algunos de los socios del club de las "opera interrupta" que, muchas veces gracias a ello, dejaron en herencia excepcionales muestras artísticas.
Al igual que sucede con muchos otros aspectos, los procesos y límites asociados al mundo del arte difieren de los de la "vida corriente", si se quiere decir así. De este modo, lo acabado, la corrección y la perfección son términos que no siempre aseguran la génesis de una obra de arte. Existen casos incluso de obras que sin ser su destino último la no finalización han adquirido una identidad propia principalmente por esta característica; un buen ejemplo de ello es el Templo Expiatorio de la Sagrada Familia, en Barcelona (España), obra del Antoni Gaudí, famoso por no haber llegado a ser concluido debido a la temprana muerte del arquitecto (quien fue construyéndolo además sin planos). Algo semejante a lo que sucederá con el más monumental de los encargos realizados a Rodin, dos grandes puertas -las Puertas del Infierno- comisionadas para el Museo de Artes Decorativas de París e inacabadas debido al fallecimiento del escultor; o a los cartones encargados por Carlos III a Goya, quien no puedo finalizarlos por culpa igualmente de su muerte.
En estos casos, la "obra inacabada" fue por accidente, pero existen muchas otras cuyo carácter inconcluso fue buscado ex profeso por el autor: quizá uno de los casos más famosos sea el de Miguel Ángel, quién dejó inacabados con intención los tondos Taddei y Pitti, así como - aunque en este caso también por causas ajenas- algunas de las esculturas de su última etapa (destacan sus pietás rondanini). Miguel Ángel ya adelantó algo que posteriormente será más común: la experimentación, tanto con técnicas como con el lenguaje plástico. Rembrandt dejó muchos de sus grabados sin finalizar, recurriendo tan sólo a una suerte de esbozo de líneas entrecruzadas; Duchamp no terminará su obra El Gran vidrio, en la que trabajó durante ocho años, hasta que la dé definitivamente "por inacabada" y Munch realizará múltiples variaciones y obras inacabadas de su famoso cuadro "El Grito".
Al igual que sucede con muchos otros aspectos, los procesos y límites asociados al mundo del arte difieren de los de la "vida corriente", si se quiere decir así. De este modo, lo acabado, la corrección y la perfección son términos que no siempre aseguran la génesis de una obra de arte. Existen casos incluso de obras que sin ser su destino último la no finalización han adquirido una identidad propia principalmente por esta característica; un buen ejemplo de ello es el Templo Expiatorio de la Sagrada Familia, en Barcelona (España), obra del Antoni Gaudí, famoso por no haber llegado a ser concluido debido a la temprana muerte del arquitecto (quien fue construyéndolo además sin planos). Algo semejante a lo que sucederá con el más monumental de los encargos realizados a Rodin, dos grandes puertas -las Puertas del Infierno- comisionadas para el Museo de Artes Decorativas de París e inacabadas debido al fallecimiento del escultor; o a los cartones encargados por Carlos III a Goya, quien no puedo finalizarlos por culpa igualmente de su muerte.
En estos casos, la "obra inacabada" fue por accidente, pero existen muchas otras cuyo carácter inconcluso fue buscado ex profeso por el autor: quizá uno de los casos más famosos sea el de Miguel Ángel, quién dejó inacabados con intención los tondos Taddei y Pitti, así como - aunque en este caso también por causas ajenas- algunas de las esculturas de su última etapa (destacan sus pietás rondanini). Miguel Ángel ya adelantó algo que posteriormente será más común: la experimentación, tanto con técnicas como con el lenguaje plástico. Rembrandt dejó muchos de sus grabados sin finalizar, recurriendo tan sólo a una suerte de esbozo de líneas entrecruzadas; Duchamp no terminará su obra El Gran vidrio, en la que trabajó durante ocho años, hasta que la dé definitivamente "por inacabada" y Munch realizará múltiples variaciones y obras inacabadas de su famoso cuadro "El Grito".
Monday, April 06, 2009
VIDEOS RECOMENDADISIMOS DESDE TED, SOBRE LA MUSICA, LA PASION Y LA CREATIVIDAD, LLEGUENLE!
http://www.ted.com/index.php/talks/elizabeth_gilbert_on_genius.html
http://www.ted.com/index.php/talks/evelyn_glennie_shows_how_to_listen.html
http://www.ted.com/index.php/talks/benjamin_zander_on_music_and_passion.html
http://www.ted.com/index.php/talks/evelyn_glennie_shows_how_to_listen.html
http://www.ted.com/index.php/talks/benjamin_zander_on_music_and_passion.html
NACION.COM/ECONOMIA HASSEL FALLAS | hasselfallas@nacion.com
DESDE FLORES Y COMIDA HASTA PELÍCULAS Y ARTÍCULOS FERRETEROS
Más ticos compran por Internet a empresas locales y extranjeras
Firmas en el país dicen que pasaron de cinco hasta 100 envíos diarios
Quienes compran en línea en tiendas del extranjero son más de 35.000
Internet es la gran tienda donde hoy, más que hace cinco años, los costarricenses compran comida, artículos electrónicos y de ferretería, alquilan películas o envían flores.
La apertura de más sitios de ventas por la web , tanto aquí como en el extranjero, alienta el hábito, según Marco Barquero, gerente comercial de Babel Software , firma que desarrolla portales para comercio electrónico.
Gonzalo Montero abrió, en el 2005, www.cinexpress.cc , videoclub para residentes de San José, que desde entonces pasó de uno a 5.000 clientes y de alquilar cinco películas diarias a unas 100.
Una experiencia similar tuvo Rafael Azofeifa, gerente de Novak (empresa de hospedaje y diseño en Internet), cuando por “pasatiempo”, en el 2000, creó la floristería www.galadia.com
Azofeifa asegura que al principio enviaba dos arreglos por semana y que ahora despacha hasta 60 en el Área Metropolitana.
Aunque no existen cifras oficiales de cuántas empresas venden mediante Internet dentro del país, se cree que hay más de 12.
Según una consulta a varios de esos negocios, unas 200 personas adquieren diariamente alguno de los productos que ofrecen.
Fuera del país. Quienes prefieren comprar en tiendas foráneas son más de 35.000, según Aerocasillas, que trae los paquetes al país. Se trató de conocer el número de clientes de Jetbox, pero nadie en el departamento de Mercadeo respondió.
Johanna Gabourel, gerente de Mercadeo de Aerocasillas, afirmó que sumaron 20.000 afiliados más desde el 2004, cuando tenían 15.000 cuentas .
“Crecemos a un ritmo de 800 nuevos suscriptores por mes y nuestro manejo de paquetes aumenta un 40% anual”, agregó.
Tiempo, salud y precios. La falta de tiempo y los quebrantos de salud son las razones que impulsan a los costarricenses a comprar en negocios locales por Internet.
Gabriela Azuola, vecina de barrio Don Bosco en la capital, alquila películas en www.cinexpress.cc para ahorrar tiempo y dinero.
“A cualquier hora entro al sitio, pido las películas y me llegan al otro día, cuando las necesito. Además, pago contra entrega y no cobran el transporte”, explicó.
Otros 70 josefinos, sin tiempo para ir a la feria, aprovechan la idea del chileno Ernesto Estañol, dueño de www.verdifruts.com para recibir en su domicilio las frutas y verduras cada quincena.
Comprar la comida por Internet también es la opción de embarazadas y convalecientes de alguna enfermedad, destacó Gustavo Troyo, gerente de Mercadeo de Automercado, cadena que en el 2002 abrió www.automercado.com.
Cada mes, en la versión de Automercado de Internet se procesan hasta 300 envíos, que se entregan en casas de casi todo el país.
Quienes adquieren bienes en tiendas de la Web fuera del país tienen como motivación hallar mejores precios que los locales.
Ana Gutiérrez, diseñadora gráfica de Heredia, contó que prefiere comprar en portales extranjeros “por su variedad de artículos; además, comparo precios sin deber ir por toda Costa Rica”.
Jairo Rosales, residente de Santa Ana, dijo que adquiere sus aparatos electrónicos fuera del país “porque es más barato y Amazon es muy seguro”.
Inversión. Tener un negocio en la red requiere de una inversión inicial de $1.800.
El monto incluye hospedaje (computador para permitir el tráfico de visitantes), registro del dominio de la página, diseño gráfico, certificado de seguridad y software para el carrito de compras, explicó Carlos Moreno, gerente del sitio Cyberfuel.
El mantenimiento anual del sitio cuesta unos $1.000.
La inversión valió la pena para compañías como El Progreso, propietaria de Abonos Agro y El Lagar, que hace un año inauguró www.laferreteriadigital.com .
En ese portal, el grupo guatemalteco recibe pedidos de materiales de construcción que lleva a clientes metropolitanos.
“En un año, las ventas se incrementaron 93%; despachamos 300 fletes al mes”, expresó Manuel Mora, gerente de la ferretería.
Rafael Azofeifa, de www.galadia.com, coincide en que tener el negocio en Internet es rentable.
“En el mundo de la Red, los costos son menores y hay un mayor mercado potencial”, añadió el funcionario.
A quienes emprendan un negocio en Internet, aconseja tener “paciencia porque esto no es soplar y hacer botellas”.
Más ticos compran por Internet a empresas locales y extranjeras
Firmas en el país dicen que pasaron de cinco hasta 100 envíos diarios
Quienes compran en línea en tiendas del extranjero son más de 35.000
Internet es la gran tienda donde hoy, más que hace cinco años, los costarricenses compran comida, artículos electrónicos y de ferretería, alquilan películas o envían flores.
La apertura de más sitios de ventas por la web , tanto aquí como en el extranjero, alienta el hábito, según Marco Barquero, gerente comercial de Babel Software , firma que desarrolla portales para comercio electrónico.
Gonzalo Montero abrió, en el 2005, www.cinexpress.cc , videoclub para residentes de San José, que desde entonces pasó de uno a 5.000 clientes y de alquilar cinco películas diarias a unas 100.
Una experiencia similar tuvo Rafael Azofeifa, gerente de Novak (empresa de hospedaje y diseño en Internet), cuando por “pasatiempo”, en el 2000, creó la floristería www.galadia.com
Azofeifa asegura que al principio enviaba dos arreglos por semana y que ahora despacha hasta 60 en el Área Metropolitana.
Aunque no existen cifras oficiales de cuántas empresas venden mediante Internet dentro del país, se cree que hay más de 12.
Según una consulta a varios de esos negocios, unas 200 personas adquieren diariamente alguno de los productos que ofrecen.
Fuera del país. Quienes prefieren comprar en tiendas foráneas son más de 35.000, según Aerocasillas, que trae los paquetes al país. Se trató de conocer el número de clientes de Jetbox, pero nadie en el departamento de Mercadeo respondió.
Johanna Gabourel, gerente de Mercadeo de Aerocasillas, afirmó que sumaron 20.000 afiliados más desde el 2004, cuando tenían 15.000 cuentas .
“Crecemos a un ritmo de 800 nuevos suscriptores por mes y nuestro manejo de paquetes aumenta un 40% anual”, agregó.
Tiempo, salud y precios. La falta de tiempo y los quebrantos de salud son las razones que impulsan a los costarricenses a comprar en negocios locales por Internet.
Gabriela Azuola, vecina de barrio Don Bosco en la capital, alquila películas en www.cinexpress.cc para ahorrar tiempo y dinero.
“A cualquier hora entro al sitio, pido las películas y me llegan al otro día, cuando las necesito. Además, pago contra entrega y no cobran el transporte”, explicó.
Otros 70 josefinos, sin tiempo para ir a la feria, aprovechan la idea del chileno Ernesto Estañol, dueño de www.verdifruts.com para recibir en su domicilio las frutas y verduras cada quincena.
Comprar la comida por Internet también es la opción de embarazadas y convalecientes de alguna enfermedad, destacó Gustavo Troyo, gerente de Mercadeo de Automercado, cadena que en el 2002 abrió www.automercado.com.
Cada mes, en la versión de Automercado de Internet se procesan hasta 300 envíos, que se entregan en casas de casi todo el país.
Quienes adquieren bienes en tiendas de la Web fuera del país tienen como motivación hallar mejores precios que los locales.
Ana Gutiérrez, diseñadora gráfica de Heredia, contó que prefiere comprar en portales extranjeros “por su variedad de artículos; además, comparo precios sin deber ir por toda Costa Rica”.
Jairo Rosales, residente de Santa Ana, dijo que adquiere sus aparatos electrónicos fuera del país “porque es más barato y Amazon es muy seguro”.
Inversión. Tener un negocio en la red requiere de una inversión inicial de $1.800.
El monto incluye hospedaje (computador para permitir el tráfico de visitantes), registro del dominio de la página, diseño gráfico, certificado de seguridad y software para el carrito de compras, explicó Carlos Moreno, gerente del sitio Cyberfuel.
El mantenimiento anual del sitio cuesta unos $1.000.
La inversión valió la pena para compañías como El Progreso, propietaria de Abonos Agro y El Lagar, que hace un año inauguró www.laferreteriadigital.com .
En ese portal, el grupo guatemalteco recibe pedidos de materiales de construcción que lleva a clientes metropolitanos.
“En un año, las ventas se incrementaron 93%; despachamos 300 fletes al mes”, expresó Manuel Mora, gerente de la ferretería.
Rafael Azofeifa, de www.galadia.com, coincide en que tener el negocio en Internet es rentable.
“En el mundo de la Red, los costos son menores y hay un mayor mercado potencial”, añadió el funcionario.
A quienes emprendan un negocio en Internet, aconseja tener “paciencia porque esto no es soplar y hacer botellas”.
Wednesday, March 25, 2009
video chat en vivo?! sshhh!!
From: Bruce Greenberg
Subject: Re: Peakin' At The Beacon
It may be an imperfect biz plan, but it does exactly what you are preaching: Reach out to the fans and make it easy to get to the music. I know that if Springsteen offered free access to all of his live shows, I'd pay the $125 in a heartbeat; and would still go to 3 or 4 shows. And I know I'm not alone. In fact it is very easy to imagine an online gathering a couple of times a week, during the tour, with all of us watching the show and chatting online. This is exactly the kind of community that drove me to the Internet 15 years ago.
Subject: Re: Peakin' At The Beacon
It may be an imperfect biz plan, but it does exactly what you are preaching: Reach out to the fans and make it easy to get to the music. I know that if Springsteen offered free access to all of his live shows, I'd pay the $125 in a heartbeat; and would still go to 3 or 4 shows. And I know I'm not alone. In fact it is very easy to imagine an online gathering a couple of times a week, during the tour, with all of us watching the show and chatting online. This is exactly the kind of community that drove me to the Internet 15 years ago.
to Bob the critic not the artist
Hey Bob, let me just start by saying I want things to be the right way too!
I want artists to rule the world!!! (OK maybe not, but the cultural movement and the music scene at least)
Like you said "We're looking for people we can count on."
Right now I am building my own web site for selling and promoting music... specially created for all the talented and unsigned artists of Central America...
In these "3rd world" countries we don't have huge venues for live music, never mind major label executives... what we have is great talent. Just like our pineapples and bananas are of the highest export quality so our artists are quite unique, even more so for not having a real industry to back them up and give them support.
After trying to release a couple of CD's I quickly noted that it was useless to spend all this time, energy and $$$ in a piece of work that won't bring me anything but losses. You can't distribute it, you can't promote it, you can't avoid people making copies of it... So I decided to undertake a much bigger challenge (that's just me): create a web page for selling music. Of course at the time I thought it was an easy job. This idea quickly turn into something even more complicated, a virtual catalog of Costa Rican music...then Central America.
Now please take into consideration that most of these music have not seen the light of internet yet!! And to get your hands on a physical CD you probably need to do some big research... since every piece of music is self-produced or (indie) is like if everything was limited edition and after a few years of its release it's pretty darn hard to find them... sometimes even the composers don't have copies of their own cd's...
Now moving on to the next big subject: the site. As you so nicely said it "creating an interface/software that is intuitive and easily used."
What we have now www.vibratica.com ( http://www.vibratica.com/descargas.php ) is not good enough even from an administrative point of view, I have come to find that the guild of web designers is even more disorganized than that of musicians and after almost 2 years of bad experiences... we found Drupal.org !! So hopefully we'll have a new website soon.
I am more interested in utility than making money but I am not shure if I should use DRM, specially since I have music that nobody else has and probably many are looking for... plus it might be a positive thing to offer to the bands, at least the old ones with "big" names. Or maybe I should make a streaming software?? Monthly payments are too complicated because I don't know how to distribute the money among the artistas and we stiil don't have more than 2000 songs. Any ideas?
The way I see it iTunes is for selling, myspace for promotion... I am trying to make something equally useful for both...Hopefully I'll end up with a Facebook like, Twitter kinda way social network, that sells music and allows artists and users/fans to build relationships...
Thank's for your time! Thank's for sharing!
Gabriel Wiernik R.
I have been signing artists with a special contract (hard copy)... bla bla bla
I want artists to rule the world!!! (OK maybe not, but the cultural movement and the music scene at least)
Like you said "We're looking for people we can count on."
Right now I am building my own web site for selling and promoting music... specially created for all the talented and unsigned artists of Central America...
In these "3rd world" countries we don't have huge venues for live music, never mind major label executives... what we have is great talent. Just like our pineapples and bananas are of the highest export quality so our artists are quite unique, even more so for not having a real industry to back them up and give them support.
After trying to release a couple of CD's I quickly noted that it was useless to spend all this time, energy and $$$ in a piece of work that won't bring me anything but losses. You can't distribute it, you can't promote it, you can't avoid people making copies of it... So I decided to undertake a much bigger challenge (that's just me): create a web page for selling music. Of course at the time I thought it was an easy job. This idea quickly turn into something even more complicated, a virtual catalog of Costa Rican music...then Central America.
Now please take into consideration that most of these music have not seen the light of internet yet!! And to get your hands on a physical CD you probably need to do some big research... since every piece of music is self-produced or (indie) is like if everything was limited edition and after a few years of its release it's pretty darn hard to find them... sometimes even the composers don't have copies of their own cd's...
Now moving on to the next big subject: the site. As you so nicely said it "creating an interface/software that is intuitive and easily used."
What we have now www.vibratica.com ( http://www.vibratica.com/descargas.php ) is not good enough even from an administrative point of view, I have come to find that the guild of web designers is even more disorganized than that of musicians and after almost 2 years of bad experiences... we found Drupal.org !! So hopefully we'll have a new website soon.
I am more interested in utility than making money but I am not shure if I should use DRM, specially since I have music that nobody else has and probably many are looking for... plus it might be a positive thing to offer to the bands, at least the old ones with "big" names. Or maybe I should make a streaming software?? Monthly payments are too complicated because I don't know how to distribute the money among the artistas and we stiil don't have more than 2000 songs. Any ideas?
The way I see it iTunes is for selling, myspace for promotion... I am trying to make something equally useful for both...Hopefully I'll end up with a Facebook like, Twitter kinda way social network, that sells music and allows artists and users/fans to build relationships...
Thank's for your time! Thank's for sharing!
Gabriel Wiernik R.
I have been signing artists with a special contract (hard copy)... bla bla bla
Saturday, March 21, 2009
Some Seth Godin's phrases
"The Music Industry is focus on the industry part not so much on the music part"
"the internet is the biggest radio station of all time"
"Poets don't have conventions"
"The consumer sees the tribal leader as the performer not the song-writer"
"Music on the internet is played for free" (?????)
"Music is a tribal business"
"Everyone of those 'tribes' needs a leader"
"You can't spam your way into my attention"
...Seinfield esta o gratis en 100 canales o por $200 en Las Vegas, eso es lo mejor... el medio - $5 por un show es lo peor y es donde estan las bandas ahora.
"You can not listen to what everyone else is listening to, because there's a 1000 of everyone else's. You have to find your niche..."
"I dont try to find readers for my books, I try to find books for my readers"
NING!
"They can reach new people for me if they want, I am not trying to reach new people"
"There is no way to view the future, 3 years from now no matter how successful any lawyer is, where music is not widely shared"
"You are the first big band to give away the whole thing online for free, and if you wanna buy a souvenir, if you wanna join the tribe, if you wanna interact that costs money. And guest what? the people who could do that first win."
"Interact first sell second"
"...Independent musicians...ask your self... How many people would be delighted to hear from me?"
"the internet is the biggest radio station of all time"
"Poets don't have conventions"
"The consumer sees the tribal leader as the performer not the song-writer"
"Music on the internet is played for free" (?????)
"Music is a tribal business"
"Everyone of those 'tribes' needs a leader"
"You can't spam your way into my attention"
...Seinfield esta o gratis en 100 canales o por $200 en Las Vegas, eso es lo mejor... el medio - $5 por un show es lo peor y es donde estan las bandas ahora.
"You can not listen to what everyone else is listening to, because there's a 1000 of everyone else's. You have to find your niche..."
"I dont try to find readers for my books, I try to find books for my readers"
NING!
"They can reach new people for me if they want, I am not trying to reach new people"
"There is no way to view the future, 3 years from now no matter how successful any lawyer is, where music is not widely shared"
"You are the first big band to give away the whole thing online for free, and if you wanna buy a souvenir, if you wanna join the tribe, if you wanna interact that costs money. And guest what? the people who could do that first win."
"Interact first sell second"
"...Independent musicians...ask your self... How many people would be delighted to hear from me?"
Friday, March 20, 2009
tour sampler
J A N E S A D D I C T I O N N I N E I N C H N A I L S S T R E E T S W E E P E R
N I N | J A 2 0 0 9
to download ninja 2009 tour sampler, choose your preferred audio format below. MP3 is the best option for most users. you can download multiple formats if you wish.
due to their large file sizes, we are distributing the FLAC, WAV, and apple lossless formats via torrents. when you click the links below for either of those formats, you'll receive a small .torrent file which you must open in a torrent application in order to download the audio files. if you are not comfortable using torrent files, you should avoid choosing the FLAC, apple lossless or wave options. visit this site to learn about torrents and how to use them.
high-quality MP3s (45 mb)
will play in any MP3 player. encoded with LAME at V0, fully tagged.
recommended for most users.
the files will arrive as a zip archive. in most cases, double-clicking the zip file will open it. if you need more help with zip files, go here.
FLAC lossless (160 mb)
CD quality - will not play in itunes or many other popular media players. (more info)
recommended only for advanced users.
this link will download a small .torrent file, which you must open with a torrent application in order to download the audio files. visit this site for information about using torrents.
M4A apple lossless (163 mb)
CD quality - will play in itunes. (more info)
recommended only for advanced users.
this link will download a small .torrent file, which you must open with a torrent application in order to download the audio files. visit this site for information about using torrents.
WAVE 16/44.1 (223 mb)
CD-quality 16bit 44.1kHz audio (more info)
for advanced audiophiles only! although you will be able to play these files with most players that support WAVE format, you will not get any benefits from the higher resolution audio unless you have extremely high-end audio equipment. if you're not familiar with cd-quality wav, this download is not recommended.
this link will download a small .torrent file, which you must open with a torrent application in order to download the audio files. visit this site for information about using torrents.
all files are 100% DRM-free.
N I N | J A 2 0 0 9
to download ninja 2009 tour sampler, choose your preferred audio format below. MP3 is the best option for most users. you can download multiple formats if you wish.
due to their large file sizes, we are distributing the FLAC, WAV, and apple lossless formats via torrents. when you click the links below for either of those formats, you'll receive a small .torrent file which you must open in a torrent application in order to download the audio files. if you are not comfortable using torrent files, you should avoid choosing the FLAC, apple lossless or wave options. visit this site to learn about torrents and how to use them.
high-quality MP3s (45 mb)
will play in any MP3 player. encoded with LAME at V0, fully tagged.
recommended for most users.
the files will arrive as a zip archive. in most cases, double-clicking the zip file will open it. if you need more help with zip files, go here.
FLAC lossless (160 mb)
CD quality - will not play in itunes or many other popular media players. (more info)
recommended only for advanced users.
this link will download a small .torrent file, which you must open with a torrent application in order to download the audio files. visit this site for information about using torrents.
M4A apple lossless (163 mb)
CD quality - will play in itunes. (more info)
recommended only for advanced users.
this link will download a small .torrent file, which you must open with a torrent application in order to download the audio files. visit this site for information about using torrents.
WAVE 16/44.1 (223 mb)
CD-quality 16bit 44.1kHz audio (more info)
for advanced audiophiles only! although you will be able to play these files with most players that support WAVE format, you will not get any benefits from the higher resolution audio unless you have extremely high-end audio equipment. if you're not familiar with cd-quality wav, this download is not recommended.
this link will download a small .torrent file, which you must open with a torrent application in order to download the audio files. visit this site for information about using torrents.
all files are 100% DRM-free.
sera?
mira te queria preguntar...te acordas de aquel asunto de los Digital Rights Management ... para que la gente no pueda pasar las canciones de una compu a otra una vez que la baja ... ?
Fabiola says: (4:08:55 PM)
Sip
Gabriel says: (4:09:46 PM)
estoy pensando poner el catalogo con esa vara... pero no se si valdra la pena
Fabiola says: (4:10:47 PM)
pues a mi me parece que seria super tuanis para los musicos que participen en vibratica ..ademas vas a ir costumbrando a la gente a no piratear
a mi si me cuadra el asunto...
++++++++++++++++++++++++++++++++++++++++++++++++++++
es que estamos en un dilema
Merrian says: (4:01:57 PM)
a ver
Gabriel says: (4:02:12 PM)
se acuerda lo que le conte de los Digital Rights Management ??
Merrian says: (4:02:20 PM)
yeeeees
Gabriel says: (4:02:35 PM)
pos ando ivenstigando a ver que ondas
porque la verdad es que vibratica va a tener
musica que no se puede conseguir en ningun otro lugar
entonces tal vez vale la pena poner el catalogo con DRM
para que la gente no lo pueda chorizear tan facilmente
igual pueden bajar un programilla
pero di ...
Merrian says: (4:04:19 PM)
osea...poner toda la musica en DRM?
Gabriel says: (4:04:22 PM)
si
Gabriel says: (4:04:35 PM)
al principio la gente no va saber
y cuando la traten de subir a internet para regalarla o pasarla a otro ipod no van a poder...
o es una estupdez?
Merrian says: (4:05:39 PM)
di, pero no habiamos quedado en que al final era casi lo mismo?
Gabriel says: (4:05:54 PM)
si pero me quede pensando...
especialmente por la razon de que es musica dificil de conseguir
Merrian says: (4:06:51 PM)
si.....entiendo...pero que será mas? el beneficio final de hacerlo o la pega pal cliente?
Gabriel says: (4:08:39 PM)
di el cliente cuando la compra no sabe
y no es mas pega que comprarla en itunes
Merrian says: (4:09:04 PM)
la primera vez
Gabriel says: (4:09:15 PM)
y igual la pueden convertir con un programa
Merrian says: (4:09:34 PM)
un programa que se baja en segs y no cuesta plata, vdd?
Gabriel says: (4:09:52 PM)
sip
Merrian says: (4:11:12 PM)
si igual es tan facil convertirlo, lo va a poner solo ent como garantia pa los cantantes?
Gabriel says: (4:12:41 PM)
exacto!
Gabriel says: (4:14:34 PM)
sera que ponemos todo con DRM ?
Merrian says: (4:15:01 PM)
a ver:
Al puro final una persona sea como sea que consiga una cancion, comprando el cd de carne y hueso (jeje), bajandola de internet, o comprandola por internet va a poder hacer lo que le de la gana con esa cancion
sabemos que finalmente no hace diferencia pal comprador el DRM
pero que el artista si se siente mas seguro con eso....
ent di ponganlo porque si de algo puede servir, es para que la gente de con menos trabas su musica
Fabiola says: (4:08:55 PM)
Sip
Gabriel says: (4:09:46 PM)
estoy pensando poner el catalogo con esa vara... pero no se si valdra la pena
Fabiola says: (4:10:47 PM)
pues a mi me parece que seria super tuanis para los musicos que participen en vibratica ..ademas vas a ir costumbrando a la gente a no piratear
a mi si me cuadra el asunto...
++++++++++++++++++++++++++++++++++++++++++++++++++++
es que estamos en un dilema
Merrian says: (4:01:57 PM)
a ver
Gabriel says: (4:02:12 PM)
se acuerda lo que le conte de los Digital Rights Management ??
Merrian says: (4:02:20 PM)
yeeeees
Gabriel says: (4:02:35 PM)
pos ando ivenstigando a ver que ondas
porque la verdad es que vibratica va a tener
musica que no se puede conseguir en ningun otro lugar
entonces tal vez vale la pena poner el catalogo con DRM
para que la gente no lo pueda chorizear tan facilmente
igual pueden bajar un programilla
pero di ...
Merrian says: (4:04:19 PM)
osea...poner toda la musica en DRM?
Gabriel says: (4:04:22 PM)
si
Gabriel says: (4:04:35 PM)
al principio la gente no va saber
y cuando la traten de subir a internet para regalarla o pasarla a otro ipod no van a poder...
o es una estupdez?
Merrian says: (4:05:39 PM)
di, pero no habiamos quedado en que al final era casi lo mismo?
Gabriel says: (4:05:54 PM)
si pero me quede pensando...
especialmente por la razon de que es musica dificil de conseguir
Merrian says: (4:06:51 PM)
si.....entiendo...pero que será mas? el beneficio final de hacerlo o la pega pal cliente?
Gabriel says: (4:08:39 PM)
di el cliente cuando la compra no sabe
y no es mas pega que comprarla en itunes
Merrian says: (4:09:04 PM)
la primera vez
Gabriel says: (4:09:15 PM)
y igual la pueden convertir con un programa
Merrian says: (4:09:34 PM)
un programa que se baja en segs y no cuesta plata, vdd?
Gabriel says: (4:09:52 PM)
sip
Merrian says: (4:11:12 PM)
si igual es tan facil convertirlo, lo va a poner solo ent como garantia pa los cantantes?
Gabriel says: (4:12:41 PM)
exacto!
Gabriel says: (4:14:34 PM)
sera que ponemos todo con DRM ?
Merrian says: (4:15:01 PM)
a ver:
Al puro final una persona sea como sea que consiga una cancion, comprando el cd de carne y hueso (jeje), bajandola de internet, o comprandola por internet va a poder hacer lo que le de la gana con esa cancion
sabemos que finalmente no hace diferencia pal comprador el DRM
pero que el artista si se siente mas seguro con eso....
ent di ponganlo porque si de algo puede servir, es para que la gente de con menos trabas su musica
de mi amigo Moby (no tengo ni una cancion suya)
yup, it's me from danbury/darien/stratford/storrs/stamford connecticut (my mom and i got around a bit).
the new record is melodic and fairly mournful.
lots of strings and very open and spacious.
see, i had a quasi-epiphany last year when i heard david lynch talking about creativity (and forgive me if this sounds new age or hokey).
he talked about how creativity in and of itself is great, and i realized that he was right.
and i realized that, ideally, the market should accomodate art, but that art shouldn't accomodate the market.
i know, it sounds idealistic.
i had been trying to make myself happy and make radio happy and make the label happy and make press happy and etc.
and it made me miserable.
and i also don't really aspire to selling too many records.
see, my friends who are writers sell 20,000 books and they're happy.
my friends who are theater directors sell 5,000 tickets during a run and they're happy.
i like the idea of humble and reasonable metrics for determining the success of a record.
and i like the idea of respecting the sacred bond that exists between musician and listener.
again, i know this sounds hokey, but it's where i am at present.
i also really like records. i know that 90% of the people who listen to my music download individual tracks, which is fine, but i want to make cohesive albums in the hope that someone might listen to them from start to finish.
for even one person to make the effort to listen to music that i've made is pretty remarkable, and i need to be humble and respectful in the face of that.
some people can be larger than life rockstars, and i love them, but i'm just a bald jerk who makes music in his bedroom and hopes that someone might listen to it.
oh, i also mixed/produced the album (it's called 'wait for me') in a very old-timey way, with extreme stereo panning and analog reverbs, etc.
it sounds AMAZING in headphones, if i do say so myself.
ok, long winded email, sorry.
if you send me a mailing address i'll burn a cd and put in the post.
thanks,
moby
the new record is melodic and fairly mournful.
lots of strings and very open and spacious.
see, i had a quasi-epiphany last year when i heard david lynch talking about creativity (and forgive me if this sounds new age or hokey).
he talked about how creativity in and of itself is great, and i realized that he was right.
and i realized that, ideally, the market should accomodate art, but that art shouldn't accomodate the market.
i know, it sounds idealistic.
i had been trying to make myself happy and make radio happy and make the label happy and make press happy and etc.
and it made me miserable.
and i also don't really aspire to selling too many records.
see, my friends who are writers sell 20,000 books and they're happy.
my friends who are theater directors sell 5,000 tickets during a run and they're happy.
i like the idea of humble and reasonable metrics for determining the success of a record.
and i like the idea of respecting the sacred bond that exists between musician and listener.
again, i know this sounds hokey, but it's where i am at present.
i also really like records. i know that 90% of the people who listen to my music download individual tracks, which is fine, but i want to make cohesive albums in the hope that someone might listen to them from start to finish.
for even one person to make the effort to listen to music that i've made is pretty remarkable, and i need to be humble and respectful in the face of that.
some people can be larger than life rockstars, and i love them, but i'm just a bald jerk who makes music in his bedroom and hopes that someone might listen to it.
oh, i also mixed/produced the album (it's called 'wait for me') in a very old-timey way, with extreme stereo panning and analog reverbs, etc.
it sounds AMAZING in headphones, if i do say so myself.
ok, long winded email, sorry.
if you send me a mailing address i'll burn a cd and put in the post.
thanks,
moby
bob's mailbag (this is getting out of hand)
Subject: Re: The Complete Clip
Bob
I want to thank you in the way your advice brings encouragement to bands like ours trying to forge a living in this new world of music. Your thoughts, or maybe they are rants, have really encouraged us to be creative in how we are going about building a fan base without a major label. I wanted to share 2 things we have done that have actually met with some success.
First we adopted the policy at our shows that fans could name their own price for our cds. We tell them that normally they are this price but we know times are hard. So just name your own price for the cds and you can have them for that. We just want you to have to music. And you know what. We are finding that our average price per cd has actually increased since we started doing this. Sure you have people giving you $3 but we have been amazed at the people who will give us $20. We are going to start doing this with all our merchandise at shows as we find it really builds good will.
We also started a new campaign called 'A Single Revolution'. sarahmacband.com In constantly reading your blog you are always talking about how we are getting back to an era like the 60's. Well, I remember as a kid being able to buy single 45's. And also remember that a lot of bands didn't even put these 45's on an album. So over the next year we are releasing 1 single every 4 to 6 weeks but we are trying to be creative in the release.
We agree that sales of cds are evaporating these days and that is not going to change. But can you creat a desire for a physical cd by only having a limited number? Well, we decided that we would try this and only press 100 physical cds of the song. Each of these cds would be numbered and signed by the band. We would also have extras on the cd that you could only get with the purchase of the physical cd. Each cd would cost $10, which seems like a lot and also appears to run contrary to our normal cd marketing of name your price, but we promise that there will never be anymore pressed and the 100 physical copies would be it. So we try to add value to the purchase to make it worth the $10. We will then use the proceeds from the sale of the first cd to press the second cd thereby making all the purchasers of the first cd our record lable for the second cd and giving them liner credit on the second cd. Then we will repeat this for each successive cd.
For the people who don't want to spend $10 for the physical cd we have sent an email to our email list saying they can download the song for free from our website for 2 weeks. After that we will put it for sale on iTunes and other places but we want to get it to places at leass than 99 cents a pop.
We just released our first single and have almost sold out the first run of 100 cds. So we are hopeful that maybe this will have some traction but who knows. Ultimatley this may not be a good idea as only time will tell. But I wanted you to know that your blogs are encouraging bands like us to be creative in how we do things. And we agree that first we have to bring a good product which only comes as a result of a lot of hard work. But once you think you may have something you need to think outside the box if you want to succeed and last in this business.
So thanks for your inspiration and keep writing brother, because it keeps me fired up and always thinking.
Charlie Vanture
________________________________
From: Adit Rao
Subject: A Serious Inquiry
Dear Bob,
I've been reading your blog with great interest over the past few months. My friend Joel Cummins, who plays in a band called Umphrey's McGhee recommended I pay attention to what you had to say. He's actually a poster child for the mindset/approach which you promote in your writings.
It's a semi-interesting story actually: About 10 years ago, as college freshmen, Joel and I took two separate paths: he remained in Chicago and began touring with his band locally. I moved to LA and pursued a record deal. Years later, it's pretty clear which one of us made the right decision. His band does about 150 shows a year (sometimes to festival crowds). They're not millionaires, but their company is a sustainable enterprise which supports the livelihoods of about a dozen guys (including their crew). Pretty impressive. My bands on the other hand, have floundered around the southwestern U.S., worn thru a couple of rotten experiences with labels, and disintegrated when our morale was destroyed. Joel wasn't a prophet... he simply played music which labels didn't care for (Jamband stuff). So they were forced to take a grass-roots approach from the start. And as it turned out-- they were way ahead of the curve. I'm very proud of them.
________________________________
From: Cliff Pia
Subject: Re: From Moby
We listen to music to feel what it is to be human again. Life makes you numb. Music makes you feel (or reminds you how to feel again). That's what music is. That's what music does. Thanks for reminding me of that, Moby. And thanks for that too, Bob.
________________________________
Subject: Re: From Moby
In reply to Moby's note:
I really feel that the state of the business can have a damaging effect in the minds of creative artists.
There is, however, a very simple cure that Moby touched on and I have been employing most of my record-making career which now stands at 51 years. One must always try and satisfy ONESELF with the final product - that is if you be true to yourself, you will inevitably almost always be true to your school (fans). So do your best to satisfy yourself and that means screw the record company, screw the producer, and forget about the fans during recording time. A producer should be selected to assist you in capturing your vision, not to make records the record company likes. Mixing the album should not be taken away from the producers aegis. Actually a temporary marriage between the artist, producer and engineer is best if there is no cheating. Be faithful to each other artistically and that should get you, the artist, the album you wanted in the first place. That is when a record is a success BEFORE it's released - when you've made the record you set out to make. In today's market for various reasons sales are way down. So if you can put out exactly what you hoped to put out, THAT is the success. If it sells - that's just cash cream on top.
Then you must get out there and bring your vision to as many fans LIVE as you can. That has been MY biggest problem - no one has booked me properly. As luck would have it, I have the best live show I have ever had when my band is behind me. But I cant get the funds from promoters to cross the Mason-Dixon line with my band. So I am forced to play solo shows which are good in another way; i.e. telling the stories behind the songs and being able to play a whole other repertoire from the bands. But I wish the people that hear the solo shows had the choice of also hearing the band.
What I fer sure can do, is make the best albums I have ever made, and put on the best shows I have ever performed. Now if I can solve getting ears to hear them and see them, then I will have adjusted to the way things are out there. I have released 3 albums in the last four years - BLACK COFFEE, WHITE CHOCOLATE and 50/50. I just pray that all my fans know that and that some people that have never heard me before hear those three albums. Later they can find out I produced "Free Bird" "Sweet Home Alabama" and played organ on "Like A Rolling Stone" That's not really gonna go away.
But meanwhile, Murphy's Law follows me like a stalker.
Al Kooper
Bob
I want to thank you in the way your advice brings encouragement to bands like ours trying to forge a living in this new world of music. Your thoughts, or maybe they are rants, have really encouraged us to be creative in how we are going about building a fan base without a major label. I wanted to share 2 things we have done that have actually met with some success.
First we adopted the policy at our shows that fans could name their own price for our cds. We tell them that normally they are this price but we know times are hard. So just name your own price for the cds and you can have them for that. We just want you to have to music. And you know what. We are finding that our average price per cd has actually increased since we started doing this. Sure you have people giving you $3 but we have been amazed at the people who will give us $20. We are going to start doing this with all our merchandise at shows as we find it really builds good will.
We also started a new campaign called 'A Single Revolution'. sarahmacband.com In constantly reading your blog you are always talking about how we are getting back to an era like the 60's. Well, I remember as a kid being able to buy single 45's. And also remember that a lot of bands didn't even put these 45's on an album. So over the next year we are releasing 1 single every 4 to 6 weeks but we are trying to be creative in the release.
We agree that sales of cds are evaporating these days and that is not going to change. But can you creat a desire for a physical cd by only having a limited number? Well, we decided that we would try this and only press 100 physical cds of the song. Each of these cds would be numbered and signed by the band. We would also have extras on the cd that you could only get with the purchase of the physical cd. Each cd would cost $10, which seems like a lot and also appears to run contrary to our normal cd marketing of name your price, but we promise that there will never be anymore pressed and the 100 physical copies would be it. So we try to add value to the purchase to make it worth the $10. We will then use the proceeds from the sale of the first cd to press the second cd thereby making all the purchasers of the first cd our record lable for the second cd and giving them liner credit on the second cd. Then we will repeat this for each successive cd.
For the people who don't want to spend $10 for the physical cd we have sent an email to our email list saying they can download the song for free from our website for 2 weeks. After that we will put it for sale on iTunes and other places but we want to get it to places at leass than 99 cents a pop.
We just released our first single and have almost sold out the first run of 100 cds. So we are hopeful that maybe this will have some traction but who knows. Ultimatley this may not be a good idea as only time will tell. But I wanted you to know that your blogs are encouraging bands like us to be creative in how we do things. And we agree that first we have to bring a good product which only comes as a result of a lot of hard work. But once you think you may have something you need to think outside the box if you want to succeed and last in this business.
So thanks for your inspiration and keep writing brother, because it keeps me fired up and always thinking.
Charlie Vanture
________________________________
From: Adit Rao
Subject: A Serious Inquiry
Dear Bob,
I've been reading your blog with great interest over the past few months. My friend Joel Cummins, who plays in a band called Umphrey's McGhee recommended I pay attention to what you had to say. He's actually a poster child for the mindset/approach which you promote in your writings.
It's a semi-interesting story actually: About 10 years ago, as college freshmen, Joel and I took two separate paths: he remained in Chicago and began touring with his band locally. I moved to LA and pursued a record deal. Years later, it's pretty clear which one of us made the right decision. His band does about 150 shows a year (sometimes to festival crowds). They're not millionaires, but their company is a sustainable enterprise which supports the livelihoods of about a dozen guys (including their crew). Pretty impressive. My bands on the other hand, have floundered around the southwestern U.S., worn thru a couple of rotten experiences with labels, and disintegrated when our morale was destroyed. Joel wasn't a prophet... he simply played music which labels didn't care for (Jamband stuff). So they were forced to take a grass-roots approach from the start. And as it turned out-- they were way ahead of the curve. I'm very proud of them.
________________________________
From: Cliff Pia
Subject: Re: From Moby
We listen to music to feel what it is to be human again. Life makes you numb. Music makes you feel (or reminds you how to feel again). That's what music is. That's what music does. Thanks for reminding me of that, Moby. And thanks for that too, Bob.
________________________________
Subject: Re: From Moby
In reply to Moby's note:
I really feel that the state of the business can have a damaging effect in the minds of creative artists.
There is, however, a very simple cure that Moby touched on and I have been employing most of my record-making career which now stands at 51 years. One must always try and satisfy ONESELF with the final product - that is if you be true to yourself, you will inevitably almost always be true to your school (fans). So do your best to satisfy yourself and that means screw the record company, screw the producer, and forget about the fans during recording time. A producer should be selected to assist you in capturing your vision, not to make records the record company likes. Mixing the album should not be taken away from the producers aegis. Actually a temporary marriage between the artist, producer and engineer is best if there is no cheating. Be faithful to each other artistically and that should get you, the artist, the album you wanted in the first place. That is when a record is a success BEFORE it's released - when you've made the record you set out to make. In today's market for various reasons sales are way down. So if you can put out exactly what you hoped to put out, THAT is the success. If it sells - that's just cash cream on top.
Then you must get out there and bring your vision to as many fans LIVE as you can. That has been MY biggest problem - no one has booked me properly. As luck would have it, I have the best live show I have ever had when my band is behind me. But I cant get the funds from promoters to cross the Mason-Dixon line with my band. So I am forced to play solo shows which are good in another way; i.e. telling the stories behind the songs and being able to play a whole other repertoire from the bands. But I wish the people that hear the solo shows had the choice of also hearing the band.
What I fer sure can do, is make the best albums I have ever made, and put on the best shows I have ever performed. Now if I can solve getting ears to hear them and see them, then I will have adjusted to the way things are out there. I have released 3 albums in the last four years - BLACK COFFEE, WHITE CHOCOLATE and 50/50. I just pray that all my fans know that and that some people that have never heard me before hear those three albums. Later they can find out I produced "Free Bird" "Sweet Home Alabama" and played organ on "Like A Rolling Stone" That's not really gonna go away.
But meanwhile, Murphy's Law follows me like a stalker.
Al Kooper
Subject: SxSW
So Bob,
Got an email today about SxSW. Over 700 bands. Over 700 bands!! Even if you listened to one song by each band it would take 35 hours. I'll bet people, normal people, don't listen to more than 20 minutes a day and with the gate keepers of radio in place, how is any of this ever going to get through? Now think of all the bands not playing in SxSW. I'll bet there's 40 thousand bands in the country. It's over Bob. No one will ever get through to the masses. You're right, it's all niche markets now.
John Maslan
Got an email today about SxSW. Over 700 bands. Over 700 bands!! Even if you listened to one song by each band it would take 35 hours. I'll bet people, normal people, don't listen to more than 20 minutes a day and with the gate keepers of radio in place, how is any of this ever going to get through? Now think of all the bands not playing in SxSW. I'll bet there's 40 thousand bands in the country. It's over Bob. No one will ever get through to the masses. You're right, it's all niche markets now.
John Maslan
como no publicar estas palabras del Bob?!
"...music was the Internet of the sixties. People got the bug and couldn't get enough. Both players and listeners, both coders and surfers.
...We wanted to know everything about our bands. The family trees led us to other acts. There was no TMZ, no PerezHilton, we only found out how famous these musicians truly were when Woodstock happened and it turned out EVERYBODY was into the music... Now it is only about making money, and the public moved on. But MTV had a vibrancy akin to the underground FM radio stations. It was run by the lunatics, not the guards. And although musical experimentation was limited, visual risks were taken daily, to the point where all movies and television were affected by the MTV style.
But then we hit an artistic nadir. Rather than innovation, we got slickness. We had the Web as an alternative, and the golden era died.
People still want to bring the golden era back.
Let me tell you how this Web works. Millions are surfing every day, and they're linking to and e-mailing what they think is good. And when I get the same story ten times, I take notice...
The goal was to bring the old world into the new, preserving all its elements. This is impossible. And what we've got now is cultural chaos.
So U2 can open the Grammys, play Letterman for a week and fly for quick gigs to multiple cities and not only are their first week sales about half of those for their 2004 album, in the second week there's a dramatic drop. Yes, according to hitsdailydouble.com, this week U2's "No Line On The Horizon" is number 3, having sold 124,958 copies, a drop of 74%!
Nobody wants it. It's not about quality, people are just interested in something different, they don't want to spend the time with U2's album. They're interested in other things, other bands, they believe they've got enough U2 music.
Tour demand will be great. That's a different animal. It's a celebration of the CAREER of U2. Yet, despite the gross, not that many people will go, not when you compare the number of attendees with the number of people living in America.
In other words, music is narrowcasting once again. Rail about piracy, but that's not the issue, that only has to do with monetization. We had those gargantuan sales in the eighties and nineties because everyone was paying attention to the same outlet, MTV. Hell, radio aligned its playlists with what the television giant was airing. But we no longer have one dictator. We have a plethora of outlets and a plethora of bands. If you're about the sell, your words are falling on deaf ears, people just don't care. They've got to be infected by the music, which is extremely difficult to do. You've got to record great stuff and hope your audience spreads the word...
As opposed to Bob Dylan. People care about his new album because not only did they not have to wait for it forever, not only was there no extreme advance hype, but Dylan is known for taking chances. Like his shows. They're cheap, but you never know what you'll get. Dylan's still alive, too many bands are perceived as dead.
Will Dylan's album be a blockbuster?
Probably not.
But Dylan's a musician, not a star. He's not trying to preserve his status so much as doing his job, making music, taking chances all the way.
It's your chances that endear us to you.
Or else it's Britney or Madonna or... And we're only going for the spectacle, it's got nothing to do with music. The Spice Girls proved no one cares about the spectacle ten years out. The Allman Brothers are proving people still care about the music, how it lives and breathes and changes every night, at their stand at the Beacon right now.
If you want to be a star, be my guest. E-mail Perez, compliment him and give him an exclusive.
If you want to be a musician, take chances. Worry less about hits than aural adventures. Create something new, and different, that's intriguing, with rough edges that can hook listeners.
That's what you do with music, listen.
We didn't need pyrotechnics to draw people to see Cream. The music was enough. It still is. If you're good and you see yourself practicing an honest profession, one that feeds your family, but doesn't buy you a private jet. We need bankers. But when they ruin our economy and believe they're entitled to millions, we're turned off. We need musicians. But when they believe they're entitled to live like princes, trading on decades-old laurels, we're disgusted and look for something new. Something vibrant. Which may not even be music. But we're always susceptible to something aural. If it tickles our ears, makes us feel all warm and fuzzy, removes us from this dreary life and makes us believe we live in one that's better.
That's what Eric Clapton and the great British axemen did. They took us away. And it wasn't about their looks, or the production, but the music. It's got to be that way in order for music to drive the culture once again.
...We wanted to know everything about our bands. The family trees led us to other acts. There was no TMZ, no PerezHilton, we only found out how famous these musicians truly were when Woodstock happened and it turned out EVERYBODY was into the music... Now it is only about making money, and the public moved on. But MTV had a vibrancy akin to the underground FM radio stations. It was run by the lunatics, not the guards. And although musical experimentation was limited, visual risks were taken daily, to the point where all movies and television were affected by the MTV style.
But then we hit an artistic nadir. Rather than innovation, we got slickness. We had the Web as an alternative, and the golden era died.
People still want to bring the golden era back.
Let me tell you how this Web works. Millions are surfing every day, and they're linking to and e-mailing what they think is good. And when I get the same story ten times, I take notice...
The goal was to bring the old world into the new, preserving all its elements. This is impossible. And what we've got now is cultural chaos.
So U2 can open the Grammys, play Letterman for a week and fly for quick gigs to multiple cities and not only are their first week sales about half of those for their 2004 album, in the second week there's a dramatic drop. Yes, according to hitsdailydouble.com, this week U2's "No Line On The Horizon" is number 3, having sold 124,958 copies, a drop of 74%!
Nobody wants it. It's not about quality, people are just interested in something different, they don't want to spend the time with U2's album. They're interested in other things, other bands, they believe they've got enough U2 music.
Tour demand will be great. That's a different animal. It's a celebration of the CAREER of U2. Yet, despite the gross, not that many people will go, not when you compare the number of attendees with the number of people living in America.
In other words, music is narrowcasting once again. Rail about piracy, but that's not the issue, that only has to do with monetization. We had those gargantuan sales in the eighties and nineties because everyone was paying attention to the same outlet, MTV. Hell, radio aligned its playlists with what the television giant was airing. But we no longer have one dictator. We have a plethora of outlets and a plethora of bands. If you're about the sell, your words are falling on deaf ears, people just don't care. They've got to be infected by the music, which is extremely difficult to do. You've got to record great stuff and hope your audience spreads the word...
As opposed to Bob Dylan. People care about his new album because not only did they not have to wait for it forever, not only was there no extreme advance hype, but Dylan is known for taking chances. Like his shows. They're cheap, but you never know what you'll get. Dylan's still alive, too many bands are perceived as dead.
Will Dylan's album be a blockbuster?
Probably not.
But Dylan's a musician, not a star. He's not trying to preserve his status so much as doing his job, making music, taking chances all the way.
It's your chances that endear us to you.
Or else it's Britney or Madonna or... And we're only going for the spectacle, it's got nothing to do with music. The Spice Girls proved no one cares about the spectacle ten years out. The Allman Brothers are proving people still care about the music, how it lives and breathes and changes every night, at their stand at the Beacon right now.
If you want to be a star, be my guest. E-mail Perez, compliment him and give him an exclusive.
If you want to be a musician, take chances. Worry less about hits than aural adventures. Create something new, and different, that's intriguing, with rough edges that can hook listeners.
That's what you do with music, listen.
We didn't need pyrotechnics to draw people to see Cream. The music was enough. It still is. If you're good and you see yourself practicing an honest profession, one that feeds your family, but doesn't buy you a private jet. We need bankers. But when they ruin our economy and believe they're entitled to millions, we're turned off. We need musicians. But when they believe they're entitled to live like princes, trading on decades-old laurels, we're disgusted and look for something new. Something vibrant. Which may not even be music. But we're always susceptible to something aural. If it tickles our ears, makes us feel all warm and fuzzy, removes us from this dreary life and makes us believe we live in one that's better.
That's what Eric Clapton and the great British axemen did. They took us away. And it wasn't about their looks, or the production, but the music. It's got to be that way in order for music to drive the culture once again.
Thursday, March 19, 2009
conversacion con el "asesor"
J says: (12:52:53 PM)
como va mae
J says: (12:52:57 PM)
con los labels
Gabriel says: (12:53:10 PM)
ahi ahi
Gabriel says: (12:53:13 PM)
viendo a ver q pasa
J says: (12:53:21 PM)
ta bein
Gabriel says: (12:53:49 PM)
con Sony no se... son muy retrogrados
Gabriel says: (12:53:59 PM)
con los indie labels de centroamerica voy un poco mejor
J says: (12:55:02 PM)
mae esos apoyan lo q hace ud no?
J says: (12:55:16 PM)
ellos necesitan poder de distribucion
Gabriel says: (12:55:22 PM)
claro
J says: (12:55:48 PM)
mae son en mas en numero q los labels
J says: (12:55:54 PM)
eso los va a acabar
J says: (12:56:13 PM)
hay q concientizar a los artistas q la mejor opcion es poner los huevos ellos mismos
J says: (12:56:24 PM)
sino es un huevon
J says: (12:56:37 PM)
aqui ya todo es DIY
Gabriel says: (12:57:19 PM)
como mae no entiendo su castellano expliquese
J says: (12:57:35 PM)
claro mae el artista ahora mas q nunca tiene q trabajar por su cuenta
Gabriel says: (1:01:37 PM)
claro y vibratica es una herramienta mas apra que lo haga
Gabriel says: (1:08:12 PM)
q es DIY ?
J says: (1:08:28 PM)
do it yourself
Gabriel says: (1:10:24 PM)
claro
Gabriel says: (1:10:35 PM)
DIY promotion
J says: (1:10:58 PM)
asi es
J says: (1:11:25 PM)
mae eso va a obligar a los artistas a jalar mas cabron no tanto en la promocion
J says: (1:11:38 PM)
sino en la calidad de su material
Gabriel says: (1:12:50 PM)
bueno es que eso es un punto principal en Vibratica... que la competencia promueva la calidad del trabajo
J says: (1:17:27 PM)
si mae
J says: (1:17:43 PM)
la calidad del arte es parecida a la forma en q nos relacionamos con la gente
J says: (1:17:53 PM)
creemos q es la mejor forma aunque a nadie le parezca jaja
Gabriel says: (1:18:00 PM)
como asi
J says: (1:18:33 PM)
si mae
J says: (1:18:39 PM)
nunca uno se da cuenta q tan mal esta
J says: (1:49:32 PM)
http://www.sethgodin.com/permission/
J says: (1:51:32 PM)
ese autor mae
J says: (1:51:36 PM)
el bob lo tumba a mamadas
Gabriel says: (1:51:43 PM)
jaja is yo se
J says: (1:52:03 PM)
ahi tiene tarea mae
J says: (1:52:05 PM)
muchas ideas
J says: (1:52:08 PM)
metase al blog
J says: (1:52:14 PM)
empapese
J says: (1:52:27 PM)
http://www.amazon.com/Purple-Cow-Transform-Business-Remarkable/dp/159184021X/ref=pd_bxgy_b_img_b
Gabriel says: (2:05:24 PM)
vea lo que me respondio el wey de sony
Gabriel says: (2:05:26 PM)
Estimado Gabriel:
Se que a un nivel importante no se pone DRM pero eso pasa en Estados Unidos, Europa en países latinos usted no lo pone y no vende nada o muy poco y para eso le soy sincero prefiero no vender a regalar mi musica.
Si quiere puede hacer la prueba venda un sencillo, sin DRM y después de un me puedes dar los resultados.
Un cordial saludo,
J says: (2:23:25 PM)
dejelos mae
J says: (2:23:28 PM)
entre con DRM
J says: (2:23:32 PM)
no pasa nada
J says: (2:23:38 PM)
ellos se lo pierden no ud
J says: (2:23:58 PM)
para ud es un catalago MAS no menos
Gabriel says: (2:24:24 PM)
si yo le dije que si
J says: (2:26:42 PM)
bien mae
J says: (2:26:43 PM)
ud trae las de ganar
J says: (2:26:48 PM)
solo q lea mae
J says: (2:26:49 PM)
lea un chingo
J says: (2:26:52 PM)
enterese
J says: (2:27:12 PM)
sepa manejar el internet
Gabriel says: (2:27:19 PM)
ahora estoy aprendiendo a usa Drupal
como va mae
J says: (12:52:57 PM)
con los labels
Gabriel says: (12:53:10 PM)
ahi ahi
Gabriel says: (12:53:13 PM)
viendo a ver q pasa
J says: (12:53:21 PM)
ta bein
Gabriel says: (12:53:49 PM)
con Sony no se... son muy retrogrados
Gabriel says: (12:53:59 PM)
con los indie labels de centroamerica voy un poco mejor
J says: (12:55:02 PM)
mae esos apoyan lo q hace ud no?
J says: (12:55:16 PM)
ellos necesitan poder de distribucion
Gabriel says: (12:55:22 PM)
claro
J says: (12:55:48 PM)
mae son en mas en numero q los labels
J says: (12:55:54 PM)
eso los va a acabar
J says: (12:56:13 PM)
hay q concientizar a los artistas q la mejor opcion es poner los huevos ellos mismos
J says: (12:56:24 PM)
sino es un huevon
J says: (12:56:37 PM)
aqui ya todo es DIY
Gabriel says: (12:57:19 PM)
como mae no entiendo su castellano expliquese
J says: (12:57:35 PM)
claro mae el artista ahora mas q nunca tiene q trabajar por su cuenta
Gabriel says: (1:01:37 PM)
claro y vibratica es una herramienta mas apra que lo haga
Gabriel says: (1:08:12 PM)
q es DIY ?
J says: (1:08:28 PM)
do it yourself
Gabriel says: (1:10:24 PM)
claro
Gabriel says: (1:10:35 PM)
DIY promotion
J says: (1:10:58 PM)
asi es
J says: (1:11:25 PM)
mae eso va a obligar a los artistas a jalar mas cabron no tanto en la promocion
J says: (1:11:38 PM)
sino en la calidad de su material
Gabriel says: (1:12:50 PM)
bueno es que eso es un punto principal en Vibratica... que la competencia promueva la calidad del trabajo
J says: (1:17:27 PM)
si mae
J says: (1:17:43 PM)
la calidad del arte es parecida a la forma en q nos relacionamos con la gente
J says: (1:17:53 PM)
creemos q es la mejor forma aunque a nadie le parezca jaja
Gabriel says: (1:18:00 PM)
como asi
J says: (1:18:33 PM)
si mae
J says: (1:18:39 PM)
nunca uno se da cuenta q tan mal esta
J says: (1:49:32 PM)
http://www.sethgodin.com/permission/
J says: (1:51:32 PM)
ese autor mae
J says: (1:51:36 PM)
el bob lo tumba a mamadas
Gabriel says: (1:51:43 PM)
jaja is yo se
J says: (1:52:03 PM)
ahi tiene tarea mae
J says: (1:52:05 PM)
muchas ideas
J says: (1:52:08 PM)
metase al blog
J says: (1:52:14 PM)
empapese
J says: (1:52:27 PM)
http://www.amazon.com/Purple-Cow-Transform-Business-Remarkable/dp/159184021X/ref=pd_bxgy_b_img_b
Gabriel says: (2:05:24 PM)
vea lo que me respondio el wey de sony
Gabriel says: (2:05:26 PM)
Estimado Gabriel:
Se que a un nivel importante no se pone DRM pero eso pasa en Estados Unidos, Europa en países latinos usted no lo pone y no vende nada o muy poco y para eso le soy sincero prefiero no vender a regalar mi musica.
Si quiere puede hacer la prueba venda un sencillo, sin DRM y después de un me puedes dar los resultados.
Un cordial saludo,
J says: (2:23:25 PM)
dejelos mae
J says: (2:23:28 PM)
entre con DRM
J says: (2:23:32 PM)
no pasa nada
J says: (2:23:38 PM)
ellos se lo pierden no ud
J says: (2:23:58 PM)
para ud es un catalago MAS no menos
Gabriel says: (2:24:24 PM)
si yo le dije que si
J says: (2:26:42 PM)
bien mae
J says: (2:26:43 PM)
ud trae las de ganar
J says: (2:26:48 PM)
solo q lea mae
J says: (2:26:49 PM)
lea un chingo
J says: (2:26:52 PM)
enterese
J says: (2:27:12 PM)
sepa manejar el internet
Gabriel says: (2:27:19 PM)
ahora estoy aprendiendo a usa Drupal
Monday, March 16, 2009
vibratica.com
las grandes companias mundiales de noticias, de periodicos y TV estan reestructurandose de manera mucho mas simple, local y pequena, despidiendo incluso personal... en la TV hay muchisimos canales ... la radio ni se diga... la informacion esta regada, y distribuida muy extensamente pero a la vez muy segmentada...
traditional media is dying , Now you get the news from the act itself! Each band's Website is its own little news source. It's not about servicing other outlets, but training your fans to come back to your site, by providing constant updates, by providing community.
una tarea fundametal de vibratica es dar ese soporte a los artistas del "tercer mundo" ya que ellos a veces no tienen la capacidad ni los medios de hacerlo por su cuenta con sus propias paginas de internet, nosotros lo hacemos dentro de la pagina de vibratica... no solo dando ese servicio a cada artista si no que a su vez trabaja como comunidad virtual, trayendo muchos beneficios extras tanto a artistas como a seguidores...
Con respecto a la cantidad de descargas estamos estimando unas 7,000 canciones x mes los 1eros seis meses y la meta para los siguientes 6 meses es de 28000 al mes ... esto para todo el catalogo (que esta expansion constantemente)
Para enfocarse mejor en la venta de un grupo de canciones es primordial tener cualquier tipo de material promocional de las mismas (videos, biografias,notas,articulos,noticias,eventos,fotos, etc)
Segun expertos los DRM pueden bajar el flujo de descargas ya que no son compatibles con muchas cosas.
Sin embargo...trying to be all things to all people, when your audience has the ability to extract just what it wants online, is a poor strategy
traditional media is dying , Now you get the news from the act itself! Each band's Website is its own little news source. It's not about servicing other outlets, but training your fans to come back to your site, by providing constant updates, by providing community.
una tarea fundametal de vibratica es dar ese soporte a los artistas del "tercer mundo" ya que ellos a veces no tienen la capacidad ni los medios de hacerlo por su cuenta con sus propias paginas de internet, nosotros lo hacemos dentro de la pagina de vibratica... no solo dando ese servicio a cada artista si no que a su vez trabaja como comunidad virtual, trayendo muchos beneficios extras tanto a artistas como a seguidores...
Con respecto a la cantidad de descargas estamos estimando unas 7,000 canciones x mes los 1eros seis meses y la meta para los siguientes 6 meses es de 28000 al mes ... esto para todo el catalogo (que esta expansion constantemente)
Para enfocarse mejor en la venta de un grupo de canciones es primordial tener cualquier tipo de material promocional de las mismas (videos, biografias,notas,articulos,noticias,eventos,fotos, etc)
Segun expertos los DRM pueden bajar el flujo de descargas ya que no son compatibles con muchas cosas.
Sin embargo...trying to be all things to all people, when your audience has the ability to extract just what it wants online, is a poor strategy
Sunday, March 15, 2009
"Music should be, personal, majestic and otherworldly."
Because in order for music to ascend to its rightful position at the top of popular culture's leader board, it's got to be more about its intrinsic value than the sell. It's got to be more about music than showmanship. It's got to be more about creativity than expediency.
Genes Simmons Responde:
"I know Gene loves that I'm writing this."
SURE. I LOVE ANYONE WHO TALKS ABOUT ME.
"Almost to the point where I considered not writing about his speech at all. But I've got to. Because in order for music to ascend to its rightful position at the top of popular culture's leader board,"
(I CAN'T WAIT FOR THIS LEADER OF POPULAR CULTURE TO TELL ME HOW TO POSITION THINGS).
"it's got to be more about its intrinsic value than the sell."
YES, AND NO. IT "SHOULD" BE ABOUT MUSIC, BUT IT'S ALSO GOT TO BE ABOUT BUSINESS. IN CASE YOU HAVEN'T NOTICED, IT WAS NEVER JUST CALLED "MUSIC." IT WAS, AND STILL IS CALLED THE "MUSIC BUSINESS."
"It's got to be more about music than showmanship. It's got to be more about creativity than expediency."
NO. HES GOT IT ALMOST RIGHT. IT'S GOT TO BE ABOUT BOTH.
supongo que para unos la combinacion de estas dos es lo mejor, otros se inclinaran mas por la una o por la otra...depende no?
que puedo decir... a las 4:55am estoy recopilando infromacion - mas de Bob...
We're in an era of revolution. Is Gene bearing arms and tearing down doors or fortifying the decrepit castle against the upstarts?
It's a long way to the top if you want to rock and roll. Hell, all those Aussie bands are fantastic because they've had to hone their chops live, playing in shitholes around their island country again and again, needing to impress the limited population to the point where they're such great performers, they kill in the rest of the world. If you put together a cookie-cutter act, aren't you doomed to limited success at best? Can Gene Simmons truly make a star, or does one have to be honed over a decade, too long for the silver-tongued devil to cash in and cash out.
For too long, success in music has been about smoke and mirrors. With the strings pulled by Oz-like figures who don't account accurately and end up with all the money. Now it's about the acts, not the labels. As for the money? You don't get that from a bank, interest is too high, the institutions are run by thieves. You get your cash from the public, people who believe in you and will give you their every last dollar on your road to success. They don't want to rip you off, they only want to revel in your success, bask in your reflected glory.
Then again, your performances have got to kill. And your music has got to be great. Artifice? Isn't that something you do online with Photoshop?
http://site.citynews.ca/video/?bcpid=1640183522&bclid=1896836079&bctid=16513340001
" busquenlo en youtube...les toca a uds..."
But we live in such a vast world that the haters can coexist with the lovers, and never the twain shall meet. In other words, KISS can function privately in its own backwater and the rest of us can ignore the band.
That's how the music business is today. It's narrowcasting. The key is to gain someone's attention and to try to grow from there, fan by fan until you can support yourself playing music and give up your day job.
... everything's got a limited audience. And train-wrecks have a very short shelf life. In other words Gene, a band you sign could have sex on stage tomorrow and it might be big on the Net for 24 hours, but if anybody even remembered the act's name a year later, they certainly wouldn't recall the music.
You can try and generate instant heat and instant sales. There is a business there. But if that paradigm were so damn good, the major labels would be prospering instead of dying. We're in the era of artist development. You've got to develop your craft and your audience. Musicians and fans are bonded, for the long haul. It's not clear where they're going, it's an exciting journey. Pre-fab is becoming marginalized.
So if you tell me you're going to sign a band, change its name, its players, its hairstyles and its music and then ram the result down the throat of the public, I'm gonna tell you very few people are going to care and that you'd better not invest much money, because limited dollars will come in return, and you'd better get out quick, because the act is going to burn out almost instantly.
Build slowly. From the core out. Breaking a band today is more of a whispering campaign than banging the public over the head with a blunt instrument. You lead with your music. Sure, networking/managerial/Internet tools are important, but it all comes down to the music. You can click online and hear it instantly. Is it any good?
The public decides. Gatekeepers? Physical retail is just about dead and radio has been marginalized. It's a direct connection between musician and listener. You'd better be good, baby.
SE APLICARA ESTO A COSTA RICA? PARECE SER QUE POR NO EXISTIR INDUSTRIA DISQUERA EN EL PAIS, DE ALGUNA MANERA ESTO SIEMPRE HA SIDO ASI AQUI... YO CREO QUE AUN NO SE HA VISTO LO ULTIMO DE LOS MAJOR LABELS... O SI ? TAL VEZ LOS DOS MODELOS EL VIEJO Y EL NUEVO PUEDEN COEXISTIR... SI COMO DICE BOB, TODO COEXISTE HOY, ENTONCES POR QUE LAS DISQUERAS NO PUEDEN COMPETIR (COMO YA LO HACEN) CON LOS TALENTOS INDIES?
Genes Simmons Responde:
"I know Gene loves that I'm writing this."
SURE. I LOVE ANYONE WHO TALKS ABOUT ME.
"Almost to the point where I considered not writing about his speech at all. But I've got to. Because in order for music to ascend to its rightful position at the top of popular culture's leader board,"
(I CAN'T WAIT FOR THIS LEADER OF POPULAR CULTURE TO TELL ME HOW TO POSITION THINGS).
"it's got to be more about its intrinsic value than the sell."
YES, AND NO. IT "SHOULD" BE ABOUT MUSIC, BUT IT'S ALSO GOT TO BE ABOUT BUSINESS. IN CASE YOU HAVEN'T NOTICED, IT WAS NEVER JUST CALLED "MUSIC." IT WAS, AND STILL IS CALLED THE "MUSIC BUSINESS."
"It's got to be more about music than showmanship. It's got to be more about creativity than expediency."
NO. HES GOT IT ALMOST RIGHT. IT'S GOT TO BE ABOUT BOTH.
supongo que para unos la combinacion de estas dos es lo mejor, otros se inclinaran mas por la una o por la otra...depende no?
que puedo decir... a las 4:55am estoy recopilando infromacion - mas de Bob...
We're in an era of revolution. Is Gene bearing arms and tearing down doors or fortifying the decrepit castle against the upstarts?
It's a long way to the top if you want to rock and roll. Hell, all those Aussie bands are fantastic because they've had to hone their chops live, playing in shitholes around their island country again and again, needing to impress the limited population to the point where they're such great performers, they kill in the rest of the world. If you put together a cookie-cutter act, aren't you doomed to limited success at best? Can Gene Simmons truly make a star, or does one have to be honed over a decade, too long for the silver-tongued devil to cash in and cash out.
For too long, success in music has been about smoke and mirrors. With the strings pulled by Oz-like figures who don't account accurately and end up with all the money. Now it's about the acts, not the labels. As for the money? You don't get that from a bank, interest is too high, the institutions are run by thieves. You get your cash from the public, people who believe in you and will give you their every last dollar on your road to success. They don't want to rip you off, they only want to revel in your success, bask in your reflected glory.
Then again, your performances have got to kill. And your music has got to be great. Artifice? Isn't that something you do online with Photoshop?
http://site.citynews.ca/video/?bcpid=1640183522&bclid=1896836079&bctid=16513340001
" busquenlo en youtube...les toca a uds..."
But we live in such a vast world that the haters can coexist with the lovers, and never the twain shall meet. In other words, KISS can function privately in its own backwater and the rest of us can ignore the band.
That's how the music business is today. It's narrowcasting. The key is to gain someone's attention and to try to grow from there, fan by fan until you can support yourself playing music and give up your day job.
... everything's got a limited audience. And train-wrecks have a very short shelf life. In other words Gene, a band you sign could have sex on stage tomorrow and it might be big on the Net for 24 hours, but if anybody even remembered the act's name a year later, they certainly wouldn't recall the music.
You can try and generate instant heat and instant sales. There is a business there. But if that paradigm were so damn good, the major labels would be prospering instead of dying. We're in the era of artist development. You've got to develop your craft and your audience. Musicians and fans are bonded, for the long haul. It's not clear where they're going, it's an exciting journey. Pre-fab is becoming marginalized.
So if you tell me you're going to sign a band, change its name, its players, its hairstyles and its music and then ram the result down the throat of the public, I'm gonna tell you very few people are going to care and that you'd better not invest much money, because limited dollars will come in return, and you'd better get out quick, because the act is going to burn out almost instantly.
Build slowly. From the core out. Breaking a band today is more of a whispering campaign than banging the public over the head with a blunt instrument. You lead with your music. Sure, networking/managerial/Internet tools are important, but it all comes down to the music. You can click online and hear it instantly. Is it any good?
The public decides. Gatekeepers? Physical retail is just about dead and radio has been marginalized. It's a direct connection between musician and listener. You'd better be good, baby.
SE APLICARA ESTO A COSTA RICA? PARECE SER QUE POR NO EXISTIR INDUSTRIA DISQUERA EN EL PAIS, DE ALGUNA MANERA ESTO SIEMPRE HA SIDO ASI AQUI... YO CREO QUE AUN NO SE HA VISTO LO ULTIMO DE LOS MAJOR LABELS... O SI ? TAL VEZ LOS DOS MODELOS EL VIEJO Y EL NUEVO PUEDEN COEXISTIR... SI COMO DICE BOB, TODO COEXISTE HOY, ENTONCES POR QUE LAS DISQUERAS NO PUEDEN COMPETIR (COMO YA LO HACEN) CON LOS TALENTOS INDIES?
Sunday, March 08, 2009
is the reign of the late twentieth century major label paradigm finally over?
If Phish is giving away a free download of last night's Hampton Coliseum show is the reign of the late twentieth century major label paradigm finally over?
That's how it worked. The record company signed you, ripped you off and set you free to make some cash on the road, if the company had built enough demand for your services. It was all about the hit. You needed a specialist, with a team of soldiers to navigate the gauntlet to airplay and sales. You couldn't do it yourself, the Grateful Dead proved that, giving up Grateful Dead Records and signing with Arista. It all came down to the label. We knew not only who Ahmet was, but Mo and Clive and Walter and Tommy, we were on a first name basis with these kingmakers. Who is running EMI today? Come on, who's the kingmaker in the U.S?
You may know, but the hoi polloi doesn't. And the hoi polloi doesn't give a shit. This is not Christopher Moltisanti in the "Sopranos", shouting out to Mr. Mottola, the kids have the music and if you're lucky the performers are stars.
And a star is not who he used to be. Not someone with bling featured on gossip Websites and possibly in printed news the next day. That's a separate business from music. Just like those performers don't truly perform live in concert. Those people are selling extravaganzas. Closer to Disney On Ice than the Doors. There's been a split in the road, a bifurcation, are you a musician, pursuing your muse, or are you a fame whore?
Don't tell me you don't like Phish. That's completely missing the point. A true star doesn't play to everybody, he plays to those who care and who come to care. Phish has a rabid fanbase that paid $49.50 for tickets and much more flying to the gig in this somewhat remote location, because they had to be there! People won't cross the road to go to the show of the Top Forty wonder, but they'll load up their credit card to attend what they truly believe is an event.
And you've got to be in the building. That's why the MP3s are free. Because they're a shadow of the overall experience. In the heyday of the Beatles, it was all about the record, the band spent months recording "Sgt. Pepper" and never toured behind it. Now, a great band plays different material every night and if you weren't at the show, you missed it. The record exists forever, the performance is evanescent.
It's pretty exciting. We've come back to where we once belonged. Where it's about musicianship, playing rather that the technical wizards behind the board.
And Phish's fans believe the band can play. Rather than go on television shows, doing a promotional junket advertising their return, Phish practiced. Their audience demands excellence. That's what Phish has to deliver to insure their return. Miley Cyrus or the Jonas Brothers have one big tour. A great act plays for the ages, it can't afford to fuck up.
The old acts found it important to get the sound perfect. If there was a live album, it was rerecorded in the studio and came out months after the performance. It was supposedly impossible to do what Phish has done, play one night and make the music available for download immediately thereafter.
But really, how difficult is it? Is your house mixer really that poor, that he can't get the sound right? Is your playing truly that bad, that you've got to cover up your mistakes? And what if you do make a mistake? It's our flaws that make us lovable. And if you ever saw those models up close and personal you'd see loads of imperfections. That's humanity, that's what makes life intriguing, not the nose from this one, the removal of blemishes and Botox to make you look like a wax figurine. God, one can say that music is leading once again, it's natural!
If you want to be part of the new music business, don't start a record company, focus yourself on the live experience. If you want a hero, look to Don Strasburg, not some nitwit at the label. Hell, I can't even think of a young nitwit at a label, the execs fired all the kids, who then went into tech. So there's no innovation at the record companies. But that's like saying there's no innovation at the Smith Corona electric typewriter company. It's irrelevant!
You need fans. Fans know who can play and who can't. Fans want you to be three dimensional, exist outside the system and be about music more than money. Sure, scalpers resold Phish tickets for a ton more, but that doesn't reflect negatively on Phish! And you should be worried more about your image than your pocketbook.
Phish has been doing it for two decades. The demand for tickets was created over a long career. They started in clubs, in college, they weren't groomed for stardom by their parents, they didn't make their debut on the Disney Channel before they hit puberty. That's commerce, not music.
Go to: http://phish.com/fromtheroad2009/
At the bottom of the page, click on: DOWNLOAD FREE MP3s of this show now at LivePhish.com
On the resulting page, click on: Go To This Show under 3/6/2009: Hampton, VA
Then hit: Free Download
Register. You can use a fake name and password. Phish is not the police, they're not harvesting e-mail addresses, if you don't want to give them a real name, that's cool, you at least want the music.
Then, after entering your information, hit: Login
Then, click on: Free Download
Click: Download in the resulting window, pick where you want the file to go (on a Mac, best to navigate to the Users folder, double-click on this, find your name and then navigate to the Desktop) and prepare for your mind to be blown, as the whole show automatically downloads.
If you're over forty, you might think this is complicated. But for Phish's demo, this is de rigueur, they navigate online like this every day.
And then listen to some of the music. This was last night! Yours to keep, to play over and over again, to the point where you want to go to the show too.
I needed to hear the band's take of "Loving Cup", a killer from "Exile On Main Street", an album with great reviews that most people don't know. The vocals are imperfect, but wait until you get to the guitar solo, it bobs and weaves like none of the playing at a recent Stones show, the band is cooking, it's positively alive!
And that's what we're looking for, not robotic repetition, but live, breathing humanity. This is the way out. Pay attention. Throw out what you know about downloading, piracy, pricing...that's all history. It's about music. Take a risk, not only in your playing, but how you reach your audience.
--
Visit the archive: lefsetz.com/wordpress/
That's how it worked. The record company signed you, ripped you off and set you free to make some cash on the road, if the company had built enough demand for your services. It was all about the hit. You needed a specialist, with a team of soldiers to navigate the gauntlet to airplay and sales. You couldn't do it yourself, the Grateful Dead proved that, giving up Grateful Dead Records and signing with Arista. It all came down to the label. We knew not only who Ahmet was, but Mo and Clive and Walter and Tommy, we were on a first name basis with these kingmakers. Who is running EMI today? Come on, who's the kingmaker in the U.S?
You may know, but the hoi polloi doesn't. And the hoi polloi doesn't give a shit. This is not Christopher Moltisanti in the "Sopranos", shouting out to Mr. Mottola, the kids have the music and if you're lucky the performers are stars.
And a star is not who he used to be. Not someone with bling featured on gossip Websites and possibly in printed news the next day. That's a separate business from music. Just like those performers don't truly perform live in concert. Those people are selling extravaganzas. Closer to Disney On Ice than the Doors. There's been a split in the road, a bifurcation, are you a musician, pursuing your muse, or are you a fame whore?
Don't tell me you don't like Phish. That's completely missing the point. A true star doesn't play to everybody, he plays to those who care and who come to care. Phish has a rabid fanbase that paid $49.50 for tickets and much more flying to the gig in this somewhat remote location, because they had to be there! People won't cross the road to go to the show of the Top Forty wonder, but they'll load up their credit card to attend what they truly believe is an event.
And you've got to be in the building. That's why the MP3s are free. Because they're a shadow of the overall experience. In the heyday of the Beatles, it was all about the record, the band spent months recording "Sgt. Pepper" and never toured behind it. Now, a great band plays different material every night and if you weren't at the show, you missed it. The record exists forever, the performance is evanescent.
It's pretty exciting. We've come back to where we once belonged. Where it's about musicianship, playing rather that the technical wizards behind the board.
And Phish's fans believe the band can play. Rather than go on television shows, doing a promotional junket advertising their return, Phish practiced. Their audience demands excellence. That's what Phish has to deliver to insure their return. Miley Cyrus or the Jonas Brothers have one big tour. A great act plays for the ages, it can't afford to fuck up.
The old acts found it important to get the sound perfect. If there was a live album, it was rerecorded in the studio and came out months after the performance. It was supposedly impossible to do what Phish has done, play one night and make the music available for download immediately thereafter.
But really, how difficult is it? Is your house mixer really that poor, that he can't get the sound right? Is your playing truly that bad, that you've got to cover up your mistakes? And what if you do make a mistake? It's our flaws that make us lovable. And if you ever saw those models up close and personal you'd see loads of imperfections. That's humanity, that's what makes life intriguing, not the nose from this one, the removal of blemishes and Botox to make you look like a wax figurine. God, one can say that music is leading once again, it's natural!
If you want to be part of the new music business, don't start a record company, focus yourself on the live experience. If you want a hero, look to Don Strasburg, not some nitwit at the label. Hell, I can't even think of a young nitwit at a label, the execs fired all the kids, who then went into tech. So there's no innovation at the record companies. But that's like saying there's no innovation at the Smith Corona electric typewriter company. It's irrelevant!
You need fans. Fans know who can play and who can't. Fans want you to be three dimensional, exist outside the system and be about music more than money. Sure, scalpers resold Phish tickets for a ton more, but that doesn't reflect negatively on Phish! And you should be worried more about your image than your pocketbook.
Phish has been doing it for two decades. The demand for tickets was created over a long career. They started in clubs, in college, they weren't groomed for stardom by their parents, they didn't make their debut on the Disney Channel before they hit puberty. That's commerce, not music.
Go to: http://phish.com/fromtheroad2009/
At the bottom of the page, click on: DOWNLOAD FREE MP3s of this show now at LivePhish.com
On the resulting page, click on: Go To This Show under 3/6/2009: Hampton, VA
Then hit: Free Download
Register. You can use a fake name and password. Phish is not the police, they're not harvesting e-mail addresses, if you don't want to give them a real name, that's cool, you at least want the music.
Then, after entering your information, hit: Login
Then, click on: Free Download
Click: Download in the resulting window, pick where you want the file to go (on a Mac, best to navigate to the Users folder, double-click on this, find your name and then navigate to the Desktop) and prepare for your mind to be blown, as the whole show automatically downloads.
If you're over forty, you might think this is complicated. But for Phish's demo, this is de rigueur, they navigate online like this every day.
And then listen to some of the music. This was last night! Yours to keep, to play over and over again, to the point where you want to go to the show too.
I needed to hear the band's take of "Loving Cup", a killer from "Exile On Main Street", an album with great reviews that most people don't know. The vocals are imperfect, but wait until you get to the guitar solo, it bobs and weaves like none of the playing at a recent Stones show, the band is cooking, it's positively alive!
And that's what we're looking for, not robotic repetition, but live, breathing humanity. This is the way out. Pay attention. Throw out what you know about downloading, piracy, pricing...that's all history. It's about music. Take a risk, not only in your playing, but how you reach your audience.
--
Visit the archive: lefsetz.com/wordpress/
"In the digital, searchable world, good music sells,"
Terry McBride doesn't believe all the doom and gloom spread by the big record companies these days. And he doesn't consider it depressing that 95% of digital music is now being listened to for free—he considers it an opportunity.
The CEO of Nettwerk Music Group—the record label for such artists as Sarah Maclachlan, Coldplay, and k-os—sees the future of the music business not in downloads, but in metadata and smart phone apps, he told a packed house during Berklee's annual James G. Zafris lecture.
The secret is not to try to force people to buy your song when they can find it in a hundred places for free. "Suing consumers just created new technologies that couldn't be tracked," McBride said. "How do you sue millions of people? You can't."
Instead, McBride said, the goal should be to make your song easier to access and more valuable than anything consumers could get for free.
McBride envisions a slew of metadata added to each file that doesn't just make a song more searchable, but includes many different versions of that song: a karaoke version, a clean version, a fan mix. . . . Nettwerk is currently trying to add that value to their music themselves, but McBride thinks it'll ultimately be done by crowdsourcing: the community itself will add what it wants to hear.
Where will this information be used to make connections with consumers? On smart phones, McBride said.
Over 500 million applications have been downloaded since the iPhone App Store opened 9 months ago. And with consumers replacing cell phones every two years, McBride believes that the market for smart phone–related products will take off even more dramatically. Record companies need to be part of that action.
McBride held up music-identifying app Shazam as an example of the direction the music business should be taking. When you expose your iPhone to a song that's playing, Shazam identifies the song and links you to iTunes, where you can buy it immediately.
McBride dreams of other music apps, such as a virtual valet who finds new music for you and "parks" it where you want it, a virtual maid to clean up and sort all the music files on your computer, and concert tickets that are just a barcode on your phone.
But McBride didn't call these programs music apps. He called them social apps, emphasizing that ultimately it's not technology that makes you successful in the music business, it's the connection you make with listeners.
McBride talked about record companies aligning with causes that artists support, the clothing that they wear, and so on, in order to market the whole experience. But he cautioned that sincere interest can't be faked. Companies must make sure it's an "alignment of authentic causes."
Because today's consumers mistrust advertising, money spent on these more grassroots ways of outreach can often be more effective. McBride pointed out that peer-to-peer has always been the best way of reaching people.
"Radiohead, U2—they didn't break on their first album, they broke on their third album. Consumers found it by grassroots communication," said McBride. "Bands' success is based on their ability to get consumers to advertise for them."
And while the big record companies might be sweating, McBride doesn't think that the music business has anything to worry about. "Authentic relationships at a live performance cannot be duplicated," he said. "It becomes an emotional bookmark."
The CEO of Nettwerk Music Group—the record label for such artists as Sarah Maclachlan, Coldplay, and k-os—sees the future of the music business not in downloads, but in metadata and smart phone apps, he told a packed house during Berklee's annual James G. Zafris lecture.
The secret is not to try to force people to buy your song when they can find it in a hundred places for free. "Suing consumers just created new technologies that couldn't be tracked," McBride said. "How do you sue millions of people? You can't."
Instead, McBride said, the goal should be to make your song easier to access and more valuable than anything consumers could get for free.
McBride envisions a slew of metadata added to each file that doesn't just make a song more searchable, but includes many different versions of that song: a karaoke version, a clean version, a fan mix. . . . Nettwerk is currently trying to add that value to their music themselves, but McBride thinks it'll ultimately be done by crowdsourcing: the community itself will add what it wants to hear.
Where will this information be used to make connections with consumers? On smart phones, McBride said.
Over 500 million applications have been downloaded since the iPhone App Store opened 9 months ago. And with consumers replacing cell phones every two years, McBride believes that the market for smart phone–related products will take off even more dramatically. Record companies need to be part of that action.
McBride held up music-identifying app Shazam as an example of the direction the music business should be taking. When you expose your iPhone to a song that's playing, Shazam identifies the song and links you to iTunes, where you can buy it immediately.
McBride dreams of other music apps, such as a virtual valet who finds new music for you and "parks" it where you want it, a virtual maid to clean up and sort all the music files on your computer, and concert tickets that are just a barcode on your phone.
But McBride didn't call these programs music apps. He called them social apps, emphasizing that ultimately it's not technology that makes you successful in the music business, it's the connection you make with listeners.
McBride talked about record companies aligning with causes that artists support, the clothing that they wear, and so on, in order to market the whole experience. But he cautioned that sincere interest can't be faked. Companies must make sure it's an "alignment of authentic causes."
Because today's consumers mistrust advertising, money spent on these more grassroots ways of outreach can often be more effective. McBride pointed out that peer-to-peer has always been the best way of reaching people.
"Radiohead, U2—they didn't break on their first album, they broke on their third album. Consumers found it by grassroots communication," said McBride. "Bands' success is based on their ability to get consumers to advertise for them."
And while the big record companies might be sweating, McBride doesn't think that the music business has anything to worry about. "Authentic relationships at a live performance cannot be duplicated," he said. "It becomes an emotional bookmark."
Friday, February 20, 2009
Monday, December 01, 2008
los pesito de Funk San Jose... donde estan?
Hola Estaban , saludos! Ojala todo bien.
Te cuento mas o menos lo uqe he pensado.
Funk San Jose es una propuesta singular porque conbina elementos muy diversos. Musicalmente yo lo defino dentro del genero llamado "Fusion" tambien conocido como JazzRock... LA fusion se caracteriza por tomar elementos prestados del rock,funk,blues,jazz principalmente y el truco esta en donde se mezclan y cuanto hay de cada uno. Como una receta. El virtuosismo y la energia de cada musico es aparte y es lo que le da el toque final al concepto.
En nuestro caso se trata de hacer bases ritmicas solidas y funkys (groovys) pero con armonias y metricas a veces complejas, sobre las que los musicos van agregando sus "alteregos" - digo alteregos porque la idea es crear un ambiente especial para la improvisacion "tipo jazz".
Hasta donde yo conozco no hay grupos en C.R. que se enfoquen en: 1)tocar cosas espontaneamente. 2) que la maxima sea que tiene que botar, tiene que groovear tiene que sentirse la buena vibra. Son dos elementos que yo como musico siento que le hacen falta a la escena... las bandas muy a menudo dejan de lado estos conceptos para enfrascarse en cosas mas del show,tratando de sonar a alguien espcifico famoso, y aferrandose a idea menos flexible donde todo tiene que sonar "super ensayado"
Bueno eso es desde el punto de vista musical... despues podemos profundizar mas sobre quien es cada musico y lo que aporta al proyecto; estoy seguro de que te vas a impresionar con el "curriculum" de mas de uno de ellos...pues cada uno en su campo son casi pioneros.
Ahora para el audiovisual como ya hablamos la idea seria una especia de documental/concierto en vivo.
La idea seria hacer dos conciertos, uno oficial para la grabacion y otro de preparacion (aprox. 1 mes antes). Entonces asi tendriamos para sacar tomas en ensayos, en concierto, socializando?, grabando, etc... Con Lucho hablamos de la posibilidad de mostrar algo de esto durante el 'concierto oficial'. De ese mismo footage se saca tambine un 'corto' promocional, ya sea para mandar como nota de prensa en los medios, asi como para promocion por internet para buscar conciertos internacionales, festivales de jazz, etc...
El DVD del concierto y el Doc. se puede vender tanto fisica como virtualmente y para esto ya estoy consiguiendo patrocinadores. (Maxell-Energy-Olympus)
Creo que es una forma nueva de trabajar para un grupo musical (que justamente presenta una propuesta tambien diferente musicalmente) y para una casa productora, pudiendo alcanzar otra audiencias y demostrando de una nueva manera su potencial.
Tambien esta el tema de Virbatica.com, no se si has tenido chance de ojear la pagina, te adjunto el link de nuevo: www.vibratica.com/indexNew.php
Vibratica se divide en 2 elementos basicos: 1) un catalgo de musica con shopping cart y 2) un 'Blog' informativo, completo con noticias calendario, videos, clasificados,foro,chat,radios etc...
Con mi socio pensamos que un excelente proyecto seria hacer una especia de documental donde se entreviste las bandas que participan y sobre cual es su posicion de participar en un proyecto como el de Vibratica, siendo parte de la nueva era de musica digital y el choque que se produce en la escena musical interna al poner por primera vez en la historia una discoteca virtual accesible de la musica que nos identifica. Imaginse el hueco que hay si las bandas nuevas nunca pueden oir lo que los artistas del pasado hicieron.. esto es lo que ha pasado en nuestro pais, puesto que nunca existio una industria disquera estable... en fin solo piense cuantas bandas podria seducir para hacerles videos...jejeje! o al menos tener el contacto con ellos y la base de datos de Vibratica.
No se hermano, hay que pensarlo bien! pero estoy seguro que se puede hacer mucho, a mi me parece muy completa y seria la propuesta de La Comuna y espero que juntos podamos echar una mano al desarrollo y la aculturizacion de la sociedad, sin que eso signifique dejar de ganarnos los pesitos...
Muchas gracias de corazon por creer en la musica y en lo que representa y en particular de responder al llamado/spam de funk san jose!
pura vida saludos
Te cuento mas o menos lo uqe he pensado.
Funk San Jose es una propuesta singular porque conbina elementos muy diversos. Musicalmente yo lo defino dentro del genero llamado "Fusion" tambien conocido como JazzRock... LA fusion se caracteriza por tomar elementos prestados del rock,funk,blues,jazz principalmente y el truco esta en donde se mezclan y cuanto hay de cada uno. Como una receta. El virtuosismo y la energia de cada musico es aparte y es lo que le da el toque final al concepto.
En nuestro caso se trata de hacer bases ritmicas solidas y funkys (groovys) pero con armonias y metricas a veces complejas, sobre las que los musicos van agregando sus "alteregos" - digo alteregos porque la idea es crear un ambiente especial para la improvisacion "tipo jazz".
Hasta donde yo conozco no hay grupos en C.R. que se enfoquen en: 1)tocar cosas espontaneamente. 2) que la maxima sea que tiene que botar, tiene que groovear tiene que sentirse la buena vibra. Son dos elementos que yo como musico siento que le hacen falta a la escena... las bandas muy a menudo dejan de lado estos conceptos para enfrascarse en cosas mas del show,tratando de sonar a alguien espcifico famoso, y aferrandose a idea menos flexible donde todo tiene que sonar "super ensayado"
Bueno eso es desde el punto de vista musical... despues podemos profundizar mas sobre quien es cada musico y lo que aporta al proyecto; estoy seguro de que te vas a impresionar con el "curriculum" de mas de uno de ellos...pues cada uno en su campo son casi pioneros.
Ahora para el audiovisual como ya hablamos la idea seria una especia de documental/concierto en vivo.
La idea seria hacer dos conciertos, uno oficial para la grabacion y otro de preparacion (aprox. 1 mes antes). Entonces asi tendriamos para sacar tomas en ensayos, en concierto, socializando?, grabando, etc... Con Lucho hablamos de la posibilidad de mostrar algo de esto durante el 'concierto oficial'. De ese mismo footage se saca tambine un 'corto' promocional, ya sea para mandar como nota de prensa en los medios, asi como para promocion por internet para buscar conciertos internacionales, festivales de jazz, etc...
El DVD del concierto y el Doc. se puede vender tanto fisica como virtualmente y para esto ya estoy consiguiendo patrocinadores. (Maxell-Energy-Olympus)
Creo que es una forma nueva de trabajar para un grupo musical (que justamente presenta una propuesta tambien diferente musicalmente) y para una casa productora, pudiendo alcanzar otra audiencias y demostrando de una nueva manera su potencial.
Tambien esta el tema de Virbatica.com, no se si has tenido chance de ojear la pagina, te adjunto el link de nuevo: www.vibratica.com/indexNew.php
Vibratica se divide en 2 elementos basicos: 1) un catalgo de musica con shopping cart y 2) un 'Blog' informativo, completo con noticias calendario, videos, clasificados,foro,chat,radios etc...
Con mi socio pensamos que un excelente proyecto seria hacer una especia de documental donde se entreviste las bandas que participan y sobre cual es su posicion de participar en un proyecto como el de Vibratica, siendo parte de la nueva era de musica digital y el choque que se produce en la escena musical interna al poner por primera vez en la historia una discoteca virtual accesible de la musica que nos identifica. Imaginse el hueco que hay si las bandas nuevas nunca pueden oir lo que los artistas del pasado hicieron.. esto es lo que ha pasado en nuestro pais, puesto que nunca existio una industria disquera estable... en fin solo piense cuantas bandas podria seducir para hacerles videos...jejeje! o al menos tener el contacto con ellos y la base de datos de Vibratica.
No se hermano, hay que pensarlo bien! pero estoy seguro que se puede hacer mucho, a mi me parece muy completa y seria la propuesta de La Comuna y espero que juntos podamos echar una mano al desarrollo y la aculturizacion de la sociedad, sin que eso signifique dejar de ganarnos los pesitos...
Muchas gracias de corazon por creer en la musica y en lo que representa y en particular de responder al llamado/spam de funk san jose!
pura vida saludos
El "contagio" artistico
Las tres condiciones del contagio artístico, por Tolstoi*
"Cuanto más fuerte es el contagio, tanto más verdadero es el arte, como tal arte, independientemente de su contenido, es decir, del valor de los sentimientos que nos transmite.
Y el grado del contagio artístico depende de tres condiciones: primero, de la mayor o menor singularidad, originalidad, novedad de los sentimientos expresados; segundo, de la mayor o menor claridad en la expresión de esos sentimientos; tercero, de la sinceridad del artista, o de la intensidad mayor o menor con que experimenta él mismo los sentimientos que expresa.
Cuanto más singulares y nuevos son los sentimientos, más se aferran al individuo a quien se transmiten. Este recibe una impresión tanto más viva, en cuanto es más singular y más nuevo el estado de alma al que se encuentra transportado.
La claridad con que son expresados los sentimientos determina en segundo lugar el contagio, porque, dada nuestra impresión de estar unidos con el autor, es mucho más grande nuestra satisfacción, si se encuentran claramente expresados aquellos sentimientos que, desde hace tiempo, nos parece experimentar y que acabamos de expresar felizmente.
Pero, sobre todo, el grado del contagio artístico se determina por el grado de sinceridad del artista. Desde que el espectador, el oyente, el lector, adivinan que el artista está emocionado por su propia obra, se asimilan todos sus sentimientos; y por lo contrario, cuando adivinan que el autor no produce su obra para sí mismo, que no siente lo que expresa nace en ellos un deseo de resistencia, y ni la novedad del sentimiento, ni la claridad de la expresión les lleva a la emoción deseada.
Hablo de las tres condiciones del contagio artístico; pero, en realidad, las tres se reducen a la última, que exige al artista que experimente por cuenta propia los sentimientos que expresa. Esta condición implica, en efecto, la primera, pues si el artista es sincero expresará el sentimiento tal como lo ha experimentado; y, como cada hombre difiere de los demás, los sentimientos del artista serán tanto más nuevos para los demás hombres, cuanto más profundamente los haya él experimentado. Y, de la misma manera, cuanto más sincero es el artista, con mayor claridad expresará el sentimiento nacido en su corazón.
La sinceridad es también la condición esencial del arte. Esta condición está siempre presente en el arte popular y falta casi siempre en el arte de las clases superiores, en el que el artista tiene siempre en cuenta las circunstancias de provecho, de conveniencia o de amor propio profesional.
He aquí, pues, por qué signo cierto se puede diferenciar el arte verdadero de su falsificación, y cómo es posible medir el grado de excelencia del arte, como arte en sí, independientemente de su contenido. Pero se presenta ahora otro problema: ¿por qué signo se distinguirá, en el contenido del arte, cuál es bueno y cuál es malo?"
*León Tolstoi (1828-1910) fue destacado escritor ruso, autor de obras extraordinarias como Ana Karenina y La guerra y la paz.
"Cuanto más fuerte es el contagio, tanto más verdadero es el arte, como tal arte, independientemente de su contenido, es decir, del valor de los sentimientos que nos transmite.
Y el grado del contagio artístico depende de tres condiciones: primero, de la mayor o menor singularidad, originalidad, novedad de los sentimientos expresados; segundo, de la mayor o menor claridad en la expresión de esos sentimientos; tercero, de la sinceridad del artista, o de la intensidad mayor o menor con que experimenta él mismo los sentimientos que expresa.
Cuanto más singulares y nuevos son los sentimientos, más se aferran al individuo a quien se transmiten. Este recibe una impresión tanto más viva, en cuanto es más singular y más nuevo el estado de alma al que se encuentra transportado.
La claridad con que son expresados los sentimientos determina en segundo lugar el contagio, porque, dada nuestra impresión de estar unidos con el autor, es mucho más grande nuestra satisfacción, si se encuentran claramente expresados aquellos sentimientos que, desde hace tiempo, nos parece experimentar y que acabamos de expresar felizmente.
Pero, sobre todo, el grado del contagio artístico se determina por el grado de sinceridad del artista. Desde que el espectador, el oyente, el lector, adivinan que el artista está emocionado por su propia obra, se asimilan todos sus sentimientos; y por lo contrario, cuando adivinan que el autor no produce su obra para sí mismo, que no siente lo que expresa nace en ellos un deseo de resistencia, y ni la novedad del sentimiento, ni la claridad de la expresión les lleva a la emoción deseada.
Hablo de las tres condiciones del contagio artístico; pero, en realidad, las tres se reducen a la última, que exige al artista que experimente por cuenta propia los sentimientos que expresa. Esta condición implica, en efecto, la primera, pues si el artista es sincero expresará el sentimiento tal como lo ha experimentado; y, como cada hombre difiere de los demás, los sentimientos del artista serán tanto más nuevos para los demás hombres, cuanto más profundamente los haya él experimentado. Y, de la misma manera, cuanto más sincero es el artista, con mayor claridad expresará el sentimiento nacido en su corazón.
La sinceridad es también la condición esencial del arte. Esta condición está siempre presente en el arte popular y falta casi siempre en el arte de las clases superiores, en el que el artista tiene siempre en cuenta las circunstancias de provecho, de conveniencia o de amor propio profesional.
He aquí, pues, por qué signo cierto se puede diferenciar el arte verdadero de su falsificación, y cómo es posible medir el grado de excelencia del arte, como arte en sí, independientemente de su contenido. Pero se presenta ahora otro problema: ¿por qué signo se distinguirá, en el contenido del arte, cuál es bueno y cuál es malo?"
*León Tolstoi (1828-1910) fue destacado escritor ruso, autor de obras extraordinarias como Ana Karenina y La guerra y la paz.
Friday, November 21, 2008
Thursday, October 30, 2008
Mas del incansable Bob
Bueno, al parecer mi blog se esta convirtiendo en una copia al carbon del de Bob Lefsetz, pero bueh! que le vamos a hacer? Nada mas recalco las partes que mas me gustan, asi que aqui les va otra...
Hit songs are for a laugh, or a bump on the dance floor. The antics of the drama queens and the has-beens are just that. Train-wrecks to be observed and then discarded. The mainstream media is ramping up the publicity, imploring this generation to pay attention, to stay focused. And when these young people don't, they're accused of having a short attention span. But they just have incredible shit detectors, they don't want to spend time with anything but what truly affects them, that penetrates them.
...His fans don't need him in the newspaper, don't need him on the cover of "Rolling Stone", they just need his music on their iPods
Hit songs are for a laugh, or a bump on the dance floor. The antics of the drama queens and the has-beens are just that. Train-wrecks to be observed and then discarded. The mainstream media is ramping up the publicity, imploring this generation to pay attention, to stay focused. And when these young people don't, they're accused of having a short attention span. But they just have incredible shit detectors, they don't want to spend time with anything but what truly affects them, that penetrates them.
...His fans don't need him in the newspaper, don't need him on the cover of "Rolling Stone", they just need his music on their iPods
Friday, October 24, 2008
No rules
Don't listen to Mr. Big. Telling you to put on nice clothes and play the game. Create something great. And once you get traction, utilize your most innovative, left field ideas to spread the word. There are no rules when it comes to a music career. Other than that your music must be great. No amount of innovative marketing can cover bad music up.
Tuesday, October 14, 2008
Maybe Attending!!!
From An Artist Inbox X Lefsetz X
from Bob Lefsetz
to gwiernik@gmail.com
date Sat, Oct 11, 2008 at 1:16 AM
subject From An Artist
hide details Oct 11 (3 days ago)
Reply
Hi Bob, just a quick email to say: you rock, I love reading your letters and thank you!
As an artist working in this crazy industry (Jem - ATO records), I am happy to say from the beginning I have always marched, actually I should probably say skipped, to the beat of my own drum. I am happy and proud to be following my heart and my musical calling without bowing down to the pressures of this often nonsensical bizness. (I have noticed this kind of attitude sometimes annoys, sometimes intimidates, and sometimes instills joy in music biz people).
After just one album cycle I had pretty much seen enough. When the art meets the commerce it's not pretty, and is usually quite a struggle. At least for anyone with half a brain. Once I learnt not to take anything personally and not to expect logic to be applied in many situations, I became a lot happier..!
As for this current financial crisis, on a much smaller level, I was once apologised to at a radio convention by a lovely radio programmer who told me she felt terrible that my song 'They' had been taken off the air as it wasn't 'researching well' with new listeners. (As you know I think that means playing 15/20 secs of the beginning of a song down a telephone to random people they call up. I did later get #1 for female listeners and #2 for male listeners for the same song in Salt Lake City so hooray for that!) She was frustrated because as she explained, apparently hoards of their loyal everyday listeners had been calling in every hour asking about the same song and requesting it. She felt bad as it was out of her hands, I had already implemented the necessary emotional tools of the previous paragraph, and like people, so I felt bad for her. It was a curious conversation. Anyway, that was years ago, but in light of the current chaos, I don't think the public realise how often they/we are getting shafted.
How fantastic then, the revolution that is now made possible with the internet. How wonderful to be able to connect directly to the people who enjoy one's music. As the guy in Grease says "the rules are, there are no rules". The unending possibilities of communication and speading of positivity, music, thoughts and messages makes me feel as free as a bird. I've never liked 'standard' practices, this is how an album is promoted - steps A, B, C. We all know just like with the movie industry there are channels you can follow, but thankfully there are always exceptions to the rule. It is a form of art after all, the energy around it should be fluid.
I've always known if I make good music that I love, everything will take care of itself, there's no other thought process. And wonderfully, people help spread the word because I think they feel that. It's genuine and honest and perhaps there's not too much of that around. As you say, music with a heart, a soul that moves you is what we all want - along with some fun tracks for bumping and grinding to in the car, well, at least in my case ;)
All the best and have a great weekend,
Jem
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from Gabriel Wiernik
to Bob Lefsetz
date Tue, Oct 14, 2008 at 12:18 AM
subject Re: From An Artist
mailed-by gmail.com
hide details 12:18 AM (8 minutes ago)
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Hi Bob! The truth is today I clicked on more than 10 "Maybe Attending" event invitations on my Facebook profile, and I thought: what good it would do for me to promote my self (band, website, concert, etc) in this over-saturated Internet?? Of course I go and do it, it's definitely the best way to reach my hard core fan base, but I'm not breaking ground really, I'm not reaching new audiences.
Since there isn't really nothing meaningful that differentiates one event from the other, how do I manage to stand out next to all this homogeneity, in the uniformity of the process in which I promote 'something' on a social network??
The mainstream is also saturated, of something else... not indie. Rock stars. And that is simple because they were rock stars even by the time when we were starting to be common ordinary people.
So we have, Internet for the indies and mainstream for music legends. Ironically these mythic quality of the music history stars and acts gave birth to the "disposable bands, ordinary trivial, almost non artistic, commercial label music" but with a hint of epics all can be aesthetically corrected.
Then again I was taught that as a 21st century artist, mainstream promotion is impossible, I'm not supposed to even think about this possibility.
What I can use is the Internet, but then I find my fan base is divided in two: a) the ones who can get a complete album from the Internet (buying it,torrent, etc) b) the ones that really don't know how to do this, it's amazing how many people don't know how to download a record (I don't know how to do it!) And don't think they buy records in music stores either, they 'll just get a couple of songs from a friend's iPod. These "b" people are potential fans, but I wouldn't bet any money saying that it was because of E-promotion that they actually went to one of my gigs. Most probably they'd go if a friend tells them is good music and invites them.
How ever there is a small portion of bands that sell enough Cd's to live their music careers quite successfully, and enjoy a little bit of both worlds. Which I think it is what's worth aspiring for now a days. Decent, noble, humble dreams that can come true with a lot of work, I think if you get that then you are a successful artist. Todays society has evolved almost magically in creating these kind of environment in which honesty makes you stand out and let your art be appreciated. This is something positive and the trick is still the same, getting to be true to yourself
?????
- Show quoted text -
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Gabriel Wiernik
Vibratica.com
"Mas musica para mas gente."
cel:8860 5663
tel/fax:2255 4285
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from Bob Lefsetz
to gwiernik@gmail.com
date Sat, Oct 11, 2008 at 1:16 AM
subject From An Artist
hide details Oct 11 (3 days ago)
Reply
Hi Bob, just a quick email to say: you rock, I love reading your letters and thank you!
As an artist working in this crazy industry (Jem - ATO records), I am happy to say from the beginning I have always marched, actually I should probably say skipped, to the beat of my own drum. I am happy and proud to be following my heart and my musical calling without bowing down to the pressures of this often nonsensical bizness. (I have noticed this kind of attitude sometimes annoys, sometimes intimidates, and sometimes instills joy in music biz people).
After just one album cycle I had pretty much seen enough. When the art meets the commerce it's not pretty, and is usually quite a struggle. At least for anyone with half a brain. Once I learnt not to take anything personally and not to expect logic to be applied in many situations, I became a lot happier..!
As for this current financial crisis, on a much smaller level, I was once apologised to at a radio convention by a lovely radio programmer who told me she felt terrible that my song 'They' had been taken off the air as it wasn't 'researching well' with new listeners. (As you know I think that means playing 15/20 secs of the beginning of a song down a telephone to random people they call up. I did later get #1 for female listeners and #2 for male listeners for the same song in Salt Lake City so hooray for that!) She was frustrated because as she explained, apparently hoards of their loyal everyday listeners had been calling in every hour asking about the same song and requesting it. She felt bad as it was out of her hands, I had already implemented the necessary emotional tools of the previous paragraph, and like people, so I felt bad for her. It was a curious conversation. Anyway, that was years ago, but in light of the current chaos, I don't think the public realise how often they/we are getting shafted.
How fantastic then, the revolution that is now made possible with the internet. How wonderful to be able to connect directly to the people who enjoy one's music. As the guy in Grease says "the rules are, there are no rules". The unending possibilities of communication and speading of positivity, music, thoughts and messages makes me feel as free as a bird. I've never liked 'standard' practices, this is how an album is promoted - steps A, B, C. We all know just like with the movie industry there are channels you can follow, but thankfully there are always exceptions to the rule. It is a form of art after all, the energy around it should be fluid.
I've always known if I make good music that I love, everything will take care of itself, there's no other thought process. And wonderfully, people help spread the word because I think they feel that. It's genuine and honest and perhaps there's not too much of that around. As you say, music with a heart, a soul that moves you is what we all want - along with some fun tracks for bumping and grinding to in the car, well, at least in my case ;)
All the best and have a great weekend,
Jem
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from Gabriel Wiernik
to Bob Lefsetz
date Tue, Oct 14, 2008 at 12:18 AM
subject Re: From An Artist
mailed-by gmail.com
hide details 12:18 AM (8 minutes ago)
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Hi Bob! The truth is today I clicked on more than 10 "Maybe Attending" event invitations on my Facebook profile, and I thought: what good it would do for me to promote my self (band, website, concert, etc) in this over-saturated Internet?? Of course I go and do it, it's definitely the best way to reach my hard core fan base, but I'm not breaking ground really, I'm not reaching new audiences.
Since there isn't really nothing meaningful that differentiates one event from the other, how do I manage to stand out next to all this homogeneity, in the uniformity of the process in which I promote 'something' on a social network??
The mainstream is also saturated, of something else... not indie. Rock stars. And that is simple because they were rock stars even by the time when we were starting to be common ordinary people.
So we have, Internet for the indies and mainstream for music legends. Ironically these mythic quality of the music history stars and acts gave birth to the "disposable bands, ordinary trivial, almost non artistic, commercial label music" but with a hint of epics all can be aesthetically corrected.
Then again I was taught that as a 21st century artist, mainstream promotion is impossible, I'm not supposed to even think about this possibility.
What I can use is the Internet, but then I find my fan base is divided in two: a) the ones who can get a complete album from the Internet (buying it,torrent, etc) b) the ones that really don't know how to do this, it's amazing how many people don't know how to download a record (I don't know how to do it!) And don't think they buy records in music stores either, they 'll just get a couple of songs from a friend's iPod. These "b" people are potential fans, but I wouldn't bet any money saying that it was because of E-promotion that they actually went to one of my gigs. Most probably they'd go if a friend tells them is good music and invites them.
How ever there is a small portion of bands that sell enough Cd's to live their music careers quite successfully, and enjoy a little bit of both worlds. Which I think it is what's worth aspiring for now a days. Decent, noble, humble dreams that can come true with a lot of work, I think if you get that then you are a successful artist. Todays society has evolved almost magically in creating these kind of environment in which honesty makes you stand out and let your art be appreciated. This is something positive and the trick is still the same, getting to be true to yourself
?????
- Show quoted text -
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Gabriel Wiernik
Vibratica.com
"Mas musica para mas gente."
cel:8860 5663
tel/fax:2255 4285
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Wednesday, October 08, 2008
$%^ROKET.COM&*(
The day the CD is dead is not far off. 548,052 of Coldplay's 1,773,932 albums have been sold digitally. And they own the second biggest album of the year. I'd say that's a true indicator. That soon people will only want the file.
Tuesday, September 30, 2008
WTF?? Aha!!...
From: Clayton Gumbert
Subject: Re: Today's Tracks
Bob -
"Say That You Love Me"
Did you know that women no longer talk on the phone? At least young women. They text. The nuances of male/female interaction have been lost because now we have Blackberries. Women no longer have to learn to lie effectively over the phone. They can send you a text to blow you off or just not respond to you at all. And you can't call to try and charm them with your rapier wit or mastery of the English language. That's passe. It's like your Grandpa who still has a rotary dial. If you can't type on your phone fast enough, you lose the chance to make a joke and get her to think you're clever. The rhythm is ruined. I met up with an old classmate this weekend. I knew there was interest there and I wanted to see what would come of it. She was one of those acquaintances where you kind of circle around each other and size each other up for years until you decide to give it a go. I felt that rush of excitement. Finally! Let's see what we can do! Well, after she drunkenly told me that I was, "too smart to be following my dreams," and that, "I should be a lawyer, because I could be making 6 figures," I asked her point blank if she would rather she me be rich and a lawyer, or happy and following my muse. She picked the former. And she meant it! Because her rich (and miserable) parents and her overprivileged (and also miserable) friends would never accept me because my aspirations are not respectable (i.e. lucrative). The sad thing is I know this woman had potential. I saw glimmers of it. But that's not enough. I don't want to be famous and I don't need to be rich. Let's face it, I'll probably be neither. That doesn't make me sad. What makes me sad is that we have become so isolated as people, so materially driven that it's hard to really connect with anyone. I want someone I can watch "Jeopardy" with. I suck at "Jeopardy". The only questions I get right are the pop culture ones. That's not the point. The point is, I ask for so little out of life and yet I feel like I can't even get that. I'm willing to put myself on the line, but I don't think the channels are open for anyone to receive the message anymore.
Subject: Re: Today's Tracks
Bob -
"Say That You Love Me"
Did you know that women no longer talk on the phone? At least young women. They text. The nuances of male/female interaction have been lost because now we have Blackberries. Women no longer have to learn to lie effectively over the phone. They can send you a text to blow you off or just not respond to you at all. And you can't call to try and charm them with your rapier wit or mastery of the English language. That's passe. It's like your Grandpa who still has a rotary dial. If you can't type on your phone fast enough, you lose the chance to make a joke and get her to think you're clever. The rhythm is ruined. I met up with an old classmate this weekend. I knew there was interest there and I wanted to see what would come of it. She was one of those acquaintances where you kind of circle around each other and size each other up for years until you decide to give it a go. I felt that rush of excitement. Finally! Let's see what we can do! Well, after she drunkenly told me that I was, "too smart to be following my dreams," and that, "I should be a lawyer, because I could be making 6 figures," I asked her point blank if she would rather she me be rich and a lawyer, or happy and following my muse. She picked the former. And she meant it! Because her rich (and miserable) parents and her overprivileged (and also miserable) friends would never accept me because my aspirations are not respectable (i.e. lucrative). The sad thing is I know this woman had potential. I saw glimmers of it. But that's not enough. I don't want to be famous and I don't need to be rich. Let's face it, I'll probably be neither. That doesn't make me sad. What makes me sad is that we have become so isolated as people, so materially driven that it's hard to really connect with anyone. I want someone I can watch "Jeopardy" with. I suck at "Jeopardy". The only questions I get right are the pop culture ones. That's not the point. The point is, I ask for so little out of life and yet I feel like I can't even get that. I'm willing to put myself on the line, but I don't think the channels are open for anyone to receive the message anymore.
Donde estamos con respecto al "Music Bizz"
From: Charles Kennedy
Subject: Can't even GIVE it away
Hey Bob
I run Invisible Hands Music, London indie label, home of Thomas Dolby, (ex Strangler) Hugh Cornwell and the (reformed with new singer) Jam.
Our roster has included various other artists, and we had a stock clearout the other day, put boxes of old stock on the pavement with various charming variations of "Take me, I'm free" written on. The CDs were mostly by a semi-well known Britpop band, six Top 40 singles in their heyday. And in any case, great packaging, titles etc. I could watch out the office window (in a hip street, 120,000 rock n roll-friendly visitors each day of every weekend) how people reacted to the giveaway. The vast majority of people who stopped would pick up a CD, look at it, flip it over, look at it a bit more, then put it back. Even in the one street in Europe most devoted to the pursuit of the rock n roll dream, you literally can't give away the physical product any more. Even though, as an indie label, I rely on shipping physical product, I couldn't help giggle at the idiots at the majors who think there's a future in selling recorded music, esp in CD form. It's laughable. They should put a few boxes of one of their great new bands out on the street and see how the public feel about their crappy bands.
mas info: Visit the archive: http://lefsetz.com/wordpress/
iTunes Top 10 Songs
*Pink - So what
*TI - Whatever you like
*Jason Mraz - I'm yours
*Rihanna - Disturbia
*Various Artists - Just stand up!
*M.I.A. - Paper planes
*Flo Rida - In the ayer
*Katy Perry - Hot n cold
*The Pussycat Dolls - When I grow up
*Coldplay - Viva la vida
iLike Top Five Songs
*Jason Mraz - I'm yours
*Jonas Brothers - Burnin' up
*Conor Oberst - Cape Canaveral
*Jonas Brothers - A little bit longer
Rock Radio Top 10
*Metallica - The day that never comes
*AC/DC - Rock n' Roll train
*Saving Abel - Addicted
*Staind - Believe
*Disturbed - Inside the fire
*Theory of a dead man - Bad girlfriend
*Hinder - Use me
*Shinedown - Devour
*Foo Fighters - Let it die
*Buckcherry - Too drunk
(fuente: revista Rolling Stone_Oct.'08)
Subject: Can't even GIVE it away
Hey Bob
I run Invisible Hands Music, London indie label, home of Thomas Dolby, (ex Strangler) Hugh Cornwell and the (reformed with new singer) Jam.
Our roster has included various other artists, and we had a stock clearout the other day, put boxes of old stock on the pavement with various charming variations of "Take me, I'm free" written on. The CDs were mostly by a semi-well known Britpop band, six Top 40 singles in their heyday. And in any case, great packaging, titles etc. I could watch out the office window (in a hip street, 120,000 rock n roll-friendly visitors each day of every weekend) how people reacted to the giveaway. The vast majority of people who stopped would pick up a CD, look at it, flip it over, look at it a bit more, then put it back. Even in the one street in Europe most devoted to the pursuit of the rock n roll dream, you literally can't give away the physical product any more. Even though, as an indie label, I rely on shipping physical product, I couldn't help giggle at the idiots at the majors who think there's a future in selling recorded music, esp in CD form. It's laughable. They should put a few boxes of one of their great new bands out on the street and see how the public feel about their crappy bands.
mas info: Visit the archive: http://lefsetz.com/wordpress/
iTunes Top 10 Songs
*Pink - So what
*TI - Whatever you like
*Jason Mraz - I'm yours
*Rihanna - Disturbia
*Various Artists - Just stand up!
*M.I.A. - Paper planes
*Flo Rida - In the ayer
*Katy Perry - Hot n cold
*The Pussycat Dolls - When I grow up
*Coldplay - Viva la vida
iLike Top Five Songs
*Jason Mraz - I'm yours
*Jonas Brothers - Burnin' up
*Conor Oberst - Cape Canaveral
*Jonas Brothers - A little bit longer
Rock Radio Top 10
*Metallica - The day that never comes
*AC/DC - Rock n' Roll train
*Saving Abel - Addicted
*Staind - Believe
*Disturbed - Inside the fire
*Theory of a dead man - Bad girlfriend
*Hinder - Use me
*Shinedown - Devour
*Foo Fighters - Let it die
*Buckcherry - Too drunk
(fuente: revista Rolling Stone_Oct.'08)
Saturday, September 27, 2008
mas de Trent/NIN y Lefsetz
"HELP ME
I broke apart my insides
HELP ME
I've got no soul to sell
HELP ME
The only thing that works for me
Help me get away from myself"
That's what we're looking for. HELP! To make sense of this confusing world within which we live. The media says one thing, but we feel another. We want understanding and release. Trent delivers both.
"I want to fuck you like an animal
I want to fuck you from the inside
I want to fuck you like an animal
My whole existence is flawed
You get me closer to God"
I broke apart my insides
HELP ME
I've got no soul to sell
HELP ME
The only thing that works for me
Help me get away from myself"
That's what we're looking for. HELP! To make sense of this confusing world within which we live. The media says one thing, but we feel another. We want understanding and release. Trent delivers both.
"I want to fuck you like an animal
I want to fuck you from the inside
I want to fuck you like an animal
My whole existence is flawed
You get me closer to God"
Friday, September 26, 2008
¿Qué es el arte?, reflexiones de Tolstoi*
"Sobre esta aptitud del hombre para experimentar los sentimientos que experimenta otro, está fundada la forma de actividad que se llama arte. Pero el arte propiamente dicho no empieza hasta que aquel experimenta una emoción y, queriendo comunicarla a otros, recurre para ello a signos exteriores. Tomemos un ejemplo bien sencillo. Un niño ha tenido miedo de encontrarse con un lobo y explica su encuentro; y para evocar en sus oyentes la emoción que ha experimentado, les describe los objetos que le rodeaban, la selva, el estado de descuido en que se hallaba su espíritu, luego la aparición del lobo, sus movimientos, la distancia que les separaba, etcétera. Todo esto es arte, si el niño, contando su aventura, pasa de nuevo por los sentimientos que experimentó, y si sus oyentes, subyugados por el sonido de su voz, sus ademanes y sus imágenes, experimentan sensación análoga. Incluso si el niño no ha visto jamás un lobo, pero tiene miedo de encontrarlo, y deseando comunicar a otros el miedo que ha sentido, inventa el encuentro con un lobo, y lo cuenta de modo que comunique a sus oyentes el miedo que siente, todo esto será también arte. Arte hay en que un hombre, habiendo experimentado miedo o deseo, en realidad o imaginativamente, exponga sus sentimientos en la tela o en el mármol, de modo que los haga experimentar por otros. Hay arte si un hombre siente o cree sentir emociones de alegría, de tristeza, desesperación, valor o abatimiento, así como la transmisión de una de esas emociones a otros, si expresa todo esto por medio de sonidos que permitan a otros sentir lo que sintió.
Los sentimientos que el artista comunica a otros pueden ser de distinta especie, fuertes o débiles, importantes o insignificantes, buenos o malos; pueden ser de patriotismo, de resignación, de piedad; pueden expresarse por medio de un drama, de una novela, de una pintura, de un baile, de un paisaje, de una fábula. Toda obra que los expresa así es obra de arte.
Desde que los espectadores o los oyentes experimentan los sentimientos que el autor expresa, hay obra de arte.
Evocar en sí mismo un sentimiento ya experimentado y comunicarlo a otros por medio de líneas, colores, imágenes verbales, tal es el objeto propio del arte. Esta es una forma de la actividad humana, que consiste en transmitir a otro los sentimientos de un hombre, conciente y voluntariamente por medio de ciertos signos exteriores. Los metafísicos se engañan viendo en el arte la manifestación de una idea misteriosa de la Belleza o de Dios; el arte tampoco es, como pretenden los tratadistas de estética fisiólogos, un juego en el que el hombre gasta su exceso de energía; tampoco es la expresión de las emociones humanas por signos exteriores; no es tampoco una producción de objetos agradables; menos aún es un placer: es un medio de fraternidad entre los hombres que les une en un mismo sentimiento, y por lo tanto, es indispensable para la vida de la humanidad y para su progreso en el camino de la dicha."
Les dejo este video para ilustrar el texto
http://www.youtube.com/watch?v=9Ql53x-3WAI
*León Tolstoi (1828-1910) fue destacado escritor ruso, autor de obras extraordinarias como Ana Karenina y La guerra y la paz.
Los sentimientos que el artista comunica a otros pueden ser de distinta especie, fuertes o débiles, importantes o insignificantes, buenos o malos; pueden ser de patriotismo, de resignación, de piedad; pueden expresarse por medio de un drama, de una novela, de una pintura, de un baile, de un paisaje, de una fábula. Toda obra que los expresa así es obra de arte.
Desde que los espectadores o los oyentes experimentan los sentimientos que el autor expresa, hay obra de arte.
Evocar en sí mismo un sentimiento ya experimentado y comunicarlo a otros por medio de líneas, colores, imágenes verbales, tal es el objeto propio del arte. Esta es una forma de la actividad humana, que consiste en transmitir a otro los sentimientos de un hombre, conciente y voluntariamente por medio de ciertos signos exteriores. Los metafísicos se engañan viendo en el arte la manifestación de una idea misteriosa de la Belleza o de Dios; el arte tampoco es, como pretenden los tratadistas de estética fisiólogos, un juego en el que el hombre gasta su exceso de energía; tampoco es la expresión de las emociones humanas por signos exteriores; no es tampoco una producción de objetos agradables; menos aún es un placer: es un medio de fraternidad entre los hombres que les une en un mismo sentimiento, y por lo tanto, es indispensable para la vida de la humanidad y para su progreso en el camino de la dicha."
Les dejo este video para ilustrar el texto
http://www.youtube.com/watch?v=9Ql53x-3WAI
*León Tolstoi (1828-1910) fue destacado escritor ruso, autor de obras extraordinarias como Ana Karenina y La guerra y la paz.
Thursday, September 25, 2008
mi dolor
mi dolor va en minuscula, porque es solo eso...
"mi dolor" lo escribo en minuscula porque es solamente eso: mi dolor
obviamente que es mio, y como yo, esta vivo,
obviamente estoy vivo.
Por fin algo mio!
"mi dolor" lo escribo en minuscula porque es solamente eso: mi dolor
obviamente que es mio, y como yo, esta vivo,
obviamente estoy vivo.
Por fin algo mio!
Wednesday, September 24, 2008
legitimizando la autenticidad
That's what it's about. Rich or poor. Privileged or not. Waking up to the light and embracing the day. It's yours to cast, to mold into your heart's desire. And when you get it right, the memory stays with you forever.
James Taylor s' material, his impact, was so rich and to the heart that he can still tour today. You see, we want to remember...
Visit the archive: http://lefsetz.com/wordpress/
...But the performers provided their own heat, their own energy, you could have added their power to the grid. It emanated from deep inside, who they were as opposed to what the music industry had tacked on to them.
"The movies are a mother to me
There's nothing like a good movie
To mother me back to sanity
When I have gone insane"
James Taylor s' material, his impact, was so rich and to the heart that he can still tour today. You see, we want to remember...
Visit the archive: http://lefsetz.com/wordpress/
...But the performers provided their own heat, their own energy, you could have added their power to the grid. It emanated from deep inside, who they were as opposed to what the music industry had tacked on to them.
"The movies are a mother to me
There's nothing like a good movie
To mother me back to sanity
When I have gone insane"
Tuesday, September 23, 2008
Message from Trent:
Hello everyone.
I'd like to thank everyone for a very successful year so far in the world of Nine Inch Nails. I'm enjoying my couple of weeks off between legs of our Lights In The Sky tour and got to thinking... "wouldn't it be fun to send out a survey to everyone that's shown interest in NIN?" Well, that's not exactly how it went, but regardless - here it is. As we've moved from the familiar world of record labels and BS into the unknown world of doing everything yourself, we've realized it would benefit us and our ability to interact with you if we knew more about what you want, what you like, what you look like naked, etc. I know it's a pain in the ass but we'd truly appreciate it if you'd take a minute and help us out. As an incentive, everyone who completes the survey will be able to download a video of live performance from this most recent tour (and I know what's going through your little minds right now: "I'll just grab this off a torrent site and not have to fill out the survey!!!" and guess what? You will be able to do just that and BEAT THE SYSTEM!!!! NIN=pwn3d!!!)
BUT
What if we were to select some of those that DO complete the survey and provide them with something really cool? I'm not saying we'll ever get around to it, but if we did maybe something like signed stuff, flying someone to a show somewhere in the world, a magic amulet that makes you invisible, a date with Jeordie White (condoms supplied of course), you know - something cool. See, you'd miss that opportunity AND be a cheater.
Do the right thing - help us out. You'll feel better.
Thank you and I've had too much caffeine this morning,
Trent
Visit here to take the survey:
https://www.questionpro.com/akira/TakeSurvey?id=1049187
I'd like to thank everyone for a very successful year so far in the world of Nine Inch Nails. I'm enjoying my couple of weeks off between legs of our Lights In The Sky tour and got to thinking... "wouldn't it be fun to send out a survey to everyone that's shown interest in NIN?" Well, that's not exactly how it went, but regardless - here it is. As we've moved from the familiar world of record labels and BS into the unknown world of doing everything yourself, we've realized it would benefit us and our ability to interact with you if we knew more about what you want, what you like, what you look like naked, etc. I know it's a pain in the ass but we'd truly appreciate it if you'd take a minute and help us out. As an incentive, everyone who completes the survey will be able to download a video of live performance from this most recent tour (and I know what's going through your little minds right now: "I'll just grab this off a torrent site and not have to fill out the survey!!!" and guess what? You will be able to do just that and BEAT THE SYSTEM!!!! NIN=pwn3d!!!)
BUT
What if we were to select some of those that DO complete the survey and provide them with something really cool? I'm not saying we'll ever get around to it, but if we did maybe something like signed stuff, flying someone to a show somewhere in the world, a magic amulet that makes you invisible, a date with Jeordie White (condoms supplied of course), you know - something cool. See, you'd miss that opportunity AND be a cheater.
Do the right thing - help us out. You'll feel better.
Thank you and I've had too much caffeine this morning,
Trent
Visit here to take the survey:
https://www.questionpro.com/akira/TakeSurvey?id=1049187
Simple, no?
Honest, human, emotion... These are absent from the mainstream music business, and that's why it's in decline.
Wednesday, September 17, 2008
La antropologia de Vibratica
...conventional wisdom, what is jammed down our throats by people with an agenda, often bears no relation to reality, to truth.
(Para recordarme de esto cuando dirija Vibratica)
gente conectandose entre ellos a un nivel profundo pero sin tanta reponsabilidad
" new forms of community creates new forms of self-understanding "
... seriously playful participatory media culture (which is extended into the real world..)
remix (of) the culture!
porque hay valores culturales que no prevalecen tanto como nos gustaria y por eso los remarcamos y sobre-exponemos de diferentes maneras
linking people in new ways
"global connections transcending space and time"
"user-generated distribution"
"media is not content, media is not tools of communication...think of media as mediating human relationships"
so when media change then human relationships change
mas info http://www.youtube.com/watch?v=TPAO-lZ4_hU
(Para recordarme de esto cuando dirija Vibratica)
gente conectandose entre ellos a un nivel profundo pero sin tanta reponsabilidad
" new forms of community creates new forms of self-understanding "
... seriously playful participatory media culture (which is extended into the real world..)
remix (of) the culture!
porque hay valores culturales que no prevalecen tanto como nos gustaria y por eso los remarcamos y sobre-exponemos de diferentes maneras
linking people in new ways
"global connections transcending space and time"
"user-generated distribution"
"media is not content, media is not tools of communication...think of media as mediating human relationships"
so when media change then human relationships change
mas info http://www.youtube.com/watch?v=TPAO-lZ4_hU
What kind of crazy fucked up world do we live in where politics is more interesting than music
What kind of crazy fucked up world do we live in where politics is more interesting than music?
Sunday, July 27, 2008
Tuesday, July 08, 2008
Concierto Funk San Jose
Hola gente! hoy tengo la grata alegria de escribirles con un disco nuevo en la mano, es la grabacion del concierto debut de Funk San Jose en el Jazz Cafe San Pedro el miercoles 2 de julio del 2008... jaja pueden oir algunas piezas en www.myspace.com/funksanjose
Los invito a dejar sus comentarios y leer las resenas de prensa abajo de la info del grupo... por lo demas puedo decir que fue un chivo muy muy divertido y diferente... todos! tanto musicos como publico creo que la pasamos muy muy groooooovvyyyyy.
Especiales agradecimientos a:
Melissa Magarici por toda la ayuda y por encargarse de los visuales!!
Draxe Ramirez por encargarse de que todo sonara delicioso y quedara grabado perfecto (bueno casi..)
Fabiola DeMezerville por la prensa y por conseguir la fecha por supuesto!
A los musicos por apuntarse!!
y a toda la gente que fue a matizar
Ay! Ay!
Los invito a dejar sus comentarios y leer las resenas de prensa abajo de la info del grupo... por lo demas puedo decir que fue un chivo muy muy divertido y diferente... todos! tanto musicos como publico creo que la pasamos muy muy groooooovvyyyyy.
Especiales agradecimientos a:
Melissa Magarici por toda la ayuda y por encargarse de los visuales!!
Draxe Ramirez por encargarse de que todo sonara delicioso y quedara grabado perfecto (bueno casi..)
Fabiola DeMezerville por la prensa y por conseguir la fecha por supuesto!
A los musicos por apuntarse!!
y a toda la gente que fue a matizar
Ay! Ay!
Tuesday, June 17, 2008
Bit-0
Recien subi unos videos a Youtube, son de la presentacion en Semana U, asi que aunque el audio no es muy bueno vale la pena verlos hasta donde aguanten ... jaja!
Saturday, May 24, 2008
cancion nueva
hola amigos tengo una cancion nueva en mi www.myspace.com/poseplastictrooprecords
Se llama Mars Attacks Ass o ''los marcianos atacan el trasero'' y aunque no hay ninguna hitoria especifa detras del nombre mejor no preguntar...si! no pregunten porque se llama asi porque en realidad simplemente se me ocurrio que calzaba el nombre con la musica...
Se llama Mars Attacks Ass o ''los marcianos atacan el trasero'' y aunque no hay ninguna hitoria especifa detras del nombre mejor no preguntar...si! no pregunten porque se llama asi porque en realidad simplemente se me ocurrio que calzaba el nombre con la musica...
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