Indie Maximum Exposure List: Me vs Billboard? You Bet!

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Posted by Corey on October 21, 2009

One week prior to my panel at the New Music Seminar in Chicago, Tom Silverman called me and suggested  I take a look at something “truly amazing” that he was going to email me before arriving in Chicago. After a lovely conversation about holistic changes in the way music is consumed and experienced, we hung up…

…..and the phone rang. It was friend, comrade, and fellow panelist Ariel Hyatt. “Did Tom Silverman send you the ri-DIC-ulous list from Billboard? I’m bringing it to our hotel room.”
And she did.

In September 2008, Billboard reported that they “decided to geek out with 20 promotions and publicity experts across genres and mediums to create the ultimate multimedia metric: Our first Maximum Exposure list.”

Items listed include:

#2: PERFORMANCES ON “THE OPRAH WINFREY SHOW”
#35: COVER STORY IN ROLLING STONE
#71: TOUR SPONSORSHIP WITH LEADING MOBILE CARRIER
#89: SONG PLAYED ON ABC’S ‘DANCING WITH THE STARS’
If you aren’t U2, It’s quite possibly the most ridiculous list floating around out there, so much so that i hesitate to even link to it out of fear an artist may be wooed by the shiny things (and damaged dreams) which await.

At New Music Seminar (the best music conference i’ve been to in 4 or more years), Digital Music News moderated & covered our panel discussion about the true hilarity of Billboard’s list. Paul Resnikoff guided us through a discussion about the reality of exposure in today’s climate. We discussed 1,000 true fans and the significance of multimedia multichannel relationships with music lovers. When it was all over, in true (superwoman) form, Ariel turned to me and said “we’re making our own list, Corey. I’ll email you.”
And she did.

“I want your top 5,” she asked.
With descriptions?
“yes, like the billboard thing, but not insane. Give an example with reapandsow artists if you have some.”
OK!

Ariel Hyatt assembled her “Dream Team” collected our answers, and published The Indie Maximum Exposure List. I spent a long time with the ri-DIC-ulous Billboard Maximum Exposure List, and tried to mimic it as best i could, but with a flair of, well, **Reality**

What an honor to be part of such an amazing project. Thanks, Ariel!

Ariel Hyatt’s Dream Team: Jed Carlson (co-founder & coo reverb nation), Randy Chertkow & Jason Feehan (authors, Indie Band Survival Guide), Corey Denis (um, that’s me, totally honored), Christina Duren (Ariel Publicity), Christopher Gesualdi (Ariel Publicity), Rick Goetz (former A&R Elektra, Music Supervisor), Tom Jackson (Produer), Erik Philbrook (AVP Marketing, ASCAP), Lou Plaia (founder, VP Music Industry Relations), Michele Samuel (principal, Beautiful Day Entertainment), Tom Silverman (founder, chairman, ceo, Tommy Boy Records), Derek Sivers (founder, CD Baby), Jonathan Coulton (musician), Matthew Ebel (musician), Carla Lynne Hall (musician & marketing consultant), Derek Nicoletto (musician), Phil Putnam (musician), Dudley Saunders (musician), Jennie Walker (musician), Jason Walsmith (The Nadas, Authentic Records)

The Indie Maximum Exposure List, was featured today on Hypebot.  I’ve posted my top 5 entries below.

check out the full pdf, with all 100 tips, at hypebot.

Indie Maximum Exposure List: My Top vs. Billboard’s Top 100

1. Sponsored streaming or live show through Reverb Nation, Pandora, imeem, Rhapsody Rocks
Hello, licensing. All of these media companies currently connect music with advertising & sponsorships which can help you get maximum (and trackable) exposure for your music. This is your Johnny Carson. This is your Oprah. if you get this, you will be exposed to over 40 million potential new & genuine music fans with high consumption rates on the web. All three companies have engaged in advertising programs which can promote a new release in a stream packaged in an advertisement. Read about Reverb Nation’s DIY Song Sponsorships here, or Pandora’s sponsored album releases here.
Tip: all of these companies are engaging or about to engage in sponsored video streams. Prepare now. Get your videos together now. Watch their video series & follow their news.
Live Music Component: Rhapsody has been promoting independent live shows for 3 years, with it’s Rhapsody Rocks series. reapandsow’s Big Light was featured in Rhapsody Rocks San Francisco where every band was sponsored, and therefore paid appropriately and featured on a Rhapsody Rocks playlist. Remember, these placements are just another 15 minutes if you don’t make a connection with every single person who connects with you about their experience with your music. Know who is listening and thank them.
Tip: You are not ready to begin pitching for this until you have 700 – 1000 true fans on Facebook and/ or Twitter (or whichever network you use).

2. You Say Rolling Stone, I say Hot Lips: Get a Live Show Review on Jambase, Appear on Jambase TV, Perform In Their Office For Jambase Live
Jambase has become the source for Live Music exposure online. Recently, reapandsow artists Big Light & Nathan Moore teamed up for Jambase Live & the crowd went wild. Jambase is not just a source for how to see live music – more than a 50,000,000  music lovers participate in the JamBase community, with massive syndication generating 750,000 unique visits every month. Think it’s just for Jam Bands? You’re wrong. It’s not.  Jambase has the most accurate show listings online, for more than 50,000 artists across 50 genres, performing in 50,000 venues worldwide. JamBase is headquartered in San Francisco and has been around for 10 years. Find them online jambase.com. Go say hi. now.

3. Spin Magazine Doesn’t Exist: Album review on Stereogum (buzznet), My Old Kentucky Blog, Largehearted Boy, Gorilla Vs Bear
Tip: first read these blogs and determine if your music is appropriate, and contact bloggers in accordance with a planned digital strategy. Pork is the other white meat, and these top music blogs are the other Spin Magazine. A review on any of these music review blogs will get you exposure to at least 10,000 true genuine music lovers. Blogs are also now participating in the presentation of events ranging from local to major showcases at SxSW. Recently, reapandsow band Wendy Darling hopped on a My Old Kentucky Blog concert. Three years ago, when My Old Kentucky Blog recommended Promonet as a source for cleared music, 750 new active users (other bloggers) signed up within 25 hours, and traffic doubled.
Tip: Time your solicitations appropriately, read the blog for at least 3 months before you submit or ask for their attention. Know the writers, respect the blogosphere, and communicate with them via their blog. All four bloggers above have been writing about music online for 6 years. They have specific taste and did not do this for the money.
Tip: do not spam. ever

4. Video / Music Video Feature on Current TV
reapandsow’s Rotary Downs was featured on Current TV and the band is still receiving feedback via comments on the video which was syndicated across the web. In addition, Current TV recommends “like music” to appropriate fans, so Rotary Downs enjoyed the benefit of entering the Current TV recommendation realm. Also, how can you deny the awesomeness of Al Gore? Pay attention to all the music contributors and if you think you fall into the category of something they may feature and go for this if you know you have at least 500 true fans who will enjoy it. Tell them when it airs and encourage them to share the video with the embed code. When you acquire new fans, make sure they know where to find your music and how to connect with you. Return the connection favor.  reapandsow band Rotary Downs enjoyed a 40% increase in digital sales as a result of their feature on Current TV.
Tip: remember, Current TV also airs on cable. Keep an eye on Current and start watching their music program.

5. Feature on Indiefeed Podcast (includes placement at indiefeed.com)
With single servings (one track at a time) this is the ultimate way to expose your single to a passionate group of music listeners. Indiefieed is the number one music podcast on iTunes. I have placed at least 30 tracks with Indiefeed, and as a result every track was exposed to over 1 million Nielson Certified listeners. Indiefeed likes to post your promotional mp3, and links to your website in the show notes available at Indiefeed.com, which has lead to at least 1000 dedicated-fan downloads and a minimum of 20% traffic increase with every feature I have placed.
Tip: Time this appropriately with your strategy, and give Indiefeed an exclusive if you can. Start listening to the show immediately, and follow the contact information provided for submissions.

Posted in: Resources | 5 Comments - add yours! »

Music Think Tank: In Defense of 1,000 Fans (Vol 1)

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Posted by Corey on October 14, 2009

I co-wrote a post on Music Think Tank with the lovely Ariel Hyatt and this is my portion. I fixed a glaring typo. Maybe you saw it. Maybe you didn’t. But I sure did. 

In Defense Of 1,000 Fans, Vol.1: The Mountain Goats

I entered the music business at the exact witching hour when the internet was born. My career was rarely based on physical marketing and very quickly became focused purely on digital content, online street team/ fanbase development & digital marketing for artists & projects ranging in genre from comedy (Stephen Lynch), indie electropop (Figurine), funk (Maceo Parker), singer/songwriters  (David Wilcox, Tony Furtado), to indie rock (Frank Black, The Slip, The Samples , Ambulance LTD), Jazz (Charlie Hunter),  and Jam (New Monsoon).

And through all of this work over a 12 year period, I’ve discovered 3 key crucial elements to figuring out the new music industry.

    • Run your career like a business, but ditch the myths: there is very little money in the music industry, there never was much to begin with and there’s less now. Record labels are not going to rescue you.
    • Quality Matters
    • All careers take time: It takes at least 12 years to “make it” (for this purpose, let’s define “make it” as a television appearance on a #4 Nielsen rated late night show)

The three rules generally work together: Setting appropriate expectations, focusing on your art, and connecting to your fans as you develop over a long period of time. Your career is an investment by you, and anyone who wants to pay you to be you. And for a return on your investment, your goal is to make it a desirable investment to your most beloved fans.  But how do they become true fans?  If you remember the first two rules, the third is up to you. My favorite more recent example is the Mountain Goats. I don’t work with them, but i happen to love the band and know a “superfan” named Matthew. (Superfan: One who spends $100 – $300/ year on a band). As I interviewed Matthew, he explained how he just purchased a purple vinyl limited edition (only 777 available worldwide) of the new Mountain Goats album, he “couldn’t wait to twitter about it.” He went on to show me  that his photo of a rare Mountain Goats collaborative release with Kaki King on swirled vinyl received over 500 unique views – the most views “any photo has ever received on my flickr account.” Matthew beams with pride as he reports spending “at least $400/ year on the Mountain Goats” on items ranging from vinyl (new and rare) to digital EPs and t-shirts. And that is the best case scenario any artist can hope for – a fan who takes pride in both the full experience and consumption of your art. Converting pride into a return on investment will take at least ten years.

The reality of 1,000 true fans beyond the joy of garnering fans is knowing what to do once you know you have a fan, while continually growing as an artist.

The Mountain Goats are not just any band making any kind of music. You can bet that their album ‘Sunset Tree’ will end up on multiple “Top 100″ albums of the last decade, and the band is regularly revered by music critics worldwide ranging from Pitchfork to Spin.com.

Last week, The Mountain Goats (now on 4ad), promoted their new release by way of a performance on the Colbert Report.  And none of this happened overnight. Not even cose. Darnielle has been building relationships with his fans for more than 12 years, and their overt appreciation of his art is the result of a pure connection built on respect. John Darnielle, with more talent in his eyelash than most people have in their their entire bodies, respects his fans. Here are 5 ways John Darnielle has built one of the greatest indie success stories of all time, based on talent, fans & genuine connections:

1. Communicate With Fans As If They Are Friends
In the mid-90s, Darnielle played extremely small venues (coffee shops, pizza joints) and stayed after the show to sit with anyone who enjoyed the show. “When a connection was made, he took their address and wrote a letter to every single person,” explains Matthew. He loves this story, and with reason: this is actually how Darnielle met his wife. Matthew knows the story inside-out and continues to tell it with a smile, “her name is Lalitree, and the song about her is called ‘02-75′ because that was her Post Office Box number.”  Darnielle communicates directly with fans electronically today by posting on the popular forum at The Mountain Goats website.  At one point he asked his fans what kind of merchandise they wanted. The forum exploded with fan suggestions and The Mountain Goats delivered: the next tour had a Mountain Goats reusable grocery sack for sale as merchandise. The grocery sack sold out.

2. Make Music Available
The Mountain Goats release an album about every 2 years, but between full album releases, fans are inundated with singles & EPs. John Darnielle has released multiple singles & EPs unexpectedly on the forum, with donations accepted but not required. In addition, Darnielle requests on the forum that fans do not steal. Matthew reports he has “always paid, always. I have to, why wouldn’t I?”

3. Limited Edition Physical Product: Take Advantage Of 1k Runs!
Once able, it is wise to invest in physical product to sell on the road and online. The Mountain Goats have released split EPs with Kaki King & John Vanderslice on limited edition vinyl.  A limited vinyl edition of The Mountain Goats album Satanic Messiah was released only at indie retail, with a catch: 666 copies only. The most recent Mountain Goats album, The Life Of The World To Come (released last tuesday) has a similar limited edition purple vinyl release, this time 777 copies. Matthew owns #740 and explained “some people on the forum have 3 copies.” Fans did not know which indie retail store would carry the vinyl, so they had to seek it out. Matthew found his at Rasputin music in downtown San Francisco.

4. Your Fans Are Smart, All 1,000 Of Them
If it’s not you on twitter, your fans will know. If it’s not you on the forum, your fans will know. If it’s bad music that isn’t finished, your fans will know. If you are writing form letters, your fans will know. To build a connection with fans and harvest a relationship, it is important to remember that your fans are as smart as you, they demand the same quality art that you demand of yourself. They are growing with you, aging as you age, over about 12 years, to enable your career as a full time musician making a decent living.

5. Your Fans Love Great Music, So Give It To Them: Tour & Don’t Be Afraid Of Getting Upstaged
“I became a John Vanderslice fan because he opened for the Mountain Goats. I will probably buy everything Vanderslice does now.” (what do you have now, matthew?) “I have Romanian Names, obviously i have the split ep with the Mountain Goats Moon Colony Bloodbath, I have Pixie Revolt – which is one of his classics – and his new single Too Much Time.”

the Mountain Goats have also toured with Kaki King and are now on tour with Final Fantasy. Matthew had “never heard of Final Fantasy until now. Honestly, I’m sure i’ll grow to like them but I haven’t focused on them yet. I haven’t been to the show… yet.”

author’s note: i’ve heard of final fantasy, and they are bad ass. The name of the Mountain Goats fan was changed for purposes of privacy, although i’m told many on the forum think they have already figured it out….

Posted in: General, Resources | 2 Comments - add yours! »

So Many Shows in May – and Sasquatch!

Posted by on April 30, 2009

I go to shows. It’s what i do. I love music, i love live music and i love the way it feels to experience music in a live setting. May and June are turning out to be 2 months full of music in SF and I couldn’t be more thrilled. Here’s a list of just a few of the bands I look forward to seeing this next month (note: sasquatch & left coast live are festivals and listed with their festival names)

My Music Life, May 2009 -  I am going to see these bands (and festivals) in May. Don’t Miss These Shows!!! (click on any band for more info) – hope to see you there!

Posted in: Events, General, Music & Music Services, Resources | Leave a comment »

Let’s Pretend We Don’t Exist Let’s Pretend We’re In Antartica

Posted by on April 2, 2009

Posted in: Just For Fun, Resources | Leave a comment »

microblogposting and pimping together at last

Posted by on March 1, 2009

::begin self pimping session::

Today I’m working my ass off. Pumping out four new proposals before midnight and catching up on a ridiculous amount of work. Harnessing a new level of productivity.  And so in my journal of “to do lists” i assigned myself a quick blog post.

To Do: list current projects in a blog post.
To Do: pimp self out on blog for speaking engagements
To Do: write a real microblog – something longer than 140 characters but shorter than a Mashable post

So here it is.
My narcissistic microblogpost: what i’m working on, some clients, speaking engagements etc…in no particular order b/c they are all badass.

conferences/ lectures

  • Stanford University February, 2009
  • Noise Pop Industry Noise February 2009
  • SxSW interactive March 2009

If you have any questions about any of these projects, or speaking engagements please contact me at coreydenis[at]gmail[dot]com.
::end self pimping session::

Posted in: General, Resources, The Intertubes, endorsements | Leave a comment »

Interactive vs Non Interactive: in a cute little nutshell, and SXSW 2009

Posted by on February 16, 2009

Right now, somewhere in the bay area, is a music-tech company you know and love having a bad morning. Right this minute. And the true core of the issue lies at the chasm between technology and policy.  I only have a few minutes to blog today, so I’ll explain this quickly:

If a music service requires your participation, it is considered  to be “Interactive.” The cost of using copyrighted material to develop  an interactive product is different (higher) than developing a non-interactive product.
BUT…There’s no stipulation in any IP law or digital millenium copyright act for the reality of technology such that a user may actually interact with a product versus directly with the music (aka on demand.)  There’s no clause for a case where the music is not interactive (internet radio) but interaction with the product enhances the listening experience.  There’s no clause for the human and product transaction. Only the human-music interaction is covered. Which means the product is, according to the law, operating illegally if paying fees as “non interactive” when it has (even if unfairly) been determined to be interactive.

Unfortunately for everyone involved, there’s no verbage, no legalese, no written word to address any music product with this type of user experience.  Interaction with a product is not on-demand music.  The experience is enhanced by interacting with the product. How can policy measure the value of experience?

IDEA: Interactive though it may be, interaction with a product to enhance the experience of art is a different level of interactivity.

Perhaps the conflicts and legal battles within the music industry (roaring as i type) will seek to adjust according to progress and user experience.

Til then, there’s Rusty Hodge at SxSW 2009: Rewriting the DMCA
see you there.

Posted in: Digital Music News, Music & Music Services, Resources, The Intertubes | Leave a comment »

Playlist Of The Day: Letter to my Constant

Posted by on February 12, 2009

as desmond is to daniel so is my constant to me, and yours to you.
4 8 15 16 23 42

Posted in: Just For Fun, Music & Music Services, Resources | Leave a comment »

everything i learned today i learned from the new pornographers

1

Posted by on February 6, 2009

today was a beautiful day and everything i learned today i learned from a tiny little new pornographers playlist.



Posted in: Just For Fun, Resources | 1 comment »

The Performance Rights Act: Conyers, Issa Intro Bipartisan Performance Rights Legislation

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Posted by on February 4, 2009

My dad is Darrell Issa’s General Counsel. Just another reason he’s my hero.

i’m hoping this is the first press release of  many. issues surrounding the convergence of technology and music have truly become the first issue of their kind: completely  bipartisan. This is the legislation of art, and it’s needed to fix the problems of the legislation of the past.  Yeah, there’s a lot of critique. It’s apparently the regurgitation of a previous act, but it introduces those who are poised to make a difference. to join forces on issues of technology.  A new era; so say we all.

 
WASHINGTON. D.C. – Today, House Judiciary Committee Chairman John Conyers, Jr. (D-MI), and Darrell Issa (R-CA), introduced The Performance Rights Act, a bipartisan measure that takes a first step at ensuring that all radio platforms are treated in a similar manner and that those who perform music are paid for their work.

 

The legislation would amend an inequity in America’s copyright law that exempts over-the-air broadcasters from paying those who perform the music that we listen to on AM and FM radio.  Webcasters, satellite radio providers and cable companies are presently required to pay for music they broadcast.

 

“Beyond the fairness that this bill provides for performers, we have an opportunity to show the rest of the world that the United States practices what it preaches in protecting intellectual property,” said Issa. “For the past 70 years Congress has ignored the constitutional mandate that we protect copyrights by completely exempting broadcasters from paying performers, while the vast majority of countries have no such exemption.  Our ignorance of intellectual property rights on this issue is a worldwide embarrassment and it must end now.”

 

“All those in the creative chain of musical production – the artists, musicians, and others who enrich us culturally – deserve to be justly compensated for their work,” said Conyers.  “We have introduced the Performance Rights Act to ensure fairness so that any service that plays music pays those who create and own the recordings – just as satellite, cable and internet radio stations currently do. Working with the Senate, I hope that Congress may act quickly to pass this important legislation to level the playing field between different technologies and ensure rightful compensation to performers.”

 

The Performance Rights Act is cosponsored by Reps. Issa, Berman, Waxman, Blackburn, Hodes, Wasserman Schultz, Weiner, Cohen, Nadler, Wexler, Peterson (MN), Johnson (GA), Schiff, Sherman, Shadegg, Jackson Lee, L. Sanchez, and Harman.

Companion legislation was introduced Wednesday in the Senate by Judiciary Committee Chairman Patrick Leahy (D-Vt.) and former Chairman Senator Orrin Hatch (R-Utah).

 

“In introducing the Performance Rights Act, we are sensitive to the needs of broadcast radio stations,” said Senator Patrick Leahy (D-Vt.), Chairman of the Senate Judiciary Committee.  “I want to ensure that the performing artist, the one whose sound recordings drive the success of broadcast radio, is compensated fairly.  Our legislation, appropriately, permits noncommercial stations to take advantage of the statutory copyright license subject only to a nominal annual payment to the artists.  Similarly, we intend to nurture, not threaten, small commercial broadcasters.  Smaller music stations are working hard to serve their local communities while finding the right formula to increase their audience size.  I will continue to work with the broadcasters – large and small, commercial and noncommercial – to strike the right balance.” 

 

“This legislation would ensure that musical performers and songwriters receive fair compensation from all companies across the broadcast spectrum – not just from Web casters, satellite radio providers and cable companies,” said Senator Orrin Hatch (R-Utah), former Chairman of the Senate Judiciary Committee.  “It is an attempt to strike a harmonious balance between fair compensation for artists and a vibrant radio industry in the U.S.”

Posted in: Resources, poilitical | 1 comment »

Ocean Size

Posted by Corey on October 23, 2008

Jane’s Addiction is performing live tonight in LA….the original lineup.  Which means. . .Eric Avery.

Posted in: Music & Music Services, Resources, videos | Leave a comment »
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