<![CDATA[Training, Coaching and Consultancy for the Music Industry - Blog]]>Wed, 22 May 2013 20:28:42 -0800Weebly<![CDATA[Perfect Pitch Goes Public!]]>Tue, 07 May 2013 16:33:26 GMThttp://www.positivelymusic.co.uk/1/post/2013/05/perfect-pitch-goes-public.htmlPicture
Here it is - after drafting and re-drafting, this is the version I will be taking out and about. Pitches are never perfect at this stage - the more you use it the more polished it becomes. The market polishes and refines your pitch!


PERFECT PITCH FOR POSITIVELY MUSIC 2013

I run a start-up called Positively Music.

Positively Music provides music industry training in entrepreneurship and digital business.

What makes Positively Music different is that I, the Founder, have over twelve years in the music industry. I have 2 music business degrees. I have also trained over a hundred independent artists in the last 5 years. Though, most notably I have run numerous international, European and national digital marketing and PR campaigns for superstar artists from Beyonce to Take That.

Over the span of my career I have noticed that the music industry seemed to face deep challenges in keeping up with changing technology such as the Internet. It seemed that the music industry couldn’t compete with other forms of technological entertainment like video games and social networks and so the music industry as we know it has started to decline.

My solution is found in 2 training programmes. The first is called “Music Business Builder.” Music Business Builder is directed at the independent artist/entrepreneur. After working with over a hundred independent artists, I have noticed that there are 7 things that get in the way of their long –term success. These are:-

1. Misunderstanding Finance

As we know there are too few record deals and many more independent artists. By understanding finance independent artists are better equipped to make a success of their own ventures.

2. Confusing Copyright

Independent artists are overly concerned with the protection of their creations rather than getting the balance between self-protection and the commercial exploitation of their compositions.

3. Misinterpreting Marketing

Most independent artists are constantly bombarded with poor, derivative information on how to get more fans and boost views. A quality marketing and PR campaign provides these stats but also provides that extra respect and credibility because a campaign is simply the professional way to do things.

4. Wanting To Be A Star

There is a big difference between genuinely wanting to share a musical gift across the world and yearning for superstardom. Chasing celebrity is a very different business – independent artists need to understand the difference so that they can make better decisions about their wants and needs.

5. Chasing Record Labels

The party that has the most power is the sought after party. The artist with the profile, influence, sales and raving fans doesn’t need to chase record labels because the labels come to her.

6. Underestimating Playing Live

Some independent artists lack the strategy to properly leverage their live shows for commercial purposes. Unfortunately, this sets them up for mediocre results at best.

7. Underrating Musical Study

Many independent musicians don’t understand the music theory. Studying the Greats from the Classical to our current Electronic Dance Music leaders will develop you faster and in turn help you refashion your learning so you can better present your own take on your music genre.

"Music Business Builder" is a programme devised specifically to help you build a genuine enterprise. This isn't a programme that will help you use social networks and get more fans. This programme will teach you to understand solid business, such as finance from cash flow to break even analysis, copyright law, creative commons licensing, sales forecasting and yes we will cover everything you need to know about marketing and PR as well. Most critically however we will teach you how to create deals with partners so that you can make leaps and bounds in your progress. Through fourteen 90 minute online courses you will design a strong minimum 5 year plan upon completion so that you can create your own jobs via your own enterprise, jobs for other people and attract investment and sponsorship.

The second programme is the flagship programme called “The Fan Experience.” The world of the music industry has changed greatly since the heady heyday of vinyl. The way to a music fan's heart, however, has not changed at all. There was a time when fans fell in love with music and lined up for the next hot album release. Those days are gone. Music is increasingly becoming commoditized entertainment so touching the hearts of music fans has become increasingly difficult. How do you connect with fans in a lucrative way? How do you cut through the avalanche competing digital entertainment from online gaming to social media and from illegal downloading to free online music video? How do you make the fans fall in love with music again? My solution is “The Fan Experience.2

The Fan Experience is a 7 step sequence to fan centred music business. It marries old school music business know how with up to date customer experience methods and teaches you how to put the fan firmly in the centre of the music business.  However, I have noticed that there are 7 problems that we encounter when interacting with our fans these are:-

1. Forgetting To Listen

When you don’t listen to fans we miss out on critical information and therefore critical insights.

2. Misjudging How They Got To Be A Fan In The First Place

If we don’t know how they got to be a fan in the first place we don’t know how they fell in love with the music they are interacting with. If we don’t know how they became a fan we will find it difficult to keep them as fans.

3. Underestimating How They Interact With Music 

Without a clear view as to how fans are interacting with music we cannot understand their motivations.

4. Misconstruing The Many Different Relationships We Have With The Fans

Fans have an increasingly fluid and complex relationship with music. If we understand this we can form stronger lasting ties with them.

5. A Lack Of Innovation With The Fans

Without innovation industries get left behind. The collective knowledge amongst the fans can give us crucial distinctions in innovation.

6. Overlooking Creating With The Fans

Music fans are creative, by not creating with the fans or allowing them to create we stifle their thinking around music. The more the fans think about music the more influence we have.

7. Neglecting To Measure Your Efforts Towards The Fans

By not measuring our efforts we cannot manage them.

The fan experience formula comprises of 7 steps

1. Listen

Here we learn how to listen to the fans and use their valuable input as design criteria into our music business.

2. Milestones

We work with every exposure that the fan has with music directly or indirectly, refining them until they enlighten the fans.

3. Map

Here we map out the journey the fans take with music and leverage what we learn so that we can delight them.

4. Ecosystem

We look at the complex relationships that fans have with music and how the fans will allow us to influence those relationships to create fantastic fan experiences.

5. Innovation

We look at the tiny shifts we can make in our products, services and processes that can cumulatively create quantum leaps in our business efforts.

6. Co-Creation

We work to fashion and re-fashion music with the fans and allow them to become increasingly invested.

7. Measurement

By measuring our efforts we can devote ourselves to constant and never-ending improvement.

The benefit to the music industry is room to grow, sustainability and better management of change.

In 1 year I expect to be speaking at all music business conferences, in support of my book and my products. I also expect to be running online and face-time courses. Within 2 years I expect to be launching a film in support of this idea and within 3 years I expect to take this idea to TV. Within 5 years I will be looking to exit both businesses. All this is in support of a bigger vision. I want to do for music what Jamie Oliver has done for food. I believe music is too commoditized which means we are losing our connection to it.

The biggest issue I would have to resolve is resistance from the older members of the industry who think that people want bits of plastic containing music. The truth of the matter is we want the experience that music gives us. To resolve this issue I can gather support from an ever growing rank of the music business entrepreneurs who also believe that the fan should be the centre of the music business. The music industry is in decline and as such depends on entrepreneurship to grow. It is a new generation of music business entrepreneurs that can support growth within the music industry and that independent musicians share the passion and appetite for such growth.

I am known for my expertise, progressive work ethic, tenets, creative ideas and my ability to make the complex seem simple.

I leave the people I work with feeling inspired, invigorated, revved up and ready to go!

]]><![CDATA[My Pitch [DRAFT]]]>Wed, 01 May 2013 16:26:20 GMThttp://www.positivelymusic.co.uk/1/post/2013/05/my-pitch-draft.htmlI was recently at a mus biz social and listened to a few pitches - I am re-drafting my own so here it is!

"Positively Music provides entrepreneurship and digital business training to the music industry.

Positively Music is unlike other music business training companies because I have 2 music business degrees and has worked with over a hundred independent artists over the last 5 years. I also have over twelve years in the music industry running international, European and national digital marketing and PR campaigns for superstar artists from Beyonce to Take That.

Over the span of her career I have noticed that the music industry seemed to face deep challenges in keeping up with changing technology and inventions like the Internet. It seemed that the music industry couldn’t compete with other forms of technological entertainment like video games and social networks and so the music industry as we know it has started to decline.

My solution is training in entrepreneurship and digital business via 2 programmes. The first is called “Music Business Builder.” Music Business Builder is directed at the artist/entrepreneur. After working with over a hundred independent artists, I have noticed that there are 7 things that get in the way of their long –term success. These are:-

Not Understanding Finance

As we know there are too few deals and many more independent artists. By understanding business finance independent artists are better equipped to make a success of their own ventures. What we need are independent artist/entrepreneurs who have the vision, confidence and grit to create their own jobs and jobs for others.


Not Understanding Copyright

Too few independent musicians understand copyright. Historically, the music business is a copyright business whether we are referring to the sale of recordings or the leveraging of the copyright in logo designs. They are overly concerned with the protection of their creations rather than getting the balance between self-protection and the commercial exploitation of their compositions. If an independent musician doesn’t understand copyright they do not understand the music business and no amount of fans or video views will help them reach their goals.


Not Understanding Marketing

Most independent artists do not have a decent understanding of how to deliver an actual marketing and PR campaign. They are constantly bombarded with poor, derivative information on how to get more fans and boost views. A quality marketing and PR campaign gives independent artists these stats but also extra respect and credibility because a campaign is simply the professional way to do things.


Wanting To Be A Star

There is a big difference between genuinely wanting to share a musical gift across the world and yearning for superstardom. Whilst it is true that there have been many stars that have achieved just that times are changing as the market is over saturated and fans are easier to access. Chasing celebrity is a very different business – it is in fact show business not music business and independent artists need to understand the difference so that they can make better decisions about their wants and needs.


Chasing Record Labels

Chasing record labels for a deal simply tells them you are not sought after. It is one of Life’s Laws that what you chase after runs away. You wouldn’t be the pursuer otherwise. The party that has the most power is the sought after party. The artist with the profile, influence, sales and raving fans doesn’t need to chase record labels because the labels come to her.


Not Playing Enough Live Gigs

Some independent artists simply do not play enough live gigs and they also do not play them with a campaign in mind. They lack the strategy to properly leverage their live shows for commercial purposes and fail to tie their live shows into a marketing and PR campaign. Unfortunately, this sets them up for mediocre results at best.


Not Studying Music

There is a raft of second hand experience that students can gain valuable lessons. After all why make mistakes first hand when you can get the lesson straight away and spare yourself the pain of any criticism? Many independent musicians understand proper harmonic form or instrumental ranges and as such write naïvely. Studying the Greats from the Classical to our current Electronic Dance Music leaders will develop you faster and in turn help you refashion your learning so you can better present your own take on your music genre.

To solve these problems Positively Music has created a programme called “Music Business Builder” to overcome these barriers to success. "Music Business Builder" is a programme devised specifically for artists who want to sharpen their business skills. Through a massive range of 90 minute online courses we will teach you everything you need to know about the business of music. This isn't a programme that will help you use social networks and get more fans. This programme will teach you to understand real business, such as business finance from cash flow to break even analysis, copyright law, creative commons licensing, sales forecasting and yes we will cover everything you need to know about marketing and PR as well.

It is a programme designed to give independent musicians a solid minimum 5 year plan upon completion so that they can create their own jobs via their own enterprise, jobs for other people and attract investment.

The second programme is the flagship programme called “The Fan Experience.” The world of the music industry has changed greatly since the heady heyday of vinyl. The way to a music fan's heart, however, has not changed at all. There was a time when fans fell in love with music and lined up for the next hot album release. Those days are gone. Music is increasingly becoming commoditized entertainment so touching the hearts of music fans has become increasingly difficult. How do you connect with fans in a lucrative way? How do you cut through the avalanche competing digital entertainment from online gaming to social media and from illegal downloading to free online music video? How do you make the fans fall in love with music again? The Fan Experience.

The Fan Experience is a 7 step sequence to fan centred music business. It marries old school music business know how with up to date customer experience methods and teaches you how to put the fan firmly in the centre of the music business.


1.    You learn how to listen to the fans and use their valuable input as design criteria.

2. How to work with every exposure that the fan has with music directly or indirectly.

3. Understanding the journey the fans take with music.

4. Understanding the complex relationships that fans have with music.

5. How to innovate with the fans

6. How to fashion and re-fashion music with the fans.

The benefit to the music industry is room to grow, sustainability and better management of change.

The music industry is in decline and as such depends on entrepreneurship to grow. It is a new generation of music business entrepreneurs that can support growth within the music industry and that independent musicians share the passion and appetite for such growth.

In 1 year I expect to be speaking at all music business conferences, in support of my book and my products. I also expect to be running online and face-time courses. Within 2 years I expect to be launching a film in support of this idea and within 3 years I expect to take this idea to TV. Within 5 years I will be looking to exit both businesses.

All this is in support of a bigger vision. I want to do for music what Jamie Oliver has done for food. I believe music is too commoditized which means we are losing our connection to it.

The biggest issue I would have to resolve is resistance from the older members of the industry who think that people want bits of plastic containing music. The truth of the matter is we want the experience that music gives us. To resolve this issue I can gather support from an ever growing rank of the music business entrepreneurs who also believe that the fan should be the centre of the music business.

I am known for my expertise, progressive work ethic, tenets, creative ideas and my ability to make the complex seem simple.

I leave the people I work with feeling inspired, confident, revved up and ready to go!"

]]><![CDATA[Only A Third Of The World Is Online]]>Wed, 24 Apr 2013 10:33:35 GMThttp://www.positivelymusic.co.uk/1/post/2013/04/only-a-third-of-the-world-is-online.html
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FROM STATISTA.COM
I recently answered a question on Quora about whether people would still be buying CDs in 5 years time. You can see the answer here. I alluded to the idea that many territories might still use the CD format. With only a third of the world's population online at the moment it would seem that CDs might still have a little life left in them yet. However, as Eric Schmidt says, 


"For every person online, there are two who are not. By the end of the decade, everyone on Earth will be connected. #NewDigitalAge"



This is interesting as Statista very readily points out that millions of the people who currently do not have internet do not have the basics meaning clean water and are suffering from malnourishment. To this end we would have to look to the next predicted economic powers of India and China in terms of the music format adoption.

Your thoughts?


]]><![CDATA[Mind Your Manners - Personal Story]]>Tue, 22 Jan 2013 13:08:57 GMThttp://www.positivelymusic.co.uk/1/post/2013/01/mind-your-manners-personal-story.html"I seek constantly to improve my manners and graces, for they are the sugar to which all are attracted."
Og Mandino  Picture

One time, a few years ago now I was invited to see the showcase at a hotel for a new girl band who were desperately vying for major label attention. I walked in with my colleague who immediately bumped into one of the girls from the act. They exchanged their "hellos" as I waited with appropriate patience to be introduced by my colleague. However, before he could say anything the girl piped up and said in a condescending manner,

"Aaw... Is this "the" girlfriend?"

(Wow!)

A few beats after we had parted ways I expressed my dismay at this girl's lack of grace and manners towards me. At that point she'd lost any semblance of support I might have had for her group. It was highly unlikely that I would help them. And I could have helped them. A HELL OF A LOT.

It is not that I think I'm entitled to any special treatment but as a person we are all entitled to manners. It is also simply normal to feel less incentivised to help someone who had just been rude to you.

Now, I have recently been contacted myself by an upcoming firm for an informational meeting and I feel pretty humbled by it. I find that I am planning some points of what to say and how I can best contribute to them.

Here's the thing I walk around both the major label world, the indie world and the unsigned world. I see no reason to separate them in my travels. I am open minded I will talk to everyone because I have much to contribute to all. However, what I have discovered is that many times when I reach out into the unsigned/indie world I get met with a lack of manners before people really know who I am. This generally indicates to me that they as an artist don't have much to give to the world because if you do, your approach is somewhat softer because you want people to listen to you. Even then some people will be extremely rude as if to suggest that my being in an independent or unsigned environment must mean that I am lying about my background or somehow I lack credibility or integrity.

Get rid of your ego, because you don't know who you'll be talking to and you don't know how much power they hold that could make or break your career. People in the major part of the industry talk and if anyone now asks me about any acts that I can remember that have been less than polite to me, whilst I won't have anything bad to say (because I wouldn't be like that) I won't have anything good to say either and that really says it all all. It doesn't matter how talented you think you are if you are not easy to work with, it is easier to opt for the equally or even lesser talented person because they are simply nicer to be around and they don't make the lives of others difficult. Don't worry this applies to superstar artists as well. I have a few of those stories but not for this page! :-) 

So the point is this - always remember your manners. 

Thank you for reading :-)
]]><![CDATA[Small Excerpt From Chapter 7 Of "The Fan Experience"]]>Mon, 21 Jan 2013 12:57:50 GMThttp://www.positivelymusic.co.uk/1/post/2013/01/small-excerpt-from-chapter-7-of-the-fan-experience.html“My path has not been determined. I shall have more experiences and pass many more milestones.” 
Agnetha Faltskog from ABBA Picture



"In the first step of the Fan Experience strategy we looked at “Listening” which is a way of gaining more insight into how fans engage with music; understanding their perspective, actions, decisions, goals, questions and the barriers they put up. The relationship, however, that a fan feels with music and its artist depends on a much broader variety of factors. Some of these factors will be directly connected to the fan’s use of music products and services; other factors are based on far more subjective interactions – all these factors are called “Milestones” within the Fan Experience strategy. “Milestones” is the next link in the chain and this starts the process of building a framework for understanding how the fan is supported throughout their journey with music. So what is a “Milestone?” A “Milestone” is every interaction that is in any way associated in the fan’s mind with the musical experience. This means everything from all marketing communications, all broadcast communications and every social media interaction. Of course, it also means all purchases and listening to the music itself. “Milestones” are in the spaces between the borders of the music business organisation in question and the fans. Where you find Milestones in the Fan Experience strategy you will find lots of intersecting information because this is where the Fan Experience occurs. This terrain is unfortunately like shifting sand as there are generally many hands in it. 

                                                           This means that Milestones can prove to be surprisingly complex."
]]><![CDATA[Video Intros]]>Sun, 20 Jan 2013 12:33:52 GMThttp://www.positivelymusic.co.uk/1/post/2013/01/video-intros.htmlCheck 'em out - what do you think? I think I like the third one best! I was having fun with video....
]]><![CDATA[Fan Experience Book Cover! Check It Out!]]>Wed, 26 Dec 2012 18:39:56 GMThttp://www.positivelymusic.co.uk/1/post/2012/12/fan-experience-book-cover-check-it-out.htmlCheck it out!
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]]><![CDATA[Gratitude At Christmas]]>Mon, 24 Dec 2012 17:50:32 GMThttp://www.positivelymusic.co.uk/1/post/2012/12/gratitude-at-christmas.htmlI think Christmas is a time to celebrate everything we can be grateful for. A time of reflection and a time to share our blessings. I have a lot to be thankful for and I want to thank anyone who read my posts and blogs over this past year. I also want to thank those to read my book and reports that came out this year, and I would like to thank those who gave me any feedback this year so that I could be challenged and so that I would grow from it. I haven't blogged in a long while as I have been trying to get books and courses written and audios recorded for 2013. So look out for lots of stuff next year in the meantime enjoy this little video brought to you below by Toy Story and remember...

"Unless we make Christmas an occasion to share our blessings, all the snow in Alaska won't make it 'white'. " 
Bing Crosby 



Merry Christmas and Happy New Year! 

I really hope that you, your family and friends have a joyful and restful time this holiday.

I also deeply hope that all your Christmas wishes come true.


xoxo


Lx
]]><![CDATA[Excerpt From Chapter 3 of "The Fan Experience"- "The Music Belongs To The Fans."]]>Thu, 01 Nov 2012 18:39:28 GMThttp://www.positivelymusic.co.uk/1/post/2012/11/excerptfrom-chapter-3-of-the-fan-experience-the-music-belongs-to-the-fans.htmlFrom Chapter 3 of "The Fan Experience"- "The Music Belongs To The Fans."

There are a number of dimensions of experience that music plays a role in informing our identity. There is “generational identity” for example in the late 1950s when American rock “n” roll was the sound of the American youth. Social classes had their own styles such as punk as do both genders let’s say heavy metal versus boyband pop for boys and girls respectively as a general example. There is also lifestyle within these musical subcultures where groups of interacting individuals share problems and develop meanings around their leisure activities together such as what fashion to wear. An example of this is the Mods and the Rockers of the early to mid 1960s. The Mods and the Rockers were two highly combustible rival gangs of the  times. The Rockers were characterised by their penchant for Triumph motorcycles and the clothing to match namely black leather bike jackets and boots and pompadour hairstyles. This manner of dressing was linked to 1950s rock “n” roll and the Rockers choice in music was reflected as such with key artists being Elvis Presley, Gene Vincent and Eddie Cochrane.  The Mods on the other hand centred themselves on “modern” music and fashion – hence the name “Mod.” They preferred Italian Vesper motorcycles and cleancut and sharp looking suits. The music of choice here was 1960s ska, RnB and soul. Mods were particularly fixated with Tamla/Motown. These two rival gangs represented different attitudes to disenfranchised British youth. The Mods considered themselves to be increasingly sophisticated and stylish whereas the Rockers saw the Mods as effeminate snobs. The Mods felt that they signified change and progress and saw the Rockers as representative of the working class which the Mods sought to escape. These two gangs clashed violently frequently with one riot taking place on Brighton Beach, England. This now infamous riot is detailed in The Who’s film “Quadrophenia,” where the Mods sing their war cry “We are the Mods, we are the Mods, we are we are we are the Mods!” This chant being symbolic of their collective and individual identity. An identity that centred around music.

It is through music genres and their subcultures that we see fans test out different types of music to see how they fit. This is where music could provide a different experience and identity to what might be on offer at home or at work. In the same vein computer based subcultures are now on the rise. The music belongs to the fans because it gives us the tools to be accepted by our peers, it buys us membership to different social groups and gives up upward or downward social mobility. Music is even indicative of who we are in education and ethnic terms. Unfortunately copyright is not an aid to music being the vehicle for identity as it prevents the borrowing and lending of inspiration. Fans have always sought out ways to hew and hone music to their experience and digitisation has simply made this process easier.

Fans not only consume they contribute and produce. Fans create all types of media and publish it via the internet. Fans creatively respond to all kinds of musical material in ways that astonish their original creators and they find meaning in the works that weren’t there originally. The consumer is not passive and never has been it is simply that the consumer has more opportunity now to voice their opinion and vote with their feet. The power is in their hands. The internet plays an integral part in the empowerment of this participation by increasingly enabling people to collaborate, generate and disseminate news, ideas and creative words and content with similar and complimentary goals and interests. Participatory culture, unlike consumer culture, has low barriers to artistic expression and civic engagement. It has strong support for creating and sharing one's creations with others. It supports informal mentorship where the experienced share their knowledge with novices. Fans believe that their contributions matter. They feel a connection with one another and care what each other think.

This type of participatory activity precedes the internet. In the 19th Century it was not uncommon for amateur writers to write articles that would then be posted via a “social network” using the mail system. We have always experienced this activity in the form of fan art, the passing on of mix tapes, the creation and sale of fanzines and fan newsletters. This is mirrored in blogs, ezines, podcasts and wikis. This shift from consumption to production where the fan is part of the creative process is profound and has affected the core of our music business culture and economy. This is because fans are developing their participatory skills and fully understand their buying power. The technology available makes it easier and easier to create content and to spread it to a global audience. Now with smart phones, fans are interactive, mobile and have a strong identity. Smart phones are a technology unrestricted by time and space and fans can easily manipulate the context of any existing content, even their own identities when finally posting. As technology develops it becomes more user-driven, the technology firms  want to give the fans more and more control over our virtual lives. Now more music resources are available and so there is more competition meaning more attention needs to be paid to the fans. It is no longer the case that a wealthy few own the media. The fans create the media. In fact the fans are the media.

So with all this in mind what could possibly be the benefit to the music industry in the appreciation of fan identity and inner experience? The benefit is known as “Mass Customisation.” Mass Customisation is the combination of unique and personal bespoke products created at high production and sales levels. What this means is higher profits as through meeting wants and needs fans will be inclined to look at other benefits of the music product or service in question over seeing whether they can get it for free. There is also the option to charge at a premium price whilst still producing at a competitive cost. Mass customisation means an experience for the fans and can lead to a raft of new ideas from those fans that can then be used as feedback for further products and services. Mass customisation also means deeper and stronger relationships with suppliers, distributors and fans which is ultimately more satisfying.

The time of a few music giants controlling the music to our homes is fading. It is now the fans who can send music around the world. This freedom of expression stimulates the fans to take an active part in shaping ideas. There are many more fans than there is the music business and this means a new paradigm in which fans are co-producers of services, of content, of taste, of emotion, of goods, of contacts, of relevance, of reputation, of feedback, of storage, of server capacity, of connectivity and of intellect. As long as the Internet is free empowered fans will keep on innovating. Our communications technologies allow the fans to make up their own minds meaning they can decide what is quality, truth or value and reject its interpretations by corporations or power agencies.

This means that the fan is much more than a market segment. The fact is that large groups of fans are smarter than an elite few no matter how brilliant its members. They are better at problem solving, nurturing innovation, making better decisions and predicting future trends, through their shared intelligence. The role and obligation of the music business organisation is to empower the fans and solidify the relations between fan and artist.  We don’t know enough about the fans after all there was no need to we told them what to consume and how to consume it. Now the difference is they are telling us. This is simply the market correcting itself. We cannot control the fan nor should we be trying to. You cannot control a person’s experience. You cannot control people.

ACTIVITY

Music can no longer be “one size fits all.” This is because one size doesn’t fit all! The culture of user generated content and music fans buying individual singles from iTunes has shown this to be the case. So here are some steps you can take to begin thinking about mass customisation within your own sphere of influence.
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]]><![CDATA[Social Capital And The Shared Music Experience]]>Thu, 25 Oct 2012 22:42:48 GMThttp://www.positivelymusic.co.uk/1/post/2012/10/social-capital-and-the-shared-music-experience.html
(From Chapter 2 of "The Fan Experience")


Why we share music has much to do with how we value it. Music contributes to many things it is a force for morality, a unique and pleasurable way to experience the world, a form of self expression and a vehicle for social and political change. Music is for some a profound way of being or an alternate reality, so we hold the experience of music in high regard. Music is an immersive experience encompassing mind, body and feeling. While not all entertainment requires music, much of it does. That is because music has a remarkable capacity to arouse or elicit experiences that are uplifting and delightful or quite the opposite. When other types of entertainment are accompanied by music the effect is much more potent.

The shared experience of music also leads to a very important process which is that of co-creation. We are no longer just music consumers we are all music content producers on some level. The production of user-generated content is a global phenomenon. Everyone on a social network creates and contributes to the overall music environment be it commentary via a simple forum comment or a broadcast in the form of sharing an online video. In addition, all the musical co-creation processes – composing, performing, improvising, remixing even listening create musical meanings that we share with others. There are tremendous positive human impacts because of this such as wholeness and wellness. There are also positive changes in our physical, emotional, psychological, and spiritual health. Music as a co-creation process and as a final product now become interdependent: one cannot exist without the other and the values of each depend on the values of the other. An overemphasis of either, at the expense of the other, weakens musical experience and diminishes its value.

So with all this in mind where is the value to the music industry in the shared music experience between fans and friends of fans? The value is in what is known as “social capital.” Social capital is the knowledge, trust and reciprocity inherent in one’s social circle it is defined by the amount valuable action that the social circle creates. As we know there is plenty of power in social connection. There is plenty of give and receive and music fans are part of an extended social circle. There are some interesting questions we could ponder upon were we to invest more time and energy into the social capital within fan communities. Music fans have become very entrepreneurial. In a time where jobs are scarce they are harnessing the revenue generating properties of the web to create jobs of their own design which can bring in more than 5 figures a month per one self-employed person let alone a company. One such company is “SB.TV” created by Jamal Edwards at the age of 15 who started simply by uploading locally shot handycam freestyle rap footage to YouTube. The channel began to attract more support for its amateur artists, and so began offering lifestyle interviews and event coverage. This led to the creation of a ten person team in order to support the channel’s activity and heavily increasing followers. A few more years down the line and at 22 Jamal is a media mogul in the Sunday Times Rich List to the tune of £6 million with lucrative partnerships such as a label called Just Jam through Sony RCA. However, all of this came about as the result of harnessing the social capital of London’s grime music community and giving that community a voice.

In business terms the value in social capital is quite easy to spot. The most obvious example is landing a job. It is conventional wisdom that the majority of jobs are found via contacts. Similarly, it the person who brings the most value in social capital terms to a community that is better paid, promoted faster and promoted younger. An example of this might be introducing people with problems to those with the solutions. Today, the amount of influence one has can be measured via how much social capital one has. Expertise and the position within a network primarily as a connector are usually the defining factors here. Investment is also very much affected by social capital, some might argue that it is a critical component. The rate of learning within organizations is also induced by social capital much more so than any other formal trainings. Daily teaching, mentoring, coaching and the sharing of ideas adds more to the knowledge bank within an organization than one off team building activities that are compartmentalized by employees as opposed the cumulative effect of daily learning activity.  Strategic alliances or partnerships are also more likely to be more successful when driven by social capital and creating past alliances is a good predictor of any future alliances. Where trust and social capital flourish so does industry.

By supporting social capital within fan communities we can leverage new resources, gain updated intelligence, lower transaction costs and lower turnover rates. In addition since music is such a fundamental part of society since it informs individual identities, music industry organizations have a chance to be more successful within society as positive business endeavours can have spill over effects on fans which can increase their level of participation and goodwill as exemplified by SB.TV. This can result in communities with better health, higher educational achievements, better employment prospects and lower crime rates. Simply put, we share music because it helps us connect to other people and this makes us feel better. We get to experience other cultures and communities through their music. This helps us find other people with values similar or complementary to our own. When we share a musical experience with others we feel less isolated, because our biggest fear as humans is that we are not enough and that we will be alone. This one driving force is what has ensured our evolvement as a species. Music is perhaps the greatest connection technology we have.


ACTIVITY
Five things that you can do right now to enhance your social capital

First Do No Harm -Try not to damage the social capital you already have. Be aware of your behaviour and how it impacts others. 

Talk To Your Best Fans -Take your top 50 fans/prospects out for coffee. Ask them what they need. You'll come away with great word of mouth and valuable intelligence.

Use Social Networks - Cultivate 500 strong online relationships out of your 5000 online friends (or proportionate equivalent.) Read, understand, empathise and comment thoughtfully. 

Turn Up To Contact's Events- Many of our contacts hold their own events. We tend to take these for granted. Turn up! Show your support. It will be appreciated.

Use Video Blogs
•Try using video messages to reconnect with friends who you need to reconnect with.  Use video calling and the phone rather than email whenever you can.
 



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