While the definitive cause of Anna Nicole Smith’s death probably won’t be in for weeks, regardless of the autopsy result, anyone who saw her recent interviews on Entertainment Tonight could see she was obviously impaired by substance abuse. (When someone’s eyes are going in two different directions…) So, I’d like to talk about the addicted celebrity client.
Did Hollywood kill Anna Nicole Smith? Speaking as someone who grew up around chemical addiction in a small-town, non-showbiz family, I really don’t think so. I think the addiction gene or addictive personality (whatever your belief happens to be about the root cause) is either there, or it isn’t.
But, also speaking as someone who’s been in the role of agent, artist manager, and prior to that, as personal assistant, do I think Hollywood contributed to the death of Anna Nicole Smith? Absolutely.
When you have people making money from whatever the celebrity’s status quo is at a given moment, someone in the mix will have an interest in keeping the celebrity in that money-making status quo…Even at the risk of a self-destructive celebrity. (The same status-quo dynamic happens in non-showbiz families too, by the way, but because the motivation is usually more about fear of change than about big money, it’s less overt and is more subconscious.)
It comes down to the kind of people the celebrity surrounds him or herself with. If a celebrity with an addictive personality (or the addiction gene) is surrounded by “yes” people who tell them what they want to hear, that celebrity is going to be in trouble.
I’ve heard some managers and agents say, “It’s none of my business.”
I disagree. It is their business, and getting help for a troubled client is part of being a good manager or agent.
If you work in the industry long enough, you see first-hand that creativity is often borne of pain, and that many clients had troubled childhoods or estranged family relationships and seek fame as a way to fill a void. So to make money off that client and then ignore their need for professional help when that pain gets out of hand is not only irresponsible, it’s inexcusable.
If you have signing privileges (i.e., power of attorney) and can sign your clients’ name on contracts, it’s your business. If you travel in the immediate vicinity with your client (reports say at least 6 people were staying at the hotel with Anna Nicole Smith) or are privy to the details of your clients’ day to day life, it’s your business. If you have keys to your clients’ home, it’s not only your business, you have no excuse not to get them off to rehab ASAP. More than once if necessary.
(And I’m talking hard-core, real-deal rehab like-Betty Ford or Hazelton…not Rehab Lite.)
I’ve heard a lot of people comparing Anna Nicole’s death to that of Marilyn Monroe. I disagree with that as well. Marilyn died in 1962, pre-Betty Ford Center, when very little was known about addiction or even about the addictive nature of some of the prescription medications she was taking.
This is 2007, and we all know better.
Meanwhile, the headlines surrounding the death of Anna Nicole Smith are getting stranger by the minute…The latest, courtesy of MSNBC, is that Zsa Zsa Gabor’s 9th and current husband, Prince Frédéric von Anhalt, says he could be the baby’s father. And it gets even more bizarre: In his press conference today, Prince Frederic (who allegedly essentially bought his title) said Anna Nicole told him she’d always wanted to be a princess, so he’d tried to make that happen for her by attempting to adopt Anna Nicole. But, Prince Frederic said, Zsa Zsa wouldn’t sign the adoption papers. (I kid you not, folks. I saw him say this in the press conference with my own eyes.)
That all these people are coming out of the woodwork with press conferences after her death just proves my point: Anna Nicole needed someone to protect her. If not a good family, then at the least, by very good management…
Very good management does exist, by the way. But unfortunately it doesn’t usually make for very interesting headlines.
Copyright 2007 Randi Reed and MusicBizAdvice.com. All rights reserved.
Friday, February 09, 2007
Wednesday, November 08, 2006
Letter from MusicBizAdvice.com Editor in Chief
Los Angeles, CA
Wednesday, November 08, 2006
Hi Everyone,
You may have noticed that recently when it comes to site updates, our main site, MusicBizAdvice.com, has not been as active as we usually are.
Because I value you as readers and as people, I want to tell you why. Some of my advisors would prefer I tell you a story about having to go out of town on behalf of a client or something. But MusicBizAdvice.com is a private company (mine) with no outside stockholders to keep happy, and you deserve the truth.
First off, rest assured, we’re not going anywhere. As many of you know, for over ten years I’ve battled the illness CFIDS (Chronic Fatigue Immune Dysfunction Syndrome, sometimes called CFS). I won’t go into a rundown of symptoms, (you can read more in my CFIDS Q&A), but Seabiscuit author Laura Hillenbrand and Flea of the Red Hot Chili Peppers have it, too, and Cher and Stevie Nicks have battled similar illnesses. (CFIDS is in a category of illnesses known as autoimmune disease. Rheumatoid Arthritis, Multiple Sclerosis, Lupus, Grave’s Disease, Epstein-Barr, and chronic Lyme Disease are other diseases in this category.)
As often happens with immune system diseases, recently the CFIDS Monster had enough of my working around it and decided to raise its ugly head and get noticed by intensifying the symptoms I’ve become accustomed to (and throwing in a few I hadn’t had for many years).
One symptom, something I call “CFIDS dyslexia” for lack of a better term, makes it difficult to write. It’s been years since I last experienced this, and I hope you’ll bear with us during the longer period it takes to post new material while we regroup over the next several weeks, rally the staff, and give my new vitamin regimen a chance to do its thing. Meanwhile, there will be new material trickling in, so check back.
But, I reiterate: we’re not going anywhere. And the CFIDS Monster, colossal pain in the a** it may be, will not win. After all, there’s always an upside: on a bad day my number comprehension is off too, so having me order lunch is good comedy. Maybe we can get Vegas involved and have people take bets on where each day’s delivery ends up? Just kidding.
As you can see, my sense of humor is in perfect health. …Comes in handy in the music business, as well as for putting the CFIDS Monster in its place. Thanks, as always, for reading MusicBizAdvice.com. (Thanks too, to JH and DW for their assistance in writing this.) And never, never, stop working toward making your dreams come true.
Randi Reed Editor in Chief, MusicBizAdvice.com
http://www.musicbizadvice.com
Copyright 2006 Randi Reed and MusicBizAdvice.com. All rights reserved.
Wednesday, November 08, 2006
Hi Everyone,
You may have noticed that recently when it comes to site updates, our main site, MusicBizAdvice.com, has not been as active as we usually are.
Because I value you as readers and as people, I want to tell you why. Some of my advisors would prefer I tell you a story about having to go out of town on behalf of a client or something. But MusicBizAdvice.com is a private company (mine) with no outside stockholders to keep happy, and you deserve the truth.
First off, rest assured, we’re not going anywhere. As many of you know, for over ten years I’ve battled the illness CFIDS (Chronic Fatigue Immune Dysfunction Syndrome, sometimes called CFS). I won’t go into a rundown of symptoms, (you can read more in my CFIDS Q&A), but Seabiscuit author Laura Hillenbrand and Flea of the Red Hot Chili Peppers have it, too, and Cher and Stevie Nicks have battled similar illnesses. (CFIDS is in a category of illnesses known as autoimmune disease. Rheumatoid Arthritis, Multiple Sclerosis, Lupus, Grave’s Disease, Epstein-Barr, and chronic Lyme Disease are other diseases in this category.)
As often happens with immune system diseases, recently the CFIDS Monster had enough of my working around it and decided to raise its ugly head and get noticed by intensifying the symptoms I’ve become accustomed to (and throwing in a few I hadn’t had for many years).
One symptom, something I call “CFIDS dyslexia” for lack of a better term, makes it difficult to write. It’s been years since I last experienced this, and I hope you’ll bear with us during the longer period it takes to post new material while we regroup over the next several weeks, rally the staff, and give my new vitamin regimen a chance to do its thing. Meanwhile, there will be new material trickling in, so check back.
But, I reiterate: we’re not going anywhere. And the CFIDS Monster, colossal pain in the a** it may be, will not win. After all, there’s always an upside: on a bad day my number comprehension is off too, so having me order lunch is good comedy. Maybe we can get Vegas involved and have people take bets on where each day’s delivery ends up? Just kidding.
As you can see, my sense of humor is in perfect health. …Comes in handy in the music business, as well as for putting the CFIDS Monster in its place. Thanks, as always, for reading MusicBizAdvice.com. (Thanks too, to JH and DW for their assistance in writing this.) And never, never, stop working toward making your dreams come true.
Randi Reed Editor in Chief, MusicBizAdvice.com
http://www.musicbizadvice.com
Copyright 2006 Randi Reed and MusicBizAdvice.com. All rights reserved.
Saturday, September 02, 2006
New Orleans, the French Quarter, Good Writing Voodoo, and a Hell of a Baked Potato
Greetings,
In honor of what happened a year ago this week, I want tell you about New Orleans.
More specifically, I want to tell you about the effect New Orleans had on my writing.
I came to love New Orleans on a cross country trek from California to Florida in 1992. As they say in all the clichés, it got into my blood and never left, and as a writer, I’ve never been more inspired than during a 2 day period I spent in the French Quarter in August 1992. When we arrived at our destination in FL, what I really longed to do was lock myself away somewhere and write, because ideas kept coming in like never before. We were pressed for time, so I journalled every chance I got…which can be obnoxious to ones’ non-writing travel companions, but I got some pretty good stuff out of it. The feeling lasted for months.
As happens to many people who’ve been inspired there, the stuff I wrote in those ensuing months had a dark, steamy vibe that managed to weave itself through the material without my intending it to be there. I wrote a lot by candlelight (which I’d never done before) and had a newfound understanding of where Anne Rice was coming from (literally). The guy I was going out with wondered what was up. (“Good voodoo” said I.)
The French Quarter, if you’ve never been, heightens your senses like a drug. Take a walk in the daytime, and your eyes are taken by the architecture and antiques, punctuated here and there by Dixieland jazz bands dressed in traditional costumes. Go out before the sun starts to set, and delicious smells fill the air as the restaurants prepare for the dinner hour: a whiff of gumbo in one block. A few doors down, something else. Turn the corner, and it’s the scent of freshly baked bread. Next block, something sweet and buttery coupled with the scent of brewing coffee; must be dessert. Meanwhile, you pass musicians heading out for their gigs, and occasionally hear a faint sound of someone rehearsing or tuning up.
By the time you’ve had a long dinner with friends and maybe a romantic walk along the river, the party’s starting on Bourbon Street, and the music’s in full swing. And the block you were on when you took your walk in the daytime is a whole other place, as if you’ve suddenly stepped into the middle of a circus (barkers and all).
And in the summer, it’s all wrapped up together like a present tied with a big, steamy bow.
The French Quarter isn’t a place you go; it’s a place you feel. And although it’s a little different now, it will come back. It just needs a little help from those who remember.
Go to NOLA, and write!
Meanwhile, as a remembrance of my favorite oyster bar, in our Starving Musician column I’ve posted my version of an incredible smothered baked potato I ate there in 1992.
Go for your dreams!
RR
Randi Reed, Editor in Chief / Founder, MusicBizAdvice.com
Copyright 2006 Randi Reed and MusicBizAdvice.com. All rights reserved.
In honor of what happened a year ago this week, I want tell you about New Orleans.
More specifically, I want to tell you about the effect New Orleans had on my writing.
I came to love New Orleans on a cross country trek from California to Florida in 1992. As they say in all the clichés, it got into my blood and never left, and as a writer, I’ve never been more inspired than during a 2 day period I spent in the French Quarter in August 1992. When we arrived at our destination in FL, what I really longed to do was lock myself away somewhere and write, because ideas kept coming in like never before. We were pressed for time, so I journalled every chance I got…which can be obnoxious to ones’ non-writing travel companions, but I got some pretty good stuff out of it. The feeling lasted for months.
As happens to many people who’ve been inspired there, the stuff I wrote in those ensuing months had a dark, steamy vibe that managed to weave itself through the material without my intending it to be there. I wrote a lot by candlelight (which I’d never done before) and had a newfound understanding of where Anne Rice was coming from (literally). The guy I was going out with wondered what was up. (“Good voodoo” said I.)
The French Quarter, if you’ve never been, heightens your senses like a drug. Take a walk in the daytime, and your eyes are taken by the architecture and antiques, punctuated here and there by Dixieland jazz bands dressed in traditional costumes. Go out before the sun starts to set, and delicious smells fill the air as the restaurants prepare for the dinner hour: a whiff of gumbo in one block. A few doors down, something else. Turn the corner, and it’s the scent of freshly baked bread. Next block, something sweet and buttery coupled with the scent of brewing coffee; must be dessert. Meanwhile, you pass musicians heading out for their gigs, and occasionally hear a faint sound of someone rehearsing or tuning up.
By the time you’ve had a long dinner with friends and maybe a romantic walk along the river, the party’s starting on Bourbon Street, and the music’s in full swing. And the block you were on when you took your walk in the daytime is a whole other place, as if you’ve suddenly stepped into the middle of a circus (barkers and all).
And in the summer, it’s all wrapped up together like a present tied with a big, steamy bow.
The French Quarter isn’t a place you go; it’s a place you feel. And although it’s a little different now, it will come back. It just needs a little help from those who remember.
Go to NOLA, and write!
Meanwhile, as a remembrance of my favorite oyster bar, in our Starving Musician column I’ve posted my version of an incredible smothered baked potato I ate there in 1992.
Go for your dreams!
RR
Randi Reed, Editor in Chief / Founder, MusicBizAdvice.com
Copyright 2006 Randi Reed and MusicBizAdvice.com. All rights reserved.
Friday, August 11, 2006
Problem 10,001 with the Music Industry, and Business in General
Hi Readers (and Writers, and Performers, and Assorted Friends and Relatives),
I’m writing an article for MusicBizAdvice.com and needed a break, because frankly it’s making my head hurt. That tells me it’s time for a new approach to the article, which means I’ll be scrapping the whole thing and starting all over after 3 hours’ work on it. (Which really blows, because it’s not like effective online writing bears any resemblance to what I consider great writing. It’s not meant to.)
But, if it makes my head hurt to explain something I can usually rattle off information about without a second thought, I can imagine how it would be for someone who may not have ever seen the information before. So I’d damn well better try again…
Which brings me to Problem 10,001 about the Music Industry (and Business in general): we rarely take the time to understand why we do certain things the way we do…from marketing methods, to overall business strategy.
For years, the M.O. of the music industry (and corporate America in general) has been, “Because we’ve been doing it this way for years.” Or, worse yet, “Because we said so.” Which doesn’t work, because you can’t effectively apply or reject a business method without a basic understanding of why. It’s also impossible to create a new business model without understanding why a certain methodology has been in place.
(I could probably take it even further and say something about how not understanding the “why”‘s doesn’t work in politics, either, but I’ll leave that for you to decide.)
The most successful people in business—particularly entrepreneurs--usually do ask “why” (or “why not?”) and try to understand the answers. Russell Simmons, Madonna, Jon Bon Jovi, P. Diddy, Donald Trump, David Letterman, and Hugh Hefner are examples of people who asked the questions, applied what works, and then created new methodologies for what doesn’t.
Back to my article (the goal of which is to help clarify some of the “why”’s)…Well, OK, maybe after dinner--takeout from California Chicken Café, which just arrived--and a little dark chocolate, which always brings clarity.
Have a great weekend,
RR
Randi Reed
Founder / Editor in Chief, MusicBizAdvice.com
P.S. My last blog has now been fixed and reposted. It appeared correctly when I first posted it, then at some point afterward was either hacked by someone or edited by Blogger. There was absolutely nothing in it that was a violation, so let's hope it was an idiot and not the fine people of Blogger. Either way, it sucks. This is America, people.
Copyright 2006 Randi Reed and MusicBizAdvice.com. All rights reserved.
I’m writing an article for MusicBizAdvice.com and needed a break, because frankly it’s making my head hurt. That tells me it’s time for a new approach to the article, which means I’ll be scrapping the whole thing and starting all over after 3 hours’ work on it. (Which really blows, because it’s not like effective online writing bears any resemblance to what I consider great writing. It’s not meant to.)
But, if it makes my head hurt to explain something I can usually rattle off information about without a second thought, I can imagine how it would be for someone who may not have ever seen the information before. So I’d damn well better try again…
Which brings me to Problem 10,001 about the Music Industry (and Business in general): we rarely take the time to understand why we do certain things the way we do…from marketing methods, to overall business strategy.
For years, the M.O. of the music industry (and corporate America in general) has been, “Because we’ve been doing it this way for years.” Or, worse yet, “Because we said so.” Which doesn’t work, because you can’t effectively apply or reject a business method without a basic understanding of why. It’s also impossible to create a new business model without understanding why a certain methodology has been in place.
(I could probably take it even further and say something about how not understanding the “why”‘s doesn’t work in politics, either, but I’ll leave that for you to decide.)
The most successful people in business—particularly entrepreneurs--usually do ask “why” (or “why not?”) and try to understand the answers. Russell Simmons, Madonna, Jon Bon Jovi, P. Diddy, Donald Trump, David Letterman, and Hugh Hefner are examples of people who asked the questions, applied what works, and then created new methodologies for what doesn’t.
Back to my article (the goal of which is to help clarify some of the “why”’s)…Well, OK, maybe after dinner--takeout from California Chicken Café, which just arrived--and a little dark chocolate, which always brings clarity.
Have a great weekend,
RR
Randi Reed
Founder / Editor in Chief, MusicBizAdvice.com
P.S. My last blog has now been fixed and reposted. It appeared correctly when I first posted it, then at some point afterward was either hacked by someone or edited by Blogger. There was absolutely nothing in it that was a violation, so let's hope it was an idiot and not the fine people of Blogger. Either way, it sucks. This is America, people.
Copyright 2006 Randi Reed and MusicBizAdvice.com. All rights reserved.
Friday, August 04, 2006
Commentary on Stupid Things Celebrities Said in the Last 10 Days
Greetings from Los Angeles,
(8/11: I'm reposting this blog because after it posted correctly, it was either hacked and edited by someone unbeknownst to me, or Blogger went in and edited my comments.)
A few random comments on stupid things celebrities said in the past 10 days. I haven’t had dinner yet, so I’m feeling particularly acid tongued…
Mel Gibson (anti-Semitic and sexist remarks): As Donny Deutsch said on his show the other night, alcohol goes in, truth tends to come out, and something won’t come out that isn’t already in there. Hollywood needs to stand up and say how vile and hate-filled Mel’s comments were—especially given what’s happening across the Globe--and stop spinning it with the rehab excuse. Sure, he’ll be clean, which is admirable, but that’s no cure for hateful remarks about an entire group of people. Meanwhile, now where is that Moonshadows business card I grabbed last time I was there so I can put it on Ebay…?
Paris Hilton (didn’t know who Tony Blair is, and on E News said that she’s a like mixture of Princess Diana mixed with Marilyn Monroe): While it’s no surprise that Paris Hilton didn’t know who Tony Blair is, it is ridiculous that she’s continually rewarded for stupidity. As for her comparison of herself to Princess Di and Marilyn…Princess Diana and Marilyn Monroe were intelligent and politically astute, so try again. Paris Hilton sets women back 50 years; there are plenty of intelligent beautiful women with beautiful wardrobes who should be given the airtime and ratings instead.
Lindsay Lohan’s mother Dina (said Morgan Creek Films came down too hard on her daughter by sending her a letter about her partying, adding “She’s just a young girl.”): She’s a young girl with multi-million dollar adult responsibilities that put food on the table for an entire crew of people. You can’t have it both ways. Maybe a little more conversation with Lindsay about less partying during the work week might have prevented the necessity of sending the letter.
Bono (who said on 60 Minutes that U2’s music will be around 100 years from now because their songs “have an emotional landscape”—meaning socially conscious lyrics--that were previously unheard of before): Oh, really? What about REM, Sting, John Lennon, Joni Mitchell, Bob Dylan, Woody Guthrie, Joan Baez, Crosby, Stills, Nash, and Young, Neil Young, et al…
Elizabeth Hasselbeck (who went off on guest co-host Lisa Loeb about the Morning After Pill—which she seemed to have confused with ru-486-- on The View, prompting Barbara Walters to say, “Elizabeth. Calm down dear.”): Arrrrgh! Elizabeth Hasslebeck should get the facts right before spewing venom at a guest co-host. (Among other things, she got wrong the most commonly accepted medical definition of when conception occurs.) Since Elizabeth’s tirade helped spread misinformation to advance her own political beliefs, I compiled some information about the Morning After Pill and how it works, and put it in MusicBizAdvice.com’s Body and Soul Section. I used several sources to compile the information, but this one had a good list of Q&As about the subject.
(As to my opinion…Since the debate over when conception begins is currently largely dependent on someone’s religious beliefs, I think the government should stay out of it on the basis of religious freedom alone.)
Time to get that turkey sandwich on whole wheat…
RR
Copyright 2006 Randi Reed
(8/11: I'm reposting this blog because after it posted correctly, it was either hacked and edited by someone unbeknownst to me, or Blogger went in and edited my comments.)
A few random comments on stupid things celebrities said in the past 10 days. I haven’t had dinner yet, so I’m feeling particularly acid tongued…
Mel Gibson (anti-Semitic and sexist remarks): As Donny Deutsch said on his show the other night, alcohol goes in, truth tends to come out, and something won’t come out that isn’t already in there. Hollywood needs to stand up and say how vile and hate-filled Mel’s comments were—especially given what’s happening across the Globe--and stop spinning it with the rehab excuse. Sure, he’ll be clean, which is admirable, but that’s no cure for hateful remarks about an entire group of people. Meanwhile, now where is that Moonshadows business card I grabbed last time I was there so I can put it on Ebay…?
Paris Hilton (didn’t know who Tony Blair is, and on E News said that she’s a like mixture of Princess Diana mixed with Marilyn Monroe): While it’s no surprise that Paris Hilton didn’t know who Tony Blair is, it is ridiculous that she’s continually rewarded for stupidity. As for her comparison of herself to Princess Di and Marilyn…Princess Diana and Marilyn Monroe were intelligent and politically astute, so try again. Paris Hilton sets women back 50 years; there are plenty of intelligent beautiful women with beautiful wardrobes who should be given the airtime and ratings instead.
Lindsay Lohan’s mother Dina (said Morgan Creek Films came down too hard on her daughter by sending her a letter about her partying, adding “She’s just a young girl.”): She’s a young girl with multi-million dollar adult responsibilities that put food on the table for an entire crew of people. You can’t have it both ways. Maybe a little more conversation with Lindsay about less partying during the work week might have prevented the necessity of sending the letter.
Bono (who said on 60 Minutes that U2’s music will be around 100 years from now because their songs “have an emotional landscape”—meaning socially conscious lyrics--that were previously unheard of before): Oh, really? What about REM, Sting, John Lennon, Joni Mitchell, Bob Dylan, Woody Guthrie, Joan Baez, Crosby, Stills, Nash, and Young, Neil Young, et al…
Elizabeth Hasselbeck (who went off on guest co-host Lisa Loeb about the Morning After Pill—which she seemed to have confused with ru-486-- on The View, prompting Barbara Walters to say, “Elizabeth. Calm down dear.”): Arrrrgh! Elizabeth Hasslebeck should get the facts right before spewing venom at a guest co-host. (Among other things, she got wrong the most commonly accepted medical definition of when conception occurs.) Since Elizabeth’s tirade helped spread misinformation to advance her own political beliefs, I compiled some information about the Morning After Pill and how it works, and put it in MusicBizAdvice.com’s Body and Soul Section. I used several sources to compile the information, but this one had a good list of Q&As about the subject.
(As to my opinion…Since the debate over when conception begins is currently largely dependent on someone’s religious beliefs, I think the government should stay out of it on the basis of religious freedom alone.)
Time to get that turkey sandwich on whole wheat…
RR
Copyright 2006 Randi Reed
Thursday, August 03, 2006
Unsigned Artist Lilly Allen Signed to United Talent Agency Based on My Space Tracking?
According to Reuters and my local news’ entertainment report, a UK artist named Lilly Allen, who had a Top 10 hit in New Zealand, has been signed by UTA (United Talent Agency) based on her ability to build a fan base on My Space, as well as her talent.
I have no doubt that could happen, if extremely high numbers of profile views, downloads, etc. were consistent and attendance at an artist’s shows was consistently high. Labels have certainly looked at artist’s mailing list numbers for years (especially in rock), and it’s often used as a determining factor when deciding between two artists. (And she had a label deal with Warner in the past, which I’m sure came into consideration.) So, My Space tracking and fan base numbers are an important consideration, regardless of how valid this story turns out to be.
The question is, will those page views and downloads translate into consistent ticket sales and interest in seeing the artist on TV and at other personal appearances? The solidity factor of the fan base may not be there to translate into a concert draw...Will a fan base heavily based on My Spacers go out and spend dollars on tickets? So if it’s true, I’d expect this artist to do a lot of webcasts and podcasts and other alternate income streams and not rely on traditional touring.
(I don’t include CD sales/ major label record deals in the income stream in this discussion because agents have nothing to do with record deals. Agents handle concerts, TV appearances, paid web appearances, film, and books, and some kinds of endorsements.)
Many people in the industry are waiting to see how the story plays out, and whether or not it’s even true. One report I saw about this story contained quotes from her rep that seemed to mention My Space more than the artist, and they’re pointing this out as suspect. Some people are wondering if it’s actually a publicity stunt for My Space, or if Lilly Allen signed an endorsement deal with My Space, or if her agency is possibly now representing My Space.
Given the timing, it’s a possibility, because My Space has certainly received their share of bad press over the past several months, and many members of the media seem not to know about the music aspect of My Space. Also, this week it was reported that My Space slipped to #2 in website hit rankings. Then...bingo! The first major talent agency signing of an unsigned artist, based on My Space tracking.
Or, it could be that the whole thing is true, and that My Space found out about it and issued a press release.
We’ll see...Meanwhile, if you’re an aspiring artist, never overlook the importance of building a large, solid fanbase online and offline, so that it translates into butts in seats. (Butts in seats sell CDs paid downloads and put more butts in seats. For a new artist, CD sales alone don’t put butts in seats.)
Live your dreams!
RR
Randi Reed
Founder / Editor in Chief, MusicBizAdvice.com
Copyright 2006 Randi Reed and MusicBizAdvice.com. All rights reserved.
I have no doubt that could happen, if extremely high numbers of profile views, downloads, etc. were consistent and attendance at an artist’s shows was consistently high. Labels have certainly looked at artist’s mailing list numbers for years (especially in rock), and it’s often used as a determining factor when deciding between two artists. (And she had a label deal with Warner in the past, which I’m sure came into consideration.) So, My Space tracking and fan base numbers are an important consideration, regardless of how valid this story turns out to be.
The question is, will those page views and downloads translate into consistent ticket sales and interest in seeing the artist on TV and at other personal appearances? The solidity factor of the fan base may not be there to translate into a concert draw...Will a fan base heavily based on My Spacers go out and spend dollars on tickets? So if it’s true, I’d expect this artist to do a lot of webcasts and podcasts and other alternate income streams and not rely on traditional touring.
(I don’t include CD sales/ major label record deals in the income stream in this discussion because agents have nothing to do with record deals. Agents handle concerts, TV appearances, paid web appearances, film, and books, and some kinds of endorsements.)
Many people in the industry are waiting to see how the story plays out, and whether or not it’s even true. One report I saw about this story contained quotes from her rep that seemed to mention My Space more than the artist, and they’re pointing this out as suspect. Some people are wondering if it’s actually a publicity stunt for My Space, or if Lilly Allen signed an endorsement deal with My Space, or if her agency is possibly now representing My Space.
Given the timing, it’s a possibility, because My Space has certainly received their share of bad press over the past several months, and many members of the media seem not to know about the music aspect of My Space. Also, this week it was reported that My Space slipped to #2 in website hit rankings. Then...bingo! The first major talent agency signing of an unsigned artist, based on My Space tracking.
Or, it could be that the whole thing is true, and that My Space found out about it and issued a press release.
We’ll see...Meanwhile, if you’re an aspiring artist, never overlook the importance of building a large, solid fanbase online and offline, so that it translates into butts in seats. (Butts in seats sell CDs paid downloads and put more butts in seats. For a new artist, CD sales alone don’t put butts in seats.)
Live your dreams!
RR
Randi Reed
Founder / Editor in Chief, MusicBizAdvice.com
Copyright 2006 Randi Reed and MusicBizAdvice.com. All rights reserved.
Wednesday, August 02, 2006
Music Biz Savvy: If you're an indie artist, local band, or new National act who plays live shows…
Greetings from Los Angeles,
I wrote this on My Space a while back, but as my brain cells fail to come up with anything witty to say on this busy afternoon, thought I'd post this here to give even more people the heads up...
Lately I've been noticing a scary trend that affects indie and agentless artists who play a lot of live shows:
Young promoters who've managed to get hold of large sums of money to produce shows, but who don't know the basics of live performance contracts.
I see this trend growing, because lately MusicBizAdvice.com has been flooded with very basic questions from young concert promoters who have funding.
I find this troubling, because if someone doesn't know the basics of a live performance contract, it's highly likely they also don't know about local ordinances, OSHA regulations, event insurance, union rules, music licensing for live venues, or any of the ten million other details that go into putting on a safe, successful show.
There's a strong probability artists who work with them will get screwed over (from inexperience more than malice in this case). Or worse yet, the artist will be named in a lawsuit in the event of an accident--simply from the buyer not knowing what they're doing, and the artist getting tangled in the fallout.
So...If you're an artist who plays out a lot, know who the A-level and B-level talent buyers are in the cities where you play regularly, as well as for the cities where you want to branch out.
If an opportunity comes from a promoter you don't know, check them out. Find out what shows they've done in the past, and talk with some of the artists who were on the bill (better yet, their managers or tour managers)...Especially those at your level of your experience in the industry, and one level above.
A few things to ask...
Did they get paid? Were there any disputes/misunderstandings with the performance agreement? Were there any problems with the show? Were they resolved quickly? How did the promoter resolve them? Did Settlement go smoothly?
Meanwhile, take the time to learn your business so you'll know how to spot a bad promoter...and will know how to handle some of the problems that inevitably come from a promoter not knowing theirs.
Live your dreams,
RR
Randi Reed, Founder / Editor in Chief, MusicBizAdvice.com
Copyright 2006 Randi Reed and MusicBizAdvice.com. All rights reserved.
I wrote this on My Space a while back, but as my brain cells fail to come up with anything witty to say on this busy afternoon, thought I'd post this here to give even more people the heads up...
Lately I've been noticing a scary trend that affects indie and agentless artists who play a lot of live shows:
Young promoters who've managed to get hold of large sums of money to produce shows, but who don't know the basics of live performance contracts.
I see this trend growing, because lately MusicBizAdvice.com has been flooded with very basic questions from young concert promoters who have funding.
I find this troubling, because if someone doesn't know the basics of a live performance contract, it's highly likely they also don't know about local ordinances, OSHA regulations, event insurance, union rules, music licensing for live venues, or any of the ten million other details that go into putting on a safe, successful show.
There's a strong probability artists who work with them will get screwed over (from inexperience more than malice in this case). Or worse yet, the artist will be named in a lawsuit in the event of an accident--simply from the buyer not knowing what they're doing, and the artist getting tangled in the fallout.
So...If you're an artist who plays out a lot, know who the A-level and B-level talent buyers are in the cities where you play regularly, as well as for the cities where you want to branch out.
If an opportunity comes from a promoter you don't know, check them out. Find out what shows they've done in the past, and talk with some of the artists who were on the bill (better yet, their managers or tour managers)...Especially those at your level of your experience in the industry, and one level above.
A few things to ask...
Did they get paid? Were there any disputes/misunderstandings with the performance agreement? Were there any problems with the show? Were they resolved quickly? How did the promoter resolve them? Did Settlement go smoothly?
Meanwhile, take the time to learn your business so you'll know how to spot a bad promoter...and will know how to handle some of the problems that inevitably come from a promoter not knowing theirs.
Live your dreams,
RR
Randi Reed, Founder / Editor in Chief, MusicBizAdvice.com
Copyright 2006 Randi Reed and MusicBizAdvice.com. All rights reserved.
Subscribe to:
Posts (Atom)