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.
Saturday, September 02, 2006
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.
Wednesday, July 19, 2006
Rock Star Supernova vs. The One
Greetings from the oven known as Los Angeles,
Last night I flipped channels between the talent competition rivals: Rock Star Supernova, which I love, and The One, a new talent competition on ABC with some huge names behind it…
The One has some great names behind it. I’d been looking forward to watching Mark Hudson (the guy with the cool multi-colored beard), because in addition to being a producer, songwriter, former Hudson Brother, occasional exec, and Kate Hudson’s uncle, Mark Hudson is in my opinion, one of the best studio backup vocalists known to man. His clear tone, blending ability, and chameleon-like ability to blend with, sound like, or harmonize with anyone from Jon Bon Jovi to Steven Tyler make him well-known in studio circles. (He’s also known for getting his part down really fast in the studio--obviously a major plus.)
And Andre Harell (former president of Motown--was majorly involved in the career of Sean Puffy Combs, aka P. Diddy) and Kara DioGuardi (songwriter, producer--worked with Gwen Stefani, Kelly Clarkson, Christina Aguilera) are certainly no slouches. Plus The One has major names on the artist development team--including choreographer Tina Landon, vocal coach Roger Love, and guitar teacher Ray “The Weeper” Fuller--and the prize is a contract on a label with a great behind the scenes talent pool (Interscope/Geffen). So, I had really high hopes for the talent on this one.
Hmmm. Maybe they’re trying too hard to make “good TV” and are intentionally holding something back so we can see the performers develop, but I wasn’t impressed with the overall talent pool or the performances. Caitlin Evanson was a standout, but I was really bored by the rest.
As for the host…Well, he’s no Ryan Seacrest. But his delivery would make him a good host for Rock Star Supernova.
As for Rock Star Supernova…Now we’re talking! For the most part the contestants are extremely talented, seem to have a decent amount of live performing experience, and most of them have good stage presence. The show also has a great house band…Great players, tight rhythm section, good sound, and they can actually rock. Musical director Paul Mirkovich’s credits on paper might not look like he can rock hard--he toured for years as Cher’s musical director and was also the keyboardist for the band Nelson, plus a slew of other credits--but he’s an excellent rock arranger who’s assembled what has to be the best backing band on TV. (Sorry American Idol people, I gotta call it like I see it.)
Favorite contestants on Rock Star Supernova? They’ve given very little indication of what Tommy Lee is looking for, so choosing a singer for Supernova is a tough call: Would a female singer really be considered, or is it just because they have to? Are they the kind of band who wants a good looking front person to attract a wider audience, or do they want someone more “interesting” and dark? Do they want someone colorful who gets a lot of attention, or do they want Tommy Lee to be the colorful one? All those things are important factors. If there was no ego factor involved, Rossi might be a good choice, or, if a female is being considered, Delana, because I think she’s a riveting performer and could handle performing in front of a large audience at a festival.
Tommy Lee band aside, my own favorites include Jill (who was in my Top 2 until the unfortunate white dress performance but redeemed herself last night with a pretty good version of “All Right Now.”), and Toby, who was my favorite until he had the misfortune of singing one of my all-time favorite songs, Soul Asylum’s “Runaway Train” at too fast a tempo, and without much emotion. There are one or two others that could make my Top 3...but no one who’s stood out enough to make me remember their name yet (a telling consideration in itself).
Overall, the contestants on Seasons 1 and 2 of Rock Star have been far better live performers than on all seasons of American Idol combined, and I’m more entertained by them. (But, as a show, Rock Star still doesn’t have the “it” factor Idol has in terms of drama and chemistry between judges and host. Nor does it have a breakout, household-name star…yet.)
What don’t I like about Rock Star Supernova? Brooke Burke was cool on other shows she’s hosted but tries way too hard to “act rock and roll” on this show. Maybe a better fit would be the host of The One, George Stromboulopoulos?
Live your dreams!!!
RR
Randi Reed
Founder / Editor in Chief, MusicBizAdvice.com
http://www.musicbizadvice.com/
Copyright 2006 Randi Reed. All rights reserved.
Last night I flipped channels between the talent competition rivals: Rock Star Supernova, which I love, and The One, a new talent competition on ABC with some huge names behind it…
The One has some great names behind it. I’d been looking forward to watching Mark Hudson (the guy with the cool multi-colored beard), because in addition to being a producer, songwriter, former Hudson Brother, occasional exec, and Kate Hudson’s uncle, Mark Hudson is in my opinion, one of the best studio backup vocalists known to man. His clear tone, blending ability, and chameleon-like ability to blend with, sound like, or harmonize with anyone from Jon Bon Jovi to Steven Tyler make him well-known in studio circles. (He’s also known for getting his part down really fast in the studio--obviously a major plus.)
And Andre Harell (former president of Motown--was majorly involved in the career of Sean Puffy Combs, aka P. Diddy) and Kara DioGuardi (songwriter, producer--worked with Gwen Stefani, Kelly Clarkson, Christina Aguilera) are certainly no slouches. Plus The One has major names on the artist development team--including choreographer Tina Landon, vocal coach Roger Love, and guitar teacher Ray “The Weeper” Fuller--and the prize is a contract on a label with a great behind the scenes talent pool (Interscope/Geffen). So, I had really high hopes for the talent on this one.
Hmmm. Maybe they’re trying too hard to make “good TV” and are intentionally holding something back so we can see the performers develop, but I wasn’t impressed with the overall talent pool or the performances. Caitlin Evanson was a standout, but I was really bored by the rest.
As for the host…Well, he’s no Ryan Seacrest. But his delivery would make him a good host for Rock Star Supernova.
As for Rock Star Supernova…Now we’re talking! For the most part the contestants are extremely talented, seem to have a decent amount of live performing experience, and most of them have good stage presence. The show also has a great house band…Great players, tight rhythm section, good sound, and they can actually rock. Musical director Paul Mirkovich’s credits on paper might not look like he can rock hard--he toured for years as Cher’s musical director and was also the keyboardist for the band Nelson, plus a slew of other credits--but he’s an excellent rock arranger who’s assembled what has to be the best backing band on TV. (Sorry American Idol people, I gotta call it like I see it.)
Favorite contestants on Rock Star Supernova? They’ve given very little indication of what Tommy Lee is looking for, so choosing a singer for Supernova is a tough call: Would a female singer really be considered, or is it just because they have to? Are they the kind of band who wants a good looking front person to attract a wider audience, or do they want someone more “interesting” and dark? Do they want someone colorful who gets a lot of attention, or do they want Tommy Lee to be the colorful one? All those things are important factors. If there was no ego factor involved, Rossi might be a good choice, or, if a female is being considered, Delana, because I think she’s a riveting performer and could handle performing in front of a large audience at a festival.
Tommy Lee band aside, my own favorites include Jill (who was in my Top 2 until the unfortunate white dress performance but redeemed herself last night with a pretty good version of “All Right Now.”), and Toby, who was my favorite until he had the misfortune of singing one of my all-time favorite songs, Soul Asylum’s “Runaway Train” at too fast a tempo, and without much emotion. There are one or two others that could make my Top 3...but no one who’s stood out enough to make me remember their name yet (a telling consideration in itself).
Overall, the contestants on Seasons 1 and 2 of Rock Star have been far better live performers than on all seasons of American Idol combined, and I’m more entertained by them. (But, as a show, Rock Star still doesn’t have the “it” factor Idol has in terms of drama and chemistry between judges and host. Nor does it have a breakout, household-name star…yet.)
What don’t I like about Rock Star Supernova? Brooke Burke was cool on other shows she’s hosted but tries way too hard to “act rock and roll” on this show. Maybe a better fit would be the host of The One, George Stromboulopoulos?
Live your dreams!!!
RR
Randi Reed
Founder / Editor in Chief, MusicBizAdvice.com
http://www.musicbizadvice.com/
Copyright 2006 Randi Reed. All rights reserved.
Tuesday, July 11, 2006
Zen and the Art of Music Licensing Reader Mail...
While going though MusicBizAdvice.com reader mail this week I made an interesting observation: most of the questions /complaints we receive about having to pay copyright holders for the use of their music comes from Christian businesses.
You’d think it would be rabid audiophiles, or college students on a budget, right? Nope. The people who seem the most intent on finding a loophole out of it--intent enough to write to us, anyway-- are Christian businesses and organizations.
I find this amusing, because not even the sleaziest promoters and club owners I’ve met over the years have complained about paying music licensing fees. I’ve heard complaints and debates about catering, roast turkey instead of pressed turkey, brands of bottled water, the necessity of shore power, airfare, hotel, ground transportation, pizza, bars of soap, Kleenex, and even ice. But never music licensing fees.
We get a lot of mail of this type, so we must have accidentally ended up on a Christian music website or Christian music directory. (Whatever works for ya, welcome. Just don’t try to recruit me, please. I’m a spiritual person but don’t happen to believe mere mortals have the right to try to interpret spirituality for other mere mortals.)
Rock on, kids...
Randi Reed
Founder / Editor in Chief, MusicBizAdvice.com
Copyright 2006 Randi Reed
You’d think it would be rabid audiophiles, or college students on a budget, right? Nope. The people who seem the most intent on finding a loophole out of it--intent enough to write to us, anyway-- are Christian businesses and organizations.
I find this amusing, because not even the sleaziest promoters and club owners I’ve met over the years have complained about paying music licensing fees. I’ve heard complaints and debates about catering, roast turkey instead of pressed turkey, brands of bottled water, the necessity of shore power, airfare, hotel, ground transportation, pizza, bars of soap, Kleenex, and even ice. But never music licensing fees.
We get a lot of mail of this type, so we must have accidentally ended up on a Christian music website or Christian music directory. (Whatever works for ya, welcome. Just don’t try to recruit me, please. I’m a spiritual person but don’t happen to believe mere mortals have the right to try to interpret spirituality for other mere mortals.)
Rock on, kids...
Randi Reed
Founder / Editor in Chief, MusicBizAdvice.com
Copyright 2006 Randi Reed
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