The Battle for Goble Dominance

Posted on July 18, 2011 by

Annually I do an ego search. I do it once a year so that I can check to see whose SEO is working the best (Facebook beat out LinkedIn for the first time this year), what surprise mentions I may have gotten and to see if there was anything potentially damaging in case a boss or future boss did a search. It’s kept to once a year because frankly I’m not that important and I’m not actively job hunting. This year’s search took place last week and for the first time I found myself sharing the first page of results. Previously I had to dig a couple pages in to find another Sean Goble and that guy was a trucker serial killer in Ohio. Since Ohio was a ways away and Sean Patrick Goble was incarcerated in Alabama I didn’t have much to fear. But this year someone much more insidious has crept his way into my search and has in fact usurped me with his Facebook posts: a mortgage consultant in Indiana. I have to say I was much more comfortable with the trucker.

I’m still top five out of ten with the mortgage consultant taking one and two with Facebook posts (I’ll work at correcting that) and the other three being split between two myspace pages out of the US and one dating profile in the UK. Things are starting to feel cramped though. But then it struck me that the mortgage consultant, who doesn’t look a whole lot older than me, might feel the pinch even more. Or maybe he doesn’t care. Or maybe he’s relocated from Alabama, who knows?

Allow me to show you how to consolidate your debt.

 

Relegated to a status of underscores, middle initials and “2″s to define yourself, creating an online presence when sharing a name with an early adopter must be infuriating. Every search and every domain name has to have a qualifier in it and that is a real impairment to creating a professional image if your career isn’t working SEO for a living.

 With what would have been Marshall McLuhan’s 100th birthday coming up in a couple days it’s worthwhile to look at how the theory of Global Village as it applies to the internet is creating a world-wide version of “definitive”. Despite various country specific domains, there is only one “.com”. There is only one Gmail address, one Facebook domain, one Twitter account, one Yahoo login, one Quora, and on and on. After that there are only variations. At one time it was frustrating to have two people with the same name in your public school class. Now, in competition with almost 7 billion other people, any number of which may have the same name, there is a version of the colonial land rush taking place online with each new service offering a version of the New World.

Pictured: XBox Live Releasing Old IDs in May of This Year.

In the last couple of weeks Activision and EA of the gaming world have been at each other’s throats over the marketing of their first person shooters (Call of Duty: Modern Warfare 3 and Battlefield 3 respectively) being released in the Fall. They look similar, play differently and both have massive marketing budgets to establish the brand. A chink in Activision’s armour appeared last week when it was revealed that Activision couldn’t secure the domain “ModernWarfare3.com“, having been swept up by a third party long before the franchise was looking at a third instalment. Until the past week when you typed in the domain you were redirected to a Battlefield website. Now you get a movie clip and a terse critique on the quality of the Call of Duty franchise as well as a notification that the address is under siege.

 A person is in control of their personal identity. If you want to behave like a bastard, you can and your reputation will follow you. If you treat people with respect, your name becomes one of respect. These are the small town rules that I learned as a kid. Nowhere did it indicate that you also needed to be first and largest in order to control how people viewed you. Since you were known personally, even if someone named the same as you came to town, there would be some confusion but people would create identifiers. If you chose to open a store, the name would be researched beforehand to avoid confusion. Now the confusion finds you. Like Activision, by doing nothing a person’s online brand can actively be manipulated by others, your identity can be controlled or at the least taken out of your hands. This type of thinking makes me want to register the domain of my kid’s name now as well as any future names I’m toying with.

 I still know people, in fact a lot of people, who barely brush with the internet. They may look at it to find news on a hockey game or may even go grab their email once a week from Hotmail. It’s a tool and basically an add-on to their life that exists otherwise completely outside of cyberspace: no Facebook, no Google +, no webpage. They have no self-constructed identity and any identity of them that they didn’t create they are unaware of and it has had no effect, short of perhaps missing a party invite, on their life. Mine is the last generation that can do this and I truly envy them for taking that opportunity. In the next five years everything gets linked.

 My kids will be completely connected because they won’t have the option to exist outside of it. All parts of their life; résumés, communication, creativity, commerce and exercise; will all exist in part online. Choosing not to participate in this “infostructure ” will result in lost job opportunities, impaired social lives and missed information. These don’t sound much different than what is already happening but I think we can all see that whatever effect it has on us now will be amplified as technology engulfs everything and “opting out” becomes akin to living in a cave.

What about “www.UghhBlagFungo32.com”? Is that taken too?

And at the very centre of this, for each person will be their online identity. Our children’s ability to manipulate and defend this identity will be no different than our wish to keep trespassers off our lawn and protect against defamatory articles and copyright infringements, except they will be competing on a global scale; attempting to control both their anonymity and identity.

 It’s not scary. It’s not dystopian. It’s just the way things are. McLuhan is often viewed as a futurist but in fact he was warning us of the place we are heading. His papers on the future were cautionary. And so today, three days before his birthday, I want to just give a tip of the hat to a man who saw it coming: how we would define ourselves and how we would identify with each other and will no doubt be at the top of his own ego search for years to come.

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2012? No, Armageddon hits in 2011

Posted on December 10, 2010 by

Jesus.  Glee is going to overrun Elvis Presley for the most Hot 100 hits next year.   They’ve already usurped James Brown and Ray Charles and the King is the last hold out. In the back of your mind, no matter how much of a Gleek you are, there is something that is straight from the uncanny valley about this thought. For me it’s the rapidity that this has happened.  That a legend with a record that has held thirty-three years after his death can be routed by a musical dramedy that is only halfway through its sophmore season might be seen by some as a perversion but I see it as further proof of the increase in consumption of music and the  speed at which we consume all of our entertainment.

More Popular Than Pink Floyd ... Ever

 

Beyond “Don’t Stop Believing” and a couple of the mash-ups that I have on one of my running playlists I’m hard pressed to remember any songs used in Glee and my wife and I watch it religiously.  The music supervision is brilliant on that show and the dark undercurrents that flow through the plots always allow me to forgive myself for watching what the three people who don’t watch the show might view as a light, contrived “mega margarine musical”, a term one of my old theatre profs used to use to describe shows like “Rent” and “Sunset Boulevard”.  But beyond the hour that I watch the show virtually nothing sticks.  Yet I can sing at least a dozen Elvis songs off the top of my head … probably more.  I grew up with his music in the house and while in the ongoing debate I’m a Beatles man, that doesn’t mean Elvis’s music didn’t have an effect.  Glee’s music of course hasn’t had the chance to worm its way into our minds or our kids’ minds like Elvis did because it hasn’t been around for very long.  But the issue is that it never will.  The radio doesn’t play it, in a year we’re not going to remember a bunch of choir versions of pop songs, and none of it is going to blow some child’s mind as he sits there in a room alone absorbing it like Peter Gabriel 2 did for me.

I also had night terrors as a child. No idea why.

Yet here it is, threatening to dethrone the King.  Part of this is how music is now consumed.  I have thousands of songs on iTunes that I’ve listened to only once and still I keep checking back to see what is new this week.  Music doesn’t get the focus of a quiet dark room now, it gets played while we’re tweeting or exercising.  I’m not pining for the past here.  I love that I can own any song I can think of within a minute.  But because my library is infinite, I’m no longer restricted to absorbing an album.  I listened to the same tape over and over again because that was all I had.  Now music doesn’t have a chance to get its hooks in me.  So I buy it like its a disposable commodity, I consume it like a chocolate bar, I don’t absorb it like art.

A lot of the music I did take in as a kid wasn’t deserving of my time.  I can still sing every word of Taco’s “Putting on the Ritz” and Billy Joel’s “We Didn’t Start the Fire”.

 

My Boys:

He sees your soul

Creepy album #3. My childhood is suddenly making a whole lot more sense.


But I would rather have that and thousands of other songs of varying quality bouncing around in my head than nothing at all.  They’re companions.  They gave me something I hadn’t heard yet.  Glee is also comforting because the songs the cast sing are familiar, many either ear worms from the radio or songs that count themselves among the thousands I already mentioned.  As such, when I watch Glee, I’m visiting a version of an old friend.  But I’m not making new ones.  Call it a phenomenon, call it fluff, call it exciting TV.  Call it any of these.  But you can’t call it a companion.  They’re covers and the originals touched you long before Kurt or Finn sang it.  So watching a record held by Elvis fall to this phenomenon is conflicting.  You’re watching this record fall, but somehow it doesn’t feel like history.  I always believed that the records held by MJ, Elvis and the Beatles would only ever fall to equally brilliant artists.  Instead, it appears we are to see them fall to marketing and hype.  We’ll see brilliance like them again, I have no doubt.  But we’re going to need to find a different gauge to measure them by.

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The Busy Season

Posted on December 1, 2010 by

Glad I’m through that.  On to Christmas.  New post coming Friday and it is going to be FABULOUS*.

*some settling of expectations  may occur during shipping.

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THANK YOU

Posted on December 1, 2010 by

http://musictechpolicy.wordpress.com/2010/11/28/dr-ficsor-takes-geist-back-to-school/

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Question: Do I Need a Publisher to Get Started as a Songwriter?

Posted on October 18, 2010 by

Welcome to a new article I’m going to start cranking out where I answer in fairly general terms questions I get on a pretty regular basis and include my own opinion where I feel I have something to add.  No doubt others, especially with this question, will tell you different, but remember, I’m asking nothing from you while others may be looking to make a deal and grab some of your action so pick your friends.

True Fact: Wearing a Chicken Suit to Your Publishing Meeting Will Result in a 20% Higher Advance

Short Answer:

No, not yet.  If you’re asking the above question you’re not ready.  It doesn’t matter how amazing your songs are, you’re just out of the gate.  Good publishers are extremely effective and could potentially make you a ton of money but right now you’re not attracting them, you’re attracting lowlifes.

Long Answer:

To make sure we’re on the same page, here’s a basic explanation of what a publisher is so as I’m not speaking Greek for the next couple of paragraphs.

A publisher is an individual or business that controls a company that, in exchange for a percentage of ownership of a work of music (not the recording, but the actual song) for a set amount of time, gives you money and/or music industry related services.

Some publishers will take a percentage of ownership and give nothing in return, and some deals involve simple administration of your works or other single services, but I’ll touch on these bits a little later.  For now, that’ll do.

Two misconceptions:

1) A publisher prints sheet music

2) Publishers are all in constant collection mode and will take any publishing from anyone and will turn it into money.  This belief is best found in the sentence “I’m tired of trying to make it on my own and think maybe I should just go get a publishing deal.”

With this in mind, we can continue.

So what can a publisher do for you?  What are these “Services” I speak of?

No

Well, on the most basic level, they can provide you with an advance on earnings which will help you produce the new song, get it out there and get it played.  They will also administer the song for you.  Since they have skin in the game, they want to make as much from a song as possible.  So they’ll ensure the song is registered with your PRO (Performing Rights Organization), is being collected in foreign territories, will stay on top of potential domestic performances and will collect money for you.  If it’s a true publishing deal, they will also negotiate sync (TV/Film use) and ensure the long form sync licenses don’t end with Disney owning your song, your soul and anything else you produce in the next ten years.

Once a Mousketeer ... The song finally makes sense

On the softer side, they are a team of professionals that make a living in the shark infested music industry waters.  In fact, they are the sharks.  They also know all the other sharks.  A publisher’s creative team will have an address book of music supervisors, record labels, other publishers, hit songwriters, artist management, studios and venues, all whom they can rally to your song.  They can set-up cowrites, song camps, cuts on albums and get your song played when The Situation finally comes out of the closet.

Seriously, who doesn't think it's only a matter of time?

Gee whiz!  Where do I sign?  Who do I call?  Well here’s the bad news Jimmy Olsen, you don’t call them.  Yes, you can pitch your music to them, and they may listen and give pointers, but unless you are already getting some action they’re not interested. There are always exceptions to this rule, but if you’ve already chosen to make a living in the music industry, how much farther are you willing to press those already extremely high odds?

“This is BS.  I just had a guy the other day offer to be my publisher.”

You've got real potential ...

Yup, and he also wanted to manage you as an artist and look after your touring right?  Listen, there are a lot of bottom feeders out there.  These scum suckers are in the bars and the clubs, they’re handing out business cards that look like they were either printed in a car decal and paint shop or in a grade three class, have a hotmail address for a contact and convince you that the acts they look after are huge and you’re a musical ignoramus for not knowing them.

Do your research.

Your publishing is the business side of your song.  You’re allowed to use 50% of your song for publishing (also called 100% of the publishing).  The other half is kept for you and your cowriters.  But you need to have that publishing in order to make a deal later on.  If you give it away to a lowlife, not only are you not getting half of the money, but if they sit on it, you’ve also taken away the business part of your song so that when you do generate some interest with a real publisher, you have nothing to offer them.

Another side note before I wrap this up: there’s a disturbing trend recently where productions themselves claim a writer’s publishing for work they did for a show.  Only ever allow this as a last resort; if it’s the straw that will make or break the deal.  Most production companies are the single worst publishers on the planet.  They don’t understand publishing, just that there’s money there, and outside of their production, they are not interested in pitching your music for other uses, nor do they have the expertise to exploit your music to its maximum.  Sometimes they will couple with a real publisher in a type of administration deal, which is a good thing for you, but for the most part your music will be in that one production and you will never be able to use it again.  Ever.  So fight as long and as hard as you can to keep your publishing and if they take it, make sure that you are fairly compensated for it.  “Backend” is not compensation because they just took half of that away from you.

Again, No

So yes, at this point, the guys you want to have handle your publishing aren’t going to be talking to you for awhile and the other guys are stealing from you.  This is why you must network and create buzz.  These are other topics that’ll I’ll talk about but I think you know the basics.

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Incoming Calls On My Land Line for September

Posted on October 4, 2010 by

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And What Are You?

Posted on September 15, 2010 by

I recently read an article (Update: Original taken down but I found a copy and yes, you better believe I commented) that was so erroneous in both its arguments and generalizations that I was completely appalled that any major news organization would even consider publishing it.  I’m not going to blow it apart here because it pretty much does it to itself for any intelligent reader but it did get me thinking about one of the egregious generalization it makes in stating that “the majority of creators see no significant income from copyright…”   

Okay, but you mention fair use once and I'm out of here

Don’t leave, I’m not going to talk about copyright today: promise.

No, it was the lumping of “creators” into this one giant category that sent me for a tail spin.  It was the same as stating that “the majority of bikers don’t race.”  There’s such a variety of people, be it Harley Davidson riders to Tour de France participants included in this statement that speaking with authority on anything they do or do not is mind boggling.  

But beyond that there is a line that is completely ignored in the statement and that is one of the amateur and professional.  This is a line missed in most discussions when it comes to copyright (still not talking about it), but more importantly it’s a line missed when people are trying to get their work out there.  

The baseline for defining a professional is someone who gets paid to do what they are doing while “amateur”, based in the latin “amatoreum” or “lover of” implies participation for reasons other than money.  Creation has a difficult path to walk when it comes to these two terms.  

Professional songwriters obviously love their craft.  They have picked a difficult path to travel, one where money can be inconsistent and they can see themselves dated before they even get started if they don’t pay attention to current and future trends.  Yet they do it because it’s all they know and all they want/need to do.  They rely on other people seeing value in their work and paying for it.  So at heart they are both amateur and professional.  To varying degrees anyone that creates music should strive for a balance of these two worlds.

The reality of music however is that many creators suffer from terrible self esteem.  

Sir Hominidae the III says: May I suggest that all of this hullabaloo about "feces" and "exposure" may attract unwanted riff raff?

They trade their music for things like “exposure”.  Let me tell you straight up: “Exposure” is the biggest lie in the music industry.  How?  Why?  When a music supervisor is looking for a gratis license for their show, this argument is flung around like feces in an ape exhibit and it is of the same make-up.  

Think of any movie ever.  Think of a single moment where you heard a song and went to look it up.  Couple dozen times at most right?  But it does happen.  Now how many times did you actively seek out the band’s work?  Couple dropped off but we’re still pretty high so screw you Mr. Writer.  Okay, how many times did you then download that track for something other than free?  For $.99?  Uh oh, things are dying off now.  Next step: did you now seek out this new found gem of a band for more of their music, concert tickets or other ways they could possibly see profit?  Or did you keep that one track around, rock out to it and listened to their other stuff but really wasn’t all that interested?  I know my list has dropped to one or two that got past this point and I listen to A LOT of soundtracks.  There’s too much work involved in getting from Point A to Point D and the few that love the song enough to be bothered jumping through the hoops do not justify the amount of money lost in giving away the song instead of getting paid a proper sync license.  Ever.  

A quick note on the added incentive of “back-end”.  One background track on some TV show for a minute is going to bring enough money for roughly three extra value meals every quarter for a year if it’s on a major network.

You fronted the money for the studio.  Or the gear to record it in your basement.  You spent the time creating your song and organizing the band.  Why is all this time and real money worth nothing to you?  Because it was something you love?  Great.  But anytime you give something away, you’re devaluing it.  You are saying to the world that you don’t think your creation is worth anything.  You’re saying that thing that you love is worthless.  And the person exploiting your work for free is saying the exact same thing.  

Ignore the “race to the bottom” and the “artists should be compensated” arguments for a second and just consider your self-worth.  Will the outside world see your track to be as valuable as a U2 track?  No, it won’t.  But you should view it as being worth SOMETHING because it is part of your contribution to your legacy and to your art.  Be an amateur but ensure other people value what you’ve done.  Get paid for your work.  Don’t let anyone tell you your creativity and passion are worthless.

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A Couple of Tips

Posted on September 9, 2010 by

I used to work as a music supervisor.  Great job and I strongly encourage anyone who gets the opportunity to do it.  You may starve to death, especially in Canada but the emaciated corpse will be smiling.  Anyway, I wrote a blog at the time that I wanted to update and repost here because it seems that it’s still a large chunk of the advice that I end up giving out to would be music types that are trying to figure out how to get listened to.

My old desk if Thomas Edison's Sitsophone had gotten traction

At least two hours out of my day, every day, was spent tearing open manila envelopes and corrugated cardboard and then listening to their contents. We had a backlog in the office of what I can only guess was about 250 albums. My CD rack was split into four categories, “Keep ‘em, I like.”, “Might Work If We Need Something Specific”, “Another F!@..in’ Compilation” and “Bin It, my ears are bleeding”. I can happily say that the first category was always slightly larger than any of the others with the “Bin It” placing second.

This is a terrible but necessary system that would rip me apart sometimes. There’s a limited amount of space in a supervisor’s library and while they continually purge music that is becoming dated or never really caught, they still can’t keep up with the inflow. So some CDs get benched that, in a better world, would find a place in a show somewhere.

Sometimes the choice was easy as the production was in the dumpster, the melody sat it out and the lyrics were straight out wretched. Sometimes it felt as if these people set out to make something horrible. This of course is never the case. No one wants to distribute shit and put their name on it. They especially don’t pay postage and waste CDs sending them to music supervisors because they think it would never work on anything. They want to be heard and they believe they are contributing.

Normally where they fall short is they are breaking rules that they are not even aware of, whether it’s because they lack the theory or they lack the respect for what came before. Be it Smokey Robinson, The Pointed Sticks or Nirvana, everything came from somewhere else and the people who try to reinvent the cart without first understanding the wheel are in trouble before they play their first power chord.

I'm listening, but all I'm hearing is Rob Fleming (Gordon) bitching about the kick being too high.

Another dream killer is production. When I was listening, it was normally on a pretty high-end stereo in the office or a couple of hundred dollars pair of headphones because I knew that there’s someone who’s going to slip in the DVD of a film and listen to it on a better system than I had and have better ears than me. So if I’m catching vocals that are too hot or an out of tune guitar I know that audiophile is going to hear it and wonder who the asshole was that chose that song. I would think of that creepy guy, with matted dark hair, a torn black Tin Machine T-Shirt and bad acne leaning over me as I sorted through the CDs. And if choosing this disc would make him snort in a superior manner, it got trashed. Unless it’s pop and doing well on the charts. That stuff is always going to be there pal, get over it.

Those are easy decisions to make. The hard ones came when I hit something I couldn’t discard using either of the above: the people who have bought into the dream and built something that I had no doubt they are extremely proud of. They dumped their own money into it, have come up with some goofy name for a label and publishing company and were trying to shop themselves, either with management or on their own. In truth I was normally more forgiving towards these guys because I have a soft spot for Canadian indie and so some of it made it on the keep shelf that had they come from Universal would have been dumped. But there are some discs that I just couldn’t do it. The songs are sometimes too out there or I just didn’t feel it. And those were miserable times for me, they really were.

I knew I was holding months of work and money and hope and sweat in my hands and I could give them some exposure and even pay them for giving them the exposure. But I couldn’t buy in if I couldn’t see a use for it. So some discs that I might even have given a couple listens to if they were in my personal library got tossed in with garbage that they were far superior to. This is the nature of the work. The way I worked it in my head was that these guys are good enough that someone else may grab them, or they are good enough that their next album will fit into my keep ‘em quota.

This is the reality of having to digest a lot of CDs in a short amount of time. And while listening to new music was one of the best parts of that job, it can also be one of the hardest.

Things to keep in mind:

1) It may feel like you’re sending it off into the void, but sometimes it just doesn’t fit.  Don’t take it personally. 

2)Always, always make sure the discs you submit are professional quality.  A supervisor doesn’t have the time or inclination to arrange for another recording of a song.  They need the master to be usable and available for sync. 

3) Make sure you’re one stop or you have the info so that a supervisor can easily contact everyone involved. 

4) Make sure you include contact information.  Don’t laugh, there’s a box full of CDs somewhere in the Toronto dump of perfectly decent music.

5)Make the CD presentable.  It’s hard to take anyone serious when their disc has the title scrawled in a black magic marker. 

6) NO SAMPLES. Ever.

7) Lastly, remember that music supervisors are looking to add this song to film.  They not only need it to fit, they need to be able to convince the producers it fits.  Foul language, objectionable content and experimental music are all easy kills because even if the supervisor loves the track, the producers won’t go near it.

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The Busy Season

Posted on September 7, 2010 by

Why is it that the music industry feels this need to load what feels like absolutely everything outside of SxSW and CMW (Canadian Music Week) into the Fall?  Is it because everything is a little lower profile (West Coast Music Awards) or only vaguely related (Toronto Int’l Film Festival)?  Or did we all just get back from holidays and suddenly realize it’s been at least a month since we all stood around with comped drinks and awkwardly discussed downloading and our “next big project” that we’re all terribly excited about?  Regardless I go without seeing E for roughly two months and that’s a lot of survival pizza ™ to eat.

Last year's Harvest Festival (citation needed)

It is also the Brooklin Harvest Festival this weekend so if Rick Mercer finds himself north of Whitby, he should be sure to check out their pumpkin pie and charity run.

Last year I couldn’t make it to the festival because I had this music thing happening but this year I’m all in.  There’s something about a small town that has been engulfed by urban sprawl suburbia still working to keep a small town flavour that I love.  Of course everyone else also thinks this is a great idea and quite often these things get overrun and no longer feel like the Deer Festival in Bright Falls (sans the Taken) and more like a flash mob.  This year’s Spring Fair felt more like an episode of Jersey Shore (seriously Whitby, stop with the tan and weightlifting, you’ll still be only ten minutes outside of Oshawa no matter how hard you try) than a community event.

But if you get there early, and you get out before the mob, you may still catch a brief moment of authenticity and that makes the attempt worthwhile.

Today was a good day because, Pete, who works beside me, and I had a discussion on the value of Tori Amos’s early works.  It’s awesome to see that kind of enthusiasm in the eyes of a guy more known for his love of KISS.

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Ow. Ow OW!!

Posted on August 17, 2009 by

You know what I hate?  Blogs that go stagnant and then sputter back to life in time to say “Wow, it’s been a long time since I updated because … blah blah blah” and then dig their grave back up, open their now empty coffin and crawl back in for another four months.

Today I am gripped with the unfairness of the universe.  I went for a run.  Burned 554 calories.  Feeling pretty good.  Go online, compare myself to some other guy in the area.  I ran 1 km less, but had a slightly faster pace and my heart rate was higher (working on getting that down) and this guy burned 2,373 calories.  Now I’m okay with a little bit of difference.  He’s obviously in better shape and he ran at a steadier pace.  but COME ON.  I consoled myself by consuming three beers, a bag of Doritos, a tub of Ben & Jerry’s and a small child.  There’s always tomorrow.

Today was a good day because my wife forgave me for not cleaning up when I said I would.  And she stayed in a good mood about it, and as any husband will tell you, it’s the mood that shows where you really stand, not the words.

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