5
2011
Interdependence: Paradigm Shift
An article by Cari Cole
Music is collaboration. Musician to musician – artist to fans – artist to label /industry…
Now more than ever, in this time of such independence, I am struck by the interdependence of things.
And music, being a shared experience by two or more – strikes me as a perfect vehicle for interdependence and a distinction that could benefit all artists and music creators.
It’s a new time in the world. Old structures are collapsing, and new ones are being built – but not in the same way. In the past we fought for Independence and won – now the fight is for co-creation, collaboration and it all depends upon Interdependence. Truth is, whether you like it or not, we cannot exist without each other (not very well or comfortably anyway). And – we are interconnected to every living thing and being, whether acknowledged or not. We are one giant conglomeration of atoms and energy in motion – together.
And there is a new way of looking at it – a new paradigm that exists between independent and dependent – enter Interdependent. It even feels good saying it.
In 2011, we have more independence than ever – the internet is huge proof of a whole world virtually at our fingertips. But it’s an illusion that we are on our own – we cannot exist without someone on the other end. We are Interdependent. Interdependence means “dependent on others for some needs.” In other words, you can’t produce everything you need. Interdependence is the idea that you as a person depend on other people for certain things. The same is true of families, towns, and even countries. The people who use their own hands to make everything they could ever want are rare these days. More common are people like you, who get different things from different people.
Music being one of those things. It generally isn’t produced alone (nor should it be). Every time I hear an artist say – “I wrote, played & produced everything on the record” – it almost always means it could have been better had more people been involved (and no worries if you’re that artist – I used to be too – it’s the nature of proving yourself). But in honesty, all hit records have a team of people evaluating, tweaking, perfecting etc.. all ensuring its success – there’s a reason for that. Sure, you can sit in your room and play or street busk by yourself – you can even write, perform and record your entire album on Garage Band or Pro Tools, but who says that’s a good thing? Maybe as a learning tool for understanding production… The sad thing for me as a coach is that I meet artists all the time whose true potential is never realized because they try to do it all on their own and don’t get the right guidance.
I recently spoke to music professional who is helping artists by offering them opportunities on retainer – one of the new ideas emerging out there. He’s a connector – he finds placement for songs in Film & TV, he gets artists deals – but rather than taking a slice of the pie, he’d rather get paid up front on a monthly retainer – easier for him and in the long term easier for the artists too because nothing comes from the back end. That way the artist owns their music 100%. More and more that model is emerging and it makes sense. It also teaches artists how to invest in themselves instead of waiting for someone else to invest in them and then take it all back end controlling the artist in the meanwhile. My new pal commented that as he listened to me talk to artists (my teleseminars online) he said “While it’s good that you encourage artists to find their ‘true north’ – it’s often not commercial enough and then we have that problem.” I responded that when I tell artists to stay true to themselves, it doesn’t mean living under a rock or reinventing music in some weird genre or not listening to feedback from professionals – the opposite is true. I mean that they need to work harder to find their originality – not be indulgent. One of the reasons I am pushing artists in that direction is that far too many artists have been pushed into this “copycat” mode to ensure sales and it’s robbing us of the individuality that is necessary to create great music. We need to move away from the formulaic approach that dominates the airwaves and encourage artists to create again. And encourage them to work together – because great records and even great songs are usually the result of great collaborations. The day of the DIY independent is over-glorified (most get buried under the workload and stop making music) – and anyway, who wants to be jack-of-all-trades when it comes to your music – do you really want to be writer/performer/mixing engineer/producer/publicist and label when you’re bound to have holes wearing multiple hats?
The fourth of July here in the U.S. always brings up this thought for me because we celebrate our “Independence”. And yes, the Declaration of Independence was an achievement hard won. But in the case of the independent music creator, it’s committing professional suicide.
No matter how hard anyone tries to skip off to a desert island – or insists upon doing everything them self (same thing in my book), you have to continue to take off your blinders and get in the real world. What’s more, the opinions of others –filtered by you, of course – can offer ideas where you fall short – and no matter who you are, there are always things you can easily miss.
Music is now available mostly free from independent artists trying to promote themselves, yet the world is dependent upon musicians to make the music we listen to (which poses a ‘how are they going to get paid?’ scenario – that’s a whole ‘nother article)…
Musicians are dependent upon other musicians to inspire them and play with them, and artists are dependent upon people listening to their music and hopefully continuing to give them some money to make it. Artists are also dependent on music industry professionals such as management, publicists, radio promoters, distributors, booking agents and such to help them get their music out there – more proof that it can’t be done alone. And then there’s the experience surrounding the music – the concerts, parties, and experiences that are never solo.
So anywhere you use the word “dependent” or “independent”, replace it with “interdependent” and see how that feels. Who really wants to do everything on their own?
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Thanks for a great article Cari – I really enjoyed it and agree that “interdependent” is a lovely word. While I do enjoy the product of some amazing multi-talented and truly independent musicians in my work, I also really love to see people collaborating to create something greater than the sum of its parts.
Infact, as a stand-alone example, it’s usually those performances where two talented artists team up on stage that really make the hairs on the back of my neck stand on end – there’s just something so magical about seeing people truly working together! I’m thinking a Beyonce & Tina style Grammy performance….or an impromptu jammin’ session at a low key acoustic session.
Interdependence feels good.
I love your articles….but the problem i see with joining forces based on the area I’m in is that everyone seems to be “Me” “My” “I” minded. Scared someone’s gonna stealing their shine if they hook up. So many indie artist are tring to “make it” by going it alone and really are getting no where or the cost of partnering is too costly that you find yourself on the losing end tring to do it all yourself. basically it comes down to finding artist that have a “true love” for the gift of music and coming together with no other agenda, other than getting it out to the music lover’s ear vs dealing with someone whose partnering for the purpose of “makin it” cashing in and moving on….
I have already ordered the book you mentioned above. Can’t wait to read it!
I like everything that’s being said in your newsletter – ESPECIALLY the idea of having someone else provide MUSIC PRODUCTION/. I WOULD LOVE A COLLABORATOR in this arena. The monthly retainer idea is interesting but this would require SPECIFIC TASKS/DUTIES/OUTCOMES to be SPECIFIED and the monthly retainer itself may be prohibitive to the artist. Price matters!
What if a rather business savvy artist had a business plan for self funding their music career?The main drawback to their plan is the time consuming nature associated with SELF FUNDING EACH AND EVERY STEP. IT WILL TAKE THIS ARTIST LONGER TO ACCOMPLISH THEIR MUSIC RELATED GOALS BUT IT’S STILL POSSIBLE FOR THEM TO BUILD AN INTERNATIONAL CAREER – however limited. But then again they don’t have any expectations tied to HUGE NUMBERS OF FANS OR ONLINE SALES.
Here’s a RADICAL IDEA. WHAT IF AN ARTIST’S PRIMARY AIM (at least initially) WASN’T TO EARN MONEY WITH THEIR MUSIC?
You’re probably wondering – how could an artist possibly fund every step of their music career without making money from their music? HOW WOULD THEY STILL HAVE TIME TO WRITE MUSIC?
Well, here’s the answer…..(drum roll). THEY HAVE A BUSINESS THAT REQUIRES VERY LITTLE TIME BUT PROVIDES AN ADEQUATE LIVING!!! THEY HAVE A BUILT IN REVENUE STREAM THAT IS SUFFICIENT TO LIVE ON AND FUND THEIR MUSIC PROJECTS AS LONG AS THE COSTS ASSOCIATED WITH DOING SO ARE KEPT TO A VERY LOW ROAR AND THEY MOVE STEP-BY-STEP. This suits this artist just fine because they are STRATEGIC AND METHODICAL.
WHAT IF THEY DON’T NEED A PUBLICIST? WHAT IF THEY DON’T NEED TO TRAVEL FOR CONCERTS? WHAT IF THEY DON’T NEED A MANAGER (but they would appreciate a wise, experienced and TOTALLY LOYAL CIRCLE OF COLLEAGUES).
I know – this sounds like one of those wierd marketing plans you buy at 2 a.m. from a shopping network – but it’s not.
SO WHAT DOES THIS ARTIST NEED?
1) redundent but it bears saying again – a loyal and connected group of colleagues WHO RESPECT THE KNOWLEDGE AND EXPERTISE THIS ARTIST HAS REGARDING ENTREPRENEURIAL/ORGANIZATIONAL DEVELOPMENT. This may require the music professionals to treat the artist as AN EXPERT IN THEIR FIELD OF BUSINESS BUILDING, GROUP FACILITATION AND COMMUNICATION. They need to recognize and understand that this artist has owned a successful business in a HIGHLY COMPETITIVE FIELD IN ONE OF THE WORLD’S MAJOR CITIES for more than 20 years. While they’ve gone through periods of underemployment THEY’VE NEVER BEEN UNEMPLOYED. DURING THIS PERIOD THEY’VE PURCHASED 4 homes, traveled to more international locations than they can count and they’ve been HIRED BY OTHER BUSINESS OWNERS AS A TURNAROUND EXPERT TO TURN THEIR STRUGGLING BUSINESSES AROUND – WHICH THEY’VE DONE VERY SUCCESSFULLY. THEY’VE ALSO TURNED THEIR OWN BUSINESS AROUND so today it provides them with a good life. In other words – they know what they’re doing! In all likelihood, this is going to require the music professionals to LET GO of their preconceived notions about the “how” of helping an artist develop their music career. In other words, THE MUSIC PROFESSIONALS MUST GO THROUGH A PARADIGM SHIFT.
SO WHAT KIND OF BUSINESS MODEL DOES THIS ARTIST HAVE AND WHAT PHILOSOPHIES GOVERN THEIR BUSINESS PLANNING?
PHILOSOPHIES:
First of all- this artist DOESN’T BELIEVE IN WORKING HARD BUT RATHER IN WORKING SMART. SHE’S NEVER WORKED HARD TO MAKE A LIVING! Maybe that’s because she enjoys what she does.
Second – she believes YOU HAVE TO SPEND MONEY TO MAKE MONEY. In other words, she has NO PROBLEM investing financially in her own career. She’s been doing so for more than 20 years.
She believes CASH FLOW IS KING when you’re self employed – hence the step by step movement towards her goals.
She is both strategic and methodical.
She’s a long term planner (she began shopping in her 40′s for her ideal retirement spot and found it 2 years ago at the age of 55).
She is just as creative about her business ventures as she is about her music.
SHE IS MOTIVATED BY SETTING GOALS which she sets every year in every aspect of her life and she visits these goals quarterly.
SHE’S A CAUTIOUS AND THOROUGH RESEARCHER
SHE’S DECISIVE
SHE’S FOCUSED AND DRIVEN (but in a lazy way – lol)
SHE’S PRINCIPLED AND COMMITTED TO HER IDEALS
She believes THE INTERNET IS THE SUPERHIGHWAY FOR BUILDING A PROFESSIONAL AND MUSIC CAREER.
She believes in PULL MARKETING – BUILD IT AND THEY WILL COME – but this only works if you use REALLY STELLAR SEO STRATEGIES AND OFFER GOOD CONTENT
She believes in combining excellent functionality – i.e. a user friendly website – with a compelling message that’s BUILT INTO THE LOOK OF THE SITE. In other words – the site operates on 2 levels – it conveys compelling content information AND IT SPEAKS VOLUMES ABOUT THE PERSON PROVIDING THE SERVICE. For instance – this artist’s current professional website is designed to de-stimagtize, humanize and convey a feeling of safety to visitors who are seeking psychotherapy. The whimsical nature of the site is in stark contrast to the VERY WEIGHTY credentials of the owner. This has worked brilliantly. It also helps that the owner is a good writer and that they have a deep understandthing of what .connects
people to one another.
She believes good businesses must be GROWN ORGANICALLY
In the beginning stages of entrepreneurial development BUILDING MARKET SHARE IS EVERYTHING
She hires only those experts she needs – thereby keeping overhead to a minimum
SHE BELIEVES GOOD MUSIC RISES TO THE TOP
SHE BELIEVES HER CURRENT AUDIENCE – I.E. THE PEOPLE IN HER PRACTICE AND THOSE WHO ARE CURRENTLY READING HER ARTICLES AROUND THE WORLD ARE POTENTIAL FANS both because of the music itself but also because of the message in her lyrics, her voice and her persona. Think Mother Theresa, Sarah Brightman, mysticism and the soul sounds of Aretha.
SO HERE’S THIS ARTIST’S BUSINESS PLAN:
1) FIND A GOOD PRODUCER TO RECORD HER TUNES (AFTER THEY’VE BEEN TWEAKED. But here’s she’s looking for what would make a tune stronger – not necessarily strictly commercial in the CLEAR CHANNEL sense of the word)
2) build a VERY CLASSY WEBSITE (check out Sarah Brightman’s website).
3) continue building traffic to her professional website (her SEO expert is dynamite. When she said- “you’re my angel investor” he said, “in my heart” which was the exactly right answer
4) eventually there will be a link to the artist’s website. There will be two layers of possible interaction on this site:
1 level is open to everyone. This will offer several free downloads of music, a visually interesting interview with the artist, maybe a music video and an online book of lyrics – like a card that opens with her lyrics so they get a taste of her work. There’s a Now Listening Twitter that exposes visitors to great music from around the world
level 2 is an opt in level where visitors can opt- in with their email address thereby gaining access to a private FAN CLUB where they will have access to:
(3) free downloads
They can buy additional tracks. Visitors may be told that some percentage (say 50%) of their purchase is donated to a specific humanitarian organization and that if they wish to donate they can pay a dollar or 2 more – up to $25 for their tracks
There might be a Bookstore where they can purchase books of her lyrics or poems.
They will be invited to online mini-concerts (they have to buy tickets for these. These concerts will be pre-recorded and videotaped and can be accessed any time).
There will be a scrapbook where visitors can leave prescreened questions or comments that the artist can respond to.
There may be a separate Twitter that’s more personal in this section.
There will be music videos in this section of the site.
Everything about this section of the site will designed to build a PERSONAL CONNECTION and MUTUAL LOYALTY with fans
She’ll have her own YouTube channel where she’ll post her music videos
So what does this artist need other than a good producer and a group of knowledgeable peers?
So here’s a list of necessaries:
1) great web designer who’s affordable (forget CD baby)
2) funding for music videos and web development (the artist can purchase this on her own but it’s a turtle plan in terms of execution)
3) good producer and a payment arrangement that’s do-able for the artist
4) time to build her musical presence on the web (it typically takes 3 years to build a successful entrepreneurial business) She expects it will take about this long until she sees a reasonable ROI
While it might be wise for this artist – once they have an established an ONLINE PRESENCE to visit various countries around the world – thereby strengthening their relationship with local fans this artist is more interested in visiting humanitarian organizations around the world to see if a MUTUALLY BENEFICIAL SPONSORSHIP RELATIONSHIP might be established. This might help the artist fund musical projects and also allow them to donate money to these organizations and to become known as someone who writes MUSIC THAT MATTERS. This would be a HIGH VISIBILITY endeavor to be launched down the road.
Any and all comments are welcome. Thank you for reading this.
P.S.
This artist can make a half way decent living working 18-20 hours a week which can be scheduled in 3 days – say Tuesday, Wednesday and Thursday thereby giving her a 5 day weekend.
i couldnt agree with you more Cari. This is my Philosophy too. As my mentor Daisaku Ikeda said at a lecture he gave at Harvard, “All things are linked in an intricate web of causation and connection, and nothing, whether in the real of human affairs or natural phenomena, can exist or occur solely of its own accord. Greater emphasis is placed on the interdependent ralationships among individuals than on the individual alone…. It is the fusion of self and other. At the same time , it is n expansion of the limited, ego-shackled self toward a greater self whose scale is as timeless and unbounded as the univerce.” Therefore we need to strive for harmonious relationships that express respect and understanding.
Thank you again for that great article.
Hey Cari…really dig on this post. I think you’ve hit the nail on the head. It’s amazing just how much our ‘fear’ survival instinct keeps us trying to do it all on our own. I know for me it has been the journey of actually realizing how it has been this fear that keeps us from getting to where we really want to go.
Madness, this survival mechanism! Here’s to evolution…
Thanks for sharing this!
Andrew
Thank you, Cari! For a while I thought (in back of my mind) that there was something wrong with me because I couldn’t get things going on my own… Shouldn’t I be able to be an island unto myself?!? Other People do it!… or maybe at least seemingly so. I’ve since relinquished that mindset and accepted my role as a piece of the interdependent puzzle. Its incredibly freeing actually. Why would anyone want to place that kind of burden on themselves? But, at the time I was more than happy to. Here’s to a new mindset for a new era!
Reading this article really helped me internalize this.
Thanks again!
I have always been “interdependent” because I don’t actually play anything. I just write in my head then send it over to great musicians to see what happens. And better things than I could ever do by my self always happen. Ask a jazz musician to “re-harmonize” a song you’ve written. It just might thrill you. My greatest joy is when people have better ideas than me! That’s a gift. I would really like to know the name of the retainer guy!
Connie, Thanks for the comment. The guy I mention who works in the industry using a retainer model – I only provide his info, on a referral basis, for artists who work directly with me.
Great article Cari – just shared it on my facebook – so inspiring and on point. Thank you!!