thoughts

Reversible business models

In China, some doctors are paid monthly when you are healthy. If you are sick, it’s their fault, so you don’t have to pay that month. It’s their goal to get you healthy and keep you healthy so they can get paid.

Shai Agassi of Better Place designed a business model for electric cars where the car is given away for free because the company makes its profit on the electricity and battery maintenance.

Services like Rhapsody aim to let you listen to any song ever recorded, any time you want, on any device anywhere in the world, for free - as long as you pay their small monthly subscription fee. This challenges the whole assumption that we need to own copies of recordings at all!

FreeConferenceCall gets their income from the phone companies instead of their customers, because they know which phone company each person is using to call them. So they negotiated an affiliate payment for generating more long-distance calls for each phone company.

In the 70s, IBM let Microsoft make the operating system for their computers because software was just the free stuff that came on the expensive hardware. In the 90s, it looked like the hardware was going to become free because all the money was in the expensive (Windows, Office, Photoshop) software. Now Google makes it seem like the software will be free, too, just to get you into their advertising network.

Professor Dan Ariely told his class that he would be doing a reading of poetry, but didn’t know what it should cost. He handed out a price survey to all students, but secretly half of the surveys asked if they’d be willing to pay $10 to hear him read, and the other half asked if they’d be willing to hear him read if he paid them $10!

Those who got the question about paying him were willing to pay. They offered to pay, on average, $1, $2, $3 for short, medium, long readings.

Those who got the question about being paid demanded payment. They wanted to be paid, on average, $1.30, $2.70, $4.80 for short, medium, long readings.

An entire business model flipped upside down just by starting with an opposite assumption. I love it.

What assumptions are you running on?

Are there things you assume you have to pay for, that might instead be willing to pay you?

What current business models might as well be flipped around, or get their income from a different source?

http://www.flickr.com/photos/smiling_da_vinci/118075142/

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Bye-Bye, Baby!

There’s a beautiful quote from Abraham Maslow: “Life is an ongoing process of choosing between safety (out of fear and need for defense) and risk (for the sake of progress and growth). Make the growth choice a dozen times a day.”

You might have seen in CD Baby’s 10th birthday announcement last March that I haven’t worked at CD Baby since last year. In fact I’ve hardly been there since 2002. I designed all the internal systems to run without me, so that I could be free to go learn and invent new things.

But now my new projects are exciting me so much that I decided to hand over CD Baby to someone that’s going to make it better than ever for you. I chose Disc Makers as the new owner because their president Tony Van Veen has been one of my favorite people for years, and I always felt they’d do a better job of running CD Baby than I would.

The CD Baby staff, location, name, and everything else will stay the same, but I think you’ll start to notice more attention given to improvements that help you sell more music.

So, this isn’t big news. Just letting you know that CD Baby is in better hands now, and I’m off to new things.

CD Baby

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Should you go digital-only, and skip the CD?

Should you go digital-only, and skip the CD?

The real question is: How much of your potential audience are you willing to exclude?

We’re in transitional times. A lot of people have iPods. But most still don’t. A lot of people get all their music online. But most still don’t.

If you decide not to put your music on iTunes or Rhapsody - (say, if you have cover songs and don’t want to bother with the paperwork) - your music will never be heard by the millions that get all their music on iTunes or Rhapsody.

But if you decide not to have your music on CD, your music will never be heard by the millions that still do all their listening on CD. (Even if they listen to streaming clips while sitting at their computer, they do all their real listening in the car, or on the home stereo.)

So the answer for 2008 is : if you’re serious about being a professional musician, you need to do both.

If you’re just playing around, and never expect even 100 people to want your music, then just upload to MySpace like everyone else does, and don’t make a CD.

But in these long-tail days with over a million bands on MySpace, having a professional CD - a beautifully designed and manufactured CD - really sets you apart and shows you’re serious to anyone in the music industry receiving your CD. Investing $1000 into manufacturing CDs shows that you plan to make at least $1000 selling them. Not spending the $1000 is like saying, “I don’t think I’ll ever make $1000 doing this.” Then you wonder why a booking agent or label is not interested?

To close with a telling example:

When visiting Apple iTunes, I had lunch with the guy who’s in charge of independent music editorial - the one who chooses who gets featured placement.

I asked him, “What’s the best way for me to turn you on to something I think you’ll love?”

His answer? “Send me the CD.”

I said, “Uh.. really? What if it’s already on iTunes? Shouldn’t I just send you the link?”

He said, “Yeah. I commute an hour each way to Apple’s office. I do all my real listening in the car, so I need the CD.”

http://www.flickr.com/photos/fotolandia/2283178230/

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Ah, to own nothing!

Something’s changed. I just can’t get myself to buy an iPhone.

I had been planning it for months, when friends would tell me about theirs, I knew I was going to wait for the 3G version. It’s even the reason I chose AT&T. The day it was announced I thought, “Yes! Finally! July 9! Can’t wait!”

But luckily I had time to think, between announcement-date and availability-date. And as time went on, I wanted it less and less. I realized my existing phone works just fine.

Maybe it was the amazing Story of Stuff video that made me realize that every manufactured thing creates a ton of waste just to make.

Maybe it’s the savings: (click this comic:)

Mostly it’s that I’ve been living out of a backpack for much of the year.

Every item is now judged harshly as a major burden that better have a damn good explanation why I should carry it around with me everywhere as I travel.

After my amazing time riding a motorcycle around Vietnam, you might think I’d want to buy a motorcycle, but no - then I’d have to OWN it. (Say the word “own” with your most disgusted po-faced tone.)

Wouldn’t it be more fun to never have to OWN anything, but to just have it when you need it?

P.S. Here’s my next daydream bike ride.

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Songwriters / Lyricists / Composers (who don’t perform)

I did an interview today with Diana from savethesongwriter.com, and she said it was OK to republish some of it here:


Q. Not every good performer is a good writer, nor is every good writer a good performer. Do you have any suggestions as to how a writer (i.e. lyricist and/or composer) should proceed in order to get their songs covered?

Work backwards. See sivers.org/call-the-destination and sivers.org/get-specific.

First, figure out exactly who should be recording your song. Do your research and find out what songs that artist has recorded by other writers. Then Google those songwriters and song titles to see if interviews have revealed how that writer got that cut.

If nothing is found online, ask Diana if you can contact the writer in the name of savethesongwriter.com to interview them about how that artist chose to record their song.

Once you’ve done this research (which really only took you an hour, tops) write down at least five different ways you can reach this artist the way they like to be reached. Don’t stop at one idea. Come up with five and do at least three of them. Persistence really pays off.


Q. While becoming known is a desireable goal for a performer, many excellent songwriters will never be famous, nor is that necessarily a goal. How do you suggest a songwriter proceed in order to have their songs covered and develop a source of income?

Be where music is being made.

I used to work at Warner/Chappell Music Publishing in New York City. One of our most successful writers was only a lyrics-and-melody guy. So he would hang out at studios where many of the producer types, especially in R&B, had leftover grooves and tracks that they had never turned into songs. He’d just say, “Toss me your leftovers. Let me see if I can turn it into something even more valuable for you. If you don’t like my ideas, no problem, it’s still your track.” He’d just take home a copy of their groove/track for the night and sing to it, seeing if he could turn into into a cool song. About one out of every five songs he co-wrote like this was impressive enough that the producer liked it, and would often get it cut by whatever artist he was working with.

On the flip side, if you’re more of a music-only person, not so into writing lyrics or melodies, co-write with recording artists, letting them come up with the words and melody to your tracks. They’ll be happier with that because they can sing words they wrote, and the song is almost sure to be cut that way.


Q: What words of advice do you have for the new, up-and-coming songwriter?

Commit to constantly improving.

Don’t think your songs are etched in stone. Every song can be improved. Changing a single note or word can make or break a song.

Read all songwriting books. Read Paul Zollo’s interviews with the legendary songwriters. Read Jack Perricone’s book about melody. Read slowly, thinking how these ideas can not only inspire new songs, but improve your existing songs.

Never underestimate the power of an arrangement. Prince’s song “Kiss” is loved by millions because it had such a unique arrangement. If it had been a typical bar-band blues arrangement (the chords are just a I-IV-V blues) - it would have been unimpressive.

Maybe you’ve got great songs that aren’t getting the attention they deserve because you didn’t continue your creativity into the arrangement and instrumentation. People think they can hear though things like that, but they usually can’t, so it’s up to the writer. Maybe try never calling a song done until you’ve recorded it in five radically different arrangements.

Which comes to the last point : have a home studio. If you need to spend a ton of money at someone else’s studio every time you want to record your songs, it’ll hold you back. Spending just $1000 on equipment (decent mic, compressor, input adaptor, and software), then taking even 10 hours to learn how to run your home multi-track studio setup well, will pay off immensely.

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Who to ask for recommedations

I often get questions like, “Can you recommend a good distributor for classical music?” or “Do you know a good publicist for hip-hop?”

I try to help, but always realize I’m the wrong person to ask.

If you want to find a good classical distributor, go to the record store in your area that sells the most classical music, and ask them what distributors they love. Ask friends in other parts of the country (or world) to do the same. Then contact those distributors, saying those record stores recommended them. (It’s always a good way to break the ice.)

To find a good publicist for hip-hop, go pick up a bunch of hip-hop magazines that you’d like to be in, notice which new artists are getting a lot of press, and just do some online research to find out who their publicist is. Or contact the magazine offices directly, ask for the editorial department, and ask which publicists they’d recommend.

It’s always best to get recommendations directly from the source. I’ve written about this before in “Call the Destination and Ask for Directions”, but thought it was worth mentioning again for this related scenario.

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Action-Reaction

Newton’s laws of motion say, “To every action there is an equal and opposite reaction.”

A Wired magazine article called “Snacklash” explains that in a world of bite-sized entertainment from YouTube, 50-hour-long dramas like The Sopranos, Lost, or 24 are more popular than ever.

Chris Anderson remembers, “Every abundance creates a new scarcity.”

Every time a curmudgeon complains about how things are changing, remember that change leaves room for its opposite reaction, too.

Let’s think of some examples, shall we?

ACTION:
More and more and more music to choose from.
REACTION:
More need for tastemakers to tell us what’s good.
ACTION:
Less venues for musicians to play.
REACTION:
House concerts.
ACTION:
Everybody getting too much email.
REACTION:
Increasing effectiveness of using anything-but-email to reach people. (Phone, SMS, snail mail, Facebook message.)
ACTION:
The push to make recorded music free.
REACTION:
Reaching people who are happy to spend money to show their dedication to an artist. (One of CD Baby’s top-sellers costs $150. Many of david m. bailey’s fans buy all of his albums at once, at a cost of $233.)
ACTION:
Customized entertainment online, where you only see/hear what you want to see/hear. (Pandora, Last.fm, etc.)
REACTION:
The luxury of someone else choosing your entertainment, based on what they think you need to see/hear. (It’s healthy to hear other points of view.)
ACTION:
Social network, where hundreds of people you’ve never met are called “friends”.
REACTION:
Anti-social network, a secret site where you can’t see who else is on there unless you’ve privately communicated a shared password. Then your “friends” can be your real friends, and you can have a better (private) conversation. (No this doesn’t exist yet, but that’s part of the fun of this action-reaction thing : using it to imagine what should exist.)

Hal Varian, chief economist at Google, said (via the Wikinomics blog), “If you are looking for a career where your services will be in high demand, you should find something where you provide a scarce, complementary service to something that is getting ubiquitous and cheap. So what’s getting ubiquitous and cheap? And what is complementary to that?”

I have the feeling this little brainstorm just barely scratched the surface, so please leave a reply here with some of your thoughts or examples on this action-reaction subject.

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A Musician’s Advice About the College Market

From 1995-1998 I made my full-time living playing at colleges. Got hired by over 350 schools for about $300,000 (gross, not net) on the East coast (from Florida to Maine, as far west as Arkansas.)

I’ll try to put into one article, here, every bit of advice or wisdom I could share with my fellow musicians, from my experience. (Disclaimer: These are my opinions and observations from my unique experience only! Others may disagree. Also, this advice is 10 years old, so I’d love it if you could leave a comment at sivers.org/college saying how things have changed.)

Who does the hiring at colleges

One thing to get straight: don’t confuse college radio with college gigs. The kids that run college radio are the real music fans. The ones deeply into music for music’s sake. But the ones with the big budgets for entertainment and activities are called the “Student Activities Office”.

These are usually made up of the girls in pink sweaters who won the election for Class Treasurer in high school. (Think Reese Witherspoon in the movie “Election”.) It’s a very play-it-safe environment because they want everyone (yes every last person) to be happy, so they can get re-elected.

This means that the Student Activities Office wants to hire the most fun, safe, lively, crowd-pleasing entertainment possible. Whether it’s a hypnotist, comedian, rubber sumo-wrestling suits, the guy that brings the exotic lizards, a famous talk-show host, hot-wax hands, a magician, or musician - they just want entertainment.

When approaching them, you need to emphasize what a safe bet you are. Your marketing should be filled with testimonial quotes like:
“One of the finest performances we’ve had here all year!” - the College of St.Angus.
“…the crowd couldn’t stop laughing at his lyrics!” - the Thirsty Whale.
“A real joy to work with - we can’t wait to have her back!” - Siberian Sunbathers’ Convention.

Your bio should mention all the awards you’ve won, and what big-mainstream-media sources have also recognized your talent.

It’s not glamorous

Ask anyone who’s done over a dozen college gigs without a big track record. You often play at lunchtime for a depressing cafeteria of stressed-out students who are trying to study, and scowl at you for disturbing them. But at least you get paid afterwards. Some actual situations I’ve had:

  • Their contract said they had an adequate P.A. system but it turned out to be a tiny microphone that plugs into the wall for the principal to address all classrooms. (I did the gig anyway, and sang into it.)
  • We drove 22 hours for a $4500 gig in Arkansas, but they forgot we were coming, so we played to 8 people in a backyard in 40-degree weather. (Fingers numb.)
  • In a big echoey gymnasium, having to set up next to the noisy cotton-candy machine, because that’s the only power outlet in the room.

An example

See my diary from two typical weeks on the road, here.

It’s not a perfectly-scheduled tour

The idea of a real “tour”, where you cross the country in a perfect line, rarely happens. The way I was able to make a full-time living out of it was by saying yes to everything.
Ohio on April 8.
Connecticut on April 9th.
Michigan on April 10th.
Maine on April 11th. No problem!
Play for 2 hours. Drive for 14. Play for 2. Drive for 16. Repeat and fade….

Another scenario: You live in New York. You mail your flyer to colleges from Florida to Maine, imagining a nice long tour. Instead you only book two gigs: one from South Carolina, one from New Hampshire.

Because of this, doing the college circuit on the East Coast is a lot easier than doing the West Coast. There are 500 colleges within an 8-hour drive of New York City.

But you’re a road-dog, right?

  • You can perform in any situation, right?
  • Your guitarist quits the night before a gig, and you’ve got another guitarist to take her place, right?
  • You’ve got enough money to pay for your own transportation and hotel both ways, in case something goes wrong, right?
  • After driving 14 hours, you’re clean, lively, and friendly, right?
  • When they change their mind at the last minute, and want you to perform at 11am instead of 11pm, you roll with it, right?
  • When the drunk frat boys heckle you, and run their “play some Skynrd!” joke into the ground, you keep your cool and do your best show possible anyway, right?
  • You know plenty of crowd-pleasing cover songs for emergencies, right?
  • You’ve played in the cold with numb fingers, sang full-voice at 9am, and can do three 2-hour shows with no break in one day, right?

If not, prima donna, this is not for you.

They usually book long in advance

Rule of thumb: they book the Spring semester in the Fall, and the Fall semester in the Spring.

Exceptions: I always booked a lot of April shows in February, and December shows in October. But these are usually the smaller “last-minute” shows.

Secret: June is a great month to contact the colleges. The staff-employee, the Director of Student Activities, is there working for the summer when things are quiet. This is a good time for her to book some “Welcome Week” entertainment for the end of August and beginning of September.

Consider being flexible in your size

I mainly got into the college market to promote my 5-piece funk band (Hit Me). But I figured since I was going to spend all that money on membership fees and marketing, I might as well make some other ways to book me, too. So I made:

  • for $1000, the 5-piece funk band
  • for $600, the acoustic two-person version (me & one other band member)
  • for $450, me alone
  • and as an afterthought, I made the Professional Pests, where I would run around campus in a black fabric bag, bothering people. Price? $1500. (Of course the Professional Pests got as many bookings as my musical acts.)

Point being, I was able to work with any budget they had. Of course I wish they could always book my $1000 full band. But if not, I could always sell them on the scaled-down version.

About NACA and their conferences

There’s an organization called the National Association of Campus Activities (NACA) that puts on conferences where all the Student Activities buyers can get together to check out showcasing talent. Their website is http://www.naca.org

It’s VERY hard to get a showcase spot there. You’re up against the best-of-the-best that are spending thousands on making a super-professional video submission. Artists on the Billboard charts, performers with 20 years of college experience, comedians from Saturday Night Live, etc. Everyone puts together a great 3-5 minute video of their live performance sampler. Quality matters. Edits matter. That’s a whole ‘nother subject, though. In short: your video needs to be amazing. Once a year (summer) you can submit it for showcase consideration. Out of ~250 submissions, they pick ~20.

And it’s expensive to get involved!! First you have to be a NACA member (~$300) then buy a booth (~$200) then a registration (~$125) then a submission fee (~$50) and after all that the odds are 19 out of 20 that you’ll be rejected. But if you get accepted, a showcase-acceptance fee (~$150), then the cost of going and playing (~$500). Now I’m not complaining. I don’t think NACA is getting rich. This is just what it costs to do everything they do.

For my band, I submitted for three years, (and spent $20,000 doing it!) until I finally got a showcase spot. But once my band played on that mainstage showcase on the opening night, we booked 30 gigs at about $1000 each, right there on the spot. (Another 100 or so over the next year.) So it CAN all be worth it if you’re really going to commit to this and really think it’s your thing.

On the other hand, some people spend years trying to get a showcase, finally get one, and don’t get any gigs from it. My band was a VERY fun-party-crowd-pleasing band. I think that’s why we did so well.

NACA or no-NACA?

Every month, I would send out flyers to the Student Activities buyer at every college in my area. My advice on making a good college flyer is here: http://cdbaby.org/collegeflyer

Out of the 350 schools that hired me, I think over 200 of them came because of my flyers. Which made me think if I had to do it all over again, I might just skip the NACA conference completely, and save the money to spend on marketing methods that go directly to the college buyer.

You can see that in my older article, here: cdbaby.net/college

My advice: If you are considering doing the college scene, start with the mailing list and sending flyers. Get a few shows that way, and see what you think. If you love it, and want to commit years to doing it, no matter what the startup expense, then either join NACA or get a NACA-friendly booking agent.

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Trip diary from Japan, Vietnam, Hong Kong

Saturday, May 24 : San Francisco

After only a few hours’ sleep, I get up natually at 6am to tie up loose ends online, and pack.

Vietnam airlines required those old-fashioned paper tickets, so they’re sitting uncomfortably in my pocket.

Kaitlin drives me to the airport, and as we’re almost there I realize my passport and tickets are not there. She calls her apartment front desk and they say they’ve found my passport, but not my ticket. We drive back, and I retrace my steps to find my ticket on the ground in the parking lot. Phew!

At the airport, even after all that, I’m still a good hour early. That “get there 2-3 hours early for international flights” stuff is bullshit. My theory is that the airport shops of the world are the ones that lobbied for that rule.

I’ve got a good aisle seat in the very last row of the plane. I read Richard Branson’s autobiography for the entire flight, and spend the last couple hours writing about lessons learned from it.

Sunday, May 25 : Tokyo and Fukuoka

9-hour flight lands at 2pm Tokyo time.

There’s always that great moment when you’re first let out of the airport and you think, “Wow! I’m in __(foreign country)__!” Just out in the open and able to do anything you want.

I barely get feeling that while transferring to the domestic terminal, and there’s not much time before my connection to Fukuoka.

The flight was a little late, and my connection (through Nagoya) was so tight that there’s an employee waiting for me in Nagoya to run me to the gate as fast as possible.

While running, my backpack strap snaps off, and it crashes to the ground. I find out later this permanently bent my laptop.

Land in Fukuoka at 6pm, use an ATM at the airport (it works!) and take a subway into city-center.

Walking out of the train station downtown, now I’m finally hit with, “Wow! I’m in Japan again!”

Walk a few blocks to my hotel, stop at a 7-11 first to buy a couple sushi triangles and Pocky, then check into my room, sweaty and beat, awake 22 hours, eat my food, take a quick shower, and collapse.

Monday, May 26 : Kurokawa Onsen

Wide awake at 4am, I write for a while, then at 6am decide I’m ready to go.

No specific plans yet, but a few options from my guide book, so I go to the train station and buy a rail pass, good for the whole island for 5 days.

There’s a town called Kurokawa Onsen in the middle of the island that is up in the mountains and is an entire village of onsen (“onsen” means “hot springs bath”).

The guide book says there are a few busses a day that leave from the mountain town of Aso.

I take the next train to Kumamoto, then the next train to Aso, both no more than 20 minutes’ wait, but when I get to Aso at 11:20am, I find out the next bus to Kurokawa isn’t until 2:20pm.

That means 3 hours at a little train station in the middle of nowhere like one of those 1800’s American southwest train stations. Hmm….

In the long wait, I start listening to “Eat Pray Love” on the iPod. The author is reading it wonderfully.

Since it’s a 3 hour wait, I kill some time by taking a tourist bus to the top of the volcanic Aso crater and back, 40 minutes each way with a 20 minute wait a the top.

Most people stay up there for a few hours, and it’s a gorgeous hiking place up there, with helicopters that take you into the steaming crater cone and such, but I catch the same bus back, then get my bus to Kurokawa Onsen.

It’s now 3pm and I have no reservation, so I’m hoping there will be availability at one of the ryokan (“ryokan” is an old-fashioned inn).

The bus drops off by the side of the road, but before it does I see a sign I recognize as one of the recommended ryokan from the guide book. I walk 15 minutes alongside the highway back to it, and walk in to see if they’ve got a room. They do, and show me around, then I check in.

It’s amazing. Looks like Spirited Away. Bridge over a big river connects the lobby building with the real ryokan building.

My room is a wonderful very traditional Japanese ryokan room. 12 tatami. (the straw mats on the floor, also used to measure the size of rooms instead of counting square-feet).

No bed, someone comes into your room while you’re at dinner to take the futon out of the closet and lay it in the middle of the floor.

They’ve got 8 private hot-spring baths downstairs, where you can go in to any open one, lock the door, and be alone in a natural rock hot springs alongside the rushing river. They’ve got a big outdoor one the size of a swimming pool, so after checking in I go into that one, and I’m the only one there.

It’s amazing, hot, and the water smells too-sweet, like sugar water. That’s its natural smell, apparently. Weird. Since I’ve been in the hot sun for a few hours, and still sweaty, it’s too hot for me after a while, and not as relaxing as I thought since my heart beats so fast when I’m in it. But I cool off a few times with a cold-water hose next to it, then get back in a few times.

Back in my room, I collapse on the floor to de-sweat. (Remember: no bed yet.) 2 hours to chill while listening to the audiobook.

Dinner is in a special private room (one per guest-room) downstairs and they’ve got a huge elaborate traditional Japanese meal for me, in 10 small courses. The first few are already laid-out and for the next hour or so, a woman comes by every 10 minutes with the remaining parts. Since I’ve had nothing but 7-11 rice triangles for the last 24 hours, it’s amazing.

It’s only 7pm but that’s 3am California time. Dead tired, I head back to my room after dinner, bed is all made on the floor, and fall asleep immediately to a massive rolling army of frogs croaking. (I say “rolling” because they seem to sync up their croaks so it’s like dozens of them pulsing all at once, about at the tempo of someone raking leaves.) The sound of the river is always in the background.

Tuesday, May 27 : Kurokawa to Sakurajima

A few times in the night I wake to odd sounds, thin walls, cats fighting outside, but all in all it’s wonderfully refreshing.

At 6am I take a walk through this little town dedicated to hot springs. It’s adorable and I should have brought my camera.

I go to a private bath which is way better than the big open sweet-smelling shared bath from the day before. A little door you walk in then lock, and you’re in a private 30-square-foot area right by the river, with your own private hot tub, about the size of a health club jacuzzi. Either it’s a better tempurature, or I am, but I stay in for a long time.

Afterwards, I realize I haven’t even been in Japan for 36 hours yet, and there has been no sitting still.

I decide I’d like to stay in this little town for at least another day, maybe three.

Passing the front desk on the way to breakfast, I say I’d like to stay another night, but they tell me it’s full! Damn. Oh well.

I check the bus schedule and decide to catch an 11am bus, take another private hot tub after breakfast, pack, and go.

No long waits today. Everything is an immediate connection. Bus to train to train to train, I’ve decided to head as far south as I can go, to Kagoshima, which seems like a good-sized city, and is right next to a recently-active volcano island called Sakurajima.

At the Kagoshima train station is an English-speaking tourist center, so I ask if they can call the beautiful onsen hotel that the book recommends on the south of that volcano island. She does, and it’s available for tonight, so she books it, and guides me to the train to the ferry to the island, where a shuttle bus takes me to the hotel.

This island is like an itty bitty Hawaiian island, palm trees and all, but it’s really just one huge volcano in the middle with a single road around the outside.

At the hotel, I see a photo of their hot tub, and it’s the amazing one I saw on Flickr online last week before coming here, thinking, “I wonder if I’ll find that place!” Found it!

“Eat Pray Love” finishes in the iPod just as the shuttle bus is arriving at the hotel. Wow. I get that slightly-empty “now what?” feeling you get right after finishing a great book.

Check into a normal room with an amazing right-on-the-ocean view. Another 10-course traditional Japanese dinner.

7pm. I’ve now been in Japan for only 48 hours. Phew.

I go to that outdoor hot springs at sundown and it’s even more amazing than I expected. Right next to the ocean, little buddhist/shinto idols under the tree, and I’m the only one there.

This is officially one of the most amazing places I’ve ever been in my life.

This is a moment where I really would have loved to had my video camera. It was up in the room but I was all wet. Oh well. (Update: I did get go video it the next morning. See the video of it, here.)

Wednesday, May 28 : back to Fukuoka, back to work

Up at 3am, writing, getting restless. After breakfast I decide I’m going to go back to Fukuoka, to Dukes Hotel, where they had internet access and no traditional food, no fussing over me. Spent 2 days in my room just reading, writing, working. Booked some CD Baby meet-ups for the next three cities.

Friday, May 30 : Tokyo

Effortless flight into Tokyo. Easy train to downtown. Nice how comfortable this country feels to me now after 4 visits.

Staying at a tiny traditional inn near Tokyo station, I’ve barely arrived when Keiji (who I know from a previous visit, and who has been working with CD Baby) meets me here, and we go out for a walk and talk.

Amazing to note that in Tokyo you are not allowed to smoke even outside on the street! Only in very designated smoking areas. $500 fine if caught. Amazing for what struck me as such a chain-smoking city on my first two visits.

We have a CD Baby meet-up, about 15 people come, half from outside Japan. Nice conversation. One couple was an English man and Japanese woman who brought their teenage daughter who looked completely western/American/Brit, just slightly Asian, so of course I spoke comfortable English to her, and was surprised that she was a total giggling Japanese schoolgirl that barely spoke English! It was so weird to see those stereotypical personality traits on a white/Western girl. Maybe it’s just as weird for them to see someone with Japanese parents who grew up in America acting completely American.

Saturday, May 31 : Vietnam

Flew into Saigon, has been called Ho Chi Minh City since 1975 when the communist government took over, but everyone there still calls it Saigon.

First impression, it reminds me of India! Very rickety and scrappy, everyone on little scooters, dirt and rubble everywhere. People crouched on sidewalks selling things.

Overwhelmingly humid and hot, I can’t walk a block without sweating buckets.

I go to the Park Hyatt to see my friend Kat Parsons play and meet with Tuan the jazz saxophonist who brings me to his jazz club afterwards.

Sunday, June 1 : Saigon

Since all of my clothes are now nasty, I go into a crowded market to find laundry detergent and buy a nice new white shirt for $5. Wash my clothes in the sink, though they take two days to dry in the humidity.

Rest of the 30-piece band arrives from Chicago late at night.

Monday, June 2 : Saigon

Mostly empty day with band rehearsal during the day and concert performance at night. Hung out with Kat Parsons a bit, who’s in Saigon for 3 months, but doesn’t simplify her English for people who don’t speak English. She very cheerily but earnestly said to the woman at the cellphone store, (who already made it clear she doesn’t speak English), “I just need to get another cellphone, y’know like a Nokia or something, but maybe one that’s like white or cream colored so my road manager doesn’t notice I lost my last one! Do you have something kinda light colored? You know… white?”

Tuesday, June 3 : fly to Hue (pronounced “Hway”), central Vietnam

Flying into Hue, it’s already amazing before we land. Out the window we see real countryside, little traditional huts and cemetaries buried in the woods, everything looks so exotic and authentic. Even on the drive from the airport, we pass amazing crumbling shops, brightly painted decades ago, now gorgeously decayed.

It’s a small city, barely a city, maybe only 2-3 tall buildings. The Park View Hotel is amazing. (Highly recommended.)

Because of this, it’s so inviting to walk around. I immediately take the video camera on a 3-hour walk all around town, so ecstatically happy, capturing amazing moments on film. (See here.)

That night, we go to a massive opening ceremony with thousands of people outside the grand palace.

Walking back, the only way to cross the street on foot across hundreds of scooters is to just go for it - just start walking and trust that they’ll stop. I raised the video camera in the air, pointed towards traffic, hit record, and went for it, walking into a moving sea of scooters and making it to the other side just fine. Classic moment. Unfortunately found out later I didn’t hit record fast enough, so there’s no video of it.

Wednesday, June 4 : Hue

I was planning to sit in the room and work all day, but while passing through the lobby, a dozen people from the band were all going to rent scooters for only $5 on a guided tour out to some tombs. I said OK.

What you’re about to read next is one of the most amazing times in my life.

As soon as we were on the scooters, driving through the streets, it made all the difference in the world. Instead of just observing, we were participating in a way that walking doesn’t satisfy. Maybe the rush of driving the moped just increases the endorphins, but it was so much fun we couldn’t stop smiling, waving to amused onlookers. Heading out through the burbs then countryside, the scenery was so amazing, going over little wooden bridges, really felt, “Wow - now I’m in Vietnam!” I didn’t want it to end, but black clouds loomed and our hour rental was up.

Kimo’s big concert was that night, outdoors.

After the show, we met at the river and took two guided boats for 45 minutes or so, with musicians performing traditional Vietnamese music in traditional dress.

But coming back to the hotel, it’s 1am, and enough of us are wide awake that I ask some guys if they want to rent scooters again. 5 said “hell yeah!” and we got 6 scooters for $5 each, at 1am on a Wednesday night in the town of Hue.

First we had to find gas, since all the employees seem to leave their bikes on empty. We’re driving the dark empty streets, looking for a gas station, and find 6 20-something guys and girls sitting at some tables on a lighted part of the sidewalk by a cart, having some drinks. We tried to ask them where to get gas, but they spoke no English at all. We tried for a few minutes through lots of misunderstanding. Finally the (best looking) girl comes over to my bike as I point to the gas guage and show her it’s empty. She thinks this is hilarious and calls to the old woman by the cart, who pulls out a 1-liter bottle of gas and a funnel. We point to all 6 bikes and they fill us all up, one by one, laughing the whole time. As we’re leaving, one of the drinking guys tries to push the (best-looking) girl on me, as if for money. They’re all laughing, as we ride off into the night.

Now the 6 of us are laughing and whooping at how fun this is, riding our motorcycles through the empty dark streets. We go through the palace grounds, then I lead us back to the busier streets where we pass a gathering place, about 50 people eating and drinking at small plastic tables by the side of the road, served by an old man in a cart. First we pass it, then I call to the guys, “You hungry?” Enough say yes that we turn around and park our bikes by this place, and become such a local spectacle that little kids are coming over to gawk at us. (Yes, little kids at 2am on a Wednesday.) We sit in baby plastic chairs at a baby plastic table on a gravelly sidewalk and order 6 beers and 6 pho beef soups. We’re all just laughing at how amazing this is and how great it feels. We stay about an hour, cracking eachother up, having another round of beer, talking with the kids, and giving them our beer caps since I guess there is an occasional prize inside.

Once we leave, Scott who had been there before took us through some cool deserted backstreets, with countless closed decaying shops. Dreamlike in the dim light, occasionally passing an old woman in a straw hat carrying bushels of something.

Then we get to a railroad bridge that has an extremely narrow 2-foot-wide bike path on each side. Since I’m last in line at this point, all 5 guys are stopped at it, having come to the conclusion that “no way we’re crossing that - too dangerous - this is where we turn back”, but I didn’t even slow down, gave a “hell yeah! come on!” and rode across the bridge. Exhilarating and actually quite safe. We gather on the other side for a group pee, as a couple locals join us for the same, laughing, and we ride off into the night again. Jim, the road manager says “I could do this all night!” I think we all felt the same. After another 30 minutes of riding around, including the main central roundabout of the whole city where we went around it 3 times in circles, laughing, we headed back to the hotel, thrilled. 4am.

Thursday, June 5 : Hue and Saigon

Rented a motorbike by myself, this time with the video camera and a blank tape. Went off into the countryside the same way we had gone to the tombs, and started recording the whole thing. Took sidestreets and forks, and kept heading one direction so as to get further out from the city, knowing someone would point me the way back. Amazing trip and glad I caught it all on tape. Right near the end, heading back into the city, I realized I had 5 minutes left on the tape, but hadn’t gone through the busiest parts yet (the “sea of hundreds of motorcycles” described earlier). I headed right into the middle of it, tape running the whole time. Awesome. (Video here.)

When I got back, Jim was in the lobby and wanted to go out again. So did Jason the trombonist, so we rented 2 more bikes, and I took them off into the countryside again. This time we went further, into woods, right next to cows, through dirt roads, stopped at an old decayed house to take pictures with the permission of a smiling grunting woman with cows who then asked for money afterwards. We each gave 10,000 dong, which is about 60 cents. She was thrilled.

We stopped at a little restaurant made of bamboo huts over a pond and had 3 beers that were warm but they put them on ice for us for a minute.

This is where I think I accidently drank the tiniest sip of that icewater that destroyed me the next day.

We flew back to Saigon, checked in at 9pm, had some spring rolls (other possible culprit) and I went straight to bed.

Friday, June 6 : Saigon to Hong Kong

Woke feeling fine, drank a whole 2-liter bottle of water (some before bed, some after waking). Had a chicken sandwich at the airport (other possible culprit) and got on the plane.

Once on the plane, my stomach really started hurting. I hit the tiny airplane bathroom and let’s just say it started shooting out both ends at once. I filled(!) an entire barf bag, and half of the next. I did this again 5 more times on that 2-hour flight, including another barf bag while in my seat as we were landing.

In Hong Kong, the immigration line took 40 minutes. Imagine standing in line for 40 minutes while needing to explode from both ends, but knowing I’d be better off just getting through the line so I could get to my hotel instead of staying in the airport. I got fevery sweats. I couldn’t stand and had to crouch. I really thought I might faint. I finally made it through and ran for the bathroom. Found my way to the express train to downtown and puked into a paper bag fished from the garbage as soon as I arrived.

Caught a taxi to my hotel (everything seemed to take forever) and made it up to my room, and collapsed in pain in what felt like an artic cold bed, teeth chattering, moaning and writhing.

A few hours later I woke feeling a little better, but still my skin hurt. A few hours later woke again soaked in sweat, with no more flu feeling, but a terrible pain in my gut.

I was supposed to have two meetings today that had been scheduled weeks in advance with the bank and incorporation company - that’s the whole reason I came to Hong Kong, but because Friday was now gone I missed my chance.

Watched some Family Guy on the iPod and fell back asleep.

Saturday, June 6 : Hong Kong

Woke to smashing lightning storm at 6am, rain so hard I couldn’t see the ground from my hotel window. I was told later this is called “black rain” in Chinese and it’s so strong the news warns everyone not to go outside at all, not even walking. All flights grounded at the airport. I stayed in and watched movies in bed all day, gut still killing me.

Changed my flight to leave tomorrow morning instead of Monday night as planned.

Ventured out at 8pm for a CD Baby meetup at a club in the party part of town. Cool group of people - about 20 showed up. Hong Kong is one of those cities like New York where almost everyone is from somewhere else and has great stories to tell.

Sunday, June 7 : Fly home

United told me it wouldn’t cost anything to change my flight, since I had already paid a $350 change fee the first time (to go to Japan early) but after 45(!) minutes of the very nice customer service woman at the airport typing into her computer, quite confused, and checking with various managers, she came back and said, “I’m sorry but it will cost an extra $750 to fly on the next plane. If you wait until tonight (8 hours from now) there will be no change fee.” She clearly saw the pained look on my face as I said, “No no no… PLEASE no. I CAN’T sit here for 8 hours. United already said it was confirmed to fly this morning. They said no fee. I already checked out of my hotel. PLEASE let me get on the plane!” Just 1 minute later she came back and handed me the boarding pass and said, “Run! It leaves soon!”

Definitely ready to go home.

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Across the Universe

Just saw Across the Universe last night.

Surprisingly good! Some brilliant arrangements of Beatles songs. The actors did all their own vocals amazingly well, with the help of auto-tune in a way that only musicians will hear.

CD Baby artist Dana Fuchs stole the screen as Sadie, and there was a big scene with Bread and Puppet, who I know from my circus days. Martin Luther from the San Francisco area did an amazing job of “While My Guitar Gently Weeps” and if that was him doing a Jeff Beck style instrumental guitar melody to “Day in the Life” then I’m even more impressed.

Best thing was the creative re-contexting of songs, like “I Want You (She’s So Heavy)” as Uncle Sam and Statue of Liberty as the I and She. A great reminder that context can change everything, another subject I should rant about some time.

Just don’t expect it to be a movie, really. It’s really more of a 2-hour music video with just a few bits of non-singing. Very worth seeing for anyone who appreciates great vocals, and new arrangements and contexts for the well-known songs.

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Selling music by solving a specific need

(Someone asked me how they could sell more of their instrumental music. My answer:)

For instrumental music, it sells best if you tie it into a purpose.

Massage music sells very well.
Yoga music sells very well.
Instrumental Christmas music sells very well.
… all because they’re selling more than just harmony, melody, arrangements : they’re selling something that non-music people find useful. They solve a problem.

Different example:

Imagine two candlemakers.

One says, “My candles have only the finest wax with the best quality wick!

The other says, “These are prayer candles. Light one whenever you pray.

There are dozens of people who will buy the first.

But there are millions who will buy the second.

http://www.flickr.com/photos/34525677@N00/287781738/

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Sakurajima

The southern-most big island in Japan is Kyushu. At the southern tip of that is a city called Kagoshima, which overlooks a huge active volcano in the water called Sakurajima, accessible by a 15-minute ferry ride.

One road leads around the base of the volcano. At the southern-most part of the volcano is a hot springs, right on the ocean, with a little hotel called Furusato Kanko. And that’s where I’ve been the last couple days, soaking in the mineral water, right where that guy is in the photo, below. (Just 10 feet behind the camera is the Pacific ocean.)
http://flickr.com/photos/adriangray/170991679/

Of course I’m SO relaxed now, that I’m DONE relaxing, and damn ready to start a new business to help musicians. But more on that later. For now I just had to post an “I am here” as a bookmark reminder of one of the most amazing places I’ve ever been.

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Avoid advance promotion. Be buyable first.

I often hear musicians say they want to do advance promotion - telling people about their new album before it’s available for purchase (whether digital or physical).

Though the plan may be to generate excitement, I think the opposite happens. Imaginary dialog:

Check out my new music!
Where is it? Can I buy it?
Not yet - but soon!
Why are you telling me now?
So you can be ready for the announcement!
(… 2 months pass …)
Check out my new music! It’s ready!
I think I already heard of this. Not new. Delete.

Or, as Cory Doctorow says, “Internet users have short attention spans. The moment of consummation — the moment when a reader discovers your book online, starts to read it, and thinks, huh, I should buy a copy of this book — is very brief. That’s because ‘I should buy a copy of this book’ is inevitably followed by, ‘Woah, a youtube of a man putting a lemon in his nose!’ and the moment, as they say, is gone.”

(Next time you think a song you wrote deserves 5 minutes of someone’s attention, look at what this guy did to compete for that same 5 minutes of someone’s attention.)

So, the best plan goes like this:

  1. Record your music.
  2. Start conversations with bloggers and other biz-people you’ll want to turn on to your music later. Nothing to pitch them now, just get to know them.
  3. Prepare your marketing/promotion plan, but don’t do it yet.
  4. Get your music up for sale (on iTunes, CD Baby, Amazon, etc).
  5. Once it’s available at every store (and you’ve tested it by buying one copy yourself) - update your websites (including MySpace, etc) to make it obvious everywhere and easy to buy.
  6. NOW do your promotion. Tell fans and friends repeatedly. Contact people you’ve come to know from past conversations, let them know it’s available, and ask if they’d like to hear it.

NOTE: the exception to this rule is when you’re raising money by letting hardcore fans buy the album before it’s released.

http://www.flickr.com/photos/86887807@N00/175404574/

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How was India?

Last February (2008) I went to India for a whole month with nothing but a little backpack.

Since returning, everyone has asked the same three-word question : “How was India?

Impossible to sum up in a few sentences, so my smart-ass answer has been “scrappy”.

Here I’ll try to explain my real thoughts about India (so far).


This was my first visit to India, and I’m going to return many times, so this time I went only to meet with some companies, in the cities of Bangalore, Hyderabad, and Kolkata. No tourist sights or countryside. Just meetings and cities. So of course I saw India from a business and urban point of view. Everything I say, below, is just my observation from visiting these 3 cities.

Rubble and Garbage

In India, there is rubble and garbage everywhere.

  • walk over rubble on every sidewalk
  • walk around rubble to enter an office building
  • walk past huge piles of garbage on nice residential streets
  • even bigger piles of rubble between every building
  • and garbage lines everything, almost everywhere

Rubble right in front of stores:


Rubble in front of multi-million-dollar buildings:


Rubble in every available space:

I found myself thinking, “They’re so often announcing how many billions of people are here. I see hundreds just standing around right now. Couldn’t someone just pick up that rubble/garbage and be done in a couple hours?”. Then it reminded me of British teeth….

In England, I asked a good friend who grew up there why the Brits have a reputation for bad teeth. She said, “Really? We do? From our point of view, we wonder why Americans are so fanatic about having unreasonably perfect teeth.”

Aha! Just as the casual dresser might look at the ultra-primped over-perfect hours-to-get-ready type and think, “What a freak!” - maybe all the rubble and garbage is just the norm to someone growing up in India. It’s not a problem to be solved any more than my wrinkled t-shirt and day-old jeans are a clothing problem I should solve.

Someone posted these photos on their blog, intending to show how disgusting the beaches of India are:







But when I see those photos, I smile nostalgic, thinking, “Yeah - that’s India!” I miss that garbage smell, a bit.

Noise

The sound of the city is the sound of hundreds of drivers honking constantly, every few seconds, all the time. Watch my videos from India to hear what I mean.

It’s just considered safe driving. To honk your horn is to say, “I’m here”, which you’re supposed to tell everyone every few seconds, partially because of the way they drive, which I’ll explain later.

A 25-year-old programmer from Bangalore just went to the U.S. for his first time, to Chicago, and I asked his impression. His eyes got wide and he said, “It’s SO quiet! Many people but so strangely silent. It was hard for me to sleep, at first.”

Again, like the rubbble : no right and wrong. They’re not messy - we’re just neat-freaks. They’re not noisy - we’re just strangely silent. A great reminder no matter what cultures you’re comparing.

Scrappy (opportunistic)

The dictionary defines “scrappy” as both “consisting of disorganized, untidy, or incomplete parts” and “determined, argumentative, or pugnacious”. Exactly! It’s the combination of both definitions that struck me about India.

It’s most obvious in the driving. I don’t know if you can tell from my videos, but everyone fills every available space. The little vehicles wind in the gaps between the bigger ones. All lanes are ignored. My friend Steve, who lives there now, described it as, “This is their ad-hoc solution to fitting twice as many people onto the road.” It makes a lot of sense!

Watch this video of a typical intersection. It’s self-organizing in a very effective way. (Watch for the white car near the end that goes the wrong way down the street, from the top of the screen to the bottom.)

Someone sent me this photo of phone wires as an example of how disorganized India is:

But to me, that’s a great example of the scrappy, opportunistic, self-organizing that I love about India. It reminds me of the movies that portray New York City in the post-depression 1930s.

Everybody seems to be using whatever they’ve got to do what they need to do, which really inspired me in a very purely entrepreneuristic way.

That’s all I have to say for now, but I’m sure I’ll go back again later this year and have an entirely different perspective on it.

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Rule-breaking songs?

Check out this writeup on 13 Rule-Breaking Films.

How can you NOT be inspired to write a rule-breaking song after reading that?

I guess it’s not as big of a deal to write a rule-breaking song, since a song can be written and recorded in mere hours for no money, whereas a movie involves hundreds of people and millions of dollars.

But that being said… what are your favorite rule-breaking songs?

Feel free to include a link to your own rule-breaking song, here, in comments. :-)

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two three four ONE, two three four ONE

One of my favorite artists of all time is Fela Kuti from Nigeria.

At Berklee, I was in an Afropop ensemble that would play a lot of Fela Kuti arrangements.

The teacher/bandleader explained that what we know as the “1” - the downbeat, the start of a phrase - in West African music is considered the end of a phrase.

Instead of “How you get to main street?”, it’s “You get to main street, how?”

Instead of “ONE two three four, ONE two three four”, it’s “two three four ONE, two three four ONE”.

Later I found out that Fela Kuti never performed songs after he had already recorded them.

I couldn’t help but notice the similarity. As if to him, the recording was the end of the life of a song, instead of the beginning. Makes just as much sense if you think about it that way.

Which of course makes me wonder about all the other beginnings and endings and things we just take for granted as fact, but make just as much sense in their opposite.

Fela Kuti

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Moving to a new country

Hannah from Kite Club sent me this great email:

I am an artist/musician/educator/mother and all the rest.

I was living in Chicago and raising my kids, teaching art, and playing out with my beloved band. And I just couldn’t stand our situation any further. The gunshots, the schools, the crumbling infrastructure, the leased SUVs, G. Bush, and on and on.

Don’t get me wrong - Chicago is filled with ethical, educated, creative movers and shakers. But I was visualizing something else for me and my family.

I found online teaching jobs, my husband got our house shored up and entirely rentable, and in 2005 we four moved to a little stone house on the banks of the Seine just 40 minutes south of Paris, France.

Where we live is 360 degrees beautiful. The schools are excellent. Guns are banned. The culture is not propped up by credit. Our kids are fluent in French. We have learned so much.

I miss my band and the Chicago scene, but have had to switch gears and my songwriting has taken off, and now I am working on guitar technique and singing, and recording at home. And along the way I have found people around here to play with, and we’ve played out at a few parties. This is not what I was up to in Chicago, but I am grateful just to stay in motion.

I was just hired to teach design at Parson’s Paris, which is a top art school, and a major feather in my cap. Last year we bought a house here. My husband and I are both painting a lot and exhibiting our work here.

Who knew? It worked.

Moving to France is a small thing, but it was a leap for us. The details have one by one settled into place. The quality of our life as a family is so much higher than what we had crafted for ourselves in Chicago. Our creative and professional lives are on track and thriving. And we work less, and spend much more time together. I am grateful daily.

First thing I thought is, “You can just DO that? Just up and move from Chicago to France, family and all?” Maybe this is more of an American mindset I’m stuck in, where moving out of the country feels like such a big deal. (Versus the European mindset where it’s probably no big deal to move from Sweden to Germany.)

Moving to a new place is such a great way to force good change.

I had been thinking about moving to London for a while, then one day just went online and booked a flight, 2 months in advance, with a return date 7 months later. I didn’t know the details yet, but forcing this action just got me over the hurdle of doing it. Same with India. Just booked it, impulsively. It can be that easy. (Frequent flyer miles help.)

My friend Nikki was a promoter in Las Vegas, then just used some frequent flyer miles to book a trip to China to study karate. She loved it and now lives there, working in Xi’an. My friend Karla, a journalist, moved to Argentina and now does her freelance journalist work online. Since the cost of living in Argentina is so much less, she only has to work part-time, and can spend the rest of her time writing a book.

Any other stories of a big move being the best thing you ever did? Please leave a reply in comments. I love these stories.

http://www.flickr.com/photos/bachir/2047941719/

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Aim for the edges.

An amazing shift has happened in the last 10 years, as an artist.

You now have a better chance of being successful by being remarkably unusual, than by being normal and mainstream.

Songwriters constantly search for that universal theme, aiming to write the next “Yesterday” that will resonate with millions of people for decades to come.

But what good is the next “Yesterday” if nobody hears it because your music is too normal?

(See my article called “Well-Rounded Doesn’t Cut”.)

You already know we’re moving to a niche-driven culture, probably permanently. In 1948, Milton Berle’s TV show had 80% of all viewers, because it was one of only three choices! When the Beatles played on Ed Sullivan, they had 60% of all viewers. The biggest American Idol episode gets 30% now. There won’t be another Michael Jackson Thriller or Fleetwood Mac Rumours.

With unlimited options online, music fans don’t wait for mainstream media to tell them what to do - they explore, click, follow links, and can immediately listen to absolutely anything they’ve heard people talk about. Because of this, tastes are more spread-out than ever.

Your goal should be to attract and excite the people who have headed to the edges. They’re the ones who are looking for something new, and more likely to rave about it if you impress them.

I think of this like an archery range metaphor:

In the old music business (before 1997) it felt like hit-single-or-nothing. The only way you could be successful was to hit a tiny 1-inch target on the other side of a field. If you missed by an inch, you get nothing.

http://www.flickr.com/photos/davepearson/537677681/

Now it’s like the target is huge, and you can aim for the edges, and hit something pretty easily - BUT - there’s a catch : someone cut out the middle.

http://www.flickr.com/photos/davepearson/537677681/

If you’re still aiming for the middle of the target, there’s nothing there. They’re all out exploring niches.

Aim for the edges.

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Some things I’ve learned this year that turned my world upside-down and I’m still trying to wrap my head around

Some things I’ve learned this year that turned my world upside-down and I’m still trying to wrap my head around:

Unlimited servers with unlimited space and unlimited bandwidth : for 10 cents an hour - only when you need it, and not when you don’t.

It used to be, when I decided that I wanted to do a whole new project that needed a new server, that I would…

  • Buy all the parts online (1 hour + $3000)
  • Assemble it when it arrives (1-2 hours)
  • Install Linux on it (1 hour)
  • Install it in our server rack, assign an IP address, and make sure it’s live. (1 hour)

… then that server would be there forever, until I decided to repurpose it, upgrade it, or abandon it. If it got overloaded, I would need to spend another $3000 and another 4 hours to set up a 2nd server.

But now, thanks to Amazon EC2 and S3, I type a few commands on my laptop, and somewhere in Seattle a powerful server jumps to life one minute later, just for me. I can play with it for as long as I’d like, then shut it down or replace it with something else anytime I want.

This changes everything! I’ll never need to buy or set up another webserver again. The first time I saw it work, my mouth hung open, and I couldn’t stop laughing for a couple minutes.

It’s a total base philosophy switch from needing to own something to just having it appear when you need it, and not when you don’t.

(Imagine if any guitar you ever wanted could appear in your hands, in your home studio, for just the few hours you needed it to record, for 10 cents an hour.)

Letting Google be the mailserver for my own domain, for free.
I’ve spent so many hours setting up Qmail, tweaking it, upgrading spam filters, and all that fun stuff. But Google lets you use their mailservers for free, even for your own domain. (No “@gmail.com” needed. No need to use their webmail. Just set them as your POP and SMTP server in your mail program.) Their spam filters are amazing. The only downside is you can only send 1000 emails a day through their server, so it wouldn’t work for CD Baby, but the huge upside is their permanent archive of incoming and outgoing email.
A business doesn’t need employees.

Own your own small business? Read The Obsolete Employee (but only after you read E-Myth Revisited).

Currently providing a service to an employer? Read some Tom Peters, who suggests you think of yourself as a 1-person company (“Me, Inc.”), whose current biggest client is your employer, but hone your service so that it can be hired by other clients as well.

Put these two together, and you have a world of service-providers and clients, with everyone as their own boss. The whole concept of employee mainly came from the factory age, but there are less reasons these days for the traditional employee-employer relationship.

From a small business point of view, I’m better off hiring independent specialists to do what needs to be done, and not need someone to be doing that in my office, 40 hours a week, from 9am to 5pm, Monday through Friday, etc.

(Note how similar this is to using Amazon’s servers instead of needing to own your own.)

Diverse independent groups of people are smarter than any one person.

The Wisdom of Crowds and Wikinomics blow apart the notion of experts, proving that a diverse collection of independent outside opinions will almost always be smarter than any expert. And no matter what your organization (whether you’re Google or Sony), the brains and labor outside your organization is always better than anything you’ve got in-house. So learn to open up your organization to outside contributions.

I could talk for hours about how this changed everything for me, and I’m looking forward to trying some hands-on examples of this myself over the next few years.

The Smartest Investment Book You’ll Ever Read applies this same truism to investing, showing that active financial managers (aka “experts”) on average perform worse than the market average. (In November 2000, Fortune magazine released the “top picks” from its panelists of “top” stock analysts. Those picks ended up under-performing the market average by 400%! He gives many of these examples, and encourages you to ignore ALL experts, and only invest in broad indexes of the entire market. In other words : trust the wisdom of crowds.)

Music subscription service devices

The Sansa Connect changed the way I think about music. (More recent recommendation: the Ibiza Rhapsody).

No computer needed. It connects by wifi directly to Rhapsody, which has almost everything you’d ever want to hear, available any time you want to hear it, without needing to buy.

Go to Pitchfork, look at their top-rated albums, and download them all from Rhapsody to your device to listen to any time over the next few weeks. Doesn’t cost you anything, so there’s no risk.

Tell it to play you a radio station. Hear something you like? Click [GET THIS SONG] or [GET THIS ALBUM] or [MAKE A MIX LIKE THIS SONG].

I got turned on to more music from my little Sansa Connect than I have by any other means in years. I have a massive music collection but I haven’t accessed it in months, since anything I want to hear is available instantly any time I want to hear it. Why maintain my huge collection anymore?

The 4-Hour Workweek
Let go of 80% of your actions, to concentrate on the most effective 20%. Shorten the deadlines for getting all actions done. Go on a low-information diet, realizing you don’t need to know all that stuff you spend hours a day ingesting. Have remote assistants take care of everything that can be done by anyone else. And voila : you have the 4-Hour Workweek. Again : I could talk for hours about how this changed everything for me, so I’ll stop here and talk about that stuff in future posts.
We are happier with restrictions, and trusting others’ experiences.

A combination of Stumbling on Happiness and Paradox of Choice. We’re bad at predicting how we’ll feel about something in the future, so we’re better off trusting other people’s experiences.

People are surprisingly similar in much of their experiences, even though they think they’re more unique. (90% of motorists consider themselves to be better-than-average drivers.)

With more choices, we may make better decisions, but we feel worse about them. (Note how this ties into the Wisdom of Crowds, above : others, collectively, know better than you do.)

I’ve started trusting the collective reviews from Amazon and Rotten Tomatoes. And I’ve intentionally decided to limit my options in other ways I’ll describe soon, trusting (from others’ experience) that will make me happier.

Each one of these things probably deserves its own longer article here, but I just wanted to list them in one place, because it’s amazing how differently I see the world now than I did even one year ago.

I’m sure there are more I’ll think of after posting this, but in the meantime, I’d love to hear any of yours:

Any things you’ve learned recently that “change everything” for you?

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Restrictions will set you free

A great book called The Listening Book had this wonderful quote:

Restrictions will set you free

Example:

Someone says, “Write me a piece of music. Anything. No restrictions. Go!”

You’re stumped. The blank page syndrome.

Instead, someone says, “Write me a piece of music using only a flute, saw, and this broken toy piano. You can only use the notes D, E, and B - but never all 3 at the same time. It has to be in 3/4 time, start quiet, get loud, then get quiet by the end. Go!”

Aha! Now you’re cookin’!

http://www.flickr.com/photos/22526319@N00/483258529/

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Get specific!

One of the most common things I hear my musician friends say is, “We’re looking for a booking agent.” (or manager, label, promoter)

I reply, “Who?

They say, “Uh… what?”

“Which booking agent are you looking for? What’s their name?”

“But… we don’t know!”

How do you expect to find someone if you don’t even know their name!

It’s not hard to find the answer to anything.

What venue do you want to play? Contact them and ask which booking agents they use.

What band do you want to emulate? Contact them and ask who their booking agent is.

Once you find the person’s name, voila - you’re no longer looking for a booking agent. You found them, and it only took a few minutes.

Yes I’m being a smart-ass, but trying to help.

Whenever you find you’re aiming for something you haven’t defined - GET SPECIFIC.

It’s amazing how that one step turns goals from impossible into easy.

EXAMPLES:

“We’re looking for a manager / agent / promoter / person”
Who? Do 10 minutes of research, and turn it into a name. Even one name to start, just to convert it from vague to specific.
“How can I get my music out there?”
Where? Where should it be? Radio? What station? Contact them to ask their favorite promoters. A TV show? Which one? Check the site to find out who chooses the music for that show.
“I need someone to help me.”
Do what? Start by naming just one thing you need help with, and, as if you were hiring an assistant to do it, describe exactly what they would need to do.

This applies to many things. I was working with a programming teacher to be a great Ruby programmer. When I first contacted him he said, “What does great mean to you? How will you know you’re great?” He made me get really specific. (For me it was “I will go through these 4 Ruby books and be able to write programs like the examples. I’ll know how to do anything I need to do off the top of my head, without looking it up first. I’ll be able to code in Ruby as effortlessly as I can in PHP.”) He then made me get even more specific about each of those 3 things, breaking them down into bits (how many chapters in those 4 books? how many per day will you do?).

Once I had named exactly what I wanted, THEN he could help me.

Sound familiar?

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eliminating the time between thinking something and doing it

I admire people that experiment with their own life.

I got SO inspired after reading this article about marathon runner Dean Karnazes. Some key quotes:

He had pushed himself to the point of death to find out whether he was strong enough to survive. He was.

“Somewhere along the line, we seem to have confused comfort with happiness.”

“The human body is capable of extraordinary feats.”

“Life is not a journey to the grave with the intention to arrive safely in a pretty and well-preserved body, but rather to skid in broadside, thoroughly used up, totally worn out, and loudly proclaiming: Wow!! What a ride!”

Yesterday, I beamed with excitement after reading this article about memory fanatic Piotr Wozniak. Key quotes:

He pursues extreme anonymity because he wants to avoid random interruptions to a long-running experiment he’s conducting on himself. He’s exploring what it’s like to live in strict obedience to reason. On first encounter, he appears to be one of the happiest people I’ve ever met.

With SuperMemo growing more and more popular, Wozniak felt that his ability to rationally control his life was slipping away. “There were 80 phone calls per day to handle. There was no time for learning, no time for programming, no time for sleep,” he recalls. In 1994, he disappeared for two weeks, leaving no information about where he was. The next year he was gone for 100 days. Each year, he has increased his time away. He doesn’t own a phone. He ignores his email for months at a time. And though he holds a PhD and has published in academic journals, he never attends conferences or scientific meetings.

His days are blocked into distinct periods: a creative period, a reading and studying period, an exercise period, an eating period, a resting period, and then a second creative period. He doesn’t get up at a regular hour and is passionate against alarm clocks.

A checklist Wozniak wrote a few years ago describing how to become a genius: You must clarify your goals, gain knowledge through spaced repetition, preserve health, work steadily, minimize stress, refuse interruption, and never resist sleep when tired. This should lead to radically improved intelligence and creativity. The only cost: turning your back on every convention of social life.

Then there’s my hero, Tim Ferriss, of the 4-Hour Workweek book, who tried radical experiments with work-time, outsourcing everything possible, only doing email once a week, keeping all phone calls to one minute or less, and firing 90% of his clients to focus on the most profitable few.


In my own life, for the last two years, I’ve been on an experiment to take all of the “someday I’d like to…” and “I wonder if I could…” things, and start doing them.

  • got divorced (it was mutual and happy)
  • moved to London for most of 2007
  • started lessons in Spanish, Mandarin, surfing, and Rails
  • went to India for a month with nothing but a tiny backpack
  • restructured my company so that they don’t need me at all
  • starting a new company based in Hong Kong

In short, I’ve been following the rule of “whatever you’re thinking, go do it”. Turning thought into action. (Also called “see what happens” - which makes everything more fun, less serious.)

What’s amazing is realizing how many things you’re considering doing, but not doing!

It feels great to fanatically eliminate the time between thinking something and doing it. (Hmm… kinda like an improvisational musician, right?)

http://features.cgsociety.org/story_custom.php?story_id=1620

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If I had a record label, would you be signed to it?

If I had a record label, would you be signed to it?

I never liked the idea of having a record label, because you’re too deeply invested into something you don’t control.

So if I were to have a label, my decision on who to sign wouldn’t be decided just by the quality of the music. There are plenty of people with great music but destructive work-habits or an unsustainable approach to their career.

To confidently invest in an artist (as a label), I’d want to see:

  • every song has been absolutely improved repeatedly - every note/syllable crafted to be the best it can be
  • vocal performance is not just perfect but head-turning, striking
  • arrangement is everything it can be to bring out song/vocal
  • arrangement offers a new idea to the world, and not just the usual paint-by-numbers
  • photos/image are striking and amazing, and capture the essense of the music
  • live show is so entertaining that even a deaf person would enjoy it
  • band has been around, recording and gigging, for at least 2 years
  • artist has done this for a few years and still believes that this is their real calling in life, regardless of external rewards (or total lack of)
  • band members don’t need unreasonable amounts of money to perform (can perform profitably)
  • band can entertain a crowd without props or big sound system (in-store appearances)
  • off-stage persona is sustainable (stamina, dealing with fans well, etc)
  • no addicts - to anything
  • an unflappably healthy attitude to the immense amount of work it really takes to be successful at anything

And so you see why I’ll never have a label. Who could possibly fit this list? Garth Brooks? Dave Grohl?

I haven’t talked to any labels about this yet, but I wonder what their perspective would be. I’m friends with Jac Holzman who discovered the Doors and obviously didn’t regret it, despite Jim Morrison being the opposite of everything on my list. I should ask him. (Jac, not Jim.)

Anything you’d add to the list? (I’m assuming there are many things you’d subtract.)

Jim Morrison mug shot

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How would microcredit work for musicians?

How would microcredit work for musicians?

Just asking that question of myself and the world at the same time. Please add your thoughts in the comments, here, and I’ll post a 2nd post about this soon.

Please see…

… then give your thoughts, here!

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Circle of influence - Circle of concern

“You can either be proactive or reactive when it comes to how you respond to certain things. When you are reactive, you blame other people and circumstances for obstacles or problems. Being proactive means taking responsibility for every aspect of your life.”

Steven Cravis made a comment on this blog saying, “We can’t do anything about things beyond our control so we might as well keep on focusing energy forward on the next thing we can create.”

It reminded me of a good metaphor from The Seven Habits of Highly Effective People (click that link to read the Wikipedia summary - the book itself is quite tedious).

The author says to imagine a circle that contains ALL the things you care about:
circle of concern

Inside of it, imagine a circle that contains ALL the things you can affect (do something about):
circle of influence

Your goal is to either expand your ability to do something about the things you care about…
expand circle of influence

… or shrink your circle of concern (stop caring about some things) so that you don’t care too much about things you can’t do anything about.

It’s an interesting metaphor I’ve thought of often, though usually for his final comment at the end of the section. I don’t have the book here but it was something like:

“Some dangerous individuals’ circle of influence is actually bigger than their circle of concern. They are affecting more than they care about, often unintentionally hurting others in their path.”

I’ve felt like that a lot over the last 6 years. I employ 85 people at CD Baby. I’ve never even met half of them. Clients I don’t know get hurt because I never replied to an email I never saw. I started hiring the services of a small company, then changed plans, and found out that my change-of-plans sent them into default on a bank loan, practically destroying their company. Etc.

I’m dangerous. I’m trying to be more cautious. I really do think of everything from the other person’s point of view, but man it’s hard to take every affected person into consideration for every decision.

Bull in china shop

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What’s really keeping you from where you need to be? (It’s not piracy.)

I spoke at a conference last weekend, where a woman in the audience was SO mad about piracy that she was physically shaking, red in the face, tears in her eyes, fuming spitting livid, asking how we can stop this rampant piracy.

I didn’t answer her concern well, but I said “More people are killed by pigs than sharks each year, but because shark attacks are more newsworthy, they seem more prevalent. Piracy gets all the attention, but I don’t think most of you in this room have lost more than $30 to piracy.” (I got a big “Booo” from the audience for this.) “Obscurity is your real enemy. Fight obscurity until you’re a household name, then piracy will be more of a problem than obscurity. Until then, worry about pigs, not sharks.

The woman got so furious about this that she screamed at me with tears in her eyes, “I HATE YOUR POINT OF VIEW, BUDDY!” (and some other angry things I forget.) From her point of view, piracy was Enemy #1 and anybody ignoring this massive threat was hurting us all.

Driving away from the event, of course I figured out what I wish I would have said in that moment:

The thing separating us from where we are and where we need to be is not piracy.

It’s always something more internal, whether writing, communicating, producing, networking, promoting, or taking a wildly different approach to marketing.

Putting so much attention and energy into fighting piracy (as if, when solved, you’ll suddenly start selling 10 times more) - is misguided effort, distracting you from what you really need to be improving.

That’s the real reason I often tell musicians not to worry about piracy. I’m not saying it doesn’t exist. But energy spent worrying about it is energy better spent working on what you know you really need to do.

http://www.flickr.com/photos/87659272@N00/2349113088/

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5 tips for musicians

A guy writing a book asked me for 5 tips for musicians, today. Here are the 5 I gave off the top of my head:

  1. Turn off your computer. Improve that unfinished song, without distractions. We’re drowning in a world of mouse-clickers. Stand apart from the pack by doing the focused work of improving your skills. The key that unlocks the door to success is not online, it’s in you.
  2. Whatever excites you, go do it. Whatever scares you, go do it. Whatever drains you or bores you, stop doing it immediately! Find someone else who loves it, instead.
  3. Meet 3 new people each week who might help you. “Do It Yourself” doesn’t mean do it ALL yourself. You need help. There are people who love booking gigs, love promoting, love building websites. Put a few hours a week into finding them. Let them help you. Email strangers, and suggest a phone call or lunch. Almost everyone says yes.
  4. Keep in touch with people. The best connections always happen right after a recent contact. It’s always the person you talked to yesterday who will get you a gig or introduce you to a key contact, because you’re at the forefront of their mind. Just put aside 30 minutes every few days to call people who matter to you, and say hello. Send them something you think they’d like, whether a link, an article, a trinket, or a pizza.
  5. Bring out your weird side. What’s great about the long tail is that there can be infinite niches. Be (and trumpet yourself as) the best at your tiny sharply-defined niche. Better to be the world’s leading songwriter of songs about seaweed, than yet-another normal-but-good rock band or folksinger.

http://www.flickr.com/photos/striatic/118648098/

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It’s great to be a beginner again

Ah, it’s great to be a beginner again.

I’m starting some new companies to help musicians. Getting back to the core of what I love doing : helping my fellow musicians in ways that big companies don’t find worth it.

I’m learning piano - boogie piano, specifically, but I have to start with just doing my scale fingerings that I haven’t practiced in 18 years.

Great contrast from the complexity of running a company with 85 employees and 200,000 clients. Just practicing my scales with a metronome.

I sold my house, furnished! Now everything I own fits in my car. Once I read my queue of 50 books and give them to friends, everything I own should fit in 2 suitcases.

It’s fun to be back at square one.

Confidence is needed to shake off previous expertise.

Excitement comes from being in over your head.

Next comes Mandarin and surfing lessons.

http://www.flickr.com/photos/nitsrejk/2389938249/

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What should I do when someone says, “Let me know what you think!” of their music?

What should I do when someone says, “Let me know what you think!” of their music?

I love listening to music, but the minute someone says “let me know what you think” it becomes work.

See - I’m still a musician/producer at heart, so if someone REALLY wants to know what I think, my real thoughts are usually, “Rearrange the structure to put the bridge into the intro,” or “Drop out all instrumentation there in the 3rd verse to give it more sonic variety,” or “Tell the drummer to lay off the cymbals a bit.”

But if it’s a finished manufactured CD, what’s there to say? It’s too late to change anything, so who cares what I think? Whether I like it or not shouldn’t change anything they’re doing. Better for me to just enjoy it and not tell them what I think, unless I’m the producer.

On the other hand, I *LOVE* real constructive critiquing like songwriting workshops.

So, it’s really two different kinds of questions:

UNFINISHED WORK-IN-PROGRESS?
Say what I really think.
Hope they’re tough enough to ignore me if they disagree.

FINISHED RECORDING?
They don’t want to know what I really think.
They just want to know if I’ll help promote it by telling others.
So find something positive to compliment to lift spirits a bit, maybe give a bit of marketing advice, and wish them the best.

Or… am I thinking about this all wrong?

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Never have a limit on your income

A wise man said, “Never have a limit on your income.”

Example he gave:

If you sell pens for a living and someone orders a million pens, no problem! You just place an order with your manufacturer for a million pens, get them to the customer, and celebrate.

But if you do hands-on massage for a living and a recent spot on Oprah gets you a waiting list of 10,000 people, “you’ll wish you were in the pen business.”

Point being : if you make a living only providing an in-person (hands-on) service, you are limiting your income. If you were in a “while you sleep” business, there is no limit to how much you can make.

So… what about musicians?

For the last few years, many people have suggested that the products (CDs, even downloads) are now just the free giveaways to get people to go to the show - that musicians are only in a hands-on service-provider business now.

Of course I disagree because I watch CD Baby pay more and more to musicians every month (while they sleep).

Musicians MUST NOT buy into that “only earn by performing” belief because it limits your income.

I spend a LOT of money on music, but haven’t been to a live concert in years. The recorded music has great value to me, whether MP3s, CDs, or even subscription services.

What other ways can music be a “while you sleep” income-earner for musicians? (STUPID BRAINSTORM WARNING:)

  • write songs for others to perform
  • creating commercial-use music (that businesses will use in advertising, for example)
  • getting your music into film/tv
  • paid-area access to your web-archive with all your music, even works-in-progress
  • make it easy for fans to donate