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Managers and Self-Managed Artists

Join us in New York City February 7 -10, 2010 and be part of the largest gathering of Artist/Band Managers, Self-managed Artists, and Bands / Artists seeking management representation yet organized! This event is billed as the first and only large-scale music conference organized exclusively for active and aspiring Artist Managers, self-managed Artists, and artists seeking management representation; and a place where you can experience the convergence of the music industry’s most potent ideas and most powerful network. Immerse yourself in strategy-focused sessions by day, and conversation-packed networking parties and artist showcases by night. 

AMCON 2010

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Rejection is just an invitation to resubmit. Always RSVP

By Marc Blatte, Author of Humpty Dumpty Was Pushed: A Novel

I started writing songs when I was seventeen. This was in the Sixties when life seemed like one opportunity after another, waiting to be fulfilled. I played in a band, and we did original songs, inspired by Dylan, The Beatles, etc. I wanted to record, found a studio through an ad at the back of the Village Voice. I had $600 saved from caddying that bought me twelve hours of studio time. I was off to the races.


Demo complete, I read the credits on album jackets of the bands I liked, then went to the telephone directory and got the names and addresses of their publishers. At first I sent them tapes but the responses, when there were any, were generally highly impersonal and non-specific, so I decided I'd be better off taking them into the city, which I did, and started knocking on doors. Showing up in person got me in. Then the hard part began.

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The Ins & Outs of Facebook and Twitter

Madalyn Sklar of Social Networks for Musicians has just posted a great Teleseminar regarding using Facebook and Twitter. Registration is required to access the recording, but it's worth it!

Check it out here:

Social Networks For Musicians

 
1,000 True Fans

by Kevin Kelly

The long tail is famously good news for two classes of people; a few lucky aggregators, such as Amazon and Netflix, and 6 billion consumers. Of those two, I think consumers earn the greater reward from the wealth hidden in infinite niches.

But the long tail is a decidedly mixed blessing for creators. Individual artists, producers, inventors and makers are overlooked in the equation. The long tail does not raise the sales of creators much, but it does add massive competition and endless downward pressure on prices. Unless artists become a large aggregator of other artist's works, the long tail offers no path out of the quiet doldrums of minuscule sales.

Other than aim for a blockbuster hit, what can an artist do to escape the long tail?

One solution is to find 1,000 True Fans. While some artists have discovered this path without calling it that, I think it is worth trying to formalize. The gist of 1,000 True Fans can be stated simply:

A creator, such as an artist, musician, photographer, craftsperson, performer, animator, designer, videomaker, or author - in other words, anyone producing works of art - needs to acquire only 1,000 True Fans to make a living.

A True Fan is defined as someone who will purchase anything and everything you produce. They will drive 200 miles to see you sing. They will buy the super deluxe re-issued hi-res box set of your stuff even though they have the low-res version. They have a Google Alert set for your name. They bookmark the eBay page where your out-of-print editions show up. They come to your openings. They have you sign their copies. They buy the t-shirt, and the mug, and the hat. They can't wait till you issue your next work. They are true fans.

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