9GiantSteps

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• The new Report Card

  February 2, 2010 in marketing, music business

  I still wake up on Wednesdays with a little shudder. You see, Wednesdays are (and, I guess, always will be) soundscan days. Back when there was still a record business, you got your report card every Wednesday morning. I remember so well hauling my pale ass out of bed and using the sweet dial up modem to log in to SS. 90% of the time, this was immediately followed by an “ugh.” The numbers were rarely what you wanted them to be (for more on SS’s continued irrelevance, read this).

  Numbers indelibly etched in my brain, off to the office I’d go. I’d hit the fax (yes, fax) machine to look for the radio and press reports from the indies, and check my inbox (and by that I mean a little box in which paper reports were inserted) for internal press and radio reports. Ugh. Ugh.

  Wednesdays sucked!

  And, typically (almost always) with each subsequent week after the initial numbers, Wednesdays sucked exponentially more. You see, 99% of the time, the only week you might have any type of non-ugh reaction over SS numbers and other reports was that first week.

  From there the numbers tended to drop precipitously. In fact, it was often considered a win if your SS numbers only halved from week 1 to week 2. Same with the other reports: radio and press (linked, and, in many respects, taking their cues from SS) tended to start with optimism (“So and so from such and such magazine/newspaper/radio station really likes the record, and promises to listen!!!”), and got increasingly depressing (”So and so says they’re on deadline/add week, but they’re going to try to listen;” “So and so doesn’t really dig it/feel the heat/will give it a review instead of a feature/will try it on the specialty show, but won’t add yet”).

  Here’s roughly what the report card looked like:

  

  What my scrawl is saying is that in week 1 if your SS number was 1000, by week 2 you’d often decrease that number by 75% (so, from 1k down to 250); the press and radio interest would decrease by half. Week 3 would continue apace with your SS numbers being a tenth (in this case, 100) of the first week, while radio and press interest was 25% of what it had been in week one. This is probably a little dramatic in order to make a point, but it’s not that dramatic, and this is, sadly, often exactly what it looked/looks like).

  Can you imagine how hard it became to do this week after week? Don’t get me wrong, I (and many more others) had weeks where the SS numbers went up, press went crazy, radio added the song, etc. But, for every one of these, there were literally dozens where it went the way I described above.

  Just from a psychological standpoint, it caused a ton of psychic torment; rather than being excited and finding ways to create energy and positivity about a project, you were left sugar coating: “The numbers weren’t that bad;” “Hey, we laid a foundation for the next record.”

  This type of laying it on thick was particularly important in terms of artist relations. You had to present things in some sort of positive light to artists or they’d lose their minds; they’d just spent many moons and much blood, sweat, and tears creating a piece of art, and entrusted it to you, and to tell them that the general response to their work was, “meh” was simply cruel. (In hindsight, it was equally cruel to sugar coat, but I wasn’t as evolved as I am now (hah!)).

  In any case, as the negativity began to become almost endemic, the process became surreal: what were we doing? What is real?

  Happily, we have a new report card, and it’s sort of the inverse of the above.

  Below is a quick (I know, given the looks of it, it’s hard to believe that I didn’t labor over it; I have a gift) list of some of what I feel are the more important elements that should be on your new report card.

  

  [The legend to my map: email addresses; twitter followers; Facebook fans; Google Analytics (you should look at visitors, time on site, bounce rate, etc. Also, you should be looking at Google Alerts); downloads; subscriptions (i.e. people subscribing to some offering, ala Kristin Hersh's Strange Angels). The calculation is just an example. Here, I've got week 1 as "X," and the subsequent weeks' numbers increasing by 20, 30 and 40% of X. So, if week one, you have 100 email subscribers, by week 2 you want 120, and so forth. This is arbitrary. You should set whatever goals are difficult but attainable, and you should adjust as the weeks go by.]

  Couple of things to note: 1. You can do this daily. 2. You should measure what I’ve suggested, but you should also have your own things you’re measuring; I’m sure I’ve left off some obvious things (one thing I’d love to be able to measure is how effectively your music is being shared, I know Topspin is making some great strides with this; another is gig attendees/number of gigs played - you need to measure this!).

  The big distinction, however, between the old skool report card and the new skool report card is the shift from pessimism to optimism it represents.

  Where the old skool report axiomatically led to depression due to the inexorable decline in numbers (SS, reviews, spins), the new skool report axiomatically leads to hope (and thus energy): if you haven’t increased - even by a teeny bit - your email subscribers, etc., something is wrong.
  

  The good news now is that once you realize that something is wrong you can take strides to fix it.

  Not getting enough email subscribers? Do you have an email-for-content widget rocking on your site; have you done what you need in terms of SEO to make sure people know you have a site; are you leveraging Twitter or FB to go to where people already are congregating and giving them a decent value proposition to go to your site; etc.

  You know what your “remedy” was for bad ss numbers? Spend more co-op dollars. Fuck. Bad radio numbers? Payola. Double Fuck. Bad press? Cry. Sigh.

  Again, the real beauty of this new type of report card is that it should be exciting and encouraging. You can see incremental progress, and, most importantly, you (band, manager) are in control.

  This is vastly different than placing your hopes/destiny in the hands of a sales rep, publicist, promo person, label.

  You note that nowhere on this new report card is a category for radio play or press reviews. You know why? They don’t matter. Yes, a teeny bit of an exaggeration, but even if they might matter a bit (and, really, only for artists who are already established) - you largely can’t control them. Please focus on what you can control. I did, by the way put Google Alerts as a measurement; think of this as your press report, and when you see that someone blogged about your work (via Google Alerts), respond/comment, etc. Remember, markets are conversations/relationships.

  In a comment to my earlier post about The Leveling I was gently criticized for not supplying specific enough instruction in my writing. Well, as much as I agree with Mr. Godin’s statement about not drawing maps, I guess this is an attempt at something resembling a map.

  Map:
  What you have to do is figure out what you need to measure (I’ve tried to give you some ideas). This should lead to an overall strategy (i.e. big picture goals), and this should lead to action plans (i.e. small, daily steps that help you hit those goals).

  Don’t try to go from 0 email subscribers to 1000 in a week, and then deem it a failure when/if you don’t hit that. Try to go from 0 to 25 in a week. Before you can get any, you have to do some work (as above, email-for-content widget, SEO, etc. - these are elements of an action plan that lead to success at a strategy of getting more email subscribers).

  Measure your progress weekly. Use a google sheet that can be updated each week. Have a band meeting and look at the numbers. Assess what’s working, and what’s not. Where things are working, there is energy; do more. Where things aren’t (no addition of FB fans, etc.), figure out what actions you can take to change it.

  Do this for three months, you’ll be shocked by the results.

• Song for Karen

  January 31, 2010 in songs

  I have no words.

  Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. You also need to have JavaScript enabled in your browser.

• How to Change the Heading Styles in Google Docs

  January 21, 2010 in tech

  So I’m pretty close to never opening any Microsoft Office apps. I’ve moved completely from Entourage to Gmail and Gcal. All of my presentations are done in Google Presentation, the vast majority of my spreadsheets in Google Spreadsheet, and, naturally, my documents are written in Google Document.

  With the awesome Manymoon providing a seamless layer of organization to all of these Google apps (as well as being a kick ass product management app), I really don’t miss MS Office at all.

  Except for a few minor annoyances, there’s really no reason to open Office. One such annoyance was the inability to change the standard size, color and font choices for the Headings. This irked me, because the supplied heading qualities really look sort of terrible in the context of most docs; too big, too bold, too much deviation between the point sizes from Header 1 (VERY big) to Header 2, (not proportionally big), and so forth.

  Here’s a screen grab of the standard headers:

  

  As you can see, Header 4 - at 10pt type - is a smaller point size than typical 12 point body text type. This means it looks terrible.

  Happily, Google recently made it easy to alter the CSS of the doc. Go to Edit > Edit CSS, and you’re greeted with a blank screen where you can add any CSS elements you want.

  To change the Heading Styles, I added this:

  h1
  { font-family: Calibri;
  font-size: 16pt;
  color: #336699; }

  h2
  { font-family: Calibri;
  font-size: 15pt;
  color: #336699; }

  h3
  { font-family: Calibri;
  font-size: 14pt;
  color: #336699; }

  h4
  { font-family: Calibri;
  font-size: 13pt;
  color: #336699; }

  Now the headers look like this:

  

  It’s obviously very easy to change the elements for Headers (or anything else). Do note that all you’re doing is changing the CSS for the document you’re actively working on, and not globally. I have a feeling that option will show up soon.

  Another steak in the heart of MSFT.

• Skating on Squam

  January 2, 2010 in Off Topic

  We spent Christmas with my parents at their beautiful new house on Squam Lake in NH.

  There’s really nothing like skating on a frozen lake:

• Coin a Phrase: The Leveling

  December 31, 2009 in creativity, music business

  I do believe (largely because of Moore’s law) that - in the music/creative world at least - we’re reaching a moment where the technological barriers that provided advantages to those with the most resources is nearly over.

  There is a sort of leveling occurring now that — with only slight variance — we all have access to the same tools.

  The first moment of leveling occurred with the advent of ProTools. No longer did one need to collateralize their creativity in exchange for funds from a record label to create a competitive recording.

  The second moment of leveling arose via firms like TuneCore. No longer did one have to be signed to a label to have distribution.

  The third moment of leveling revolved around the emergence of social media. While not completely obviating the need for traditional promotion, the rise of social media certainly shifted the power away from people like publicists and into the hands of the creator.

  We now arrive at a place where musicians/artists are comparable to chefs. All chefs, within reason, have access to the same ingredients. Certainly, geography plays a role for access to ingredients, in a similar manner as geography plays a role for musicians/artists - if you don’t like your geography/feel it’s a competitive disadvantage, move.

  What then separates the hack “chef” with a failing restaurant from the thriving restaurateur with lines out the door every night - who is next door to the failure?

  We’ve all seen this. It’s sad. Some hapless Babu Bhatt stares forlornly out the window of his restaurant at customers lining up for the place next door. (Oh, and by the way, all you unqualified “gurus” out there: you’re Jerry Seinfeld in this episode; proffering destructive “advice” …. “Very bad, very, very, very bad man.”)

  So what separates the success from the failure when each has access to the same ingredients, the same customer base, etc. I suppose it’s like Hugh MacLeod says, “The future belongs to the artists and the Chinese…I am not Chinese.”

  Being an “artist” today means coming to terms with this leveling. How will you put your ingredients together in a manner that creates attraction and retention. These ingredients go beyond the musical notes, obviously, and relate to all facets of your work: your relationship with your market, your “brand,” etc.

  What I think I’m most looking forward to, beyond the emergence of music/art that never would have emerged prior to this Leveling, is the lack of excuses that will exist. At whom will artists point their fingers when their art isn’t greeted with the commercial success they feel it deserves? Since forever the artists’ fingers have wagged at: the label, the distributor, the publicist, the radio person, the web designer, the booking agent, the management … pretty much everyone but themselves.

  With the exception of the booking agent/management above, all of the others (labels, distributors, et al.) are pretty absent from a realistic survey of this Leveled landscape. You really think a publicist is the difference between the success and failure of your music? Really?

  As for booking agents and management. Playing live is now, was then, and always will be the most important thing you can do. If you can’t do it with some frequency and excellence, keep your music as a hobby, share it with friends, etc. Whatever the case, don’t wait for a booking agent; look for non-trad gigs, etc. With respect to management, you’ll know it when you need it. For the vast majority of artists, you don’t need it yet.

  The future belongs to those like Thomas Keller, David Chang, Ferran Adrià, Chris Bianco. Artists who use the ingredients that are available to everyone else, but combine them - in an alchemical manner - to create something truly remarkable and unique.

  So…no excuses, right?