Strategies and tactics

Yes, it has come to that. Strategies and tactics. It was always our hope at BlancoMusic that the business would be a bit of fun. Of course, there was always going to be an element of administration and organisation involved in recording and selling music, be we’d hoped that it would be minimal. Making music is fun, doing a&r is a blast, coming up with funky graphics and ideas for the website and album covers is creatively satisfying. Unfortunately though, it seems that the time is coming when we’re going to have to put away the fun and get out the spreadsheets. New business strategies appear, somehow, to be the way forward for the music industry. Actually, more the t-shirt and box-sets industry, as it seems to be becoming right now. The strategies proposed by new-media gurus (who very rarely seem to be musicians themselves, but often consider their experience in unrelated, non-creative sectors is perfectly applicable to the quite unconventional realities of music-making) are very time consuming and dull as a barrel full of school socks. What they boil down to, is creating an attractive entity out of an act – one which is so cool and lovable that the gullible public will happily part with their cash to own a piece of (hard, non-downloadable) merchandise that is somehow associated with that entity. Music should be seen as a part of the mechanism by which that magic attractant ‘cool’ element be constructed, and should be considered as an expendable pawn in the larger game of monetizing that cool element. Pity, because music is the only bit of the whole thing that’s actually worth anything.

Fighting the devaluation of music in our culture is becoming exhausting. It is truly astounding to us that such an important cultural element of our lives be relegated to the status of a peripheral attractant in the fight to sell pencil cases. Can we keep fighting against this overwhelming sense that music is absolutely brilliant, totally important, great for having in every moment of our lives, but not worth paying for? Who knows? I’m not even mad at consumers here, it’s the insulting profiteering by the streaming sites that riles me most. There is a point at which even the most righteous disgust becomes difficult to maintain. I’ve put the front cover graphic of BudNubac’s Que Se Yo up here today, because if we do decide to do an about-turn on our ‘dignity for musicians and downfall to the freetards’ policy, it’s the album that is likely to be first sacrificed to the tactics and strategies of the new music industry model. We haven’t yet decided on this. I’m actually discussing it on here as part of the openness and transparency that I hoped would be a part of the allure of BlancoMusic when we started the label. We’d always hoped to involve fans of the music with some of the running of the label, at least keep them informed. Properly informed, with real, honest interaction, not the self-aggrandising nonsense that makes up the majority of artist and label sites. One critical part of that came months ago, in a post I wrote about a Mil i Maria song that I don’t actually like much. One of the stipulations I made before getting onboard with BlancoMusic was about that very post. Would I be allowed say that there was material available to purchase on our label that I didn’t personally like? Would I be allowed a platform where honesty and candid opinions were allowed to be expressed, or would it just be a ‘this is how we roll at BlancoMusic’ PR rubbish? To me, that sort of transparency was the kind of unique selling point that would make us interesting, worthy of loyalty, and would bring people to our site to listen to our music, form an opinion, buy the tracks. It works well for the first two, but buying music just seems to be too much for people to get their heads around, now that they can pick it up for free whenever they wish. I wish that weren’t the case, because I really don’t want to go into the screen-printed t-shirts business. We’ll see, there’s a whole weekend to think about things. Hope you have an enjoyable one.

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