Thursday, October 27, 2011

Transcendent Music Movement Presents: J. Wils


Transcendent Music Movement Presents: J. Wils
            Ok Hip-Hop heads, I got something for you all.  It's no secret that Drake, J. Cole, Kid Cudi, Wale, Kanye West, Lupe Fiasco and some others have really been representing lately for Rap music.  This group of artists has been dubbed as Backpack Rappers or New Era Rappers by me and some other Hip-Hop heads.  These artists brought intellect to rap during a time when rap music was considered, by most, to be on the verge of death.  Let us be honest!  Over the past few years it was beginning to seem like anyone could make it as a rapper with any ignorant message and lyrics that corresponded to some stupid dance. 
Backpack Rappers
Thank the Hip-Hop gods for these New Era Rappers!  The lyrics of these artists have had much appeal to students pursuing higher education.  Most of the artists themselves have spent at least some time in college hence their nickname, Backpack Rappers.  Obviously, a college education does not make you a great lyricist or even a smart person for that matter, but it has evoked an intelligent style of Rap music that has become quite popular.  So regardless of education or the lack thereof, the complexities of this group’s lyrics, clever punch lines and tremendous use of literary figures of speech, has appealed to a more scholastic listener. 
The New New-Era
These artists have paved the way for the effective deviation from the traditional gangster rapper and the dance rapper or as I call them, the mickey mouse rapper.  It is true though; there is truly a new era of rap led by these New Era Rappers.  So it gives Transcendent Music great pleasure to introduce and promote a new artist who embodies the essence of this new era of rap, J. Wils.
J. Wils, born Justin Wilson, was born in Charleston South Carolina.  To be frank, the kid is without a doubt a diamond in the rough.  We all are aware of the unique, catchy yet largely silly music that has come out of The South.  Well, he does not fit that traditional mold.  J. Wils represents for the new era of rap music and is personally seeking to portray the South in a new light. 
I discovered J. Wils’ profound lyrical style on YouTube.  The content of his raps reflected his atypical colligate experience.  He attended and graduated from The Military College of South Carolina, The Citadel which explained much of the military jargon used in his raps that probably could only be appreciated by those who attended that elite institution.  He was also involved in a series of dorm room rap battles that became viral across his campus.  From this innocent display of lyrical talent, J. Wils’ passion for Hip-Hop, production, and representing The South intelligently, was ignited.  He began making beats and rapping on other popular artists’ beats.  He began to write relentlessly.  Before long he and his college roommate, Justin Ramie, recorded their first music video for their song, ChuckTown Anthem.  This was their first and rather deliberate attempt to present The South positively and intelligently, with regards to Rap music.   
Fashionably Late Mix tape
Later, after graduating from college, J. Wils launched his solo career and has grown tremendously as an artist.  Just as many of those new era artists who I described earlier did when they broke in to mainstream Hip-Hop, he released a mix tape.  J.Wils recognizes exactly where he fits in and he respects his fans enough to know that he has to earn their continued support.  He makes that clear by launching a free mix tape to help boost his popularity and earn the support of listeners. The name of his mix tape, Fashionably Late, has meaning that exemplifies J. Wils’ confidence and his desire to be regarded as one of Hip-Hop’s New Era artists. 
I recall a conversation I had with him a couple of years ago when his mix tape was being conceptualized.  He was expressing to me the fact that there were all of these new Hip-Hop artists who had become rather popular, and how he felt he was on par with most of them from a lyrical standpoint.  I agreed with him whole-heartedly.  Then he explained his reasoning behind the name of his mix tape.  Those other rappers, most of which were listed above, had for all intents and purposes arrived as prominent rappers.  Hence, he considered himself fashionably late to what we are calling New Era Hip-Hop.  There birthed the title of his first mix tape, Fashionably Late.
Let it be known that I have absolutely no reserve in comparing J. Wils to Hip-Hop artists of the likes of Drake, J.Cole, Kid Cudi, Wale, Kanye West, and Lupe Fiasco.  The kid is that good.  The thing that he is missing is some sort of corporate backing to really propel his career and introduce his music to the world.  Artists like J. Wils are the precise reason for Transcendent Music's mere existence.  So as we continue in our movement to preserve and promote TRANSCENDENT MUSIC, we offer our full support and highly recommend that you listen to and support this transcendent artist, J. Wils.



Saturday, October 22, 2011

Expectations


Incorporating Expectations to Create Meaning and Purpose

Expectations!  This is what came to mind after viewing Viktor Frankl’s address entitled, Why to Believe in Others.  In this address he spoke adamantly about how we should be idealist towards men by over estimating them.  This is to say that we should have high expectations of man.  He says that the realistic view of man is that they predominantly want to find meaning and purpose in life.  This is as opposed to the surprising minority who prefer to just make a lot of money.

His presentation was for the sole purpose of enlightening his audience.  Frankl’s speech helped me understand the behavioral psychological method of motivating people.  This method of over estimating them or as it resonates with me, having high expectations, is something that can be useful in motivating future employees.  Whether or not the majority of people still seek to find meaning and purpose in life as opposed to just making a lot of money, I am not sure.  After all Frankl’s speech took place in the 70’s.  Nonetheless, the importance of expectations and faith in mankind are absolutely still necessary components in effectively leading others.  This is how I can apply the contents of his speech to better effect individual’s behavior, individuals being my future employees who will represent my brand.
His speech helped me further my understanding of the need to form expectations for your company but also of your company.  As a business owner you conceptualize how you want your business to be perceived by potential or existing customers.  As a result of your branding, advertising and marketing efforts, the consumers adopt expectations or attempt to make meaning of your business. 
In the words of our beloved Republican presidential candidate, Willard Mitt Romney, “corporations are people my friend.”  With this in mind, my corporation will seek to create meaning and purpose for its employees and for its customers.  This is where it gets tricky, I will have high expectations for my corporation (employees) to satisfy and modestly surpass the expectations of its customers.
Once you have written the story you have set the bar for what your customers should expect.  To stray from that would be inevitably detrimental to maintaining the trust and ultimately the support of your customers.
My fundamental understanding of Business Story telling and Brand Development was realized from this speech.  This subject is about formulating expectations, brand development; promoting those expectations, business storytelling; and living up to those expectations, operating a successful business.

Friday, October 14, 2011

SPARS: A Trade Association for Recording Professionals


The industry niche trade association that I discovered and am interested in is SPARS.  SPARS is The Society of Professional Audio Recording Services.  According to their website SPARS provides access to knowledge, latest trends, and other professionals.  They are an association that includes audio recording and mastering facilities, manufacturers, engineers, producers and multimedia specialists.  They support businesses in the recording industry and the individual professionals who work in the audio recording industry.
SPARS writes on their website that they do not exist to make money but they exist to serve the industry.  SPARS is a trade association that connects personnel in the audio recording industry and serves them as a resource.  They offer countless educational opportunities for its members in the form of seminars, publications, business resources and other support programs for its members. 
Their current programs and services seem extensive and beneficial to its members. They host BizTech and eStudio conferences, which address current business and operational issues.  Their multiple publications include SPARS Time Code Primer, which is a hands-on guide for synchronization.  They also have their Occupational Handbook, Business Policy Pamphletes and their electronic newsletter, SPARS eTracks.  They have many resources for business owners such as the SPARS Test that can be used to assess the job knowledge of current and potential employees.  I think that one of the most valuable assets of being a SPARS member is the experience and resource you have in the other members.  According to their website, “Each SPARS board member has pledged to be available to answer questions, offer advice, or help steer you to the right resource.”  That alone is worth the membership, particularly for someone new to the industry.  Another excellent service they offer is their University Lecture Series.  This program offers expert seminars for students of various business or technical sophistication, as published in their brochure.  They also offer a grant for students pursuing industry related education. 
The impact of SPARS on the industry is priceless.  Their programs result in efficient and proficient business and operating practices.  As a future business owner in the audio recording industry, it would be reckless for me not to utilize the resources that this trade association offers.  The members are all industry professionals with a wealth of knowledge and most have many years of experience.       
Much of what this trade association does is provide endless resources for its members to be successful in the audio recording industry.  They do not seem to involve in any type of legislative or industry policy matters, however.  They are extremely malleable in the way that they adapt to changes in the industry though.  For example in 1979, when SPARS began they were made up of the small group of recording professionals who dominated the industry.  Now that recording facilities have extended throughout the country and technology has provoked drastic changes in the recording process, SPARS stays true to its roots.  They adapt and continue to serve each other.  The founders began the organization because they realized that they all had similar issues that they faced owning and operating recording facilities.  They used this organization to consult each other to solve problems collectively and to share valuable information.  SPARS perpetuates the spirit of its founders by continuing to focus on learning from and supporting its members.

Sunday, September 18, 2011

Transcendent Music Movement Presents: Ryan Leslie


Photo from http://grandgroovedjs.wordpress.com/2010/05/03/ryan-leslie-youre-not-my-girl-big-jacks-call-me-mix/


Ryan Leslie
A few years ago I was perusing through a magazine whose name I do not recall.  I began reading an article about this up in coming singer, rapper, producer, songwriter, musician and pretty much everything else you can think of in music.  The description of this guy made had me thinking I was reading an article about the Ben Franklin of music.  He does everything, literally.  I became increasingly curious about who this guy was; but more importantly to me, how his music sounded.  At the time I had never heard of this artists.  As it turns out, I had unknowingly heard music produced by him.  In that article, there was something else that stood out and made him more of a wonder.  This respectfully shocking truth was that he is a graduate of Harvard University.  What, really?  This was my reaction after thinking to myself; this guy graduated from Harvard and is a rapper?  If you have heard any of the rap music that has come out in the last five years, you would agree that a degree of any kind is hardly a prerequisite for a successful career as rapper.  This superman of music is Ryan Leslie or R-Les as he is sometimes called.
Early Life
That article, that I have been unable to reproduce or locate, introduced me to who is now one of my favorite musical artist and most admired entrepreneurs.  Ryan Leslie was born in Washington D.C. in 1978.  Leslie moved around lot as a child because of his parents’ employment with the Salvation Army.  After his sophomore year in high school he basically got tired of moving and began to set his sights on college, more specifically Ivy league institutions.  This 14-year-old kid first, scored a 1600, a perfect score on his SATs.  Then, he wrote letters to the like of schools such as Harvard, Yale, Stanford and others; soliciting entry in to their institutions.  At the age of 15, Ryan Leslie is a freshman at Harvard University.  How many fourteen year old kids do you know who would effectively just be quite simply tired of changing high schools so they decide to just go to Harvard instead?  … My point exactly!  Ryan Leslie, even at an early age was that type of visionary.

Early Career
So, if his background is not amazing enough, his path to musical notoriety is even more spectacular.  In short, as a musician and producer he launched the career of unknown artist Cassie.  It is reported that Leslie, in the living room of his apartment in Harlem, recorded and produced Cassie’s first album.  Single “Me & You” reached as high as No. 3 on Billboard’s singles chart.  The success of that song was virtually unprecedented and certainly unexpected.  The success shocked the music industry and Ryan Leslie began to catch the eye of big names in the industry.  His ability to do it all with little to no corporate backing; with the exception of a distribution deal that came later, is incredible.  This type of self-production and promotion is what in my opinion truly makes Ryan Leslie unique and a TRANSCENDENT artist.

Self-Promotion
Immediately after I read that article about Ryan Leslie, I went to the Internet and discovered a plethora of YouTube videos of Mr. Leslie.  There was something different about these videos though.  They were not just audio recording of his music or highly produced music videos.  These videos were what looked like home produced visual depictions of Ryan Leslie composing, writing, and recording his music.  These videos feature him playing the piano, synthesizers, drums, singing and doing other things to contribute to the production his music.  Earlier I talked about how Ryan Leslie did it all.  After watching a few of those videos, that belief was solidified.  Ryan Leslie has mastered self-promotion by using platforms such as MySpace, Twitter, and my personal favorite his YouTube Channel.  There are countless videos of Ryan Leslie exercising his creative process in creating songs.  Anyone who watches these videos will feel compelled to respect the genus, that is Ryan Leslie. 
Image from http://www.ryanleslie.com/

Discography
After entering the music industry as a producer and songwriter, in 2003 he recorded his first solo album, Just Right.  That album was not released because of issues with him and his record label.  Despite that setback in 2009 he recorded Ryan Leslie, his self titled debut nationally distributed album.  Then, about two years or so ago, he released his second album, Transition.  This fall Leslie plans to roll out with his third album, Les is More.  The YouTube videos promoting singles for this album have been generating a lot of views for a while now. 
One-Man Band
It is so amazing for any fan or lover of musicianship to have the access that Ryan Leslie provides to his fans.  The way that he creates and produces his music is unlike anyone else, to my knowledge at least. Leslie’s rare ability to be the one-man band behind virtually all of his music is his niche.  The way that he exploits and promotes those skills is what is so fascinating to me.  This is what makes it so exciting to watch his YouTube videos.  You can see him playing the keyboards, you can watch him pick up a horn and record it, you can see him recording the vocals and making other contributions to the productions.   
Next Selection
In addition to being an incredible singer, songwriter, rapper, producer, musician etc., he is also an entrepreneur.  Ryan Leslie is the founder and CEO of a company called Next Selection.  “We envision, develop & execute the experiences, products, platforms, and content that help brands build engaged conversations with consumers.”  That quote is what they have posted on their website to describe what they do.  Even though they have clients that expand across all industries, Ryan Leslie’s self-promoting ways on YouTube and other mediums is the best example of the type of marketing that Next Selection provides.  Next Selection Music Group is also Ryan Leslie’s recording label.
Photo from http://mproco.com/blog/2009/08/youre-not-my-girl-ryan-leslie/

Unfortunately, I did not speak too much of the exceptional music that Ryan Leslie creates.  My reasoning is that I really wanted to highlight his background and approach to personal branding.  Take a few minutes to view a few of his videos on his YouTube channel called RyanLeslieTV.  You’ll be amazed at what see and realize why the Transcendent Music Movement acknowledges Ryan Leslie as a Transcendent artist whose creations epitomize TRANSCENDENT MUSIC.

Saturday, September 3, 2011

Transcendent Music Movement Presents: The Motet


Here lies the commencement of our Transcendent Artists series.  This and the blogs to follow will highlight independent artists who are making significant contributions in producing TRANSCENDENT MUSIC.  We begin our series with a Jazz, Afro-beat, and Electronica fusion band from Boulder, Colorado, The Motet.

The Motet, in my opinion, is resurrecting Jazz and FUNK music in popular culture.  The urban community of the Colorado area really stands behind this band.  In recent history it seems as if popular music has shifted away from live instrumentation and has transitioned to predominantly computerized music.  Artists rely on voice enhancements, catchy choruses, and clever lyrics to move their audiences.  The Motet is one of the few bands that I have seen in a while who could rock a teenage and young adult crowd without a single lyric.  These master musicians perform soulful FUNK rhythms fused with intricate jazz melodies virtually forcing crowds to groove to their hypnotizing sound.  Their unique sound embodies complex Jazz and funky grooves reminiscent of artists such as Herbie Hancock, James Brown and The Meters. 
I discovered this band at a Herbie Hancock Tribute show in which a few of their members participated along with saxophonist, Dominic Lali of Big Gigantic.  This show was the best concert I had ever been to and I only paid $5 to see it.  I left that concert feeling inspired as a musician and optimistic for the future of live music performance.  Obviously music performance is still prominent but music rooted in FUNK, jazz, and soul are often lost or averted in popular music.  The author of their biography on Facebook writes the following:
The Motet is a world-class ensemble that whips audiences into a whirlwind using sheer impromptu force. The rhythms are spontaneous and textured and the beats are hard driving. The band uses this energy to create a rapport between the audience and themselves that is rarely seen in today's world of manufactured rock. The Motet consecrates the ground on which dance music meets free-form improvisation.

Lead drummer, Dave Watts, founded the Motet 10 years ago.  Watts is also responsible for composing much of the intricate music played by this incredible band.  The members include drummer and producer, Dave Watts; keyboardist, Joey Porter; Garrett Sayers, bassist; Ryan Jalbert, guitarist; Gabe Mervine, trumpet; Matt Pitts, tenor saxophone; Scott Messersmith, percussion; Pete Wall, baritone saxophone; Dan Schwindt, guitar; Jans Ingber, vocals; and Paul McDaniel, bass and others for special projects.  Though I have attempted to characterize this band they pride themselves in not conforming to a defined genre.  The biography on The Motet’s Facebook page says, “With roots in Jazz, Afrobeat, funk, Salsa and Samba, The Motet keeps their audiences in a dancing frenzy by layering House and Techno rhythms into a style that is uniquely their own.”

The Motet has released several albums, their sixth album being Dig Deep.  This album can be downloaded for free on their website.  The Motet can be found performing at music festivals and venues all over Colorado and the surrounding area.   Their next show is tonight September 3, 2011 at Agave in Avon, CO.  This phenomenal group of musicians has a bright future.  They are definitely putting in the groundwork, by growing a strong base of supporters.  This band is worth listening to but even more so, worth listening to live.  Their live performance is one that will captivate anyone under the sound of their instruments.  The Motet is certainly a band that produces TRANSCENDENT MUSIC and has the support of the Transcendent Music Movement. 

Friday, August 12, 2011

Jay-Z and Kanye West’s, Watch the Throne Album

Watch the Throne
Transcendent Music is not going to focus on pop music and on artists who already receive an abundance of recognition; however, we would be remiss not to pay our respect and acknowledge that which is great.  This week one of Hip-Hop’s most anticipated collaborative albums was released.  The figurative big brother; Jay-Z and baby brother; Kanye West, released their duo album, Watch the Throne. Both Jay-Z and Kanye West are iconic figures in popular music and have made countless contributions to Hip-Hop music. 
Leak Free Release
On August 08 the album was released exclusively on iTunes.  From Aug 12-22 the hardcopy of the album will exclusively be sold in Best Buy stores.  It is also noteworthy that according to Rolling Stone, the album avoided being leaked.  Rolling Stone credits the album not being leaked to the exclusive contracts with Best Buy and iTunes.  These exclusive contracts allowed Def Jam to keep a closer eye on the distribution chains.  Matthew Perpetua of Rolling Stone says, “Many leaks happen because CDs are lifted from the manufacturing plant, or during shipping.”  The album’s avoidance of being leaked was a rare occurrence considering the recent trends for such high-profile albums.   

Jay-Z and Kanye West perform at Yankee Stadium in New York City.

Kevin Mazur / Wireimage / Getty Images
Watch the Throne Tour 
            On August 8th, the same date that the record was released on iTunes; Jay-Z and Kanye West announced their North American Watch the Throne Tour.  The tour will celebrate and promote their album’s release.  LiveNation.com published 25 tour dates with stops in the United States and in Canada.   To date, the tour appears to be kicking off on October 29 at Phillips arena in Atlanta, GA and closing in Vancouver, on the 18th of December.  Concert dates and locations have already changed from what was originally scheduled so it is hard to be sure if all the scheduled dates will remain.  This concert is certain to be an epic performance and one of historical significance.  Demand for tickets, despite the upwards of $100 price, are destined to be high.  Seeing Jay-Z and Kanye West together on tour is probably comparable to seeing The Beetles perform live.  All due respect to The Beetles but for Pop Culture, Hip-Hop, and music in general, these two artists are two of this generations greats. 
Album Reviews
First, let’s talk numbers.  A day after Watch the Throne’s release it was projected to sell between 400,000 and 500,000 copies in its first week of sales.  Keith Caulfield from billboard.biz reported that, “The album is on track to become the second-largest sales week of the year, behind Lady Gaga’s 1.1 million opener for Born This Way”.  Jay-Z and Kanye West’s duo album is on track to earn the number one spot on the Billboard 200 chart which will be released on August 17.  Enough about what the media has been saying, what do consumers think? 
Virtually immediately after the albums release, trending topic #WatchTheThrone exploded all over twitter.  Fans were expressing their excitement about the albums release.  Later, they began to tweet their reviews.  There seemed to be resounding approval.  Fans were raving about the album.  @BenjiSchwimmer tweeted, “I'm gagging at how amazing #watchthethrone is.”  Of course there were few who expressed their disapproval, such as @LuxuriousPink who tweeted, “I'm Sorry But I'm Just Not Feelin' #WatchTheThrone As Much As Everyone Else Is. =/” @RIDDIMONYACASE tweeted that, “Genius is never understood right away, it takes TIME. #watchthethrone.”  There is something to be said about his tweet because as imagined, the album is rather unconventional.  What else would be expected though, from two creative artists who have perpetually brought original ideas and produced groundbreaking music their entire careers?  Their proclaimed genius album may in fact be that.  Despite the lack of humility and overwhelming display of materialism, as is prevalent in Hip-Hop music, there are also some interesting nuances to the album.  There is an abundance of religious references and a seemingly black empowerment overtone that is frequent throughout the album as well.  The album is largely greater than merely music for the sake of entertainment. It seems to be making a statement in an almost genius approach. 

The two artists compliment each other, lending thought provoking verses and hooks to contribute to each and every song.  Kanye West produced most of the album by himself.  West continued his practice of sampling soulful vintage medleys and enhancing them with various instruments, electronic sounds, 808 bass sounds etc. to producing clever musical productions like only he can.  Jay-Z and Kanye West also reached out to producer legends, Q-Tip and RZA to make contributions to the album.  Erika Ramirez in her article, Jay-Z and Kanye West’s Watch the Throne: Track-by-Track Review on Billboard.com provided a few details about each and every track on the album.  Her review highlighted contributors to each track along with other comments.  It’s worth taking a look at.  This album is to be heard so, enough of reading about it.  Listen to it and formulate an opinion.  After all, this is Jay-Z and Kanye West, Hip-Hop greats!  Expect nothing less than TRANSCENDENT MUSIC.



           



Friday, August 5, 2011

The Future of the Music Industry: How Technology Affected Consumer Trends


How Technology Affected Consumer Trends
There has been no doubt that the functionality of the music industry over the past 10-20 years has transformed and has transitioned. Changes in the way artists record, produce, market and distribute recorded music has transpired, due to advances in technology. These technological advances affected functions of major recording companies to include recording, marketing, the availability of recorded music and other functions. The resources that major recording labels and other traditionally necessary entities exclusively provided to recording artists, has become less than necessary and hardly exclusive. Artists are purchasing computer software like ProTools, home recording equipment and producing their own quality sounding musical productions.  With the help of tools such as CD Baby, iTunes, Myspace, Youtube, TuneCore and others, they were able to distribute their work to a mass audience as well (McCready, 2009).  The power to record, produce, market and distribute has transitioned increasingly in to the hands of artists, independent recording labels and undoubtedly fans.  The monopoly that record labels had in the process of discovering, developing, recording and promoting artists has been disrupted.
A&R Executives
Artist-and repertoire executives (A&R), during the 1980s and 1990s, had the most powerful and necessary job in the music industry.  They were responsible for discovering the most talented artist, worthy of a recording deal.  They were also responsible for developing those artists’ careers.  These were the people who went in to venues all across the country, tasked with discovering music’s next big thing.  They, along with their respective record companies, dictated to the market, which artists were going to be heard.  Something drastically changed in recent history. “127 A&R executives were let go or chose to leave their jobs during 2007 alone, according to business-contract source The A&R Registry.” The catalyst for such a dynamic change in this career was the drastic drop in CD sales, due to digital downloads and file sharing. Digital downloads, file sharing and the many online sources that provided streaming music gave consumers access to more music than ever before. With this newfound access consumers were empowered to vet what music they deemed worthy of their attention as opposed to A&R executives making that decision for them (Rogers, 2010).
Today’s Talent Scouts
A&R executives and the major record labels prior to these advances in technology were completely responsible for discovering artists.  Now, an executive can go on YouTube or MySpace and recognize that an artists captured the attention and is being viewed by millions of people, essentially from the comfort of their home.  This and other online means is how musical artists are being discovered and stratified in this digital era (Rogers, 2010). Due to the surge in consumers’ access to recorded music, consumers are now able to dictate to the industry which artists deserve corporate backing. There has been a change of the guard.  The fans of artists and the consumers of recorded music have effectively replaced A&R executives.  Thanks to the limitless, cheap and often free access to music, made possible by the Internet, the customer is in control (McCready, 2009).  
Access vs. Ownership
Consumers have more access to music than ever before.  Websites like Imeem and Pandora provide a streaming option for listening to music. This incorporation of the Internet to access and listen to music initially was thought to be a viable and profitable option for the music industry. The record companies bet on these Internet sources, hoping that by exposing consumers to new music it would subsequently result in them purchasing more music. The music industry’s plan to license music out to websites that stream music backfired. Consumers were satisfied with just access and cared less about ownership. Access was made so available through the Internet that consumers felt no need to buy music. This contributed to total industry sales dropping from $14 billion in 2000 to $10 billion in 2008, according to the Recording Industry Association of America. These numbers are projected to continue to drop by 4% as reported by Forrester Research (MacMillan, 2009). In addition to the online streaming option, file sharing and digital downloads affected the way consumers acquired music as well.
Single Songs vs. Full-Albums
The peak of the music industry was when CD sales were at an all time high.  Since that peak, revenues have been down 64%.  According to DeGusta, “10 years ago the average American spent almost 3 times as much on recorded music products as they do today.”  Digital sales of music to include downloads, mobile sales and online subscriptions have increased.  These increases have not; however, been nearly significant enough to make up for loses from decreased CD sales.  One would think that digital consumption of music would merely replace CD sales as CDs did for cassettes and cassettes did for vinyl records.  Unfortunately for the music industry, this has not been the case.  This increase in digital sales allowed for sales of individual songs to spike and for full album sales to plummet.  Per person, consumers purchased just over one physical album a year and only a quarter of a digital album per year.  The music industry missed the opportunity to capitalize after the advent of the Internet.  With the Internet and the increasing prevalence of digital downloads etc., no one buys whole albums anymore and as it turns out, “the recording industry makes almost all their money from full-length albums” (DeGusta, 2011).  The record companies have to find other ways of generating revenues with regards to the recorded music they produce.
Revenue opportunities
The music industry is still one of the most profitable industries in the world.  Despite an 11% decrease in shipments of recorded music, the 2010 Recording Industry Association of America (RIAA) Shipment Data reports that $6.9 billion was generated overall from recorded music (Friedlander, 2010).  Money is not being generated from album sales, which record companies, had become so dependent on.  Money will be made in merchandising and live performances as opposed to recorded music sales, as bizarre as that sounds. Now that recorded music sales have dropped; artists, managers, and record labels are figuring out new ways to generate revenue.  The future looks like this; recorded music is going to be the attention grabber not the revenue generator.  It is what is going to lead to other revenue opportunities.  Artists are not necessarily working to sell their music directly, after all consumers are not buying it as they once did.  As stated previously, consumers are satisfied with access to the superfluous amounts of music, made available to them by online sources.  Labels and artists are realizing the greater value in earning the attention of their fans, rather than the money of their fans for their recorded music respectively.  McCready said, “Most agree that the currency of exchange for recorded music will be the attention of the fans instead of their money.”  Once artists get the attention of their fans they, in turn, will be able to sell tickets to their shows, sell merchandise, sign advertisement and movie deals, and generate revenue from other unorthodox means (McCready 2009).  Fans and music consumers should continue to enjoy the unprecedented access and availability of recorded music.  Record companies and other industry professionals better start getting creative if they intend to survive because recorded music is out of the box.





References
DeGusta, M. (2011). The real death of the music industry. Retrieved July 30, 2011, from
http://www.businessinsider.com/these-charts-explain-the-real-death-of-the-music-industry-2011-2
Friedlander, J. (2010). 2010 year-end shipment statistics. Retrieved July 31, 2011, from http://www.riaa.com/keystatistics.php?content_selector=2008-2009-U.S-Shipment-Numbers
MacMillan, D. (2009). The music industry’s new internet problem. July 30, 2011, from
http://www.businessweek.com/technology/content/mar2009/tc2009035_000194.htm
McCready, M. March 11,2009. The future of the music industry. July 30, 2011, from
http://www.huffingtonpost.com/mike-mccready/the-future-of-the-music-i_b_173481.html
Rogers, P. Feb 11,2010. A&R star makers: the vanishing gatekeepers. July 29, 2011, from http://www.laweekly.com/2010-02-11/music/a-r-star-makers-the-vanishing-gatekeepers/1/