Haven’t we had enough of that?

I will feature all genres of music,and the show will be LARGELY dependent on ARTIST PARTICIPATION, as well as MUSIC FANS alike who tune in. As the show gains momentum, and reaches a larger audience, I will start taking phone calls from thoughtful listeners; both Artist and fans alike. If your a band, (or know of one), and would like like consideration for airplay, sand me your URL with a link to a song (or songs) to my profile. If I like it, I will email with my e-mail to send your tracks

 It’s up to you.

‘The De-Frag’ airs live every Tuesday afternoon at 12:30-1:30 p.m. (PST) U.S. If you live in the U.K., you’ll start tuning in around 9 p.m.  If you’re in New Zealand, tune in Wednesdays at around 9 a.m. This show is world-wide..rightthrough your PC (or MAC) in the link provided in the banner above. So, bring your curiosity, your love of great tunes, and be ready to be a ‘fan’ all over again.

(…Unless you like that prefabricated, soulless audio wallpaper that Clear Channel is selling to you…)

To check what time the show airs in your area, click here, and find your City/Country.....

The Golden Girl

The Madonna/Live Nation Deal is Further evidence of a 'Major' Decline

 by KC Shoen, CEO

Madonna, to me, does not embody any real substance musically. She is mainstream pop to the fullest, with a slight leniency to the techno/dance and gay music scene. If depth is something you're searching for, don't count on anything resembling ulterior meaning beyond an embellished hyperbole of provocative language and visuals married with simple hooks.

However, Maddy kicks ass in the Boardroom.

Madonna recently signed an insanely lucrative deal with Live Nation for an estimated total of   $120 million for 10 Years, relieving herself of being further contracted with Warner Brothers, stating in a press release, "The paradigm in the music business has shifted and as an artist and a business woman, I have to move with that shift. For the first time in my career, the way that my music can reach my fans is unlimited. I've never wanted to think in a limited way and with this new partnership, the possibilities are endless."

Live Nation is the spin-off live-event recording company of creepy monolith Clear Channel, which first manifested itself in 2004. It sited its decision to split with Clear Channel to the SEC in 2005 as to relieve itself of any regularity pitfalls that it would face being part of that company. Having unsuccessfully attempted to commandeer YouTube in relinquishing some live performances it deemed they had rights over earlier this year, Live Nation finally won a serious battle of identity branding by putting forth a sweetheart deal for Madonna. Yes, they are dirty, filthy money-hungry bastards, and given their rather shoddy history since their inception, it has to be acknowledged…

But, goddammit, I love them!

This groundbreaking acquisition of a highly merchandized, highly visible pop-chart icon of sustained commercial success via high-gloss mediocrity signals the end of the 'majors' in the most significant way. Warner never had a chance to outbid, given the diverse merchandising nature the Live Nation deal supports, and able to deliver on. All they could do is offer an olive branch in a "condolence" letter of sorts , while head execs privately ponder whether suicide is a viable option. This indicative of several things: If you don't move with tide, you eventually drown, and the monolithic approach that has so dominantly retained control in the past seventy years no longer has any semblance of viability in the negotiation process when it comes to the likes of Madonna..

Madonna! A consistent cash cow spanning nearly 25 years of dominance in lucrative sales in the music industry. The most prolific female entertainer of the modern age..and all Warner Bros. could do was cry into their Cognac. Somebody put a fork in'em.

"It ain't braggin' if it's true"

This is one of Kanye West's famous lines uttered out of his solipsistic gob the night of his sweeping victory at the Grammys in 2005. Kanye is not known for his subtlety or humility when it comes to the perception of his own talent, or how he deems fit to be acknowledged by way of accolades at every possible award nomination that swings his way. Even as recent as this years VMA awards, 'Ye took the opportunity to bitch about the iniquitous nature and dubious slight that the idiot-savants at Music-less Television gave him, swearing to never do business with their likes again. I could use other examples to pin Kanye as a truly over-rated egocentric asshole and megalomaniac.

But not today.


I could sit here and decry his lust for dominance in a genre wrought with mediocrity; wholly lacking in originality. Diss him for his insatiable need to be as a Nero of the modern times; playing to his muse at the expense of true talent that he himself does not possess as an MC, or producer…

But that would make me the truest asshole.

It would also make me lose credibility as someone who takes an objective and balanced stance on things that occur in the very industry I belong to. I could Kanye-bash..

 But not now.

Not after the recent media events that have involved him, predating his mother's untimely demise on November 10 of this year (2007).

Walk with me back to 2005, to  the televised fundraiser for Hurricane Katrina, in which Kanye dropped the truest words ever spoken about that debacle, and the level of incompetency exhibited by the Bush administration that had teetered into the level of pure carnaval-esque curiosity.

"(President) Bush doesn't care about black people"

Watching Mike Myers almost curl up into a ball after the live cut-away, and then nervously try to stay on cue reading from the script was embarrassing. Not because of West's' comments, but of Myers inability to stand in with Kanye on that observation. It was the utter truth. Unfiltered.  Austin Powers could take it, it was too uncomfortable. He cowered like a frightened field mouse surrounded by a pack of hungry kitties. In the days proceding that event, West never back down from that point, nor apologized, adding:

"… You see a black family, it [the media] says, 'they're looting'. You see a white family, it says, 'they're looking for food'. And, you know, it's been five days [waiting for federal help] because most of the people are black. And even for me to complain about it, I would be a hypocrite because I've tried to turn away from the TV, because it's too hard to watch".

Again. Honest and unfiltered. In just that portion of the quote, you see something very consistent with Kanye's character: diplomacy. Here's another example from an interview he gave in Entertainment Weekly
later in 2006, referencing the homophobic proclivities and 'gay bashing' that goes on in the Black community:

". I think in the daily life of a black male, we gay-bash way more than we disrespect women. We would call a gay guy a fag to his face. But if we walked up to a woman and said Aiight, bitch! we would know that was disrespectful… And I actually (thought) that standing up for gays was even more crazy than bad-mouthing the president. In the black community, someone could label you gay and bring your career down. But that was me showing what black people are really about today, or at least what we need to be about…"

Homosexuality is a seriously taboo subject among most African-Americans, and Kanye's treatment of the subject is not only direct, but if you notice even from these abbreviated examples above, they are consistent, in that West has the ability too few people (especially in the U.S.)  have: Nuance

Nuance is an important ability, for it gives one the objectivity to decipher poignant issues with greater clarity as it pertains to oneself. Being able to self-critique as to your own view on a given topic in a raw state also gives brevity to credibly offer insight without sounding pious or seeming completely arrogant. With this trait, if well-developed, allows a '360' view to an issue, and makes it more pliable to allow self-scrutiny and accountability for your own actions: recognizing that you are not above reproach. It is a great way to attain better accuracy of assessment on a subject, for your able to view it from all sides, and still confidently render an unbiased opinion based on pure understanding of the facts.

Nuance is the nucleus of good diplomacy and solid bridge-building.

Another case in point; The simultaneous release of his "Graduation" CD alongside 50 cent's "Curtis Jackson" in September 2007 and the ensuing flap, in which 50 tried to call out Kanye into some kind of competitors tryst by way of any media outlet that would here it . Jackson did everything possible to promote some kind of feud, even challenging 'Ye to a debate on BET. Kanye's response? This little gem:  

"When I heard that thing about the debate, I thought that was the stupidest thing. When my album drops and 50's album drops, you're gonna get a lot of good music at the same time."

In that single comment, 50's attempt at generating publicity for his own release fell flat on its face. The media aligned itself with Kanye's view, at which Jackson had to back-peddle. Whether wittingly or not, Kanye single-handedly made 50 look a right ass by doing what he always does: giving on honest appraisal by way of a nuanced response. Lesser entertainers would have fed in to the pseudo-challenge, seeing a chance to 'wipe the floor' with Jackson's ass. West, not seeing the value of even entering such an obvious attempt by 50 at gaining traction for his own release, declined to participate. It's such a solid response, one would even gain the perception that Kanye did this with premeditated malice, knowing what Jackson was trying to achieve could be reverted by offering this "olive branch" of a comment. Whatever speculation one might derive, the truth is this: It is always better to take the high road in this situation. Never disrespect your craft to feed the desire to 'cast your pearls before swine' to prove you're the better, when you know you already are.

End result? "Graduation" (as of Nov. 2007) has outpaced "Curtis Jackson" nearly 2-to-1, having gone double platinum. Accident? Fuck no. Kanye's album is far superior in style, content, production, and arrangement.

And Kanye knew that.

West also knew 50 cent relies heavily on outside production, sampling, and beat-making. Kanye is completely "self-contained", understands his fanbase, and knows how to sell to them. Curtis Jackson, as West undoubtedly understands, is less sophisticated and does not possess the type of acumen in this regard as he does. It was a no-brainer…

And a no-brainer because of Kanye's advanced adherence and application of nuance: He is not interested in burning bridges with the likes of 50, for somewhere down the road, he might end in a lucrative collaboration with him. This is not just business genius on Kanye's part. His ability to assess possible future enterprise is in direct correlation with his innate skill in thinking in a nuanced fashion, keeping the lines open for potential gain later on down the road. That explains also his fluid willingness to record with lesser-known "underground" hip-hop artists (at the time) Talib Kweli, Common, and Little Brother to name a few.  If you burn bridges, you can't cross back over in future endeavors. I'm absolutely certain there are other motivating factors. I'm merely addressing this particular one as to support my point.

A point even the vitriol Evel Knievel can now attest.

Yes..the hateful, borderline xenophobe, always cranky and bitter Robert "Evel" Knievel . Just recently, (Nov. 2007) these two came to an amicable settlement in regards to a lawsuit Knievel launched last year over Kanye's use of his trademark jumpsuit and reference to his failed '74 jump over Snake River Canyon Idaho in the video for "Testify". Ole Robert, who had said of Kanye's video was.. "promot(ing) his filth to the world," said recently of Kanye (after the settlement was reached) "I thought he was a wonderful guy and quite a gentleman," stating further of the recent loss of his mother "I know he's had some tough times the past few weeks, and I hope things work out"

What?? "Evel" Knieval making nice? To an African-American Hip-Hop icon?

Expanding the shocking round of momentary kindness , even lent himself to this photo-op:


(I like the "streetpeace" pose)

Unbelievable. This photo was the sheer reason I wrote this blog in the first place. You have got to have serious juice to pull off what West did with this surly old codger. Rob ain't NOTHING to be fucked with. And Kanye again, is not in the business of making enemies. Seeing how this could've really turned into a legal circus, West wanted to quickly kill it before it garnered any traction, legally or media-wise. Smart move. The video is pretty innocuous, and I didn't get that West was trying to defame Knievel. Robert's taken care of that all by himself. But you have to have some serious elephant-sized nuts to wish to settle with the likes of 'Evel". And you have to understand what your dealing with.

Only the ability of nuance allows for this heightened level of understanding and ability to negotiate with likes of Knievel. It's not 'kissing ass' either. It's utilizing an advanced and highly developed method of diplomacy, tact, empathy, and honesty that you garner positive results in adverse circumstances such as this. If Kanye had been a kiss-ass, Knievel would've knocked the ungodly shit of West, AND further pursued kicking him all around the courtroom in an attempt to empty his pockets. Ass Kissing is for the weak. Strong prowess for reaching common ground is an intellectual strength. It is a gift. Kanye has it…

Thanks to his parents.

Donda and Ray West opted for divorce when Kanye was three. She then went to Chicago, her only son in tow, and became a career educator and professor, while his father, an ex-Black Panther, became the first African American photojournalist assigned to the Atlanta Journal-Constitution. Through Kanye's developmental years, Donda and Ray worked collaboratively in the upbringing of their only child. They both understood that if their son was to have any shot at an emotionally healthy existence, it would be up to them to work as a team effort, irrespective of their failed union and whatever misgivings were the result of it.

Kanye, in this circumstance, had to have understood early on to accept that this reality was permanent, and was allowed to engage with both parents freely with no condition. And no bias. It is through his parents remarkable sense of priority in this situation I believe Kanye obtained his sense of a '360' view: consider all sides, and move freely within it. Coupled with the fact that both parents were highly educated and never discouraged their son from pursuing any interest(s) he might have had.

This type of support in this circumstance, unfortunately, is the exception rather than the norm. Donda and Ray had it right. Their son is successful because of it . Publicly and privately.

I believe the loss of his mother will have far-reaching implications in the coming months, the likes which we have not seen…

But Kanye will continue. Because of his innateness to evaluate, assess, and make decisions based on fact and research. The fact he went into a partial seclusion suggested to me, was a desire to process the loss. A wise move. Creating space for your emotions and thoughts is an indicator to me of someone who understands themselves in honest terms..the undeniable blessing of being nuanced. Rather than shrink from it, or put on a façade, Kanye has decided to deal with it straightforward. In the privacy of his own space. Away from everything. And everyone.

More power to him.

As he slowly starts to return full-board, no doubt changes in his perspective on certain issues will arise. Already, he appears to have a more humbled approach, a more tempered manner. The real test will come when the results of the autopsy/toxicology results emerge, and if malpractice might be the factor in Donda West's premature death. In any event, Kanye has the tools to keep it going. Hopefully, he is not only grateful for the success he has attained, but also fully aware of his gift to see all sides, and to be thoughtful in his decisions. Very few have it, for it takes thought to process quickly and intelligently.

Zealots, pinheads, extremists, excuse-makers, and anyone out there who thinks "being smart" isn't "cool" should fucking pay attention to this. This is how it's done. It's called nuance. Learn it. Be it. Live it.
Seeing situations from all perspectives gives the clearest chance of making finite decisions, even at a moments notice. Just ask Kanye. Even when he fucks up,  he's usually the first to account for it.

He is the Ultimate Ambassador. A Diplomat. He seems the type to rather have a face-to-face with someone he's got beef with, rather than a fisticuffs. Burning bridges is for those who lack imagination and reasonable negotiating power to 'keep the lanes open'  for future 'crossings' .

Maybe 'Ye should tell 'the truth' about this aspect of himself..

After all  It ain't 'braggin' is it?

Taxi vs. A&R Select: A Review Of Music-Placement Services

Since I have had the experience of using both services in the past seven years, I wanted to extend some insight for those artists like myself who don't tour frequently, have home-based recording studios, and are trying to stay lucrative between CD releases and promotions by offering their music for licensing in Adverts/Film/T.V., and motion picture placement. I do this quite a bit myself, as it is very helpful during periods when money is quite slim, and its great work, once you secure it.

TAXI A&R Services.

URL: http://www.taxi.com

OVERVIEW

Michael Laskow, a successful music promoter during the 70's and 80's from Los Angeles, decided it was time to establish a "vehicle" for unknown artists to be heard for potential recording contracts and licensing,  and is the originator of this type of service. In 1992, he established "Taxi", and converted his business in to a internet-only operation right around 1998.  This model proved very attractive, as it is completely "full service": offering professional critiques of your music , as well as listings and opportunities either mailed or e-mailed to you every two weeks, where by you can submit to the opportunities your genre of music is best suited. Recently, they have offered this same service whereby you can submit online using mp3s, instead of the 'burrito' method that was instituted before, where you would 'wrap' your CD/Cassette, along with a song list sheet, and your pre-assigned customer barcode identification and send through the mail.

 THE GOOD

Taxi has a vast network of industry professionals associated with the company. Because of its unique status as being the first music placement organization of its type, it does enjoy quite a bit of recognition from the industry establishment as being the place to develop, market, and sign new, undiscovered talent. It has an absolutely clean record with the Better Business Bureau of America, having never been the recipient of legal litigation for business malpractice, or service misrepresentation. It is what it states it is: a means for you to gain potential traction for your art.

Their  "Road Rally": an annual industry convention held every November in Los Angeles,  is offered free of charge to subscription members, does allow heavy contact and interaction with A&R representatives, world famous musicians and noted songwriters who lend their advice, and their ear to unknown artists. It is a two-day event, where you can submit your music for open critique by a selected panel of recording label representatives in front of an audience of potentially thousands of your contemporaries. It is also a great place to connect with other fledgling labels, producers, and other like-minded groups.

THE BAD

'Taxi' is a business. And a business of generating revenue for itself. While this is not exactly startling, or even unethical, it does become its own hindrance. The company has only able to really aid those who make mainstream music as their primary style, and lacks the imagination to work with those who are experimental or cross-genre. Taxi lends more preferential favor to those whose music is formulaic (i.e, a repetitive "hook", simplified lyrical structure, and common major scale chord arrangement and instrumentation), and is less inclined to deal with anything outside that level of commercial marketability.

Another example of this is their fees. On top of the annual membership fee (currently at $299.00 US), Taxi charges a $5.00 per song submission fee, which makes no economical sense. Taxi's entire service is predicated in the submissions format, and being the most popular, why the fuck charge $5.00 on top of the annual fee, when that's really all you do? Artists are cash starved as it is, why make it even less appealing? This is a subtle form of making the process seem more "official" and important, as they explain these fees cover screening and mailing costs, which also makes no sense, as you still have to provide the media (CD/Cassette/mp3), and pay for postage (if you mail). They contend that because they take no percentage of what ever you garner from your submissions, that this is somehow justifiable. However, it's not when only 1% of your artist based clientele ever make any substantial money from the submissions in the first place.

The critiques one receives every time music is submitted for consideration can be irritating, even baseless. Many times when a band or artist submit for potential opportunity, they not really interested in the opinion offered by Taxi, and you haven't a real choice but to take it. And even though you can opt just to receive the feedback, it often has the look of being forced, insincere, even inaccurate. For example: "Your guitar play and chord transition are very good, but I would suggest more lyrical simplicity, as to allow for better rhythmic syncopation of the piece" is a good critique. "Sounds good, but no hook, nothing to sing to. Sorry" is not. Both of these examples are what I received as a member from 2000-2001

The "Road Rally" has the tendency to be an artist bashing purely for the enjoyment of the A&R Panel that is paid to participate by Taxi. In November 2000 when I attended, I received in the mail a standard form letter generated by Michael Laskow, stating in part "prepare for some brutal honesty. Most A&R reps are very jaded. It's nothing personal, that's part of how this business works. Don't be offended by their input if it's less than favorable". I felt that was fair enough, as all I wanted was a FAIR assessment anyway. During the last event of the first day, it was time for the live panel review. During the course of this rather long segment, the panel repeatedly insulted every third song they heard, and at one point crassly blasted a country song with such ire, using language such as "fucking trailer park shit", and responding with such insults as "dumbass, embarrassing music". Many on the panel  were so busy laughing as they uttered these barbs,  that the actual songwriter who composed the piece quietly got up, lifted his hat, wiped his middle-aged balding head, and walked out, tears in his eyes.  

The song was bad, indeed, and one does have to have some real inner-strength to be in this business, but when the lines of constructive criticism suddenly blur into senseless, personal attacks for the sake of  self-amusement, then the process of critiquing loses serious legitimacy. It turns into a carnival; a form of raunchy entertainment at the expense of the artists themselves. The "Road Rally" is nothing more than a circus. And your potentially going to get roasted to the delight of the panel.

Michael Laskow's cheap attempt at comedy relief during the Q & A session of the panel, where the artists ask specific industry questions to the A&R Reps., is also intrusive and repugnant Constantly, he cut off people in mid-questioning with acidic barbs and comments about them, trying to entertain and keep it loose. When it came my turn to ask John Lind (A&R Hollywood Records) about why the labels were veering away from "organic" (live instrument) music, Michael interrupted me , saying "Oh, he means why are you not picking HIS music!". At that point, I snatched the mic from Mr. Laskow, and finished my question, determined to get it answered, unobstructed. I had to force the issue and complete the comment. Michael, to this day, has no idea how he came to getting his ass kicked in front of 2, 000 plus people that day. It should not have been like that. Period.

These two incidences lead me to believe that the professional intent of the "Road Rally" is more akin to 'hazing', than to development and licensing. It closely resembles more a fraternity initiation than a true gathering of music's best and brightest.

And lastly, Taxi's other bad trait is it overly-comfortable relationship with the Major Labels. They are not progressive enough to start a meaningful diversification of services to the artist, and driving out needless sub-charges because their business model does not possess fluidity for change.  When a service company intends to keep its relationship with corporate monoliths, it can not institute any alteration of its practices to proactively engage in new opportunity for its clientele. In plain English, Taxi can't trail away from what it has been doing, because it doesn't wish to drive away potential earnings it gathers from the Majors via commercial artists and bands they shop. There is no room for truely "risky" music to have any play within their system.

I would only recommend Taxi for those who make really non-threatening, genre-specific, and formulaic commercial music. Avant Guard, experimental, or multi-/cross-genre need not apply.

Overall Grade (out of 10 possible): 5

A&R Select

URL:http://www.arselect.com

OVERVIEW

Founded by entrepreneur and music enthusiast Mike Burns, A&R SELECT opened its doors in January 2006. Although it is the newest music placement company on the block, A&R Select has garnered notoriety from the Hollywood-hip set due to its youthful vibe, and new business applications. Apart from just being just another music placement entity, they run the gambit of services from CD Design, professional recording assistance (studio and engineer provided), press release services, website design, marketing, and music development. Clientele can set up their own profile page, upload their original music and bio, and submit music for placement via the "deal sheet" that is updated weekly in the "my songs" portion of the site. Upon joining, you are required to mail in a finished CD (full length or Maxi Single), and you are provided a HTML virtual player that allows you to transfer to other sites such as Myspace, Tagworld, and any number of blog/music sites you possess. The site even allows you to sell your music as  mp3 downloads to your fan base. All services are optional, and you are allowed to pick a price "package" best suited to your needs.

THE GOOD

 A&R Select requires you to register your music website URL for prescreening, alongside your personal information. And, unlike Taxi, who will take anyone with a demo and an ample wallet, they actually predetermine whether you are suitable for access to their services. If they see you as fit to join, they notify you by phone or e-mail (sometimes both), and you can then select the program you feel comfortable with. A&R Select will work with you in arranging payment installments ( 2 payment installments at the most), if you not able to pay in one full amount. They are selective, but very open to avant gard, multi-/-cross genre, and experimental as well as mainstream music.

Their price ranges from $200 US for "submissions only" to the "full package" at $499 US which includes: One on One A&R Music Consultations (via Phone), Artist Image/Branding Consultations (via Phone and email), Publicity Campaigns, and Mobile Marketing Tools. By not offering a "one size fits all" approach, you have the election as to what services you wish to utilize. For the submissions package, there is no "submission fee." You can submit endlessly for one full year. And the process is completely on-line and user-friendly. In the recent months since I've joined, I have seen drastic improvements made to their website and services.  The usability, which was a bit shaky at first, has a more consistent performance now, and is easier to navigate. Ratio of submissions verses forwards is about 10%, much higher than Taxi's 1%. Your odds are a bit greater at getting a paying licensing project for your music.

A&R is highly experimental and forward thinking. Recently, they launched their own internet radio program "A&R Radio", viewable from the Operator 11 video site as a live webcast which began in August 2007. The topics are always focused on the industry itself, and feature unknown artists who are making waves as independents, as well as advice from industry insiders, former A&R reps, and CEOs. Their hospitable nature and inviting persona is the product of Mike Burns himself, a firm believer in being independent and successful at the same time. Mike is also not solely allied with the Major Labels, which means he and his organization have freedom of movement, and can adjust quickly to the changing landscape of the industry to the advantage of both his company, and clientele alike.  It also allows A&R to get creative in terms of seeking new sources for future licensing opportunities, as their circle is allowed to expand. They have unlimited potential to be the "flagship" in the New Digital era for the independent artist and label.

THE BAD

As with any young business, there are always 'growing pains', especially when your expanding at the rate that A&R Select is. From becoming a virtual unknown, to being a very recognizable (and media-covered) entity inside of their short two-year existence, one has to keep this bit of criticism in context.

The company does a take a percentage cut of paid licensing deals from artists. At last glance, I believe it's around 10% on average. Although they have a higher success ratio in this department that smashes Taxi, the mere fact this percentage is drawn out leaves me a little cold. To try to off-set this, A&R does offer licensing agreements with artists who have had previous success obtaining deals, in which they waive the fee altogether, but they need to decide whether to go "all upfront" OR percentage, and not do both. This can create slight animosity with young acts who don't fully understand their dynamic at this time (Nov. 2007), or don't have working knowledge about the industry.

The clientele services show great inconsistency from handling regular queries to updating the status of a submission. I've had it where I have received great service delivered with great patience and good rapport to sheer contempt and non-responsiveness, and it varies from to person to person (via phone).  The inconsistency also carries through when a submission from the "deal sheet" is given, and an automatic e-mailed response is generated verifying the submission. This is good, however, it doesn't always occur, and can make it uneasy when your not sure they got the submission in the first place. And as mentioned before, you never know what your going to get as a response by phoning in.  I attribute this, in large part, with A&R being currently understaffed. Taxi has 200 screeners, so their response is much more consistent. The staff that A&R currently employs is not even half that. They need more people, and a dedicated IT department to work out kinks that arise in their webserver.

The submission opportunities are about a third of what Taxi offers, but their success ratio is still higher. They are already getting higher paying licensing opportunities, and are currently making updates closer than the one week interval. Some recent changes (Nov. 2007) should yield a greater variety of opportunity in the coming months.

Overall Grade (out of 10 possible): 8

IF YOU HAVE RECEIVED A FRIEND REQUEST FROM US

Hello. I'm KC Shoen, CEO of ShoEnTeL Music. Since there is such a problem with spam all over web communities such as FaceBook and Myspace, I feel it necessary to give an introduction. Please Read

IF YOU ARE AN "Individual": Then your a music fan!! Maybe you like Rock, Country, Death Metal, or Classical. it dosen't matter, because soon we will be representing what you like. On the other end, maybe you'll like OUR artists. If you check our artist pool of prospective talent (P.N.G.)., and other artists we have here on our Friendspace. They represent the basic direction we are going in. But input from fans is always welcome. YOU are why we are here..and anything constructive you can offer would be fantastic! Just remeber to be 'grown' about it. Constructive is NOT  'you fucking suck', its intellegent and honest input that we can use to gauge what we are doing. Since this market is changing with such incredible speed, we feel it necessary to get input from you to stay ahead..and hopefully fulfill your  wishes, maybe reccomending an unknown band that you heard...or maybe you want to sound off about music as a whole. We welcome it. Right now, we are in the process of releasing P.N.G.s second CD "Programmed Response"

IF YOU ARE AN "Artist/Band": It means we are interested in what your doing, and we'd like for you to possibly join us. Please read "Who We Are Part II", and "To All Unsigned Artists" blogs to see if this is something you would like to participate in. Hate to sound like a cronky old schoolmaster..but they are Required Reading before we do any business together. Understanding is the key to a solid partnership. Are you in?

                        From The CEO

        If you are reading this , then it means you have either been approached by us for a given project/ presentation; solicited for demos,or, maybe your intelligent and patient enough to investigate us to find out what were doing and how we are going about this business. In any event, this is meant to give any and all clarification as to our method and philosophy, if you indeed have been solicited and scouted by ShoEnTeL Music Enterprises, this is required reading.

Demo Requests

        In the event you are solicited by us, it means one of three things: 1) We have possible backing to allow us to consider you/ your band for a signing, and need to gather your music in a compilation format for presentation purposes. 2) Backing has been achieved on some level, but we have discovered other avenues (licensing, motion picture soundtrack consideration, television show inclusion, etc.) and are requesting these materials to facilitate confirmation of inclusion, in other words, we have established some preliminary agreement with an organization to possibly include your work.  The third and final reason that might be in effect is that we have done research on your band, and need just that one extra song to help finalise a decision.

        If we , in any way, approach with a request for material, ShoEnTel will communicate to you that, with your expressed consent, what tracks we would like to have, and what they are being considered for. And, as always, it will be expressed in our e-mail communication that these materials will be strictly for demonstration purposes only. As a fifteen-year veteran of the industry, and being a musician/ songwriter myself, I understand completely the need for clarity when being solicited for songs by any person or entity, particularly over the internet. You have to be cautious.  There is such a thing, however, as being overly-cautious to the point of paranoia, and just going into shut-down mode when approached for such things. This is counterproductive, and can lead to missed opportunities, and eliminate any further consideration for your music in the future by us, so, in an attempt to absolve this dynamic, it is important to note that this has been already expressed in your letter from us, it automatically makes us legally accountable for any misrepresentation or deviation from the stated facts. If we, in any way shape or form try to derive a profit from your demos without a prior agreement. WE ARE HELD LIBLE. Period.  As a business owner, and a highly ambitious human being, it is not in my best interest to try to 'jam' you. so relax. Think about it, consider it, and please respond in  the time frame given, either affirmatively, or negatively, if you wish to participate. This being so non-risky on your behalf, I don't understand why you wouldn't. However, the decision is yours, and you will not be harassed or pressured to do so. I want willingness, not coercion.

Contract Considseration

      When you have received a letter of interest from us, it is important to note that this is NOT a contract offer. It is consideration: an expressed attempt to facilitate the possibility that, if the proper investment, funding, and circumstances align themselves, we will then move into the negotiations phase .  If this level is achieved, we will contact you/ your management or legal representatives with terms, whichever for you is the best avenue. If we request Demos from you, and you are not able to allow them for this purpose, there will be no offer. This is important to keep in mind, because we are working with private investor groups within the entertainment industry, these groups want a presentation..both visual and audio to aide in their decision. As revenue becomes more self sustaining, ShoEnTeL will be able to eliminate this process in the future, as is it can be tedious, time consuming, and counterproductive. At present, we are glad to say we have piqued interest in what we are doing from these groups. This is good news for you, because if indeed negotiations are achieved, we will be able to stay competitive, and be able to allow Artists to be financially gratified and creatively nurtured, at the same time, stay profitable.

      That being said, it is imperative that if indeed you have management /legal representation working in your behalf, ShoEnTeL asks only one thing from you. Please make sure these people are competent and professional : Make certain that they know what the hell they are doing.  I have personally eliminated very talented bands from contention, because of the undo naiveté that their alleged "management" teams have exhibited. In one particular instance, a band that was solicited for demos by my behalf under these same guidelines, who expressed interest in participating, had their "management" respond with a demand that we not use ANY of there songs, then demanded that I could "e-mail (me) the contract and I will forward it to my lawyer for consideration, thank-you". Although a contract was never offered, and the band themselves wanted to participate, and wanted to know more, and even after sending amplifying information that clearly stated what the demos were to be used for, they elected to have some ne'er-do-well upstart 'handle' it for them.  It was obvious to me the band freaked out (paranoia), had someone, who did not fully read the letter properly, step in to 'take charge' (incompetence), resulting in my immediately having the band extricated from any further consideration.  We encourage one and all to incorporate professional management and legal representation to help further their cause. There is nothing more solid than surrounding yourself with people who have a vested interest in your professional growth as an artist. To place your trust in those who have no acumen, no understanding of the industry, and don't decipher proposals and offers effectively, are only killing your cause. I  have a zero tolerance for such fodder. Do not let the "inmates run the asylum".

        These are new and exciting times we are heading into. My vision is to change the way the industry handles its talent, and ultimately bring music that has longevity, meaning, substance, and power.  This is also a business, and this blog will hopefully clear up any anxieties or questions asto our intent. We are here for you, a and most of all…we are here for the people.  The music fan who is a bit lost in the current realm of mainstream mediocrity and the fledgling underground that has yet to organize itself.  Hope you are part of this exciting new era. Hope you are part of ShoEnTeL Music. Peace.

KC Shoen

CEO

                                 This is to define what we provide, and why we are set to take the lead in this new era.  Anyone whom is a fan of underground Hip Hop, most likely is familiar with The Justus League, a creative cooperative that incorporated such astounding talents as Little Brother, 9^th Wonder, Rapper Big Pooh, Foreign Exchange, The Away Team, Median, and Khrysis.  This cooperative functioned similarly to a label without the creative or contractual constraints often associated with majors and indies. Members were free to collaborate with one another, but then also allowed to pursue individual creative goals without being encumbered to necessarily stay and work for the cooperative solely. This type of cooperative is the same schematic premise ShoEnTel Music is based on, with one major difference…We are a Proper Label. An Internet Label

                         Unlike other labels, however, we allow artists to continue to pursue their outside projects and productions, at the same time, give them the platform to allow us to promote them through music projects/CDs/ multi-Media as a joint venture.  When you sign with us, this is a partnership; a consensual agreement to work and produce groundbreaking songs and concepts solely for the label at the same time, still maintain your creative independence and continue on your journey with what you have already in place.  This makes your experience an automatic positive, because ShoEnTeL is not in the business of trying to "cap" on what you have already done. IT WILL CONTINUE TO BELONG TO YOU. Why should we ask to catalogue you on work your already making ground on, and then have the audacity to ask a percentage? We will leave this retarded philosophy to other labels that aren't creative enough on their own terms to try to stay relevant in this new digital reality.

                           How are we able to do this? Simple. When you are contracted with ShoEnTel, we won't jam you with some self-indulgent 85-15 split (85 in favor of the label), and then try to 'do your head in' with some ridiculous advance of $100,000 to 1 Million for your efforts, and then pull the classic anti-artist rip-off practice putting you through a recoup phase in which we pay you when the 'investment' (loan) is leveled off.  Advances are horseshit, because it creates a strain to the artist/band to have to wait to start receiving their just royalties. And this could take months, sometimes up to two years (in most cases). It is counterproductive, because who the hell has two years to wait around to get paid?  As soon as your music gains any profit, we pay you immediately, like a standard paycheck every two weeks. As we have virtually zero for overhead, strong ties within the industries in terrestrial/internet radio airplay, distribution (digital, primarily), and private backing, we can afford to give you a fair, balanced and just percentage…on average, 65-35 (65 being given to you). Percentages in splits are case by case, of course, depending on the nature of production, release, and expenditures on various market advertising (internet/ i. radio, etc.). This could be even higher still, in some cases. And keeping contracts over short periods of time ( 2 Year, maximum), I have personally discovered to be more advantageous ,  as it is keeping in step with the current immediacy which is now inherent of the digital domain. Things turn around with such speed, this necessitates and aides in keeping the creative process "fresh" and in real time.  Relevancy is a key component  

                                    Another large reason for such a generous split, is that this CEO is also an Artist himself. I have talent enough of my own, I am not compelled to sponge off yours.  Whatever revenue gains I garner, I will use to invest back in this label. It creates another avenue to keep things fair, honest, and profitable for you as well as myself. If I were some scum-sucking suit: linear, greedy and unyielding to change, there is no feasible way I could make such a pledge.  So, your not only associated with a label that cares about your growth and success, but you have ears of an industry veteran who will listen to you, and will tirelessly work for your vested interest. Most majors and indies only care if you have a bonafied hit. We'll leave the over bloated, over budgeted, self-serving myopia to these insipid, hapless rubes in suits…..

                                  As an artist, I love the idea of collaborations. Much like Prince did back in the day with The Time, Sheila E., Madhouse and a plethora of others, but lending it to more creative freedom, and financial gain for all similar to Justus League. ShoEnTeL Music Enterprises is strictly that…an .. Enterprise.  My goal is make music writing and production collaborations a priority. This is really the best way to keep in step with the rate of speed and change we are currently seeing in the industry. Being Multi-and-Cross Genre also is a key component I wish to stress. Since the practice of "mash-ups" has blended genres with such fluidity, it has also resonated globally. ShoEnTeL caters to all genres...from ambient to classical..Hip-Hop to Rock and everything else in between, I believe that this the best approach to gather the masses and keep them listening. To me, music genres are limiting, and "localized music" is rubbish. Think big, be big, and do big is my feeling…and that's being international as well.

            As things change (and they will), we will commit ourselves to move with the tide. We will keep you updated on processes and concepts business-wise that will enhance our ability create great music, stay relevant, and lead. Welcome to the New Frontier.

                       BE The Revolution !

US web radio loses royalty appeal

Meltdown Monday looms

P.N.G. Forgoes "Get Me" Release, "I Am The Air" New Single from Programmed Response

(July 14, 2007)

Los Angeles-based 'Internet Label' ShoEnTeL Music has announced that Artist P.N.G. has elected to hold back on the release of the funk-latent lead single "Get Me", for the more grimier classic rock-sounding cathartic anthem "I Am The Air."

"It's a logistics move", states CEO KC Shoen. " 'I Am The Air' was ready right now, and feels more representative and inline with the albums intended vision." The song, over three minutes in length, has a a combined old rock style with a alt rock angst set to a simple guitar/drum/bass combination with a deceptive pre-programmed drun beat to begin the track. P.N.G. also plans to let the track be downloaded for free for a limited time, from his ReverbNation profile: www.reverbnation.com/png, which can also be accessed from the ShoEnTeL Music Myspace website. The track is now currently available for streaming from this profile.

For more information, and to interact: www.myspace.com/shoentel

News, Thoughts, and Why I am Proud To Part Of The "Big Black"

Internet Radio Gets A Lift

                         July 13, 2007 will now and forever be a pivotal point in music industry history for all fledgling and established webcasters . It seems that the well- planned Day of Silence protest and the plethora of signatories penning their angst about the new royalty rates turned out to be unnecessary. Why? This Sunday, the multi-billion dollar mechanical royalties enacted by the US Congress where to go into effect. But something unexpected took place, and it came from the most unlikeliest of sources, from Jon Simson himself, the director of  SoundExchange – the label-affiliated organization responsible for setting royalty rates. Late yesterday, he told Congress that he would delay enforcement of the new rates (which were to be matched to Satellite Radios current rate of 7.5 percent of revenue), and negotiate a more agreeable rate with the Digital Media Association (DiMA), the same outfit representing the webcasters. This means, for now, that Inter Radio Stations may continue running their programs without having to adhere to  exhorbately high royalty fees rate that could bankrupt the new digital movement. This is important, particularly to all of us as independents, that this avenue is left open for us to utilize in our need for airplay and exposure. This also means that major labels have suddenly pulled their heads out of their asses and understand now that if they try to make it difficult for independent radio webcasters, they might be killing their own potential profit.

 Robert Hensley, Vice President of the Association of Independent Artists (AIA), put it in a more realistic perspective, saying in a recent letter to me:

"The digital age spells the end for major labels as we have known them and they are fighting mad about it.  (There's)Nothing they can do. It's coming like a freight train and no way to stop it ."

Mechanical Royalties..And What You Should Know

                                    Although this delay by SoundExchange marks a milestone in itself, there are several reasons why everyone should still be on edge about this. I think it would be naïve to become celebratory over this temporary victory for the simple fact that it was the pressing of the majors that caused Mr. Simson to hit the breaks. Anyone not familiar with mechanical royalties (also known as performance royalties) needs to acquaint themselves with their history and intent…and understand why I think these types of royalties have no validity in the New Era. 

                                 As far back as the 1800's Performance Royalties where established for composers to not only sustain themselves and maintain personal revenue, but also to guard against being plagiarized, and having their work performed for audiences unauthorized and without prior license or contract agreement. Written compositions that were created by songwriters/ performers were often given publishing rights via these royalties anytime their work was performed by other artists in popular venues.  Since audio recording technology was non existent in these times, this was the most important and viable method of  revenue retention to ensure the livelihood of these composers . The monetizing of publishing was bourne from this very practice.

                   "Performance" Royalties became "Mechanical" with the advent of the Player Piano—that cool stand-up piano with the prefabricated and changeable hole-punched rolling sheet that could play on its own through hydraulic compression activated by continuous motion through a pair of foot pedals.

This was revolutionary, as it could be "played" by anyone, and smaller entertainment venues, pubs, and restaurants could have an endless supply of "background" music without the expense of  a band or in-house performer.  Self-playing models were soon developed afterward.

In 1914, in light of the development of the phonograph (vinyl), and the advent of Radio Broadcast, the Performing Right Society (often shortened to PRS) was established in the U.K., to ensure proper collection of these new monies for recorded performances. In the U.S., a governing body known as Copyright Royalty Tribunal was established not only to collect royalties but to set new policy and rates for these same monies.  Early recording companies, known in those times as 'gramophone' companies (RCA, Columbia also gramophone, etc) would collect these royalties and distribute them to their respective Artists. (They discovered this as a means of short-sheeting their signed talent out of millions…but read on.)

                           It was The Electric and Musical Industries Ltd (also known as E.M.I.) that became the first monolithic recording label of the modern times. Formed in 1931, they had absorbed all the  smaller, and regional 'gramophone' companies into one corporate body. Since they not only manufactured the phonograph players for the buying public but also made and produced  these phonographs. It was a natural ascension of progression, cornering the world market…except for one place....

 …..The United States                                     

                              Jack Warner took care of the monopolizing of the fledgling music market here in the U.S., by creation of Warner Music in 1929 (also known as Time Warner,WEA, and Warner Music Group) In the same manner as their English brethren. So, while EMI was raping their collective talent pool, and creating ventures with other labels for them to do the same, Warner Music was getting it done at that the same time.  Both camps had realized as well that to stay profitable..and grow..it was important to levy loss of sales/returns of  recording retail against artist royalties, in particular, Mechanical royalties.for the next 70 years . Thus to bolster their concrete-and-steel warehousing of machine and manpower, and facilitate growth of their respective empires…

                     And how was this done?  RADIO!!!! The commercialism of mainstream radio programming allowed 'The majors' to get their artists airtime and high rotation ahead of the smaller independent labels. By the 1950's, well into the Payola scams that smaller labels were getting themselves in trouble with, the larger labels, like Columbia, RCA, Warner, and EMI were thriving. Because in business its all about 'brand recognition', these labels were able to get Radio stations play their artist pools with greater regularity because advertisers were willing to invest more revenue for ads in their programming. More ad dollars means more revenue for the Corporate Radio, which means more recognisable artists who are signed with these Majors are considered marketable,  get more airplay. That same formula hasn't changed.

 And as the radio conglomerates grew, so did their listenership, and so did the regularity of airplay of mainstream artists. And , in tandem, mechanical royalties, and their collection. This is what gave rise to the plethora of 'one hit wonders' in the 70's and 80's. The practice of making an '8 track filler' became a boon for the majors labels.  An act would have one decent song, of which that tune would get played to death on commercial radio, the label would release the 'filler' to add to the single, and even if the album did only so-so, the recouping of mechanical royalties alone was enough to line their pockets with. Remember that 'formula' I mentioned in tandem with EMI and Warner Music history lesson?  What was it ? Thus to bolster their concrete-and-steel warehousing of machine and manpower, and facilitate growth of their respective empires.

And how, kids? to levy loss of sales/returns of  recording retail against artist royalties, in particular, Mechanical royalties.

       Major Labels World Wide Revenue in 2005                            

                                           This is why these outmoded forms of royalties are absolute rubbish.  They are only to serve those whom which to stand the greatest gain. The labels.  And since American "terrestrial" radio converted to format play in 1980, both conglomerates have been "in bed" with one another ever since. One can't blame them, really. Such is the nature of big business. You ally yourself with other bloats to maintain your own over-bloated budgets and revenue streams. When the smoke cleared from the 1999 money train, The Big Four have been steadily losing their chubby arrogant asses. Revenue has been falling with great regularity on average from 12-20% per annum. As this graph shows, in 2005, it's the independents who have profited overall. And all thanks to technology, access, format revamping, and the consumer . The fan has more control of content and choice than ever in recording history. Independents  accounted for 28.4% of worldwide sales. That's the largest part of the "pie" that group has ever received (2006 was .5% higher, by the way).  The mechanical royalty rate is set (as of 2006) at a whopping 27 cents per 3 minute song. This constituents a 10 billion US dollar a year racket.

The Conclusion..And "Black" Pride

                                                   How so? Mr. Simson would probably explain he provides an invaluable service to the artists. These royalties are recouped and collected for them.   I would be in line with that if I was jamming my Artists with a 10-14% cut for their  work, and, to "appease" this slave-laboring percentile, offering those little "nuggets" at 1.91 cents per minute per song. My percentages in royalty alone offers far more revenue latitude than this antiquated label-favoring formula. Its fraudulent, and imaginary, and has no place in real time. Especially now in the digital age.

                                          That's why I am proud to be part of that big black section in that pie chart. It represents the future. It represents all of us. I would hope that Internet Radio can somehow free themselves from that amalgamation; that albatross. It goes to show the Majors are still on the prowl, trying to "get theirs."  I am proud of being part of  the section of that pie I liked to call "the Big Black." Because when you go "Black" You never go "back". Why the fuck would you? Unless you want to work in terminal deficit territory just so you can retain the prestige of having " a recording contract with a Major". Much comparable to being proud that  you  just  got raped in a desolate location, in the camouflage of night, and left for dead.  But at least you got a "a deal" right?  Rape is rape. And the day of the "rapist" label is about to close. Lets send 'em to prison. Debtors Prison.

….Fucking Rapists…

        I found this article by Bob Lefsetz in my bulletins ( thanks Kurb Management!), a  music industry vet, who now is very critical of the same industry he used to advise. His controversial blog is available to all.

Reasons Not To Sign With The Major Labels - Bob Lefsetz

1. They tell you what to do.

Are you following this Kelly Clarkson flap? She made an album from the heart, that she wrote. What did the label do? They shelved it for months, hoping she'd come to her senses and record some more upbeat hit tracks just like the ones she recorded before, positive not NEGATIVE! Who wants to hear about Kelly's love losses, no one in the audience ever broke up with their boyfriend!

Now you might think Kelly is a mindless twit, with a voice only. But she'll tell you she wrote hit records for others. And, she's sold a FUCK OF A LOT OF RECORDS!

Used to be selling records gave you leverage… If KELLY CLARKSON has no leverage, what hope is there for you, someone selling ONE TENTH the number of discs!

2. They're only in the disc business.

Well, we'll call it recorded music. If they ever figure out how to monetize Net acquisition, maybe their fortunes will change. But for now, the label only makes money if they sell your music. They'll do whatever it takes to sell your music, TODAY, to run up the value of the company so it can be sold to someone else. They'll whore you out to corporations (say this to yourself, "Verizon is not my friend."), release multiple singles (if they get any traction at all), do whatever's best for THEM, not YOU! Your career…they might pay lip service to it, but they don't really give a shit, the employees are probably not going to be IN this business by the time your next album comes out.

As for labels getting a piece of your touring income, other revenue sources, do you want to marry someone DESPERATE?

3. They don't pay you.

Oh, they'll give you an ever-shrinking advance. But royalties? No one sells enough albums to go into royalties anymore. And they own the rights to the recording. Terry McBride's got it right, you want to control all the rights, so you can license INSTANTLY! So you don't have to get someone on the phone to say YES to YOU about YOUR music!

Oh, they'll give you money to get started, but it's like making a deal with the Mafia, they own you, forever.

4. There's no one working there.

Most analysts believe Warner cut its workforce to make its balance sheet look better, to stanch losses, hopefully report profits. In other words, it's got nothing to do with whether these people were NEEDED, whether they had jobs integral to the company, just what their salaries and benefits were. Oh, the company can outsource these jobs, but when you go for a meeting at the label do you really want to sit in an empty boardroom with a speaker phone on a conference call with a zillion temporary workers? Whose allegiance is not to this company, hell, why should it be, they've got to make their nut every month, they've got OTHER CUSTOMERS!

So, going to the building to work the label…that's a passe concept.

And, what if they don't outsource/get independent contractors to do the work? Will it be done at all? And, how well, by the overworked, multitasking employees still left?

5. They just care SOMETHING hits.

The label doesn't give a shit about you hitting, they just care that SOMETHING breaks through. And as soon as it does, your work project goes to the bottom of the pile. If you own your own copyrights, own the label, you're ALWAYS the priority!

6. They control physical distribution, not online distribution.

They can get your disc in stores. Then again, CAN THEY?

Online, distribution is close to flat. Make a deal with CDBaby, they can get you on all the online services, can get you paid. You don't need to be with a major to get into the online store.

As for albums… Do you really think albums will be the definitive format in the future?

7. Tour support is a thing of the past.

Not completely. But it's just about gone. And more than ever you need to break on the road. If you're doing all the work, why shouldn't you get all the profit?

8. They only want you once you've proven yourself independently.

If you've created the base, why give up control now?

9. MTV is dead.

You don't need a big budget video which won't be aired anywhere anyway. You just need a digital camera and Final Cut Pro, maybe even iMovie, and you can create a video for almost nothing and put it up on YouTube where it's got as much presence, as much priority, as the majors' efforts. And, you control the budget. Zillions aren't spent, and they're not charged back to you.

10. Terrestrial music radio is dying.

If Pink can go to number one at Top Forty and languish at the bottom of the SoundScan Top Fifty, selling 15k a week, how important is that airplay ANYWAY? As for other formats… Hot AC doesn't sell many records, and AOR is an oldies format and the Alternative panel has shrunk to almost nothing and Active Rock…that's not selling tonnage either.

11. They specialize in saying no.

Music is now about inspiration, made by the seat of one's pants. You have to do business the same way. In this fast, ever-changing world, you need to take risks, you've got to make snap decisions, you've got to be able to say yes, QUICKLY! The major is against innovation, it's hard to get an answer AT ALL, never mind YES!

You want to give your new track away for free? No! They won't even let you SELL IT if it competes with the track they're working at radio/in the marketplace. It's not about artistry, but commerce.

But, if all you care about is commerce, if you want all your money up front, if you want to whore yourself out to corporations, do whatever it takes to sell your lame, paint by numbers built by committee music, then sign with the major label. I hope you achieve your goal and get instantly rich, because after this instant, you'll be done.