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La música en el siglo XXI
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La música en el siglo XXI

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Transcript

  • 1. 21st Century Life in Music Changing Definitions of ‘ Selling Out’ and Brand Partnerships
  • 2. The Who vs CSI
    • An introduction of both sides of the argument
  • 3. Bio - Jesse Rogg/Sam Sparro
    • started in LA
    • created my own label, ‘Modus Vivendi Music’
    • found artists, promo, recording, A+R, etc.
    • sold to major label
    • Now main project is Sam Sparro, but I also write, produce, and remix for other major + independent artists that I believe in
  • 4.
    • It’s not, “How do I not compromise my vision to make a living”
    • but rather “How do I use the money that’s out there to achieve my goals”
  • 5. A Brief History of Changes in the Music Business
    • 1967 - The year mainstream + alternative split
    • 1968 - FM stations flourished
    • mid ‘70s - Corporate rock dominated airwaves
    • Late ‘70s - Disco crashed music industry
    • 1981 - MTV ushers in new era of business
    • mid 80s - Advent of CDs
    • Early 2000s - Napster, mp3s popularized, changed music business again
  • 6.  
  • 7.  
  • 8.  
  • 9. My Major Label Experience
    • Why we chose Island
    • What turned us off from other labels
    • Why we left the label
    • What I’ve learned from major labels
  • 10.  
  • 11. There is still a need for labels
    • Distribution
    • Marketing
    • A&R
  • 12. How do YOU define success?
    • This is your mission
    • Make sure you have an answer for yourself
    • A realistic definition is “to be able to make the music you want and be able to support yourself with it.”
  • 13.  
  • 14.  
  • 15.  
  • 16. Working with Brands + Sponsors (Traditional Methods)
    • Traditional Licensing:
    • 1-Ads/commercials
    • 2-TV shows
    • 3-Movies
    • 4-Video Games
    • • Composing Commercial Music
  • 17. Working with Brands + Sponsors (New Methods)
    • Releases
    • Tour/festival/live performances
    • Studio Time
    • Brand Tie-ins
    • Sex Tape
  • 18. Understanding the Brands
    • They want to be cool
    • They typically have people who love music who work for them
    • They don’t produce hit singles/sell records (they sell cans, shoes, and cars)
    • They are responsive if you approach them and say, “I love your product; let’s talk.”
  • 19. Potential Problems with Brands
    • They don’t necessarily have your long term goals in mind
    • They will almost always ask for more/extra from you
    • Woodstock ‘99 (they are still companies trying to make money)
  • 20. Woodstock ‘99
  • 21. OK GO! - ‘This Too Shall Pass’
  • 22. MCA Records Slide
  • 23. QUESTIONS: So is there any space left for arguments about integrity or are we seeing the last days of the sellout?
    • Who is going to pay for your album, tour, and promo?
    • Who is going to put a roof over your head?
    • How is working with a brand any different than working with a label?
  • 24. FINAL THOUGHTS
    • Stay true to your mission
    • Create GOOD CONTENT
    • Leave room in your mission to work with brands if you find it difficult to make a living through labels
  • 25.
    • Jesse Rogg
    • [email_address]
    • www.samsparro.com

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