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La música en el siglo XXI


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La música en el siglo XXI

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