MTV and CDs.\u00c2\u00a0 The combination of these two delivered a plethora of profits.<\/p>\n
Name the great acts of the MTV era.\u00c2\u00a0 Sure, we’ve got Michael Jackson and U2, but both Mr. Jackson and the band from Ireland predated MTV. Michael Jackson was famous for eons.\u00c2\u00a0 Ultimately his "Off The Wall" album made him a solo star, but not a superstar.\u00c2\u00a0 That was dependent on MTV.\u00c2\u00a0 And all those videos.<\/p>\n
During the era of "Off The Wall", MTV didn’t even play black music.\u00c2\u00a0 But once the public saw Michael moonwalk on that Motown TV special, and he danced in both "Billie Jean" and "Thriller" on MTV, suddenly, he owned the best-selling album of all time.<\/p>\n
Was "Thriller" that much better than "Off The Wall"?\u00c2\u00a0 Actually, many consider the latter to be better.\u00c2\u00a0 But "Off The Wall" sold a fraction of what "Thriller" did, because it lacked TV exposure.<\/p>\n
I just upgraded my Mac to 10.5.7.\u00c2\u00a0 Took an hour, what with repairing permissions, using the combo update and repairing permissions again. While I was waiting, I read magazines.\u00c2\u00a0 First "Entertainment Weekly", then "BusinessWeek".<\/p>\n
One of the business book gurus is Jim Collins.\u00c2\u00a0 He wrote "Good To Great", which I never read, but have observed in the best-seller listings. Normally, I’d skip over an article of this depth, but not knowing how long it would be until I had my computer back, I decided to read.<\/p>\n
Mr. Collins was brought to West Point, where he chaired a discussion amongst military men and civilians.\u00c2\u00a0 Had America lost its greatness, was it in decline?\u00c2\u00a0 The attendees were split as to America’s future, half optimistic and half pessimistic.\u00c2\u00a0 But what fascinated Mr. Collins was the observation of the CEO of one of America’s most successful companies during a break.\u00c2\u00a0 This gentleman stated: "I’ve been thinking about your question in the context of my company all morning.\u00c2\u00a0 We’ve had tremendous success in recent years and I worry about that.\u00c2\u00a0 So what I want to know is: HOW WOULD YOU KNOW?"<\/p>\n
This question engendered Mr. Collins’ analysis, it formed the basis of his new book, "How The Mighty Fall".<\/p>\n
The record companies were quite mighty.\u00c2\u00a0 But they broke the first rule of Mr. Collins’ book.\u00c2\u00a0 Which he labels Stage 1: "Hubris Born Of Success"<\/span>.<\/p>\n "Stage 1 kicks in when people become arrogant, regarding success virtually as an entitlement, and they lose sight of the true underlying factors that created success in the first place."<\/p>\n Bingo!\u00c2\u00a0 MTV and CDs.<\/p>\n The record execs actually believed they were geniuses, who’d found the golden formula.\u00c2\u00a0 From now on, hit acts would all sell ten million copies, there would be untold profits!<\/p>\n Rather than questioning their success ("We might have been just really lucky\/were in the right place at the right time…"), they believed they were entitled to it.\u00c2\u00a0 And ultimately blamed the decline of their fortunes on P2P theft.<\/p>\n Make no mistake, P2P has impacted the major labels.\u00c2\u00a0 But not as much as the decline of music on MTV, the lessening importance of radio and few good tracks on overpriced CDs.<\/p>\n Stage 2<\/span> of Mr. Collins’ theory of corporate decline is "Undisciplined Pursuit Of More"<\/span>.\u00c2\u00a0 Here we have the Tommy Mottola\/Clive Davis paradigm.\u00c2\u00a0 If TV sells CDs, let us find the most telegenic performers and craft their acts for TV consumption!\u00c2\u00a0 Mr. Mottola ultimately lost his job and Clive was pushed aside.\u00c2\u00a0 Neither of these consequences would have taken place if the numbers were good.\u00c2\u00a0 But they were not.\u00c2\u00a0 Despite massive spending, there were many fewer CD sales.<\/p>\n Stage 3 is "Denial Of Risk and Peril"<\/span><\/p>\n That’s the beginning of this century.\u00c2\u00a0 "Those in power start to blame external factors for setbacks rather than accept responsibility".\u00c2\u00a0 It was the damn Internet, IT RUINED OUR BUSINESS!<\/p>\n But what WAS the label’s business?\u00c2\u00a0 Manufacturing overpriced two-dimensional product for sale on television and Top Forty radio?<\/p>\n Stage 4 is "Grasping For Salvation"<\/span>.\u00c2\u00a0 "The critical question is: How does leadership respond?\u00c2\u00a0 By lurching for quick salvation or by getting back to the disciplines that brought about greatness in the first place?"<\/p>\n We’ve got Universal investing in the Farm Club and MP3.com and now Vevo.\u00c2\u00a0 Is that their core mission?<\/p>\n We’ve got Warner investing in concert promotion and online distribution with LaLa.com.<\/p>\n And we’ve got the whole industry suing its customers.<\/p>\n All to protect a model of overexposure of limited product to reap giant rewards.\u00c2\u00a0 But MTV moved on from music because it was no longer generating ratings.\u00c2\u00a0 The industry was pissed that Viacom got rich and the labels did not…\u00c2\u00a0 But once again, what was each entity’s core mission? MTV was made to expose.\u00c2\u00a0 The labels were made to..?<\/p>\n MAKE!<\/p>\n That’s what labels do.\u00c2\u00a0 Find and nurture talent.\u00c2\u00a0 That is their core competency.\u00c2\u00a0 That is their defining MISSION!\u00c2\u00a0 But that got lost in the shuffle of incredible profits during the eighties and nineties.\u00c2\u00a0 Labels weren’t selling music, they were selling overpriced DISCS!<\/p>\n Stage 5 is "Capitulation To Irrelevance Or Death"<\/span>.\u00c2\u00a0 That’s where the major labels are today.\u00c2\u00a0 "In some cases the company’s leader just sells out; in other cases the institution atrophies into utter insignificance; and in the most extreme cases the enterprise simply dies outright."<\/p>\n How long until a major label is sold for its catalog value?\u00c2\u00a0 Before one of the Big Four gives up new music production?\u00c2\u00a0 EMI already has stated it’s not going to spend big bucks to sign and promote new talent.<\/p>\n Irving Azoff’s Front Line is more powerful than any label today.\u00c2\u00a0 By far.<\/p>\n What is the future?<\/p>\n Not the past.<\/p>\n "Never give in.\u00c2\u00a0 Be willing to kill failed business ideas, even shutter big operations you’ve been in for a long time, but never give up on the idea of building a great company."<\/p>\n It’s clear.\u00c2\u00a0 PERFECTLY CLEAR!\u00c2\u00a0 A record company needs to be about MUSIC!\u00c2\u00a0 Everything flows from the tunes.\u00c2\u00a0 It’s all right to take a percentage of 360 degrees of revenue, so long as it’s not a land grab, but a reasonable compensation for services rendered.<\/p>\n You can’t sign an act based on whether you can get them on television or radio, neither of those deliver enough profits.\u00c2\u00a0 You’ve got to sign an act based on whether it’s GOOD!\u00c2\u00a0 The iPod was a product seen as overpriced and unneeded, and then Apple rode it to one success after another. The iPod not only dominated its sphere, which blew up and became dominant, computer music rules, it also delivered sales of Macs and iPhones.\u00c2\u00a0 In other words, your business won’t deliver its future based on the Pussycat Dolls, but something seen as unneeded at first, which is so great its audience bonds to it and delivers revenue over a period of years.<\/p>\n Instant success on MTV ultimately rendered instant irrelevance.\u00c2\u00a0 The wheel had to be reinvented time and again.\u00c2\u00a0 Sure, you could break the first album, but you couldn’t count on making money on the fourth and fifth, frequently not even on the SECOND (can you say Chumbawamba?)\u00c2\u00a0 The execs lost sight of what business they were in.\u00c2\u00a0 Ahmet was concerned with greatness.\u00c2\u00a0 Mo too.\u00c2\u00a0 Today’s execs are just interested in tonnage. They could be selling ANYTHING!\u00c2\u00a0 They are not NECESSARY!<\/p>\n That’s what you need to survive…"to build an enterprise that makes such a distinctive impact on the world it touches (and does so with such superior performance) that it would leave a gaping hole – a hole that could not be easily filled by any other institution – if it ceased to exist."\u00c2\u00a0 This describes XL Recordings, but not Interscope or Atlantic or Columbia.\u00c2\u00a0 Everyone knows the real bands are on indies.\u00c2\u00a0 That’s commercial crap on the majors.<\/p>\n And maybe the majors won’t survive.\u00c2\u00a0 Maybe Doug Morris rides the train to complete irrelevancy, if not bankruptcy.\u00c2\u00a0 But whoever takes Doug and Universal’s place will be focused on finding unique talent and nurturing it.\u00c2\u00a0 Artist development isn’t finding more people to buy the first album, it’s a creative arc, over a period of albums, wherein the act grows and more and more people come along for the ride.\u00c2\u00a0 "Sgt. Pepper" sounded nothing like "Meet The Beatles".\u00c2\u00a0 The Beatles couldn’t have made "Sgt. Pepper" the first time out.\u00c2\u00a0 There’s experimentation, there’s a learning curve.\u00c2\u00a0 It’s not just finding the same hack songwriters to write fodder for good-looking people.<\/p>\n Most lasting successes to not happen overnight.\u00c2\u00a0 Because the public is not ready to consume the product\/artist.\u00c2\u00a0 Hipsters need to glom on, mavens need to spread the word, to ultimately reach Malcolm Gladwell’s "Tipping Point".\u00c2\u00a0 And once you’ve caught fire, you have to protect the essence.\u00c2\u00a0 If the act is tied up with corporate endorsements\/commercials, how honest can its music be?\u00c2\u00a0 If the act works with the same producer as everybody else, how unique will the sound be?\u00c2\u00a0 If you’re not allowed to fail, how can you stretch yourself and succeed?<\/p>\n Labels demand singles.\u00c2\u00a0 Won’t release the album until they deem it ready.\u00c2\u00a0 Which is about commercialism more than artistry.\u00c2\u00a0 Instead of multiple albums in a short period of time we’ve got an extended selling period of the same damn collection to the point where the core audience abandons the act.\u00c2\u00a0 And if you’ve lost your core, you’ve lost everything!<\/p>\n We’re in the music business.\u00c2\u00a0 The greatness of the major labels was that they sifted through the available talent and found the gems, and then helped the quality acts grow, both artistically and commercially.\u00c2\u00a0 That’s not the business of the majors today.\u00c2\u00a0 Today it’s about finding cookie-cutter stuff and yelling at the public to buy it, all the while bitching that they’re stealing it.\u00c2\u00a0 This is a recipe for disaster.\u00c2\u00a0 This is why the recorded music industry is failing.<\/p>\n Maybe recordings do not generate as much revenue in the future as they did in the past.\u00c2\u00a0 Rather than whine, be the company that MAXIMIZES revenue, that accepts reality, that notes change and adapts to it.\u00c2\u00a0 That does not mean charging huge upfront fees for anybody who wants to sell or stream music online.\u00c2\u00a0 Those are your partners, they’re the ones who are going to make you money.\u00c2\u00a0 You control the essence, the music.\u00c2\u00a0 That’s what lasts.\u00c2\u00a0 No one wants the remnants of Friendster, but they do want the music of yesteryear.\u00c2\u00a0 Especially those classic rock hits.\u00c2\u00a0 Bands that tested limits and developed, all at the same time, the ones selling tickets to arena shows today.\u00c2\u00a0 "Purple Haze" is so good, you want to hear everything Hendrix ever did, it never grows old.\u00c2\u00a0 You might want to listen to "Ice Ice Baby" as a novelty, but you don’t want to hear anything else Vanilla Ice does, and only a small coterie want to see the guy perform live.\u00c2\u00a0 But the Stones?\u00c2\u00a0 It’s not only "Satisfaction", but "Midnight Rambler", and "Under My Thumb" and "Can’t You Hear Me Knocking".\u00c2\u00a0 "Brown Sugar" was deep into their career, there’s a cornucopia of greatness.\u00c2\u00a0 Which is lacking in quantity and quality today.<\/p>\n