Artist-Entrepreneurship

Montgomery and Moe showed that it would be efficient for labels to pay for airplay ( Montgomery & Moe, 2002 ). This is not surprising given the impact airplay can have on sales, at least in the old music industry ( Dertouzos, 2008 ). However, direct undisclosed payments to influence radio programming (called Payola, a combination of pay and Victrola) are prohibited by law. Hence, labels developed strategies to circumvent the law by using independent promoters or naming payments “consultant fees”. The bottom line is, there will always be efforts in whatever form to get exposure through a promotion channel if it could increase profits or benefit an artist's career. This principle prevails, as for instance in form of  Last.fm’s Powerplay  or  Jango’s Airplay  program, where artists can simply pay for plays. Or  Blogola , where influential bloggers receive anything from free products, to tickets and money in return for featuring a specific artist on their blog. Today, DJs are r

Digital distribution has surpassed physical distribution in key markets like the USA or UK and, thus, established as the dominant distribution practice. While the media often speaks of the next killer app that will revolutionize music consumption and dominate music distribution, the analysis of the current situation suggests that different forms of distribution will coexist. The reason is that consumers value music differently, prefer different formats and expect different experiences from consumption. The same applies to content providers. Each artist or record label is in a specific situation pursuing different goals. As a result, a variety of different distribution models have emerged, each with pros and cons for a certain situation. For content providers it is important to choose the appropriate distribution model that supports the overall strategy. The most striking development in digital distribution is the blurring line between promotion and

Citation: Peltz, Philipp. "The scope of artist-entrepreneurship in the music industry."Instruments of Change: Proceedings of the International Association for the Study of Popular Music Australia-New Zealand 2010 Conference. International Association for the Study of Popular Music, 2011. [...] Ambitious musical activities outside of the established structures of the music industry are not new. The number of amateur and unsigned musicians has always outweighed that of professional and signed musicians. Today, the distinction on the basis of being signed by a record label or not is blurring. Decreasing entry barriers enable hobbyists and unsigned artists to enter established markets on a large scale. The present research project utilised two datasets to estimate the total size of artist-entrepreneurship in the music industry. The findings reveal the sheer scope of this phenomenon. According to the figures, there are five times as many artist-entrepreneurs than artists si

Kevin Kelly writes: “The elusive, intangible connection that flows between appreciative fans and the artist is worth something”. Or as Joel Zimmerman, better known under his artist name Deadmau5 puts it: “You need to make a world: […] you have a rollercoaster in your backyard… which is rad. coz everyone loves roller coasters,[…] and all the people from around your block is gunna wanna come and at LEAST check that shit out, or ride it. And itll be the hot thing in the neighborhood for about a week. But once everyone’s had a go… they’ll lose interest, go home n play Sega instead. I see this happen to SO many people… its ridicules. Well, what you need then, is a fuckin theme park… and you AND your music are the theme. You with me here?  Now, people come into your theme park, and holy fuck, check out all this shit… buncha rides, no 2 the same, some merch here and there, special events, dolphins through hoops and all that whack shit. You want people to come to your theme