Podcast appearances and mentions of Ari Herstand

Read the full article on Variety: https://aristake.io/spotify-varietyThis week, Ari Herstand discusses his recent article on Variety entitled Why Spotify's New Payment Model Falls Short For Emerging Artists.Articles mentioned:Spotify's article (Modernizing Our Royalty System to Drive an Additional $1 Billion toward Emerging and Professional Artists): https://artists.spotify.com/blog/modernizing-our-royalty-systemStreaming Fraud is More Serious (and Inventive) than you Think, with Andrew Batey and Morgan Hayduk of Beatdapp: https://aristake.com/andrew-batey-morgan-hayduk/Building a Fan Economy with Fan Powered Royalties from MiDiA Research: https://aristake.io/MiDiA-fan-powered-royalties--Order THIRD EDITION of How to Make It in the New Music Business: https://book.aristake.comSubscribe to The New Music Business: https://aristake.com/nmbAri's Take Academy: https://aristakeacademy.comWatch more discussions like this: https://bit.ly/3LavMpaConnect with Ari's Take:Website: https://aristake.comInstagram: https://www.instagram.com/aristake_TikTok: https://www.tiktok.com/@aris.takeX: https://twitter.com/ArisTakeThreads: https://www.threads.net/@aristake_YouTube: https://www.youtube.com/user/aristake1Connect with Ari Herstand:Website: https://ariherstand.comInstagram: https://instagram.com/ariherstandX: https://twitter.com/ariherstandYouTube: https://youtube.com/ariherstandEdited and mixed by Mikey EvansMusic by Brassroots DistrictProduced by the team at Ari's Take Hosted on Acast. See acast.com/privacy for more information.

In this episode 'Ari's Take on How To Make It In The New Music Business', we sit down and speak with leading independent artist and author Ari Herstand who literally wrote the book for independent artists entitled “How to Make It in the New Music Business”. ****** Use code MUBUTV10 to get 10% off of your order with the Music Business Registry here

In this episode of Music Industry 360 we talk with Ari Herstand, the author of How To Make It In The Music Industry. Ari Herstand is the CEO and founder of the music business education company Ari's Take and its online school Ari's Take Academy as well as the host of the Webby Award winning New Music Business podcast.He is also the author of the book How To Make It in the New Music Business which is a #1 best seller in 3 categories on Amazon and is being taught in over 300 universities in the US and has been translated into multiple languages. As a musician he has played over 1,000 shows all over the world and has released 4 albums. Herstand has written for many of the top musician trade magazines and websites including Variety, Billboard, Music Connection Magazine, American Songwriter, and Digital Music News.

To celebrate the third edition of How to Make It In The New Music Business, the Ari's Take team collaborated with Shuttershot Productions to capture Ari Herstand's special interview and Q&A with the incomparable Theo Katzman (of Vulfpeck). This episode was recorded live at The Grove's Barnes & Noble in Los Angeles on January 17th.Order the new book here: http://book.aristake.com00:00 Welcome03:23 Theo's perfect press release, recording process, touring with Vulfpeck11:39 What artists can learn The Beatles' Get Back documentary16:23 Recording process: one take and one take only22:17 Recording a live album, playing in the “red zone” (Keith Jarrett, John Coltrane, Led Zeppelin)32:45 Why artists should never compromise themselves and their career37:04 Authentic creative process, embracing mistakes in the studio49:26 How Vulfpeck became so successful52:09 How the Wim Hof Method's cold plunging experiences inspired Theo01:00:02 Songwriting process for new album, Be The Wheel01:12:02 Album release strategy, distributing independently through TuneCore01:19:51 Listening engagement from Spotify editorial playlists vs. algorithmic playlists01:24:03 Launching new label, 10 Good Songs01:28:17 What “making it” in the New Music Business means01:35:10 Q&A: How clubs can best set artists up for success01:40:47 Q&A: Advice for independent artists who don't have a big budget01:43:35 Q&A: Emotional quality songwriting and harmonic settings within western music ("Good To Be Alone," Paul Simon, Bob Marley)01:48:06 Q&A: Creative marketing campaigns (Seth Godin's This Is Marketing, TikTok)Subscribe to The New Music Business: https://aristake.com/nmbAri's Take Academy (use code NMB for 10% off): https://aristakeacademy.comWatch more discussions like this: https://bit.ly/3LavMpaConnect with Ari's Take:Website: https://aristake.comAcademy: https://aristakeacademy.comInstagram: https://www.instagram.com/aristake_TikTok: https://www.tiktok.com/@aris.takeTwitter: https://twitter.com/ArisTakeYouTube: https://www.youtube.com/user/aristake1Connect with Ari Herstand:Website: https://ariherstand.comInstagram: https://instagram.com/ariherstandTwitter: https://twitter.com/ariherstandYouTube: https://youtube.com/ariherstandConnect with Theo Katzman:Website: https://theokatzman.comInstagram: https://instagram.com/theokatzmanYouTube: https://youtube.com/theokatzmanConnect with Shuttershot Productions:Website: https://weareshuttershot.comInstagram: https://instagram.com/shuttershotProduced by the team at Ari's TakeLive recording engineered by Maxim AdamsMixed and mastered by Maxton HunterMusic by Brassroots DistrictVideo production by Shuttershot ProductionsDirected by Brian ShuttersPhotography directed by Kenzo Le Hosted on Acast. See acast.com/privacy for more information.

Ari Herstand is the CEO and founder of the music business education and artist advocacy company, Ari's Take. Episode 556. Ari Herstand returns to update us on the new edition of his book How to Make It in the New Music Business Practical Tips on Building a Loyal Following and Making a Living as a […]

Trends and developments are constant in this complex landscape of modern music. Navigating through the turbulent waters of the industry requires artists to take advantage of the tools to help build a stable career. Bree Noble draws the curtain for our guest today to light the path of artists towards success. In this episode, Ari Herstand, the Host of the New Music Business, shares how to make it in the new music business. They also dive into the newest extensive chapter Ari added to his book, How to Make It in the New Music Business, which would definitely benefit everyone. So what are you waiting for? Tune in to this episode now!

Episode 128 On this week's episode, your humble hosts Jay Gilbert and Mike Etchart discuss these important music industry stories: "NY:LON Conference Recap" (Music Ally/Music Business Association); "Streaming Fraud Accounts For At Least 1-3% Of Plays On Services Like Spotify And Deezer In France, Shows Investigation" (Music Business Worldwide); "What Comes Next In The Music Streaming Model Makeover?" (MIDiA). We also had a conversion with Ari Herstand to get his take on what's changed in the music business and is included in the newly released third edition of his fantastic book How To Make It In The New Music Business, as well as a chat with Sarah Robertson from A to Z Media about what artists should be considering for physical product offerings this coming year.    Subscribe to the newsletter! YourMorning.Coffee  

I had a great chat about the future of streaming and more with Ari Herstand, who isan independent artist who also runs Ari's Take, an education business to teach others artists about the industry. He just released the third edition of his book, How To Make It In the New Music Business.Ari joined me to discuss how artists are navigating new music releases. It's increasingly getting out of the artist's hands in favor of the uncontrollable algorithms powering the likes of Spotify and TikTok. Ari says it's like, “playing the lottery.” While algorithms are taking the human element out of music discovery, that human touch has found itself into new artist monetization tools like NFTs. It has inverted what Ari calls an artist's “pyramid of investment” for an artist growing their fanbase.Ari and I covered a lot of ground on this episode. Here's what you can expect to hear from us:[3:10] Waterfall release method infiltrating Spotify[8:15] Music discovery power shifting away from human, toward algorithms [11:40] DSP's purposely pulling power away from playlist editors[19:21] TikTok isn't for every artist[21:26] Evolving team structure of an indie artist [27:55] Role of music NFTs[31:44] How Sammy Arriaga sold $250k of NFTs to non-fans[40:02] The Pyramid of investment [49:10] Ari the musician vs. Ari the educator [50:05] Updated version of How To Make It In New Music Business bookListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuest: Ari Herstand, @ariherstandLearn more about Ari's book, How to Make It in the New Music Business here: https://book.aristake.comLearn more about Ari's Take here: https://aristake.com/This week's sponsor is Laylo. Join artists like Kodak Black, Sam Smith, and others who notify their fans instantly when they drop merch, tickets, and more. Create your own drop page for free in seconds at laylo.comEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPTION[00:00:00] ARI HERSTANDI'm not a good recording engineer and I'm not a producer. So that's another team member that I'm going to hire when I make a record. Like I'm not Finneas. I'm not going to make a record in my bedroom. Like I can't do that. And that's not what I want to do. Like honestly, that doesn't inspire me. What inspires me is to make music with other people.[00:00:26] DAN RUNCIE INTROHey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more who are taking hip-hop culture to the next level.[00:01:36] DAN RUNCIEToday's episode is a playbook for all the indie artists out there. I had a great conversation with Ari Herstand, who is a musician himself, and he's also the founder of Ari's Take, which is his education business that focuses on how artists can make it today, especially indie artists. How indie artists can make it today in the new music business. And that's actually the title of the third edition of this upcoming book. Ari and I talked a lot about some of the new and updated insights that he has in this edition of the book, specifically around streaming, and how artists are starting to favor and prefer focusing on algorithms and how that can get them more listeners and where playlists currently sit with artists prioritizing them. And we also talk about NFTs, TikTok, and Ari's concept in the book called the Pyramid of Investment. This is a great conversation for anyone that wants to better understand the music industry, especially for the growing segment of independent artists that are carving their lanes out for themselves. Here's the episode. Hope you enjoy it.[00:01:48] DAN RUNCIEAll right, today we are joined by Ari Herstand, who is the author of his new book that's coming out, how to make it in the new music business. He's an artist himself, and I was lucky enough to be a guest on his podcast a couple months back. So Ari, it's great to have you on. And congrats on the book coming up.[00:02:06] ARI HERSTANDYeah, thanks, Dan. Thank you. Thank you. Very exciting. The third edition and get ramped up for that. But it's great to be here with you today. Thanks for having me.[00:02:17] DAN RUNCIEYeah, definitely. And I know for you, one of the big topics of the book is just how artists continue to evolve with how they're releasing music, how they're paying attention to what's going on with streaming right now. I feel like you have a good vantage point for this because you're doing so much of this yourself with your own releases. What are some of the big changes? Because I know that everything post-pandemic has been a little different, and now we're heading into this new phase right now with the new year. What's the big thing for you that you're seeing with the evolution?[00:09:07] ARI HERSTANDRight. So every artist needs to ask themselves what their intentions are with their release. And so, you know, the beautiful thing about the new music business and the scary and daunting thing about the new music business is there really isn't a right or a wrong way to do anything. There is the right and wrong way for you. And that could be the wrong way for me. So everyone, you know, it's based on your intentions and what your goals are for the release. If we just go, you know, more in the mainstream realm or let's just say your intention is to be successful on Spotify. Because that's a metric that most artists these days are kind of using to gauge the success of their release. And they want to have the best chance of, you know, grabbing that Spotify, being being blessed by the Spotify God, I guess. So to do that, there is a very specific release strategy that has been studied and now tested and now used by everyone from Lizzo and Krungman to Maggie Rogers to Robert Glassberg. And that's the waterfall release method. And Indie artists, you know, that are just releasing their first few singles are using this as well. I mean, this is the waterfall release method. And I'll break this down a little bit on what this means. This has started to get used a few years ago, but it really picked up last year in 2022. And now 2023 is I think going to be the year of the waterfall. But basically what it is is that, you know, you release singles leading up to the album. That has been happening for years now. However, here's what gets a little bit more where where it gets a nuance on how those singles are released. It's you don't just release a single song anymore as a single. You release your first single one song. That's just the one song released one second now your second single is that the new song is track number one. And the previous single that you released is track number two. So it's technically your second single, but it's kind of like a two song album. If you really go that way, if you're tuning it up, if you're an artist is to the artist asking this all the time. Well, how do I do this in my district? back end or whatever, like doing it's a two song album. And the way that the streams maintain for the previous single and that you don't lose your playlist inclusion, all that stuff is you use the same highest or C number. And so it's if you use the same highest or C number that used when you released that track, a month prior, it will be identical stream counts. And then a month later, you release your third single, but that's now a three track album. You know track number one is the new single track number two is the single you release a month ago and track number three is the is the single you release two months ago. And as long again, use the same highest or C numbers, it'll be included in the same playlist. They will be identical tracks, wherever they're included on people's algorithm, personal playlists, all that stuff. You can do this. People are doing five or six singles that way. And then the album and this release method, you know, this could take eight months, essentially, if you want to do one single every four to six weeks, and then the album. How you can kind of look at it, is you're building the album. And so it doesn't have to go on order, you can pick whatever order you want based on your singles. And then the final album is the album order, no correlation doesn't have to be the single order, you can pick whatever order you want each time. The track art can be different each time. I've seen it, people do different single art for each release. I've seen people just use the album cover for every release. So you know, at the end, you might have like six singles released that each have a few different songs on them. And then the full album, some people pull those previous singles down. So if they want to get a clean discography going up there, you just have a final album at the end of the day. And the previous singles with like the two song album, a three-song album, the four-song album before they pull those down. But you're not going to lose any playlists, you're not going to lose any stream counts because you're using same iris to scene numbers each time. So that is a release method, and the reason people are doing it this way is for the Spotify algorithm because Spotify likes to have regular releases. And if you send somebody say, hey, here's my new song and you send them the link, they're going to listen to that song. Now, if there's nothing, no other songs following that song to listen to, after your song finishes, Spotify is going to recommend them something to listen to or they're going to jump off and listen to something else. Now, if you give them the songs to listen to that after your previous releases, they'll stick around and keep listening to it. So the reason people are doing this is for the Spotify algorithm, but also to keep their fans engaged. So like say, here's your single number four and they listen to it and like, oh, cool. What now? I'm going to go back to listening to my favorite artist. Unless you have singles three, two, and one also there. And like, oh, I'll just keep listening to the other songs on this essential playlist. You think of it, whatever you want, a four-song album, a four-song single, a playlist of your new singles. However, you want to think of it, the user is just thinking, oh, I'm clicking on this link or new music Friday, or I'm in my release radar. I see this new single come out by this new artist I like. And then Spotify is going to start to recommend those songs through the algorithm. And the best thing about continuing to release the and the waterfall method is like those previous singles stay included in release radar. So this is like what has been figured out by labels and managers and artists over the last few years. And based on what Spotify wants to see and basically what they're being rewarded for with the algorithm from Spotify. And you know, I think a few years ago, everybody was chasing the playlist editors and like, oh my gosh, if I can just get included in the rap caviar, then like I'm set forever. Whatever the playlist inclusion, the editorial playlists are not as powerful right now as the algorithmic playlists are. That is a big change. Is like three, four years ago, people were like, oh, it's all about the official editorial. Now you want to trigger that algorithm because that is now personalizing every single user's playlist based on what Spotify thinks that user likes to hear. And you want to get your songs included in that. And people are just letting Spotify feed them now based on the algorithm versus seeking out playlist[00:09:27] DAN RUNCIEAnd why do you think that that shift happened from the playlist prioritization to the algorithm? Was it something internal with Spotify or is it just a natural decline in the power of playlist?{00:11:40] ARI HERSTANDYeah, I mean, the main thing is is let's think about what Spotify's intentions and goals are. Their goals are to keep users on their platform as long as possible. And they've discovered that if you feed users songs that they want to hear and have a higher success rate of them continuing to listen and stay on Spotify, then they're going to follow that. Then Spotify is going to do more of that. So they've been AB in this for years. They're like, OK, do people stick on our platform on Spotify longer by listening to our editorial playlists that human beings employed by Spotify are creating? Or do they stick on our platform longer by the algorithmic playlists that are internal robots are curating for them, the algorithm is curating for them. And what they found is that people are sticking around longer with the algorithmic playlists. So they're now doing more of that and realizing that this is what it is engaging users to stay on Spotify longer, because that's what users prefer. The algorithm has gotten a lot better at learning people's tastes, music tastes, than any singular playlist editor. And the other thing is, when we're talking about indie artists, is that why indie artists need to refocus their efforts into more of the algorithmic lane versus the editor lane, is that playlist editors, I mean, it's like playing the lottery to try to get an official Spotify editorial playlist. For one, with 100,000 songs being uploaded every day, you have a very, very hard chance of getting selected being one of those songs that is going to get included on. The very select few Spotify editorial playlist spots. But the algorithm, there's billions, literally billions of playlists that theoretically that they can put you on, or the algorithm will insert you into various people's radios or discover weekly or whatever. You have a much better chance of getting there. And then if users respond, well, do your song there. I mean, you pop up on someone's discover weekly, and they click save. I like this song. I want to hear more of it, and they don't skip it. That sends signals back to the Spotify algorithm, like, oh, this song is performing well. Let's try it in more algorithmic labels. Let's try it in more radio. Let's try it in more of these. And then theoretically, you'll just get included more and more, and then it'll just kind of snowball onto itself.[00:12:46] DAN RUNCIEYeah, I think the algorithm getting better, that what you mentioned, is likely one of the big drivers of this, because if I think back to the days of, let's say, like the mid 2010s, the algorithm still felt a bit similar to those old Pandora algorithms where after the seventh song, you start hearing the same thing over and over. And if you're comparing that to, let's say, what Tuma Basa was doing at Rap Caviar at the time that, of course, yeah, I think Tuma is going to be the better curator of what you have. But if you're shifting things to now, where these algorithms just get better and better and better, then, and I think as well, over time, a lot of the playlist also had that alert. There was a bit of the, oh, this is the new radio. This is this, but then, yeah, when the playlist is better and better, even as a Spotify user over time, you can see that, okay, they do have a better sense for where things are. So naturally, it did shift the behavior. And I think you kind of saw this more broadly with, you know, outside of music as well, with movies or TV shows and other things. I think the algorithms do get better over time.[00:16:02] ARI HERSTANDOh, absolutely. Yes, we're seeing that, you know, absolutely across the board with Netflix and Hulu and Prime and all that stuff. But, I mean, you bring up a good point about, you know, the human and the human playlist editors and what, you know, the power has shifted away from these playlist editors in part because Spotify is pulling the power from that. Because, you know, they're not giving the playlist editors free reign. It's kind of like if we can compare it to, you know, radio stations back on the day that the DJs had the power and they could play whatever they wanted. And that was like, you know, when the 70s and the 80s and maybe even a little bit into the 90s, you know, the DJs could play whatever they wanted. And they were all powerful because that's how people discovered music. Then Clear Channel took over and bought up all the radio stations and was like, oh, guess what? These are the only songs that you're allowed to play now. Here's the list. And then every week Clear Channel would update that list and send the list to all the DJs and say, you can choose, but you have to play these songs. So then the DJs became less powerful because that power was removed away from them by the overlords, which was the owners of the station, which was Clear Channel. The same thing has started to happen on Spotify. The editors used to be the all powerful DJs. They used to be all powerful playlist editors. Now they're overlords, they're owners, Spotify has come to them and be like, well, guess what? Your playlist is not keeping people on this, on Spotify and on the playlist long enough anymore. So you're only allowed to do three new songs a week. And in those three songs don't really perform well, then you're either gonna lose your job or you're not going to have the liberty to choose the song anymore. And of those three songs, they actually have to be from this list, which is the song that have already been pre-tested on the algorithmic side. So it's kind of like we see the same thing as it's like, instead of clear channel dictating the list based on their private marketing rooms and studies with surveys of listeners like they used to do when they would test songs with radio with market groups, now Spotify's testing songs with the algorithm and then they send those songs to the editors and be like, okay, these songs are proven. So when Tua was selecting the song for Rap Caviar, he was at the start of it. But as it got later on and on and what's happening with today's topics with Rap Caviar and all of them, he's just not one person anymore that's shooting. I mean, when Troy Carter was at Spotify and kind of in charge of all this, he said this and this was mind you four or five years ago, this was happening to them. It's like with those big, big playlists, he's like, it's no one person that is deciding this. These songs are tested and then we decide that it was going to go into those big playlists. But now that's happening on every playlist top to bottom.[00:16:25] DAN RUNCIERight. And circling back to what you had said at the beginning that this, of course, is shifting artists to that focus on how they're releasing music, the waterfall strategy, but tweaking that specifically for what they're doing with singles leading up to the album. But I also have to assume that to a certain extent, some of this does become table stakes in that everyone, as you mentioned, is doing it that knows what they're doing right, whether it's you or it's Lizzo or others. So once that's kind of the lay of the land, are there additional things that, you know, artists that you're at least suggesting that artists should or shouldn't be doing or at that point does become more and more dependent on things that are independent of the release, whether it's the artists fandom, the quality of the music and so on.[00:19:21] ARI HERSTANDAbsolutely. And this goes back to the intentions. And so, you know, it's no secret that in 2020, 2021, if even a bit last year in 2022, the Tiktok was, you know, a massive driver of streams. And so it's like, for some artists, that was where they found success. But, you know, and this is where we get into what are your intentions and who is your fan base? If you're making kind of straight ahead rock and roll, that's going to appeal to like 35 year old plus or you're making like throwback traditional R&B, that's similarly going to appeal to a 35 - 40 year old audience and up. Your marketing methods should not be Tiktok. So like if somebody's like, oh, you got to do a Tiktok, well, like, no, you don't have to do it. You know, you have to understand who your audience is, if your audience is on Tiktok, then maybe. And if your music that you make could be tiktokified, it's like, you know, it's like it's funny, you know, and all that and with Lizzo's song About Damn Time. You know, the thing that went viral on Tiktok was like the seven seconds of the first line of the second verse. It's like the most random shit that catches on Tiktok that you just like don't even know and oftentimes it's just like, you just never know what's going to catch or not. And it's like, so yes, Tiktok that can be a strategy. Absolutely. And it's like buying lottery tickets. So like the more you post, the more, you know, tickets that you're buying the higher profitability you have of something catching and then people using that bit, of course, there's deeper strategies that you can implore if you really want to study this. If you're like Tiktok is the method and the way that I want to go, totally like you can, you can work influencer marketing. That means, you know, get hundreds of influencers with varying audience sizes, micro influencers, macro, whatever kind of budget you have, pay them a little bit of money to use your song or your snippet of your song, your 15 seconds of your song in their video. Have everybody do it in the same week. And hopefully that gives you a chance that inspires more people to use that same 15 seconds in their videos. Sometimes it works. Sometimes it doesn't. It's kind of like back in the day, you know, when labels would work a radio campaign and spend $300,000 on promoting a single at radio. Sometimes it worked. Sometimes you lost $300,000. And that's what we're seeing right now with influencer marketing campaigns because Tiktok is so fickle and random that you don't know if it's going to work. And if you spend $100,000 on an influencer market, so that is one way.[00:19:38] DAN RUNCIEYeah, I think the Lizzo point is key with that because I know that she spent and her team spent a lot of time focused on trying to make that whole album special pop on Tiktok. So to your point, the fact that they probably thought it would have been the bad bitch of clock live but then ends up being a completely different line that ends up going completely viral because don't know how exactly it's gonna go but the fact that the team put in work means that something was able to pop there.[00:21:26] ARI HERSTANDThe beauty of TikTok is that you can test and test and test and test and test for free, especially like indie artists are doing this all the time. So like yes, Lizzo has millions of dollars behind her and a full team of people that can do this. I'm seeing this with indie artists doing this all the time where they're just testing on their own, you know, they'll post a few videos a day or a week or whatever with different snippets of their line, of their songs rather, and seeing which ones respond best. And then like, oh, okay, it's this part of the song. Like, you know, if they were Lizzo, they were like, oh, it's the first line of the second verse responded better than the other previous 15 snippets that I posted over the last three weeks. So let me do 10 more videos of just that first line of the second verse and see if it was a fluke or if this is actually about a pattern that I'm on to something and they're like, oh, that is what's connecting. And like, oh my gosh, 20 people just posted videos using that the first line of the second verse and they're like, all right, let's keep doing that. And then you kind of, you know, this is how you discover what work is just trial and error, whether you have a label of, you know, 20 social media experts doing this and a million dollars behind it to like, throw gasoline on the fire by hiring influencers to do this. Or if you yourself and your best friend in your bedroom figuring this out, it's the same strategy.[00:21:46] DAN RUNCIEYeah, that makes sense. And especially with the fact that Indie artists can tweak it, it is free to essentially tweak on TikTok. But I'm curious to hear your opinion on just how the Indie artists specifically can have the ideal team structure. Cause like we said, on one end, you have Lizzo's million dollars behind you on the other end, you have, yeah, it's you and maybe your friend can help you do this. But somewhere in the middle is that successful Indie artists that doesn't have the, you know, major record label resources, but it's still tweaking things. So even if we think a bit more broader than social media, what does that team look like? Like maybe even for yourself, like what does that team structure look like to make sure you have all the pieces in place to run a successful Indie business?[00:27:12] ARI HERSTANDTotally. I mean, it's a great question. And I talk about this in the book. I've updated the new team. I call it the new team. Because there's been the traditional team that's been around for decades. And that's what everybody understands. Like your art manager, your personal manager, your record label, your booking agent, your publicist, your attorney, you know, a publisher like this. That's the traditional team that, you know, you'll read about in the other music business both written by lawyers that were written 30 years ago. Most in the industry on that level, they haven't really updated that team. But when it really comes down to what we're looking about in the new music business with Indie artists, especially before you get those big players on your team, you still have to run your own business yourself. And sometimes we've seen a lot of NDRs that don't ever want a record label. And that's totally fine. So, you don't need that scene, remember necessarily. But what you do need is to be putting out regular content that's representative of who you are as an artist. And so what does that require? Well, it requires video content. Okay, you need someone on your team that can make really good video content. If that's you, cool. But sometimes it's not the artist. And so having someone on the team that's good at video, videographer, whatever, an editor, that is a key number of the new team that is extremely necessary. Say with a photographer, you know, it's really important to kind of have regular, new high quality photos or any kind of photos, whether it's your, you know, candid photos when you're around, when you're on tour, photos from the stage, from behind you with the audience there showing what you're about, promo photos, press photos. So like a photographer. It doesn't need to be a full time member on the team, but I think doing regular photoshoots and having people that are regularly pumping out photos. Again, it doesn't need to be as formal as like a record label or a team member like that. It's like, oh, you're my best friend. You have a new iPhone and you're really good at taking photos. Let's like take a lot of photos all the time and continue to post them. And that counts too, you know, and same with like a designer, like a graphic designer, you know, there's so many used cases where graphic design is gonna be necessary, whether it's designing your album cover or it's merch items or it's show posters or, you know, any other cases where you need something design. Again, it doesn't need to be a full time member of the team. It could be someone you enlist over Upwork that you hire to do that or it could be a friend of yours. That wants to help out. And then there's this role that I call the digital specialist. And, you know, managers and labels of column, it's like, are they calling digital? They're a digital person and it's like, oh, you know, we're going to send it over to digital. Basically, what that is, is like they specialize in social media advertising. This is something that is is really crucial when it comes to the release strategy that we're talking about previously. Virtually every single record label, it be label up to the majors down to individual artists that are releasing music on their own on that have a little bit of a budget are now running social media ads. It takes a lot of time to learn all this and it's a specialty for sure whether you're running ads on, you know, via the meta ads manager with Instagram and Facebook or Tiktok ads manager, YouTube, Google ads, all that stuff. That's what a digital specialist can do and then they kind of monitor everything and then they gather all the assets and then they help kind of guide the strategy. And so all this being said is like these are team members that are important to every indie artists career right now. They don't need to be individual people that handle these roles. I've seen indie artists that do all these roles themselves and they're their own team right now and that's cool. If they can figure that out for me personally like I know that I'm not a good recording engineer and I'm not a producer. So that's another team member that I'm going to hire when I make a record like I'm not Finneas. I'm not going to make a record in my bedroom. Like I can't do that. That's not what I want to do. Like honestly that doesn't inspire me. What inspires me is to make music with other people. So like I'm the type of artist that I'll get into a studio with eight other musicians and we'll track something live, you know, and like that's what I like doing them inspires me. But I need a producer. I need an engineer. I need a mixing engineer. I need a mastering engineer. These are all team members that I might enlist for that one recording. You know, but other people like Finneas was Billie Eilish's first team member. And he was her recording engineer and producer and like she had that built-in team where they could be pumping out music to Soundcloud regularly early on. Whereas like a lot of artists don't have that but some do. It's like again, what are your intentions? What inspires you? What kind of music do you want to make? But there are certain roles that can be filled by either your brother in down the hall, in the bedroom or by someone halfway around the world and Upwork. But these are the roles that can be filled and the jobs that need to get done.[00:27:55] DAN RUNCIEThat makes sense. I know another thing for these teams is someone that is always keeping their eye on the new big thing or the new small thing to be able to test out just being able to figure out what's there. And the past couple of years, Web 3 and NFT specifically have guy and even more traction and I think maybe in the most recent year got a little bit less traction to just a more overall transaction level. But as we're heading into 2023 now, how do you look at NFTs as part of your strategy and how do you look at Web 3 more broadly for what artists are doing and any examples that you may have of like yes, this person that is an indie artist that wasn't just a mature artist like did it and they've done it really well.[00:31:44] ARI HERSTANDAbsolutely. I don't see Web 3 slowing down anytime soon. I still see that this is as a digital society is heading. It's evolving for sure. Bitcoin isn't kind of what is all encompassing anymore like it was five - six years ago. It's not even just the mouth crypto currencies and it's not even just about NFTs like NFTs. The reason that it's lost a lot of its initial luster and sheen is because when it first kind of caught on, you know, early 2021 or so. It was like that was the sexy new thing that nobody quite understood but once you got it you're like well, this is crazy at the digital collectible.Cool I collected playing cards when I was growing up, I get it, sweet, that's what this is the digital collectible one of one okay cool I understand it so that was like. And people are trying to find used cases like you know we initially heard about Kings of Leon was like one of the first that did like an NFT album and they tied you know physical experiences to their NFTs like you get front row tickets that you were one of the NFT holders for life and you could redeem the NFT for proper tickets. So that was like the first way by say now we're seeing is more used cases and people that are creating them independently so like I had on the podcast on my podcast the name is Business Podcast. Sammy Arriaga, he's a Latin country artist and he's a really great, really cool crossover artist. He is a country musician but it's kind of with Latin infused country music it's really cool. He had a deal with Sony, he was signed to Sony as an artist and any of the publishing deal for a while they you got dropped up. It wasn't up to the major label success standards that they were hoping for. I got dropped. Then he actually had a little bit of success on TikTok in like 2020 and then he pivoted to NFT's in 2022 actually, I believe. And just cut to the headline, he made over $250,000 on his NFT of his album or actually of his song. Just one song to be honest. And how he did it, what was really interesting, it wasn't because of his fan base because the vast majority of music fans right now still have not come around to NFTs. They're not really in the metaverse. They're not in the crypto web 3 community yet. But the web 3 community is still very, very strong. It is thriving and kicking. If you can tap into that, then you can actually have a lot of success there right now, currently today. Now in five years, I do believe that most music fans, there will be used cases and every artist will have something to do with NFTs and Web 3 and micro and bastine which I'll get to in a second. But what Sammy did was he went to that Web 3 community and where do they primarily? Just at the time and still really is on Twitter and specifically Twitter spaces. What he did is he went into these Twitter spaces rooms. These are like the audio, Twitter spaces, the audio, new version of clubhouse and any space that was talking about NFTs and Web 3, he'd pop in, he'd listen for a little bit and then he'd raise his hand and I asked to come up and speak. They'd invite him to speak and he's like, hey, guys, you've been talking about NFTs for the last hour. I play you a song that I wrote, actually about an NFTs and it's called Metagirl and it's a META Metaverse Metagirl and they're like, oh, okay. So essentially, then he played the song. He's like, you can actually get that song right now as an NFT, the links in my, you know, pin the link right here and they were like pin the link in the Twitter space and that's how we did it. And he made $250,000 just from doing essentially by busking on Twitter spaces.[00:32:18] DAN RUNCIEHow many Twitter spaces did he do to make that happen? [00:35:05] ARI HERSTANDIt was a lot, you know, because some of the 100 people, some of the 1000 people, but you did it for a while and like, that's a way, you know, that's not a scalable method necessarily that I'm encouraging people to like go busking on Twitter spaces and make an NFT. But he was able to do that and by finding that community, now, you know, Baratay is another indie artist. She was one of the first to kind of start experimenting on NFT platforms and selling NFTs. What she also did early on that we're now starting to see more widely adopted was she not only would release NFTs tied to her songs, but she would tie royalties to the NFTs, meaning you don't just buy an NFT as a digital collectible that you're hoping to resell and make a little money on. You're actually buying a percentage of ownership of the song or like a royalties as I should say of the song. So like she had one time, you know, auctioned off, I guess, you know, and it was through a blockchain platform. I believe she used royal at the time, which is NAS's platform. She like gave away 40% or sold 40% of one of her songs to people. So you could buy whatever percentage you wanted and it was valued at a certain level. And then you can buy that. Now, those platforms are starting to pop up like I'm on the advisory board of label coin and they're a new platform that, you know, started by a booking agent, Mark Miller, who I've known for years. And he approached me and he's like, Hey, here's what we're doing. And it's essentially it is the same concept. Using blockchain technology, but essentially being able to sell a percentage of royalties for your song. So you could theoretically like say, I'm going to sell 50% of the royalties of my song. And it's like, I'm going to sell it to a thousand people. So you could buy like, you know, a half a percent or a quarter of a percent or a small percentage. It's like buying stocks, essentially. It's like, you know, like the Robin Hood from music. So we're starting to see that and the blockchain technology that the whole infrastructure is built on because it's just more streamlined that way. And so like, we're moving to in the future when these platforms likely, book, coin and royal and the others like really start to break into mainstream is the fans are going to think, Oh, I have to learn cryptocurrency and I have to get a wallet and, you know, buy some of Ether, you know, from the Ethereum and buy some ether and like. You know, that is the heavy lift that why it prevented so many people from getting the NFTs. Like I want to learn how to do this and pay gas fees and blah, but like all the shit that it takes hours and hours and hours and hours just for one person to buy like one NFTs. It's like we're getting a little away from that and it's gonna be like a fan is like, oh, I'm gonna get 10% of royalties of Ari's new song and it's done in 10 seconds. And like they don't even know[00:36:33] DAN RUNCIEYeah, it needs to be as easy as like buying something called the Amazon, right? Like it needs to be instant. And I think that I agree there. I think that was probably one of the biggest gaps for a while. There was all these things. And some of it I think is natural with any new technology. There is an adoption curve. It's always gonna track the enthusiast which at least in this recent era congregated mostly on Web 3 corners of Twitter and we're discussing things. So I think it's really smart, you know, for artists to, you know, jump in on Twitter spaces the way that they did. It was really interesting to hear that in a lot of ways yeah, they weren't even reaching, they're like die hard fans. They were just reaching people that were interested. But that said, I think so much of this rings true with something else that's a concept in your book, the purement of investment. And I think I look at this a lot of ways, almost like a inverted sales fund if you will, address in terms of building awareness, the decision intended and actually getting people to act on it and knowing that you can obviously generate revenue at each level of those streams. But NFTs, especially if they're used the way that they could is something that does sit at the tip of that pyramid. It's not gonna be everyone, but it is something to monetize the die hard fans that you have. But even there you could adjust where it sits based on what you price it, how many drops you have and so many other things.[00:40:02] ARI HERSTANDAbsolutely, yes, the pyramid of investment on this concept that I have in the book, I'll just kind of break it down a little bit so people understand. It's like, you think about it, you know, this is financial investment. I also have a pyramid of engagement, which I'll get into a second, but what just investment at the bottom of that pyramid, we have the people that don't really spend any money on you directly, they might stream your song, they might stream your music, you might make a little bit of money from what their actions that they're taking like the stream of your music, but they're not like spending money on you directly. So that's the bottom of the pyramid and that's where the vast majority of the music of fans, audience, listenership lives just across the industry. But as we go up the pyramid, you know, then there's like, those that might attend your live stream and like tip you over that or they might just like tip you here and there and you know, in the digital realm, sure, it's a live stream, it's on Twitch, or whatever, or like, you know, they can tip you in real life or something, they're going to your shows and they'll tip you. So it's like the tippers essentially, then you go up a little bit higher, that people are actually buying tickets to your shows. Now they are actually directing money directly to you and they're coming to your concerts, they're your ticket buyers, your concert goers, then you look a level higher, they're the merch buyers. They're the ones that buy merch at those shows or buy merch online, but you know, your store or from your Spotify profile or whenever they're buying merch directly from you, they're like, I'm a real fan, I want to buy merch. Then we go higher and then we're into that category of fan clubs, crowdfunding campaigns, you know, investment, NFT, three point, you know, with that whole realm of like, I'm like such a big fan that if they're on Patreon, I'm going to be their patron. If they're running a Kickstarter, I'm going to back their Kickstarter. If they're selling a percentage of their royalties of the new song, I want to buy that. And then at the very tippy tippy top of that, it's kind of a little bit of out too, but it's like those that are buying the VIP packages. So it's kind of like a combination of it all. It's like that, am I going to, you know, go to the show and I spend the $250, you know, do a 10 sound check and get the merch package and do that whole thing. So it's like that's all at the top. And so you think about this as the pyramid of investment, you're going to have fans at every level of that and you want to make sure that you cater to all of them and that you don't exclude some. So it's like, you know, I think people can kind of have understood this concept when, like, I first got this like six, seven years ago when Patreon kind started to hit after Kickstarter. And I saw some of my friends that were running Patreon campaigns and Kickstarter campaigns, I know simultaneously. And to me, that seemed counterintuitive. I was like, wait a minute, your fans are only going to do one or the other. It's like, they're going to either back your crowd and bring you an album or they're going to be your patrons, right? No, I was wrong. What it was, was really like Kickstarter was below on that pyramid. There were more people that are willing to drop a hundred bucks this one time, this one year to back your Kickstarter, but then there's fewer people a little bit higher up on that pyramid that are going to pay you $10 a month on Patreon or Substack or whatever it's going to be, Band Camp, any subscriber service that are a level higher that will be your subscribers and then it just kind of keeps going up from there.[00:40:28] DAN RUNCIEYeah, I think that makes sense. And the thing that I've often thought about the model too is that of course the revenue that you get per fan does increase as you go further up that period. But if you were to multiply that by the number of fans in each of those tiers, do you think that the tiers do start to equal out roughly or what does that look like for you?[00:41:39] ARI HERSTANDThat's a really great question. I don't really need data to back that up, but that's a really great experiment and something that should be studied, I think like an artist that kind of, yeah, I'm going to work on putting those numbers together. That's a great idea. It's kind of like along the lines of the Thousand True Fans Concept, where this concept is, you know, they say that if you can get a thousand people to pay you $100 a year every year for the rest of your life, rest of your career, now you have a career and that's all you really need is a thousand people to pay you $100. However, if you break that down a little bit differently on the government of investment, you don't need the thousand people to pay you $100. You could get a hundred people to pay you $400, you could get 200 people to pay you $200. You could get, you know, 400 people to pay $50, you could get 700 people to pay you $20 a year, you know, and you could really break that down a little bit differently. And so it's like, how are you going to get to that $100,000 a year mark if that's your goal or a million dollars a year, if that's your goal. And it all these fans are going to fall somewhere. All this money is going to fall somewhere on that pyramid of investment.[00:43:12] DAN RUNCIEYeah. I think about it this way too, maybe from like an example perspective. Let's look at someone at the top. Look at someone like Beyonce. I could see her. I would need to do the math. But let's just say ballpark speaking, she gets $30 million a year revenue from her music, right? Purely from streaming. I could also see her getting $30 million a year from, let's say she does a few concerts that year or a few special one offs. She could also get $30 million a year from doing two private shows of performing at a wedding or something like that or performing at an Uber private event. So each of those things can equal that amount. But yeah, I think that way to break down the thousand true fans, I think is important too. Because I think when that theory came out, Kevin Kelly's, I think it's back in 2018, but it made a bunch of sense. But I think for most people putting things out, yeah, even that requires a bit of segmentation there. So it's fascinating. And I'm sure so much of this is fascinating for you as well. Because I feel like you kind of have two examples of this with the businesses that you're running. You have Ari Herstand, the artist and you have your own, pure, mid of investment. You also have your visit of this podcast, the courses and the book as well. And for you, I'm sure I know you have a team that helps with each of these things, but do you look at it any differently between the two, you know, yourself as an educator that is sharing this information combined with yourself as the musician?[00:49:10] ARI HERSTANDYeah, I mean, absolutely. Like, I think, you know, why people have responded to the artist take business and my book and the artist take account of me and the music, the podcast and all the stuff that like, I do on the music business education front is because I am a musician. I have that musician's empathy. I've, you know, lived it and living it and it's like, I understand how hard everything is. It's like, you know, I'm not just saying it to say it like NN because I read it somewhere. Like, I'm living it. I'm interviewing people that are living it. You know, I put on two different hats like I look at myself almost now as like part journalists and like kind of, you know, in the lane that you're in where by interviewing more people, we learn more and that's great. Like, I know my perspective and everyone's perspective can be limited to their own experiences. So I try to widen my experiences by widening my information base by talking to more people. So the whole point of the podcast honestly was just to talk to more people, smarter people than me that are doing bigger things and more successfully than I was doing. So I could learn from them and then share that information. Like I've always interviewed people from like artist take and writing for other publications and I then made the podcast basically public. With my own music career, you know, the intentions have shifted. But when I started Ari's take as a blog 10 years ago, I made 100% of my money from my music. I was like a full-time artist, touring artist releasing music, all that stuff like touring most of my year, going on plenty of national tours. The intentions have shifted when I realized where I can be most useful and necessary. So like I don't tour anymore. You know, I'll do one-offs here in there. Like when I'm with my new funk project, Rasmentisdrake, it's like I do in a kind of an immersive funk experience. And I want to keep that in one place like we did in L.A. in like last summer, we did, you know, a 16-show run in L.A.. That's like my creative outlet. Like I do in the intentions of that, I want to top the Spotify charts and like go on tour. So like why I keep going back to like what are the intentions for every artist is like they're different. So my intention for that was like I wanted to sell out all those 16 shows and like that was my own function for the off thing. Or I wanted to at least, you know, get people a good experience and have a good time doing these things. Like I released a solo album last year under my own name. And the intention of that was honestly not I want to go on tour or I want to, you know, and get millions of streams. It was just like I went through a break out and I needed to write these songs and release them for my own mental health and just like honestly just for my own well-being and like get these songs out there. And people connected with them. And that was wonderful. And like I heard from tons of people that really resonated with the songs. Like that was something that you know gave me some perspective to is like, my focus right now is not making a living just for my soul of singer songwriter project like it used to be. That being said, there's a place for everything. And so, you know, I covered this concept of like the multi-hyphenate. Everyone's a multi-hyphenate. Everyone from Beyonce down to me and any other indie artist that is working at a day job or whatever, everyone's a multi-hyphenate. Like, your job title can start with musician and then it can be, you know, what else? Like, some people are musician, lift drivers. Some people are, you know, musician, entrepreneur, CEOs like, you know, Dre as Beaks, headphones is like, oh, he's an entrepreneur and a business person. And so it's like, I don't think the artists need to feel like shameful or insecure about their other hyphenates, their other job titles. You know, at the end of the day, you want to do what inspires you. And so for me, you know, my idea of success is making a living, supporting the kind of lifestyle that I'd like to live doing what I love and offering value and meanings to people. And so I've kind of structured my own life in a way where I go to where I feel like I'm needed and then where I can bring value to people. And that I've found, you know, most useful in kind of the artist take blame and the music business lane of everything I'm doing. But at the same time, like, I'm an artist. Like, I'm never not going to be an artist. Like, that's just like who I am. That's like what my soul is. And so it's like, I can't ever stop doing that. Like if I don't want to force myself to ring out as much money from that, there's no shame in that. Like that's, you know, sure, you know, I always say it was all the time to be, it was like, if you're happy making music from home and putting it online and you're making like 50 grand a year by doing that. And that's like what you figured out how to do. You've got some same theory, you're on some ads, you got some streaming, whatever. And like you're doing that and you're happy. Wonderful. Could you make a hundred, 200, 300,000 dollars more if you like one on tour or up your merch operation or like, you know, started a Patreon or launch an NFT or something like that? Maybe. But do you have to? But no, of course not. Like do what makes you happy. Like if that's going to make you unhappy because you're chasing more money and like why? Like you don't need to do that. Like do what makes you happy. And that's the big thing. And so it's like, you know, I'm constantly figuring that out for myself and I encourage other artists that figure it out for themselves.[00:49:30] DAN RUNCIEYeah. And I think that's a good way to put it, right? There's so much action now. You know, there's so many opportunities in everywhere. It isn't multi-high fit. It is really up to you how many hyphens you have behind that name and how heavily you want to push all of them. And I think the other one for you is author. And of course you have this book coming out in a couple of weeks. So yeah, before we let you go, let me just do one more close to let people know the updates with the book and when to expect.[00:50:05] ARI HERSTANDYeah. So It is out January 17th, 2023. You can get it wherever you find books with its Amazon or Barnes and Noble or your local bookstore. And I don't know when this is airing or gonna go live, but if you're in L.A. on January 17th, join me at Barnes and Noble up at Grove and we're doing a book signing and a live podcast recording there. But yeah, I've added a hundred new pages to it. I've updated stuff in every section. I've rewritten chapters, but scratch, of course. A lot of stuff we talked about today is in the book like NFTs and Web 3 and TikTok and live streaming. A lot of stuff that didn't exist three years ago. So I've completely rewritten the majority of the book. So you know, if you have the first or second edition of the book, I encourage you to check out this third edition. It's very, very different and updated.[00:50:46] DAN RUNCIEGood stuff, man. Excited for you. Thanks for coming on. This is great. {00:50:50] ARI HERSTANDThank you. {00:50:54] DAN RUNCIE OUTROIf you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat, post it in your Slack groups, wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple Podcast, go ahead, rate the podcast, give it a high rating and give a review. Tell people why you like the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.

He wrote the book on it! Ari Herstand is an expert in the new music business, and learned what he knows by grinding it out, learning it the hard way. Join Adam and Ari as they discuss how to get your music heard on Spotify, how to make impactful videos on TikTok, how to find your target audience, and lots more.____________________________Download Gig Boss app: https://linktr.ee/gigbossJoin the Gig Boss Facebook Group: https://www.facebook.com/groups/gigbossBumper Music: Sunshine is Out by Adam Meckler https://open.spotify.com/track/1u12flYbzE4jxD1cwG5pGT?si=5228a5324e474da9-----------------------------------How to Make it in the New Music Business Book: https://amzn.to/3Pls5ixAri's Take Academy: https://aristakeacademy.teachable.com/?affcode=267075_yqqy4mcn - Use code "GIGBOSS" at checkout for 10% off

Chris Gilbert is live in Tokyo and brings us bizarre stories from around the world, including a divorce over instant noodles, a sheep charged with murder, and so much more!  The music industry is going through a massive shift, and it could change the way your music is delivered to you. Music Industry expert Ari Herstand helps us understand how TikTok and streaming platforms are competing with record labels and what it takes to make it big in the music industry right now.  HEY, DO YOU LIKE PODCASTS? Why not subscribe to ours? find it on Apple, Google, Spotify & Curiouscast.ca    See omnystudio.com/listener for privacy information.

In this episode Durell is joined by Mike & Caroline Walker. Mike has over 30 years of experience as a multi-instrumentalist, producer, composer, songwriter and educator. Caroline is the co-owner of Dreamwalker Music Evolution which is their own artist development company along with Mike as well as a songwriter. The episode begins with Durell asking Mike and Caroline what are their earliest memories of music. Mike shared that he grew up playing football and once he got to high school he realized that he didn't have the size to keep playing without getting hurt. He remembers seeing a poster with a guy playing a guitar and he knew instantly he wanted to try playing the guitar and he knew that he had a strong work ethic that would provide the ability for him to become really good and he knew he wouldn't get hurt like he would have if he continued to play football. Caroline shares that her earliest memories of music were that she remembers her parents having a large record collection and listening to music all of the time. She shares that she remembers a lot of classical music as well as artists such as the Beatles, & James Taylor always being on. She shares that she played flute in the marching band in high school. Caroline says that her parents always had a lot of books around and that she was always reading which developed into a passion for writing. She ended up going into a career in counseling and it wasn't until about 5 years ago that she really developed a passion for writing lyrics. Durell asks Mike when did he know that he wanted to pursue music professionally as a career. He shares that he lost his mom and dad at an early age. He went to a recording school but his brothers were in the construction business and wanted him to join them because they didn't think it was possible to make a living as a musician. Mike shares that he went to work with his brothers on the road for 3 months and he says all he kept thinking was that he had to figure out how to make music work professionally because he couldn't see himself being a construction worker for the rest of his life. Mike says the first thing he did was he got a job in a music store as well as began teaching lessons which he says quickly picked up. He had several jobs that would allow him to stay around music and make a living. He shares that he decided to move to Orlando from Philadelphia because he wanted a new start. He moved down and began to establish himself within the music scene and started playing in studios as a session player. He shared that he was an original band and got nominated for a Grammy. The band disbanded and Mike decided that he would make the pivot into producing. He shared that he wanted to create a business and he knew that artists were no longer being developed the way they used to be so he along with Caroline decided that would be something worth getting into to help new artists prepare for the real world music industry. Caroline and Durell both agree that education is a major key to success. Durell asks Mike & Caroline how they approach artist development. They share that the cornerstone of what they do is “craft development”. Mike does a lot of work to make sure that their clients know how to write songs and do the creative process to the best of their ability. Caroline shares that their clients don't really enjoy the business aspect of music because it's not as fun but absolutely necessary. Caroline says that social media is an aspect that so many creatives don't like. Durell shares the reason why most indie creatives don't particularly like social media is because they oftentimes don't know who they are talking too and that's why he makes it a point to focus on that when he's working with his clients. Caroline shares that they tell their clients that if they just want to be famous then they can't guarantee that but what they will guarantee is that when they've completed their program there will be opportunities that can allow for a full time career in music. Durell, Mike, & Caroline end the episode talking about how they've diversified their income streams by focusing more on sync licensing. Mike shares that he finds it interesting how different the sync world is compared to working primarily with artists. Durell shares that he has learned so much from his mentor and friend Michele Vice-Maslin in regards to learning the different rules and what is expected of someone who wants to make a living within that world. Durell asks Caroline how she feels about artist management. Caroline says it wasn't something that they focused on within the company. She shared that because she didn't have a music business background she began to read Ari Herstand's book “How To Make It In The New Music Business” to get a better understanding of what to know to help their clients. Caroline shares that she went to conferences to learn and network as well. She shares that she dipped her toe a bit into the day-to-day management of a few artists and quickly realized the biggest challenge was getting them to want to put in the work that is really required to build success in today's music business.Mike and Caroline share that they have been focusing more on expanding their song catalog and that has been something they want to do a lot more of. For more info on Mike and Caroline Walker, please visit their Instagram profiles and website@dmeorlando@dmesongwritinghttps://dreamwalkermusicevolution.com/

In this episode Durell is joined by Mike & Caroline Walker. Mike has over 30 years of experience as a multi-instrumentalist, producer, composer, songwriter and educator. Caroline is the co-owner of Dreamwalker Music Evolution which is their own artist development company along with Mike as well as a songwriter. The episode begins with Durell asking Mike and Caroline what are their earliest memories of music. Mike shared that he grew up playing football and once he got to high school he realized that he didn't have the size to keep playing without getting hurt. He remembers seeing a poster with a guy playing a guitar and he knew instantly he wanted to try playing the guitar and he knew that he had a strong work ethic that would provide the ability for him to become really good and he knew he wouldn't get hurt like he would have if he continued to play football. Caroline shares that her earliest memories of music were that she remembers her parents having a large record collection and listening to music all of the time. She shares that she remembers a lot of classical music as well as artists such as the Beatles, & James Taylor always being on. She shares that she played flute in the marching band in high school. Caroline says that her parents always had a lot of books around and that she was always reading which developed into a passion for writing. She ended up going into a career in counseling and it wasn't until about 5 years ago that she really developed a passion for writing lyrics. Durell asks Mike when did he know that he wanted to pursue music professionally as a career. He shares that he lost his mom and dad at an early age. He went to a recording school but his brothers were in the construction business and wanted him to join them because they didn't think it was possible to make a living as a musician. Mike shares that he went to work with his brothers on the road for 3 months and he says all he kept thinking was that he had to figure out how to make music work professionally because he couldn't see himself being a construction worker for the rest of his life. Mike says the first thing he did was he got a job in a music store as well as began teaching lessons which he says quickly picked up. He had several jobs that would allow him to stay around music and make a living. He shares that he decided to move to Orlando from Philadelphia because he wanted a new start. He moved down and began to establish himself within the music scene and started playing in studios as a session player. He shared that he was an original band and got nominated for a Grammy. The band disbanded and Mike decided that he would make the pivot into producing. He shared that he wanted to create a business and he knew that artists were no longer being developed the way they used to be so he along with Caroline decided that would be something worth getting into to help new artists prepare for the real world music industry. Caroline and Durell both agree that education is a major key to success. Durell asks Mike & Caroline how they approach artist development. They share that the cornerstone of what they do is “craft development”. Mike does a lot of work to make sure that their clients know how to write songs and do the creative process to the best of their ability. Caroline shares that their clients don't really enjoy the business aspect of music because it's not as fun but absolutely necessary. Caroline says that social media is an aspect that so many creatives don't like. Durell shares the reason why most indie creatives don't particularly like social media is because they oftentimes don't know who they are talking too and that's why he makes it a point to focus on that when he's working with his clients. Caroline shares that they tell their clients that if they just want to be famous then they can't guarantee that but what they will guarantee is that when they've completed their program there will be opportunities that can allow for a full time career in music. Durell, Mike, & Caroline end the episode talking about how they've diversified their income streams by focusing more on sync licensing. Mike shares that he finds it interesting how different the sync world is compared to working primarily with artists. Durell shares that he has learned so much from his mentor and friend Michele Vice-Maslin in regards to learning the different rules and what is expected of someone who wants to make a living within that world. Durell asks Caroline how she feels about artist management. Caroline says it wasn't something that they focused on within the company. She shared that because she didn't have a music business background she began to read Ari Herstand's book “How To Make It In The New Music Business” to get a better understanding of what to know to help their clients. Caroline shares that she went to conferences to learn and network as well. She shares that she dipped her toe a bit into the day-to-day management of a few artists and quickly realized the biggest challenge was getting them to want to put in the work that is really required to build success in today's music business.Mike and Caroline share that they have been focusing more on expanding their song catalog and that has been something they want to do a lot more of. For more info on Mike and Caroline Walker, please visit their Instagram profiles and website@dmeorlando@dmesongwritinghttps://dreamwalkermusicevolution.com/

On the podcast this week, Canadian Musician Editor-in-Chief Mike Raine chats with indie musician and industry expert Ari Herstand about making DIY music videos. Ari is a Los Angeles-based musician and the author of the Amazon best-selling book, “How to Make It in the Music Business,” as well as the founder of Ari's Take Academy, which teaches immediately applicable tools and strategies with direct pathways to success for indie artists. In the conversation, borrowing from Ari's own experiences making DIY music videos, he and Mike chat about the role of music video's in today's entertainment and music culture, practical tips for saving money on lighting/props/locations/etc. while still making high-quality content, and how that video content can be used in multiple places and ways. As you'll hear, Ari isn't just thinking about music videos on YouTube, but also how that content can be used for visual canvases on Spotify, Instagram Reels and IGTV, TikTok videos, fan engagement, and more. Ari also notes the commonly overlooked things that can ruin even a big-budget video.

How do you become an artist manager in the music business? You can start today! It's all about getting reps and becoming a practitioner. Books mentioned in this episode: How to Make It in the New Music Business: https://amzn.to/3fRtxsx All You Need to Know About the Music Business: https://amzn.to/3umqUEw Podcasts Mentioned: Creative Juice - https://indepreneur.io/podcast/ Rick Barker - https://rickbarker.com/podcasts/ Ari Herstand - https://aristake.com/nmb/ Lennon Cihak - https://lennoncihak.com/podcast Katie Zaccardi - https://www.katiezaccardi.com/podcast Join the Academy:https://www.patreon.com/makingitacademy   Got questions? Leave a comment or send me a DM on IG https://www.instagram.com/makingitwithchrisg/  Where do you hang out on Social Media? Find us here... Website: http://www.makingitwithchrisg.com/ Who Am I?  I've booked, promoted, and produced over 2,500 shows with the world's biggest promoters (Live Nation and AEG Presents) and independently. Here is more about my background - http://www.makingitwithchrisg.com/aboutme.    What's that sound? I have Tourette Syndrome, which is why you may hear a regular vocal sound. My producer calls it Jazz. I have quite a few tics and have had Tourette Syndrome since I was 6 years old. To learn more about Tourette's or support research for Tourette Syndrome, please visit https://tourette.org/. 

Ryan Koriya is an artist who wears many many hats. He is a musician and composer born in Harare and now based in Ibiza, Spain where he is developing various music projects under his own record label Runway Vertical Records. He is also business marketing and branding consultant, who helps creatives and entrepreneurs around the world succeed in today's fast-paced digital world.As well as founder of ZimXcite, a Zimbabwean culture fashion brand, that promotes a fun spirit of inclusion and global diversity, inspired by all things Zimbabwe. Also in development is African Astronauts, a multi-media project to help empower and unite Africans the world over by providing a platform for Africans to tell their own stories. Websiteshttps://www.ryankoriya.com/https://www.africanastronauts.com Instagram: https://instagram.com/ryankoriyaInstagram: https://instagram.com/zimxciteFacebook: https://www.facebook.com/zimxciteYouTube: https://www.youtube.com/c/RyanKoriyaResources mentioned: Zimbabwean Artists Playlist: https://open.spotify.com/playlist/2PxSzEE2htWT4ioYDjA5n3?si=34ad18d14b904a41CD Baby Free Artist Resourceshttps://diymusician.cdbaby.com/Ari Herstand's Take Music Industry Bloghttps://aristake.com/blog/Damien Keyes Music Industry Educationhttps://www.youtube.com/user/DamiankeyesBurstimo Free Music Industry Advicehttps://www.youtube.com/c/BurstimoBooks The Subtle Art Of Not Giving A F*ck by Mark Manson* Amazon* : https://amzn.to/3KJOSSREverything Is F*cked : A Book About Hope by Mark Manson* Amazon* : https://amzn.to/3q1Wbgx*The following is an affiliate link. If you decide to make a purchase using it, I may If you're interested in how learning how I launched ZimExcellence then you're in luck. Sign up for my podcast workshop and learn how it's easier and more affordable than ever to start a podcast. Also, get a copy of my podcast resource guide which covers industry terminology, and suggested tech setup in addition to countless online resources to support your podcast journey. Just head to vongai.com/podcastcreation. Buzzsprout - Let's get your podcast launched! Start for FREESupport the show>> Sign up for Vongai's podcast workshop Buy ZimExcellence Merch

Ryan Koriya is an artist who wears many many hats. He is a musician and composer born in Harare and now based in Ibiza, Spain where he is developing various music projects under his own record label Runway Vertical Records. He is also business marketing and branding consultant, who helps creatives and entrepreneurs around the world succeed in today's fast-paced digital world.As well as founder of ZimXcite, a Zimbabwean culture fashion brand, that promotes a fun spirit of inclusion and global diversity, inspired by all things Zimbabwe. Also in development is African Astronauts, a multi-media project to help empower and unite Africans the world over by providing a platform for Africans to tell their own stories. Websites https://www.ryankoriya.com/https://www.africanastronauts.com Instagram: https://instagram.com/ryankoriyaInstagram: https://instagram.com/zimxciteFacebook: https://www.facebook.com/zimxciteYouTube: https://www.youtube.com/c/RyanKoriyaResources mentioned: Zimbabwean Artists Playlist: https://open.spotify.com/playlist/2PxSzEE2htWT4ioYDjA5n3?si=34ad18d14b904a41CD Baby Free Artist Resourceshttps://diymusician.cdbaby.com/Ari Herstand's Take Music Industry Bloghttps://aristake.com/blog/Damien Keyes Music Industry Educationhttps://www.youtube.com/user/DamiankeyesBurstimo Free Music Industry Advicehttps://www.youtube.com/c/BurstimoBooks The Subtle Art Of Not Giving A F*ck by Mark Manson* Amazon* : https://amzn.to/3KJOSSREverything Is F*cked : A Book About Hope by Mark Manson* Amazon* : https://amzn.to/3q1Wbgx*The following is an affiliate link. If you decide to make a purchase using it, I mIf you're interested in how learning how I launched ZimExcellence then you're in luck. Sign up for my podcast workshop and learn how it's easier and more affordable than ever to start a podcast. Also, get a copy of my podcast resource guide which covers industry terminology, and suggested tech setup in addition to countless online resources to support your podcast journey. Just head to vongai.com/podcastcreation. Buzzsprout - Let's get your podcast launched! Start for FREESupport the show>> Sign up for Vongai's podcast workshop Buy ZimExcellence Merch

For the month of August, 2021, we're bringing back four of our listeners' favorite episodes. Writing Class Radio brings you personal stories and tips on how to write your own stories. In this episode, we examine the popular writing tenet, show DON'T tell. We believe just showing is not only impossible, but detrimental to your story. Telling gives insight into what the narrator is thinking and feeling.To test this theory, we asked our students to just SHOW. We gave the prompt: A fight and instructed them to go directly to scene without explaining. We wanted to see if show without tell would work. After ten minutes, the students were asked to continue where they left off but to move from the scene into exposition, to just TELL. They were instructed to explain what was going on in the story, give background, and tell what the narrator was thinking and feeling. What we found: It's impossible to show without telling.You will hear short prompt responses from student Misha Mehrel, who has read many stories on this podcast, Allison Langer, and Andrea Askowitz. Andrea's piece called Spoiled Mom was developed out of this exercise and published in June 2018 in Mutha Magazine. Writing Class Radio is a podcast where you'll hear true personal stories from the students in our class and learn a little about how to write your own stories. Writing Class Radio is equal parts heart and art. By heart we mean the truth in a story. By art we mean the craft of writing. No matter what's going on in our lives, writing class is where we tell the truth. It's where we work out our shit, and figure out who we are. There's no place in the world like writing class. And we want to bring you in.Writing Class Radio is co-hosted by Allison Langer (www.allisonlanger.com) and Andrea Askowitz (www.andreaaskowitz.com). The original episode 47 was produced by Virginia Lora, Andrea Askowitz and Allison Langer. Theme music by Ari Herstand. Additional music by TJ North, Kevin Miles Wilson, Ari Herstand and Podington Bear. You can find all our music on our website. Episode 108 was put together by Matt Cundill and Evan Surminski of the Sound Off Media Company.Thank you for listening. If you love this podcast, tell your friends. There's more writing class on our website, Facebook, Instagram and TwitterIf you love the lessons you get on each episode, you can get them ALL in one place--our three-part video series--for $50. Click Video Classes on our website.If you want to be a part of the movement that helps people better understand each other through storytelling, follow us on Patreon. For $10/month Andrea will answer all your publishing questions. For $25/month you can join Allison's First Draft weekly writers group, where you can write and share your work Tuesdays 12-1 (ET). www.Patreon.com/writingclassradio.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

For the month of August, 2021, we're bringing back four of our listeners' favorite episodes. Writing Class Radio brings you personal stories and tips on how to write your own stories. Allison Langer loves the process of working out her shit and reading it out loud. In class, she can't hide behind a facade. Andrea Askowitz loves thinking about writing and ways to make stories stronger. She breaks down every sentence and takes out needless words. Andrea loves the craft.Cheryl Strayed, Author of Wild and Tiny Beautiful Things, says writing is equal parts heart and art. Andrea loves the art. Allison loves the heart. That's what you get on this podcast. Equal parts heart and art.This episode is about connecting through writing. It's also about the job of storytellers to bring us into their world. Student Nilsa Rivera tells a story about her fear of isolation because she's hard of hearing. This is especially true and important today, during covid, when people are wearing masks and reading lips is impossible.Andrea relates to Nilsa in a very small way and emails her after class, which she immediately regrets doing. In class, students (and teacher) are only allowed to give feedback on the writing, not someone's life because whether or not a reader or listener has had the exact same experience is irrelevant. When a story is well-told, anyone can relate to it. You will hear how Nilsa felt about Andrea's email and more about what it sounds like to be hard of hearing.Nilsa Rivera writes about gender and diversity issues. She's the Non-Fiction Editor of Doubleback Review. Her work appears in Huffington Post, 50 GS Magazine, Six Hens Literary Journal, Assay: A Journal of Nonfiction Studies, Selkie Literary Magazine, and Writing Class Radio. Her work has appeared in Turning Dark into Light: A Mental Health Anthology and Home in Florida: Latinx Writers and The Literature of Uprootedness. She's currently an MFA Nonfiction candidate at Vermont College of Fine Art and lives in Riverview, Florida. She can be found at @nilsawrites and Nilsa Rivera on FBThank you for listening. If you love this podcast, tell your friends. The original episode 29 was produced by Virginia lora, Allison Langer and Andrea Askowitz. Theme music by Daniel Correa. Additional music by Ari Herstand. Episode 107 was put together by Matt Cundill and Evan Surminski of the Sound Off Media Company,There's more writing class on our website, Facebook, Instagram and TwitterIf you love the lessons you get on each episode, you can get them ALL in one place--our three-part video series--for $50. Click Video Classes on our website.If you want to be a part of the movement that helps people better understand each other through storytelling, follow us on Patreon. For $10/month Andrea will answer all your publishing questions. For $25/month you can join Allison's First Draft weekly writers group, where you can write and share your work Tuesdays 12-1 (ET). www.Patreon.com/writingclassradio.There's no better way to understand ourselves and each other, than by writing and sharing our stories. Everyone has a story. What's yours?See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On this episode, we bring you a story that the narrator has returned to and will probably return to all her life. Everyone has their themes and it's okay to return to them at different points in our lives. Trigger warning…The story you will hear on this episode documents the loss of a child. If this is a sensitive issue for you, please listen to another episode.Our student and listener Emily Henderson writes a beautiful story about the loss of her son to brain cancer. In this essay, she uses her husband to tell her story from a different angle. Her husband has big enough shoulders to carry the weight of their grief. This story is in honor of all the fathers out there.Emily Henderson is a stay-at-home mom, volunteer, freelance writer, and student at Writing Class Radio. Her essays have appeared in Scary Mommy, The Santa Barbara Independent, and Love What Matters. She is currently attempting to run every single street in Santa Barbara, CA.She writes a blog called www.myjustrightlife.com You can find her on Instagram @myjustrightlifeThis episode of Writing Class Radio is produced by Allison Langer, Andrea Askowitz and Virginia LoraTheme music by Justina Shandler. Additional music by Podington Bear and Ari Herstand.There's more writing class on our website, Facebook, Instagram and Twitter.If you love the lessons you get on each episode, you can get them ALL in one place--our three-part video series--for $50. Click Video Classes on our website.If you want to be a part of the movement that helps people better understand each other through storytelling, follow us on Patreon. For $10/month Andrea will answer all your publishing questions. For $25/month you can join Allison's First Draft weekly writers group, where you can write and share your work Tuesdays 12-1 (ET). www.Patreon.com/writingclassradio.

In this episode of the podcast, I sat down with Ari Herstand, one of the most innovative minds in the DIY music business, and he shared with me why right now we're in a “renaissance era of the music industry.”Ari is the best-selling author of How to Make It in the New Music Business, he's the host of the New Music Business podcast, and he's been called “The poster child of DIY music” by Forbes magazine. He shares the tools he's used to carve out a successful career in music so that you can create your own path to the career of your dreams in today's music industry:Get to the core of your “why”Create a 6 month goal, a 1 year goal, and a 5 year goalReverse engineer, create your plan to get there, and pursue it “full in”Sign up for Ari's newsletter and learn more about everything Ari is doing at: https://aristake.com/Sign up for Michael Walker's FREE Fanbase Growth Workshop here: http://bit.ly/FanBaseGrowthWorkshopTo learn more about Modern Musician visit: www.modern-musician.com

Wanna know how to DIY your way to success? In this episode, Matt Gottesman @mattgottesman sits down with Ari Herstand (Entrepreneur & Founder of Ari's Take Academy & Author) and they go all-in on learning by doing, not waiting for others to build your dream, changing direction with school in order to focus on the music and music business, seeing firsthand how music industry curriculum isn't up to date in college, launching his music career, relocating to LA to expand his brand and reach, learning the business from the inside out, starting a blog called Ari's Take, helping other musicians and artists along the way, adapting and using new technologies to build on your niche, discovering niches that work best for you and provide you great sources of income, creating Ari's Take Academy and much more…   01:30 Meet Ari: entrepreneur, musician and  05:30 If you could only save 3 albums to listen to for the rest of your life, what would they be? 05:45 If you could sit down for a night with anyone in history, who would it be? 08:00 In your opinion, what is the most influential music film of all time? 08:45 What is one book or podcast that has been most influential on your creativity? 12:00 Going beyond your Bio, what has your journey looked like to get you where you are now? 17:00 Setting the stage for the beginning of Ari's music career. 18:40 What inspired you to start a blog? 23:00 How both Matt & Ari have had to learn new platforms and put themselves out there proactively! 27:30 Being in the trenches, putting in the work, and setting SMART goals! 30:30 Is there a one size fits all model of how to grow your audience as a musician? 34:00 The difference between wanting to create VS feeling like you HAVE to create in a certain way or platform. 36:15 What does success look like to you? 43:00 At what point did you start your Academy? 45:00 Solving problems Universities are missing since they aren't in the industry. 50:00 Changing the future of music education. 53:40 What really matters when it comes to booking yourself at a club? 55:00 What do you have coming up that you're excited about releasing? 58:40 Helping new artists start off on the right foot and giving seasoned musicians pivot. FEATURED GUEST: Ari Herstand Instagram: https://instagram.com/ariherstand  Website: https://aristake.com    OUR HOST: Matt Gottesman Instagram: https://instagram.com/mattgottesman   FOLLOW US: YouTube | https://bit.ly/OrloveUTC  Facebook | https://bit.ly/2T9Q1ur  Instagram | https://bit.ly/2Z5nN7N Website | https://bit.ly/2zA5yNc  Website | https://bit.ly/2zA5yNc 

Non-fungible tokens (NFTs) are virtual original art, just as bitcoin is virtual currency. Musicians have made millions in recent NFT sales, and unlike most revenue streams, an artist's NFT sales potential is not necessarily tied to the size of their fan base. What exactly are these collectibles-of-the-future, and why should they matter to musicians and their fans? Links and notes related to this episode can be found at: https://mpetersonmusic.com/podcast/episode97 Connect with us: Facebook: https://www.facebook.com/EnhanceLifeMusic/ Instagram: https://www.instagram.com/enhancelifemusic/ LinkedIn: https://www.linkedin.com/in/mpetersonpiano/ Twitter: https://twitter.com/musicenhances   Sponsorship information: https://mpetersonmusic.com/podcast/sponsor   In-episode promo: Sheet Music Direct https://www.sheetmusicdirect.com/en-US/ 

This week VÉRITÉ sits down with singer, songwriter, author and music industry expert Ari Herstand. He has successfully built an extremely well rounded independent career and his blog "Ari's Take" has become a go-to resource for artists and musicians to gain practical knowledge on the industry.  Anatomy of an ArtistCreated by VÉRITÉ Produced by Vanessa MagosMusic & Editing by VÉRITÉ Podcast research by Ysenia Bonilla  Follow VÉRITÉ:Instagram - https://www.instagram.com/verite/Twitter - https://twitter.com/veriteFacebook - https://www.facebook.com/veritemusicSpotify - Apple Music - https://music.apple.com/us/artist/v%C3%A9rit%C3%A9/900063435Website - http://veriteofficial.com/Contact - anatomyofanartistpodcast@gmail.com

We had the pleasure of interviewing Ari Herstand over Zoom video! Today, singer/songwriter, entrepreneur and best-selling music business author Ari Herstand releases his introspective new album ‘Like Home.’ With delicate atmospheres, textured percussion and an underlying feeling of comfort, Ari invites the listener into the autobiographical sounds of transformative heartbreak. “The only way I knew how to process my breakup from an 11 year relationship was to write about it,” Ari says. After writing 40 raw demos to help him navigate this monumental change, the singer narrowed his creations down to six tracks. Vulnerable, contemplative and vividly honest at times, the album lays out the singer’s personal journey of rediscovering the meaning of “home” after the stable presence of a long-term relationship was lost. “I feel like I’m cheating on you when I kiss another woman,” Ari admits in the opening track and previous single “Like Home,” surrounded by acoustic plucking. Alongside the shimmer and sway of “Drifting,” written about the dysfunction of time during a strange month living with his partner post-separation and “Birthday,” a sincere piano ballad wishing her well on the first birthday apart, these three highlighted singles gave listeners a taste of the emotion yet to come. Through new tracks “Fine Without Me,” “Guard” and “Half Way,” a passionate anthem featuring the vocals of current partner Annabel Lee (and the muse of the song), Ari rounds out a universally relatable collection of songs that authentically examine the experience of a breakup from every angle. Overall, ‘Like Home’ pulls the listener into the singer’s perspective in an evocatively real, reflective way. The project is an impressive venture from Ari, who has made a name for himself teaching independent artists how to succeed in the music business through his blog Ari’s Take and the subsequent book and podcast series. READ more about Ari and ‘Like Home’ via Music Connection: https://www.weekly-bulletin.com/pdf/completeissue/April2021_Complete.pdf Tonight at 6:00 p.m. PT, Ari will host a special album release party streamed live at Hotel Cafe. Ari will perform all six tracks from ‘Like Home,’ debut the music video to the titular track and sit down with KCRW’s Chris Douridas to discuss the story of ‘Like Home.’ Tickets for the livestream are available now for ‘pay what you can.’ All proceeds benefit Hotel Cafe. Purchase tickets to the album release event: https://viddd.co/v/vNA3WK We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com --- Support this podcast: https://anchor.fm/bringinbackpod/support

Welcome to Roadcase, a podcast exploring the live music experience!!  Join Roadcase for this stellar episode with Ari Herstand, and learn more about Ari's double-life as an artist/author and content creator as well as a trusted voice of reason and knowledge in the independent artist business community.  Ari's book, "How To Make It in the New Music Business," as well as his podcast, Ari's Take, both provide solid advice and instruction on how to make it and navigate in today's music business.  Ari is as personable as he is successful, and he was a joy to talk to, so come along for this great ride!!For more information: http://www.roadcasepod.comTo support Roadcase on Patreon, please visit: http://www.patreon.com/roadcasepodContact: info@roadcasepod.com

In March 2020, just as the world was closing under the advancing cloud of Covid 19, I spoke to a handful of musician friends from around the world to hear how they were doing and to explore some of the pressing questions around the shutdown and the arts.  One year later, I check in with (almost) all of them to hear what the last year has been like for them, what were the challenges and opportunities of the first Covid year, and how they see the future.  Italian singer Gege Telesforo, saxophonist John Ellis, bassist Joe Dart (sort of), guitarist Adam Levy, trombonist Ryan Keberle, artist manager Andrew Leib, singer songwriter Victoria Canal, artist and advocate Ari Herstand, guitarist Lage Lund, mud trudging songwriter Joy Dragland and funk magician Charlie Hunter (in his way) all weigh in.  Thanks for listening. If you enjoyed it, please leave a review on iTunes and consider supporting the podcast on Patreon and following the podcast on Twitter, Instagram and Facebook.

TOPICS: How the HITS Act could save artists money on their taxes; the Paramount+ lineup is giving us nostalgia feels; Jeopardy hosts. We also interview singer/songwriter/author Ari Herstand about his new album and his experience helping write pro-artist legislation in California. Find out more about his work by visiting www.ariherstand.com and www.aristake.com Rate/review/subscribe to the Break the Business Podcast on iTunes, SoundCloud, Stitcher, and GooglePlay. Follow Ryan @ryankair and the Break the Business Podcast @thebtbpodcast. Like Break the Business on Facebook and tell a friend about the show. Visit www.ryankairalla.com to find out more about Ryan's entertainment, education, and business projects.

How can you juggle multiple projects and be an artist at the same time? For many musicians it's hard building a career these days, caused by lockdown-confusions and a quick-changing music market. Ari and Hannah reveal how you can manage yourself and make it as an independent artist. Tune in!

How can you juggle multiple projects and be an artist at the same time? For many musicians it's hard building a career these days, caused by lockdown-confusions and a quick-changing music market. Ari and Hannah reveal how you can manage yourself and make it as an independent artist. Tune in!

Ari Herstand has a conversation with Tom about the music that's influenced him, as well as his upcoming and hugely personal album, "Like Home", which deals with both his break-up and subsequently meeting his fiancé. Ari also discusses his book, How To Make It in the New Music Business, and his "New Music Business" podcast, unpacking some key tips for budding professional musicians, such as why you only need 183 fans on Twitch to make $50k per year and why you don't want to go viral on Tik Tok. Ari's new single, "Birthday", is out now. This episode is brought to you by Modal Electronics, who make beautiful, innovative and powerful synthesisers. You can enjoy vibrant wavetable patches with their ARGON8 series. You can produce state-of-the-art analogue-style synth textures with their COBALT8 series. Go to modalelectronics.com to check out their incredible array of synthesisers. This episode is brought to you by Tinggly, who are on a mission to change the culture of gifting by encouraging everyone to give experiences rather than material things. Their team has handpicked the world’s best travel, adventure, culture, dining and more, bringing it all together in one place. Give stories, not stuff: go to tinggly.com to find out more.

Described by Forbes as “the poster child of DIY music” Jamie welcomes Ari Herstand, one of the most influential young entrepreneurs in the music business today. A musician himself Ari is also a best-selling author, educator, advocate, and authority on how to succeed as an independent musician in today's ever-changing music business world. Join us, as the unique and trailblazing Herstand shares with Jamie the secret to his productivity, his mission to empower artists and the creative process behind his new songs. For more information on Ari, visit: ariherstand.com/

This week I’m talking with Glory Reinstein who is the owner of the sync licensing agency Song and Film which I am honored to work with.  We are talking about the day to day aspects of running a sync licensing agency, what to know when starting your own sync agency and the importance of the music needing to enhance, not distract from the story. Sponsors: Edenbrooke Productions - We offer consulting services and are offering listeners a 1-hour introductory special. To request more info on consulting services, email Marty at contact@johnmartinkeith.com. In this episode we talk about: *Being the owner of Song and Film sync licensing Agency.
 *You need great production. *I look for great Americana music and great hip hop artists. *Music Supervisors want songs to breathe, not too wordy.   *Supes want stems as well as instrumental. *I work non-exclusively. *Licensing fee percentages. *Different genres of Christmas music that are requested. *The amount of briefs sent. *The song has to fit like a glove in a scene.  *The process of songs getting placed.
 *Building trust with supervisors. *Day to day aspects of running a sync licensing agency. *Starting your own sync licensing agency. *The e-book “Thinking in Sync” by Amanda Kreig Thomas on Amazon. *Knowing what Music Supervisors really want. *www.songandfilm.com *“How To Make It In The New Music Business” by Ari Herstand on Amazon. *“Making Music Make Money” by Eric Beall *“All You Need To Know About The Music Business” by Donald S. Passman on Amazon. *Sync music needs to enhance, not distract from the story. BIO Glory Reinstein received her B.S. in Music Education at the University of Vermont and her M.S. at Central Connecticut State University. She taught music at the high school level in three different high schools over the course of 38 years. While teaching, she was a guest conductor for a few high school music festivals and served as President for one term for the Vermont Chapter of the American Choral Director’s Association as well as President for one term for the Vermont chapter of the Music Educators Association. Ms. Reinstein garnered four awards during her teaching career including Vermont Music Educator of the Year.  As a result of her son pursuing a singer/songwriter career, Glory got interested and involved in not only helping him with promotion and publicity, but also other local artists. After taking online courses at Berklee College of Music (Boston), she started her own business, Malletts Bay Music, and ran it while still teaching. In 2015, when she retired from teaching, she began working with the founder of Song And Film and eventually took over the business. Since then she has signed many new artists and has licensed several songs on their behalf. 

 On this episode of The Hustler's Mentality with TreyPeezy.com, I introduce you to Ari Herstand, the CEO and founder of the music business education and artist advocacy company, Ari's Take. Along with Vo Williams, a Los Angeles-based rapper, singer, songwriter, composer, and performer with music placements on brands like PlayStation, Mercedes-Benz, NBA, UFC, on films and like Lethal Weapon, Empire, Ballers, and more. They both shared the steps it takes and the myths involved in getting your music placed on the next block buster hit, TV Show series & the next popular Video Game! This can be the next money making opportunity for you musicians, singer song writers, and beat makers that are listening to this podcast. Stay tuned, stay focused, and always lead with The Hustler's Mentality.Hype Music Network · Episode 04 - Get Your Music in TV Shows, Movies & Video Games💰📈 Grow your wealth, gain stock tips, reseller trends and more with Generational Wealth University ⤵️https://www.generationalwealthuniversity.com, Join the community & start gaining now. 📈 LIMITED TIME: Get 3 FREE STOCKS ON WEBULL when you deposit $100 (for USA/CHINA): https://act.webull.com/it/AVFguPDiCTCM/mph/inviteUs📈 Join Robinhood with my link and we'll both get a free stock 🤝: https://join.robinhood.com/feltonp1➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖👏 Brought to you by ⤵️👉 https://www.NinjaGram.app | 📈 Grow & Automate your 📸 Instagram!👉 https://www.NinjaTok.com | 📈 Grow & Automate your 📸 TikTok!➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖

021 Jillian Riscoe (Musician, Performer, Entrepreneur Kinder Musik) From her own personal trials and business successes, Jillian offers up some great wisdom for life, music, and entrepreneurship. Creativity is not canceled, how to leverage live streaming performances and advice for new artists are just a few of the things we jump into. She offers up some great resources including the book from Ari Herstand called How To Make It In The New Music Business. She leaves you with a powerful message reminding you that you are limitless and you are capable. Find Jillian's music here: www.Jillianriscoe.com https://www.facebook.com/jillian.riscoe https://www.instagram.com/jillianriscoe https://twitter.com/jillianriscoe

Jimi D and The Wolf hosted a live podcast and talked about several things related to COVID19 and its effect on people. Jimi frustratedly said that he's going in a wrong direction because of the pandemic and they're heading again for another lockdown. According to him, he keeps booking shows but shows keep getting cancelled.  Tim mentioned that people are functioning as a normal society where when you go to some asian restaurant, your temperature must be checked and if you can't pass the required temperature, you won't be able to go in the restaurant. Jimi is very sad with the  situation because some of the great musicians including The Great Big Guys, The Weekend Warriors and The Hobbyist are currently not doing any gigs right now since the Corona outbreak started. They generate income before by having gigs, but now they have to go and get themselves a regular job to sustain their needs. Tim said that someone could go back possible if the situation is back to normal again. According to Tim, the Ari Herstand's book where Ari said the line "Get a job that doesn't use your mind, get a job that uses your body" means keeping your mind away from stress and focus more on the physical things you do. Their topic switched to Dawn Beyer who is a famous streamer in Nashville and is known for her amazing voice. Jimi mentioned how different it was when playing gig personally and streaming online. It's like the vibe is very different and he also said that there's no connectivity. "Its like looking into a camera and all you see is yourself." He added.

The Live Podcast hosted by Jimi D and Tim Wolf started with a warm greeting for  the not so late Independence Day. Tim Wolf mentioned that their neighborhood was having firecrackers as their way of celebrating the anniversary of national independence. Celebrating Independence Day on the fourth of July is not all about the firecrackers. Jimi D says that having a Music Festival is still the biggest deal of the town but due to COVID19, all public events including the festival are cancelled. Instead of losing hope, Jimi celebrated the independence day by going to his friend's house where they had fun, played music and watched the firecrackers above. "It's nice because in 2020, it seems normal and it's a very welcome thing for me to see those fireworks." Jimi added. Tim then agreed and mentioned how the entertainment plays and musicals are falling apart due to the pandemic. The musical director who's in charge of the events in cruise ships and the person who used to be very big in the cruise entertainment industry is also affected with the situation where all of his events in cruise are cancelled. According to Jimi, COVID19 is something that we should take seriously because we don't know when a virus can affect the entire family. Tim also shared how his friend's wife died due to COVID19. Their topic switched to a book written by Ari Herstand which fits any musical artist out there where Ari said that "Of all musicians artists that get signed to a record label, 98 percent lose that deal." Tim then commented and said that the whole model of the record industry is screwed up on how they run their business. The reason for that is because there were a lot of artists who signed contracts, even recorded albums, but none of them get a single release. "Record Labels focused more on hiring someone like Post Malone, Bruno Mars and Ariana Grande." Tim added. Jimi also mentioned that it also happened to Spin Doctors who came out with their album where they got the major deal and the label says "We need another album in six months." but the group needed a year and a half to get a good album together. Jimi thinks that the artist or the bands are just experiencing what beginners should experience because Indie Labels weren't doing that to the Rosters where they're allowing them to take more time to create a record or album.  The Podcast ended where Tim mentioned Bruce Sprinsgteen as the Iconic 21st century rock artist. Bruce had his final Broadway show where everyone was dying to see his final run as a solo show. "Those tickets were going for thousands upon thousand of dollars I think figures are around like 8 thousand dollars per ticket." Jimi stated.

Today's episode is the last in a series called Home. Writing Class Radio helped produce a documentary with Chapman Partnership, a homeless center in South Florida, exploring the meaning of home. Our documentary will air on PBS, date (tba).On this episode, you will hear a story by Marvin Jenkins, a past student, poet, Boeing employee, and dad. Marvin lost his home after he wrote an explicit text message to his girlfriend's best friend and she kicked him out. Marvin has always been in love with Serena, but drugs got the best of him. Marvin's essay is a great example of how taking responsibility for your actions in a story creates a reliable narrator. The voice in this essay also exemplifies how you can say ugly things, if you own that they are ugly. Writing Class Radio is co-hosted by Allison Langer (www.allisonlanger.com) and Andrea Askowitz (www.andreaaskowitz.com). This episode of Writing Class Radio is produced by Matt Cundill of Sound Off Media Company, Andrea Askowitz and Allison Langer. Mia Pennekamp is our media specialist.Theme music by Ari Herstand. Additional music by Podington Bear.There's more writing class on our website (www.writingclassradio.com), Facebook (https://www.facebook.com/writingclassradio/), Instagram and Twitter (@wrtgclassradio). If you love the lessons you get on each episode, you can get them ALL in one place--our three-part video series--for $50. Click Video Classes on our website.Writing Class Radio is open to submissions from our listeners. Go to the submissions page on our website for guidelines. We pay!If you want to be a part of the movement that helps people better understand each other through storytelling, follow us on Patreon. For $10/month Andrea will answer all your publishing questions. For $25/month you can join Allison's First Draft weekly writers group, where you can write and share your work. Go to www.Patreon.com/writingclassradio or click here to support us.Thank you for listening! Everyone has a story. What's yours?

Today's episode is part of a series called Home. Writing Class Radio helped produce a documentary to help end homelessness for Chapman Partnership, a homeless center in South Florida.On this episode, you will hear a story by writer Tiffanie Drayton who takes an idea that most Americans hold about our country and turns it on its head. Typically, people come to America to seek asylum. But, Tiffanie left America to seek asylum. She left because she didn't feel safe here as a Black American. Tiffany's essay was published in the New York Times on June 12, 2020, which led to an agent signing and a 250k book deal. You'll hear that story plus our conversation with Tiffanie about her experience as a Black person in America. Tiffanie came to America from Trinidad at four years old. She talks about her privilege as a dual citizen and her responsibility as a writer to call herself out for that privilege. Tiffanie Drayton (@draytontiffanie) is working on a book about fleeing American racism.Writing Class Radio is co-hosted by Allison Langer (www.allisonlanger.com) and Andrea Askowitz (www.andreaaskowitz.com). This episode of Writing Class Radio is produced by Virginia Lora, Andrea Askowitz and Allison Langer. Mia Pennekamp is our media specialist.Theme music is by Ari Herstand. Additional music by Podington Bear.There's more writing class on our website (www.writingclassradio.com), Facebook (https://www.facebook.com/writingclassradio/), Instagram and Twitter (@wrtgclassradio).If you love the lessons you get on each episode, you can get them ALL in one place--our three-part video series--for $50. Click Video Classes on our website.Writing Class Radio is open to submissions from our listeners. Go to the submissions page on our website for guidelines. We pay!If you want to be a part of the movement that helps people better understand each other through storytelling, follow us on Patreon. For $10/month Andrea will answer all your publishing questions. For $25/month you can join Allison's First Draft weekly writers group, where you can write and share your work. Go to www.Patreon.com/writingclassradio or click here to support us.

Today's show is part of a series called Home. Writing Class Radio helped produce a documentary to help end homelessness for Chapman Partnership, a homeless center in South Florida. We put out a public call for submissions for stories about home. The call brought so many different and fascinating takes. Thank you to all the people who submitted stories. In our series, you'll hear a story about a woman who is torn between two homes, a man who finds home through love with a woman while he's dealing with addiction, and a woman who finds home in another country less racially divided. Today's story by Mary Ann Parker is about feeling at home in your skin. Trigger warning: This story contains strong language and images and is not appropriate for children. Sexual violence is discussed. Mary's story shows how to expertly plant seeds, which is a way to drop hints and lead your reader to your conclusion. Mary Ann Parker is a war veteran and a student in our class. She is working on a memoir.Writing Class Radio is co-hosted by Allison Langer (www.allisonlanger.com) and Andrea Askowitz (www.andreaaskowitz.com). This episode of Writing Class Radio is produced by Matt Cundill (of the Sound Off Media Company), Evan Surminski, Andrea Askowitz and Allison Langer. Mia Pennekamp and Ariel Henley are our media specialists.Theme music is by Ari Herstand. Additional music by Podington Bear.There's more writing class on our website (www.writingclassradio.com), Facebook (https://www.facebook.com/writingclassradio/), Instagram and Twitter (@wrtgclassradio).If you love the lessons you get on each episode, you can get them ALL in one place--our three-part video series--for $50. Click Video Classes on our website.Writing Class Radio is open to submissions from our listeners. Go to the submissions page on our website for guidelines. We pay!If you want to be a part of the movement that helps people better understand each other through storytelling, follow us on Patreon. For $10/month Andrea will answer all your publishing questions. For $25/month you can join Allison's First Draft weekly writers group, where you can write and share your work. Go to www.Patreon.com/writingclassradio or click here to support us.Join us at The Sanibel Island Writers Conference Oct. 24-25, 2020. The conference (this year) is VIRTUAL and FREE Sat. noon-8 ET and Sun. noon-7 ET. Andrea and Allison teach from 12-1 ET on Sat. Sign up now. Description goes here.

Today's show is the first in a four-part miniseries called Home. Writing Class Radio helped produce a documentary to help end homelessness for Chapman Partnership, a homeless center in South Florida. We put out a public call for submissions for stories about home. The call brought so many different and fascinating takes on home. Thank you to all the people who submitted stories. In our series, you'll hear a story about a woman finally feeling at home in her body, a man who finds home through love with a woman while he's dealing with addiction, and a woman who finds home in another country less racially divided. Today's story by Anechy Padron is about being torn between two homes.The writing technique we're bringing out is about writing that story that doesn't have a clear ending or resolution. We always want to make a solid point, but sometimes the point is a conflict. The story you'll hear reveals that conflict.Anechy was born in Cuba. She's an actress-puppeteer and writer who worked as a clown in a Cuban circus. Anechy writes in English and Spanish and has been published in the Mexican anthology, Cada Loco Con Su Tema. For more Anechy, visit her travel blog anechynotes.blogspot.com and creative blog anechy7.wixsite.com/anechymade. Writing Class Radio is co-hosted by Allison Langer (www.allisonlanger.com) and Andrea Askowitz (www.andreaaskowitz.com). Writing Class Radio is produced by Virginia Lora, Andrea Askowitz and Allison Langer. Mia Pennekamp is our media specialist.Theme music is by Ari Herstand. Additional music by Podington Bear.There's more writing class on our website (www.writingclassradio.com), Facebook (https://www.facebook.com/writingclassradio/), Instagram and Twitter (@wrtgclassradio). If you love the lessons you get on each episode, you can get them ALL in one place--our three-part video series--for $50. Click Video Classes on our website.Writing Class Radio is now open to submissions from our listeners. Go to the submissions page on our website for guidelines. We pay!If you want to be a part of the movement that helps people better understand each other through storytelling, follow us on Patreon. For $10/month you can join Andrea's submissions conversation. You can ask her any question about publishing. For $25/month you can join Allison's First Draft weekly writers group, where you can write and share your work. Go to www.Patreon.com/writingclassradio or click here to support us.Join us at The Sanibel Island Writers Conference Oct. 24-25, 2020. The conference (this year) is VIRTUAL and FREE Sat. noon-8 ET and Sun. noon-7 ET. Andrea and Allison teach from 12-1 ET on Sat. Sign up now.

This episode is about story structure and all things done well in an essay. LiAnne Yu tells a story about watching TV with her Chinese immigrant parents. As a narrator she brings us into her world--dinners in front of the TV with her parents. She uses detail to reveal character--Mork & Mindy, Sex and the City, and Fox News. She follows the five Cs of story structure: context, circumstance, complication, change, consequence.LiAnne Yu is an anthropologist and writer based in San Francisco and Kailua Kona, Hawaii. Her story was originally published in The New York Times, July 17, 2020.Writing Class Radio is a podcast where you'll hear true personal stories and learn a little about how to write your own stories. Writing Class Radio is equal parts heart and art. By heart we mean the truth in a story. By art we mean the craft of writing. No matter what's going on in our lives, writing class is where we tell the truth. It's where we work out our shit, and figure out who we are. There's no place in the world like writing class and we want to bring you in.Writing Class Radio is co-hosted by Allison Langer (www.allisonlanger.com) and Andrea Askowitz (www.andreaaskowitz.com). Writing Class Radio is produced by Virginia Lora, Andrea Askowitz and Allison Langer. Mia Pennekamp is our media specialist.Theme music is by Emia. Additional music by Podington Bear and Ari Herstand.There's more writing class on our website (www.writingclassradio.com), Facebook (https://www.facebook.com/writingclassradio/), Instagram and Twitter (@wrtgclassradio).If you love the lessons you get on each episode, you can get them ALL in one place--our three-part video series--for $50. Click Video Classes on our website.Writing Class Radio is now open to submissions from our listeners. Go to the submissions page on our website for guidelines. We pay!If you want to be a part of the movement that helps people better understand each other through storytelling, we are now on Patreon. For $10/month you can join Andrea's submissions conversation. We'll support each other as we try to get our stories published. For $25/month you can join Allison's weekly writers lunch, where you can write and share your work. Go to www.Patreon.com/writingclassradio or click here to support us.

Lucidious was a talented musician with a growing fanbase and a well-paying day job.  But he also couldn't get onto a Spotify playlist to save his life. Now, he's making $250,000 a year with a rabid and growing fanbase.  And he's still not getting any Spotify playlist love.  So how is that even possible? Ari Herstand, author of How to Make It In the New Music Business, explained that getting included on massive playlists can actually be damaging to an artist's long-term career. He's seen it firsthand - and in this podcast, he breaks down why. Strangely, getting shut out of Spotify playlists actually forced Lucidious to earn fans in a more meaningful way.  "While everyone was going towards playlists, and he went the other way," Ari explained.  "And, he ignored playlists because playlists ignored him. So instead of beating down the door of every playlist editor and begging to get included on a playlist like every other person in the music industry was doing — and is still doing — he asked himself, ‘what is my ultimate goal here? — my ultimate goal is not to get on playlists. My ultimate goal is to get fans, and to make money from my music.'"

In this episode Blasko and Mike walk you through examples of industry scams and how to avoid them, referencing the Digital Music News article How I Got 10,000 Spotify Plays For a Totally Fake Song. Several months ago, a playlist plugging service offered popular independent musician Ari Herstand $500 for 50,000 to 100,000 plays on Spotify. Another offered him a four-month plugging campaign for $5,000. A third offered him 50,000 streams for just $150. Herstand chose that one. Herstand's songs were quickly added to a popular user-generated playlist on Spotify. It had around 50,000 followers. It didn't take long for Spotify to notice. The company quickly took down Herstand's 2014 album, Brave Enough. Through his distributor, he found out that the playlist plugging service, Streamify, had likely used click farms to generate plays. While a lot of labels, promoters and such are genuinely enthusiastic and out there to help acts reach a higher level, sadly there are also a fair amount out there who exploit aspiring and even experienced musicians. Rockabilia is your One Stop Shop for all band merch with the largest selection of officially licensed music merchandise in the world! Find merch from your favorite bands at www.rockabilia.com Want more industry insight? Outerloop Coaching has you covered. www.outerloopcoaching.com We want to hear from you so please don't hesitate to email any questions or comments to askblasko@gmail.com Find Blasko on Twitter and Instagram: @blasko1313 Find Mike Mowery on Twitter and Instagram: @mikeoloop ManageMental is part of the Jabberjaw Media Network. www.jabberjawmedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Article: 11 Things Millennial Musicians Just Don't Get  https://www.digitalmusicnews.com/2017/07/27/millennial-musicians/ By Ari Herstand, author of How To Make It in the New Music Business, a Los Angeles based musician and the creator of the music biz advice blog Ari's Take. Follow him on twitter @aristake In this episode Blasko and Mike Mowery discuss tips and strategies for how to succeed in 2018 as they dive into the following points made by Ari Herstand's article “11 Things Millennial Musicians Just Don't Get” and learn how to come out on top in the new year. 1) Spotify Plays Don't Equal Fans I can't tell you how many artists I see on Spotify with hundreds of thousands or millions of streams, but can't get even 100 out to their local (or any) shows. Or get anyone to back their crowdfunding campaign. Or support them in any way whatsoever. These listeners are not fans of the artists, they are fans of the playlist these songs got included on.   2) Your Branding and Story Is More Important Than Your Music People judge you based on your aesthetic, story and image long before they hit play on one of your songs – if they even make it that far. Your branding (which includes your image, your story (!!), and really your overall aesthetic) are what non-musicians (bloggers) talk about. They ain't talking about your drum tones, syncopated rhythms, plugins or mix techniques. 3) Your Follower Numbers Don't Matter As Much As Your Real Life Numbers Don't tell me how many followers you have. All I care about are how many fans you have who are willing to support your career.   4) You Don't Have to Follow Musical Trends to Make it Don't make music you think people want to hear. Make music that is meaningful to you. You can find your audience. Or rather, the audience will find you if you market it properly.   5) The Goal Is Not To Get Signed The Goal Is To Make a Living Doing What You Love If your goal is to get signed, then you're going to miss. If after building your career on your own to a level where labels are begging to work with you, then, and only then, should you decide if it's the best move for you.   6) If All Your Eggs Are in Instagram You're Doomed Yes, Instagram is the hottest social app out right now. At one point the only online presence that mattered for musicians was Myspace. Those that didn't grab their fans and transfer them to a database they owned (i.e. email list) lost contact with all their fans when Myspace died. Don't ignore the social sites where your fans exist, but also have a way to keep in touch with them that isn't dependent on the whims of the latest hot social app. Email any questions or comments to askblasko@gmail.com Find Blasko on Twitter and Instagram: @blasko1313 Find Mike Mowery on Twitter and Instagram: @mikeoloop Want to get your band to the top of the charts with your next album release? Sign up for Mike Mowery's “Release It Right” and “Unleash It Right” webinars at signup.outerloopcoaching.com ManageMental is part of the Jabberjaw Media Network. www.jabberjawmedia.com    Learn more about your ad choices. Visit megaphone.fm/adchoices

  How To Get Your Song On A Spotify Playlist by Ari Herstand: https://www.digitalmusicnews.com/2017/06/21/spotify-playlists/ Welcome to another week of the ManageMental podcast with Blasko and Mike Mowery. In this episode the hosts tackle details every artist needs to understand about Spotify before trying to get on a Spotify Playlist. From the article: Streams are not equivalent to downloads or sales. When someone bought a song or an album it was because they were a fan of that song or artist. Fandom came first, typically, and purchasing came second. Now, streaming comes first, fandom comes second. “Consumer consumption no longer means fandom. It's not hard to stream a song. And it's not hard for a lot of people to stream a song [from] a popular playlist. That doesn't mean that you have millions of fans- it means you have millions of people who happen to hear your song. Who knows if they even dug it. So that all being said, how do songs get into playlists? How can you get your songs into playlists? Well, there are a few ways to go about this.     First, you have to understand what kinds of playlists exist. There are 3 kinds of playlists on Spotify: 1) Spotify Curated Playlists   The first category is something everyone is familiar with. These are the playlists “Created by Spotify.”   2) User Curated Playlists   The second category are playlists created by users of Spotify (yes, anyone can create a playlist) or a company, blog, label, org, what have you 3) Algorithmically Generated Playlists   And the third category are not human generated at all. These are the Discover Weekly, Daily Mix (which are actually customized per user) and Fresh Finds – which is generated based on tastemaker accounts.     Open SpotifyIn the search bar type in your genre. In this example I typed in Death Metal. Scroll down to PlaylistsFind a playlist with a lot of followers. In this instance I found “Best of Melodic Death Metal” that has 7500 followers. Click on the creator. Make sure it's not Spotify. If their profile photo looks like it might be a Facebook profile photo you are on the right track. Copy and paste his name into the face book browser. You should be able to match the photo. If they are on Facebook, and most Spotify users are, then open their account. Direct message them. Using tactics from the last episode compliment their playlist and their taste in music etc. Build a relationship. Offer to pay to be added if necessary. Spotify publicly shuns payola but they are too large to police every playlist and independent curator.     Mentioned by Mowery: Lefsetz Letter - Comparing Mediabase Charts  http://lefsetz.com/wordpress/2017/08/11/comparing-mediabase-charts/ Email any questions or comments to askblasko@gmail.com Find Blasko on Twitter and Instagram: @blasko1313 Find Mike Mowery on Twitter and Instagram: @mikeoloop ManageMental is part of the Jabberjaw Media Network. www.jabberjawmedia.com    Learn more about your ad choices. Visit megaphone.fm/adchoices

Most musicians now know Ari Herstand (pronounced Ar*ee Her*stand) as the guy who has helped them fly with their instruments, book national tours, get songs placed on TV and make more money with their music career - without the help of a label. Herstand's music business advice blog, Ari's Take, was nominated by the LA Weekly as the best music blog in Los Angeles and has become a go-to resource for DIY musicians worldwide. He released the preeminent book on the new music industry entitled, How To Make it In The New Music Business (Norton/Liveright Publishing) on December 20th, 2016. It was the #1 best selling New Release in the Music Business, Performing Arts Industry and Entertainment Industry categories on Amazon. Ari Herstand is a DIY musician who has played over 600 shows around the country, has opened for or toured with Ben Folds, Cake, Matt Nathanson, The Milk Carton Kids and Ron Pope, has performed on Ellen, and has had his music featured in countless TV shows, commercials and films. He currently fronts the funk band Brassroots District and is a member of the acoustic trio Young Canyon. Herstand is a staff writer for Digital Music News and has also written for many of the top musician trade magazines and websites including Music Connection Magazine, American Songwriter, Playback Magazine, CD Baby, Tunecore, Reverbnation, Roland, Discmakers, ASCAP, Hypebot and others. He has been a featured speaker at SF MusicTech, SXSW, ASCAP Music Expo, CD Baby's DIY Musician Conference and in music business classrooms worldwide. As an actor, he has co-starred in TV shows including Transparent, Aquarius, Mad Men, 2 Broke Girls, The Fosters, Sam & Cat and Touch. Visit him: ariherstand.com His Blog: aristake.com Upcoming appearances: ariherstand.com/appearances Sign up for The Mindful Musician Mailing List here: www.mattoestreicher.com

Hollywood-based singer-songwriter and music biz writer Ari Herstand talks about how to write a press release, get press coverage and promote upcoming gigs.

Ari Herstand is a singer/songwriter and blogger based in Los Angeles, California. Ari has played over 600 shows and writes about being an independent musician on his blog, Ari's Take. He also... So what's it take to be Indie anywho? www.cdbabypodcast.com

Ari Herstand is a Midwestern singer/songwriter, soon to be in LA. Much of his studio work is mellow, painting images from an inner palette and, raised as a cultural & religious Jew, Ari provides a new and valuable perspective for many listeners.