rev⋅o⋅lu⋅tion [rev-uh-LOO-shuhn] –noun

2. Sociology. a radical and pervasive change in society and the social structure
3. a sudden, complete or marked change in something

dictionary.reference.com

Back in the days when High Orbit was a weekly show, I named the spaceship the UTF Revolution. In those days there was an air of excitement, even fanaticism, about podcasting and downloads and new technology. The discovery that people could make and deliver content beyond the confines of TV, radio, and newspapers electrified the internet crowd. We called it a revolution. If the revolution started in 2004, it’s only beginning to come to a head now.

Revolutionary Communication

If you’re reading this, chances are good you’re a fan of my music. You didn’t hear me on the radio, you didn’t see me on some prime-time contest show. You heard me on a podcast, in a virtual world, or on live video. I am doing nothing special; I am merely putting my music out there wherever I can. It is you who drive the revolution every time you use these channels. You make the choice to spend your time outside the pre-fab information streams set up by Rupert Murdoch and Robert Iger.

The past five years may have made this revolution seem… well, less revolutionary. After all, we’re not as jazzed up about the miracle of flight now that we can hop a shuttle from NY to Boston for less than a hundred bucks. Make no mistake about it, however, you are committing an act of rebellion with every new channel you support. The record labels and major networks are starting to realize they cannot make money anymore. Soon they will realize the nagging truth that some of us have been shouting from the town square for years: The artists and the fans no longer need them.

Revolutionary Thinking

Is that true? Are record labels obsolete? The answer isn’t a matter of sales figures or Billboard charts. The future of the revolution is in your mind. You must understand that as long as the old-media channels still claim a foothold in your brain, they are controlling you.

Here’s a revolutionary question:

If you’re a fan of my music, are you wondering when I’m going to get “discovered” by a record label?

If so, those record labels still control your brain. You are still chained down by a world where big companies decide what music is legitimate and what music is “just indie”. As the mon once said, “emancipate yourself from mental slavery.” Good videos don’t need a TV network, good news doesn’t need radio towers, and good music does not need a record label.

YOU are my record label. Yes, you. Do you like my music? Then my music is legitimate. I don’t need some guy in a crisp suit to own 80% of my artwork to make it good. All I need is for you to understand that as soon as you become a fan, you become part of my record label.

Revolutionary Action

That’s right, you’re part of my record label. You are also your own TV and radio network. You are working for the best media conglomerate ever created; you contribute only what time and effort you see fit, you cannot be fired, and you are part of something truly revolutionary. In fact, depending on your iTunes playlist, you probably work for so many different record labels right now that your resumé should be 40 pages long. This revolution, however, cannot survive without action.

If you want to keep the revolution fueled, you have a few responsibilities (I’m not going to call them a manifesto, that’d be beating a dead analogy at this point).

• Evict the corporations from your mind.
  They aren’t the ones buying the music, YOU are. You are in control.
• Small sacrifices must be made.
  Have you bought an album? Picked up your favorite show’s official shirt/mug/chia pet? Congratulations, you are now a shareholder in the revolution.
• Grab your bullhorn.
  The #1 thing you can do to support your favorite artists and shows is spread the word about them. Whether they’re on a major label or not, all musicians need that key action from their fans.
• Show up for the battles.
  For musicians, it’s about live concerts and release parties. For podcasters, it’s the live recording events. Whatever division of the revolution you’re fighting with, they need warm bodies to man the barricades.
• Communicate, communicate, communicate!
  The artists, producers, and revolutionaries are only as good as their supporters make them. Talk to them. Comment on their blog posts, post your photos/videos in their Flickr group or Facebook page. Tell them what you like, what you don’t like, and most importantly where you want this revolution to go.

The Revolution Grows

Some of us have been a part of this revolution for years. Some of us just discovered yesterday that you can turn a Mac Mini into an entertainment center (yes, that’s a link to a how-to video). However long you’ve been a part of the revolution, make no mistake: the battle rages on. Until we’ve completely killed the notion that a show, artist, or band needs a major corporate partner to be considered “legitimate”, we are still subject to an oppressive regime.

Make the change happen. Take action, and long live the revolution!

Hat tip to Dave Jackson at the Musician’s Cooler Podcast for bringing this up. I am a new media savant for the one major reason everyone keeps repeating: If your brand is everywhere, you increase the likelihood that someone will remember you. Casting a wider net catches more fish, as the osprey say.

However, the wider net serves a broader purpose. If you’re reading this in a web browser, it means that matthewebel.com is up and operational. One of these days, though, it might disappear. My hosting service might go broke, my domain registrar could screw things up, hackers could plunder the servers… Any number of things might go wrong, but I still want to be able to reach you. I don’t ever want to lose touch with the fans that keep me going.

This is why I am everywhere. If you’re only following me in one place (website, Facebook, email, etc.), that bond could easily be broken. Check out some of the other options at matthewebel.com/contact and see where else you can find me online. Even if it’s someplace I rarely visit, in an emergency I’ll be heading to all of these other places to stay in touch with my fans.

Message me on Facebook. Bump me on The Sixty-One. If you’re slumming, friend me on MySpace. I always love hearing back from you, so please keep your options open if you haven’t already!

Photo by Pelódia

I swear, there is an epidemic of Stupid going around the new media marketing world. Or maybe it was always there and I simply didn’t notice until now.

Recently an indie label added me to their mailing list without my permission (Stupid #1). Their mailings don’t have any unsubscribe link (Stupid #2), forcing me to reply and ask to be taken off their list. This amount of stupid is typical, baseline Stupid, usually doesn’t bother me. Unfortunately, they had advanced Stupid.

Then the label argues with me via email (Stupid #3) and tells me that “If you don’t want someone sending you an email without asking, then you should not post your email on the web.” As though they were sending me an email as opposed to just adding me to a list. Not feeling sufficiently stupid yet, they then have the balls to throw this at me:

I would be glad to take you off the list, but I don’t know how to do that without taking up several hours of my time, which is rather short, since I run two for-profit businesses and a non-profit organization.
(Stupid #4)

Another savvy marketer has added me to a list and is CC-ing everyone on the list- meaning I can see all their addresses and they can see mine (Stupid #5).

This morning I found the last straw. Yet another music marketing company had been sending me emails about bands since I produce the High Orbit Podcast. Initially they added me to their mailing list without permission, but I’ll overlook that for now. They typically sent me one or two emails a month.

Then there were more.

Fast forward to the present and I’m getting damn near daily emails from these people (Stupid #6). Yesterday it got so bad they sent me two emails in one day about the same damn band (Stupid #7). This is getting ridiculous, so I asked to be taken off the list (oh yeah, no unsubscribe link again. Back to stupid #2).

Once again, I’m getting argued with via email (Stupid #3 again):

You know Matthew, I’ve had you up on my MySpace top friends for awile (sic) now trying to toss you a bone.

Apparantly (sic) your (sic) not as smart as you look.

So not only can they not spell (Stupid #8) but they think that insulting me will somehow make me change my mind about supporting their bands (Stupids #9-47)?

To all of you stricken with The Stupid lately… Grab a clue from the artists you represent: If people don’t want your emails, you don’t want to send to them. If you’re a rock band, you don’t want to force your way onstage at a country bar. All you’re going to do is turn someone who was ambivalent into someone who actively works against you.

For the record: I wasn’t there, I’m running on the video footage.

Have you ever heard of Richard Cheese? He’s the guy who takes hard rock tunes like “Smells Like Teen Spirit” and “Down With The Sickness” and turns them into cheesy lounge numbers. It’s his shtick, and he’s made a career out of it. Sort of like Weird Al with no creativity.

It’s like he adds a touch of class to dirty, grungy rock music.

Apparently Cheese proved how completely devoid of class he is at the recent New Media Expo in Vegas. To quote some attendees:

When Richard Cheese started his performance he started complaining about the Audio levels, and from what I heard later he had demanded from the organizer that all other prior performers audio levels be at a lower level then his.
Todd Cochrane, Geek News Central
[Video from the event can be found at this link, assuming Cheese hasn't sued him yet.]
[Too late... you'll have to find video on your own, it seems.]

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I know that a lot of my fans are either musicians or new media types, so rather than just quietly postpone the house tour until September, I want to talk about what I think happened.

First of all, the obvious reason I couldn’t do the tour was the coalition of high gas prices and low ticket sales. I’m not going to hide that fact, the ticket pre-sales weren’t enough to cover the gas alone (and occasionally I do like to eat while on tour, too). With dead dinosaur juice topping $3.78 a gallon this spring, the break-even bar is getting higher and higher.

So if not a 2-week road trip, what did I get out of this?
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