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!

In case you missed the concert at FWA 2009, I have released the entire concert recording to my subscribers at Matthew Ebel dot net. That’s over an hour of one of the best live shows I’ve ever played, to one of the best crowds I’ve ever seen. If you want the whole recording, just sign up for any of the passes at matthewebel.net before it’s too late!

As a bit of a teaser, I also just released one of the live tracks to the podcasting world. If you’re interested, check out Night Train – Live at FWA 2009 at matthewebel.com/podsafe.

I just got another check from my Performing Rights Organization, BMI. To those of you out there actually paying your BMI license for the music you’re podcasting, THANK YOU!

Just like the previous check (my first one), it’s not enough to retire. Not enough to pay rent either. Heck, it’s not even enough to celebrate with sushi and sake. It’s encouraging, though, to see that one old-media establishment does indeed work in the new media world.

If you’re a podcaster, this is the part I want you to focus on: Once you can afford your bandwidth and hosting, get a BMI license. Every reported podcast play puts another drop of gasoline in my touring tank. BMI is not a big evil monolith like the RIAA (assholes), it’s a well-established system where songwriters (me) get paid for radio and internet play (you). Even on a small scale, it works.

If independent music is making your podcast better- and especially if your podcast is sponsored or making affiliate sales or ad clicks, etc. -then please help us fill up our tanks (and stomachs). This system actually works, but only if you make it fair.

Thanks to everyone who’s already played Lost My Way on their podcasts and radio shows… Now you can get the latest podsafe track, Downtown, from the new album Goodbye Planet Earth before it’s sent to radio stations this spring!

Get “Downtown” at http://matthewebel.com/podsafe

And please link back to http://matthewebel.com

Thanks a bunch!

I was self-employed for 365 consecutive days in 2007. As a result, I hugged my parents and grandparents more often than I had for the previous two years. I found out I’m going to be an uncle sometime in 2008.

I released a new album in 2007 that paid for itself from the pre-orders alone. Fans in Germany, the Netherlands, China, Hong Kong, Australia, New Zealand, Canada, England, and the US have already bought copies. My fans released another album on my behalf seven months earlier. They also launched their own website at matthewebel.net and created their own music videos.

I discovered UStream, Second Life, and Twitter in 2007. Half my fan base has never seen me perform in person, and most of that half thinks I’m a bird. UStream.tv put my face and my music in front of viewers around the globe. Twitter has found me beds to sleep in, gathered crowds for badly publicized gigs, solved technological mishaps, and made working alone a lot less lonely.

I visited Kentucky, Pennsylvania, Ohio, Massachusetts, Rhode Island, California, Tennessee, New York, and New Jersey all in the name of the music business. More travel than I saw in the previous five years.

Touring has paid my bills in 2007. So has Coca-Cola, the Mommycast, crayon, Porter Novelli, Justin Kownacki, Joseph Jaffe, The US Postal Service, The Podcast & New Media Expo, Jeff Pulver, and a whole lot of music fans.

Chase Home Finance paid my bills for two and a half months in 2007, even though I wasn’t working there anymore.

I got my first mutual fund, my first IRA, my first business bank accounts, my own health insurance, and printed my first business checks with those useless stubs for people’s records.

Or, to summarize, 2008 is going to have a damn difficult time outclassing 2007.