Category: Dialogue (Page 10 of 13)

10 Questions for Birmingham’s Independent Music Industry.

January 13, 2010 /

The Music Network has been contacted by a group drawn from Birmingham City Council and the Arts Council England to begin to determine an overview of the current state, needs and potential of the “independent music industry” in Birmingham.

The Music Network invites people with an interest or active role within Birmingham’s Independent Music Industry to answer 10 questions.

Completed questions will be published at http://www.birminghammusicnetwork.com unless you state otherwise. Please include your Name, biography or information about who you are and what you do, and links to your website or blog. You will be credited as the author of the response. Views from all sides are sought so don’t be afraid to speak your mind. We may learn something.

Please note, as with all funded projects, if you don’t voice your opinion a decision will be made on your behalf without any reference to you and you may not benefit from any strategy that gets agreed and put into action.

Here are 10 open questions. If you wish to get involved, please send your completed responses by email to: info at birminghammusicnetwork.com – Thank You.

Questions:

1. In your view, what is the current state of the region’s “Independent Music Industry?”

2. What do you think are it’s immediate needs with reference to the areas that you are most familiar with?

3. As far as the region’s “Independent Music Industry” is concerned, what do you think shows the greatest potential for the next few years?

4. In recent years, there has been a range of initiatives and projects designed to support the development of music in Birmingham. Can you list 5 projects or initiatives that you think have proved beneficial to the “Independent Music Industry?”

5. Can you list any projects or initiatives that you think have proved “of little use or benefit” to the “Independent Music Industry?”

6. With regard to your answers to questions 4 and 5, do you think Birmingham should continue to pursue the idea of more initiatives and projects designed to support the development of music in Birmingham?

7. If you could make any changes to, or include any new ideas for, any “strategy for supporting the development of music in Birmingham” what would your top priorities be?

8. If you were given the task of evaluating whether a project or initiative had been successful, what would you suggest as the best indicators of success, failure, benefit or disaster for the “Independent Music Industry?”

9. As far as your knowledge or understanding of the region’s “Independent Music Industry” is concerned, what are it’s greatest strengths, and what are it’s greatest weaknesses?

10. If you could do anything to “support the development of music in Birmingham” what would you do and why would you choose to do that?

Simon Howes has created an easy to use google survey for these 10 questions here

(The term “Region” as far as these questions are concerned refers to Birmingham or the geographic area Birmingham City Council works within.)

I have also quoted a number of existing articles below. I have suggested that the group should read through each of the articles and consider the content carefully.

Can anyone suggest any other existing articles that the group should read and consider that may have been omitted?

A DIGITAL AND CREATIVE INDUSTRIES ACTION PLAN https://birminghammusicnetwork.com/2008/03/06/a-digital-and-creative-industries-action-plan/

The people who control the Funding are damaging the Creative Industries in The West Midlands by Anthony J Hughes https://birminghammusicnetwork.com/2008/06/12/the-people-who-control-the-funding-are-damaging-the-creative-industries-in-the-west-midlands/

Birmingham Twinned with Your Darkest Thought? by Mark Iron Man Records https://birminghammusicnetwork.com/2008/11/10/birmingham-twinned-with-your-darkest-thought/

A Year later – Perspectives on the West Midlands Music Industry – Scott Roe, Solar Creations https://birminghammusicnetwork.com/2008/11/10/a-year-later-perspectives-on-the-west-midlands-music-industry-scott-roe/

What is your view of the West Midlands’ music industry? by Mark Iron Man Records https://birminghammusicnetwork.com/2009/02/03/what-is-your-view-of-the-west-midlands%E2%80%99-music-industry/

A Vision for the Music Industry in the West Midlands by Clare Edwards June 2008 https://birminghammusicnetwork.com/2009/02/03/a-vision-for-the-music-industry-in-the-west-midlands-by-clare-edwards-june-2008/

Another view of the West Midlands’ music industry and FUNDING by Andy Ward  https://birminghammusicnetwork.com/2009/02/10/andy-ward-another-view-of-the-west-midlands%E2%80%99-music-industry-and-funding/

Countercultural Capital & the Creative Economy – How do 1990s DiY Music ‘Entrepreneurs’ talk about the contemporary music business?” by Charlotte Bedford 2008 https://birminghammusicnetwork.com/2009/06/04/countercultural-capital-the-creative-economy-how-do-1990s-diy-music-%E2%80%98entrepreneurs%E2%80%99-talk-about-the-contemporary-music-business-by-charlotte-bedford-2008/

Funding the Creative Industries by Andy Derrick 13th Feb 2009 https://birminghammusicnetwork.com/2009/02/13/funding-the-creative-industries-by-andy-derrick-13th-feb-2009/

The Scottish Music Industry Association(SMIA) – launched at Go North conference https://birminghammusicnetwork.com/2009/07/21/the-scottish-music-industry-associationsmia-launched-at-go-north-conference/

Redefining the Music Industry – A public consultation on the future shape, needs, direction and ambitions of the music industry. https://birminghammusicnetwork.com/2009/09/10/redefining-the-music-industry-a-public-consultation-on-the-future-shape-needs-direction-and-ambitions-of-the-music-industry/

National Survey and Mapping Exercise assessing provision & scope of music support work across UK 2009 https://birminghammusicnetwork.com/2009/09/22/national-survey-and-mapping-exercise-assessing-provision-scope-of-music-support-work-across-uk-2009/

How does Iron Man Records choose it’s artists and how does it promote them? https://birminghammusicnetwork.com/2009/11/28/how-does-iron-man-records-choose-its-artists-and-how-does-it-promote-them/

your comments please…..

cheers Mark – The Music Network, January 2010

How does Iron Man Records choose it’s artists and how does it promote them?

November 28, 2009 /

An article about Iron Man Records, Birmingham writtten by JANINE LABUSCAGNE BA (HONS) Media & Communication, University of Central England, 2007.

“…..There are two kinds of music – good music and bad music.  Good music is music that I want to hear.  Bad music that I don’t want to hear” Fran Lebowitz, Metropolitan Life, 1978

The objective of this study discusses promotional strategies generated by the independent record label, Iron Man Records.  The research examined the use of the Internet as a free marketing tool and how traditional methods of running a label did not have an affect on Iron Man.  Discussing this, I examined the theoretical areas of music industries, promotion and punk in order to understand and gain a solid background for the development of my research.

Conclusions are then put forward after conducting a participant observation, that social networks play the biggest part in promotion for the label.  Findings throughout the research have been put forward about the different strategies used in the process of online promotion, as well as more general suggestions for further research.

‘De muziek is de geleende creativiteit en motivatie in ons leven’ (translated from Dutch), music is the borrowed creativity and motivation in our lives.  The music industry has had one of the biggest influences in our lives and on our culture.  An example of this would be Wall (2003) and Anderson’s (2006) statements which look at popular music as the: “soundtrack to our lives” (2003; 1) and that “we are consumed by hits – making them, choosing them, talking about them, and following their rise and fall” (2006; 2).  The world of the music industry is one which has been forced to make changes because of the constant development of new technologies.  These changes are in order to keep fans consuming the product that is for sale – music.  Britain is a nation of music lovers and we buy more music than any other country – four units per capita each year (IFPI Recording Industry in Numbers 2002).

The music genre known as punk, has been around since the late 1960s, when unemployment was a prominent social feature in Britain.  It would appear that we are currently witnessing a re-evolution of the music industry and punk’s DIY (do-it-yourself) ethos within independent record labels.  Beyond the development and creation of music, technology has created an impact on the production, distribution, and consumption of ‘Iron Man Records’ music.  “Record companies see the other media as promotional avenues for their music” (Wall 2003; 111).  There are many new and different social networks such as MySpace, MOG and Flickr which will be one of the main areas of focus for the research.  These social networks have evolved on the Internet and the trend displayed by many bands in choosing independent record labels, such as Iron Man Records, above major record labels demonstrates what Barrow and Newby argued about how the music industry:

“Without popular recording artists there would be no music business and without record companies there would be no musical product to be bought in the shops” (1995: 2-3).

The research question, ‘How does the punk music label, Iron Man Records, choose its artists and how does it promote them?’ is a significant topic in the industry to investigate.  The independent label has not been explored in depth before, although academics have looked at similar areas of the music industry.  The study will look at how relationships are being built between a record label, the music industry and bands.  The study also looks at what steps are being taken to promote and market Iron Man Records music. Read more here: Click link for full article on Iron Man Records

National Survey and Mapping Exercise assessing provision & scope of music support work across UK 2009

September 22, 2009 /

The UK Music Sector Forum (MSF) is a network of music support agencies with the aim of providing a vibrant forum for the discussion of issues affecting music support projects and workers across the UK. The MSF has been in operation since 2005.

This survey and resulting report aims to assess the provision and scope of music support work across the UK in 2009.

The objective was to generate a set quantitative data from practising music support organisations for feedback and discussion about the Forums role, in relation to the ongoing benefit to the sector and its community of workers and participants.

During the research process over 100 organisations were contacted with 81 of those completing the survey.

32 organisations were unable to participate in the survey because:

• Their remit delivered a broader arts programme of which the music component was negligible.
• They were no longer active; remit had changed or lacked funds.
• The survey results were collated before response.

The questions were designed to allow freedom of expression and they generated an exceptionally high number of critically productive comments. Multiple respondents’ choices were recorded, but ‘skipped questions’ and ‘no response’ were not and therefore bore no influence on the presented statistical outcomes.

Links to information on each organisation can be found in appendices along with details of forty four (44) unmapped organisations identified for future contact.

This was a fact-finding exercise to identify underlying trends; these have been identified and highlighted using graphic software and filter analysis. Each respondent’s additional critical comments are also printed after each result graphic to aid synthesis of the data.

Conclusion

This survey and resulting data aimed to identify and raise important issues directly and indirectly affecting key operators and stake holders in the music support and development sector. From the outset it became apparent that to take the clearest sector ‘snapshot’, all those practising organisations, departments and bodies would need to be indentified and connected with as participants in the online survey questionnaire.

The large number and variety of respondents has resulted in sector wide coverage generating a resulting selection of quantitative data that can be used to inform a decision making process.

We look forward to your views and suggestions.

Email: contact at musicsectorforum.org.uk or pete at musicisours.com
Online network invite: email invite issued
Telephone: 01612170368

Peter Jenkinson – Music is Ours

Click to Download PDF here: National Survey and Mapping Exercise assessing provision & scope of music support work across UK 2009

Redefining the Music Industry – A public consultation on the future shape, needs, direction and ambitions of the music industry.

September 10, 2009 /

An urgent message from our man Peter Jenkinson: “UK Music has asked us to alert key operators in our network to a consultation paper preparing on the future shape, needs, direction and ambitions of the music industry.”

You can submit your thoughts and  response directly to feedback at ukmusic.org

They are closing responses by the 15th September 2009; if you need any further information go to www.ukmusic.org/consultation

Redefining the Music Industry
A public consultation on the future shape, needs, direction
and ambitions of the music industry.

Closing date for responses: 15th September 2009

About UK Music

Established in October 2008, UK Music is the umbrella body that represents the collective interest of the UK’s commercial music industry: from artists, musicians, songwriters and composers, to record labels, music managers, music publishers, collecting societies and studio producers.

Our member organisations are: the Association of Independent Music (AIM), the British Academy of Songwriters, Composers & Authors (BASCA), BPI (British Recorded Music Industry) Limited, the Music Managers Forum (MMF),
the Music Publishers Association Limited (MPA), the Musicians Union (MU), PPL (Phonographic Performance Limited) and PRS for Music.

UK Music exists to understand, explain, promote, protect and nurture the UK’s commercial music sector so that its inherent value grows and its positive knock-on effects reverberate ever further and ever deeper. UK Music, through its wide membership, has access to the very best of the talent, creativity, insight and experience of those who together make up the
commercial music sector.

Drawing on such a rich resource, UK Music is the industry unit for:

Public policy and lobbying
External awareness and public opinion
Research and analysis
Industry-relevant education and skills

For more information see www.ukmusic.org

Overview

As we all know, the music industry has been dramatically re-shaped over the past ten years. In equal measures, this has proved disruptive, challenging and exciting. It will continue to be so.

However, within a fast-changing, ever-evolving commercial market, we believe it is vital that our entire industry can pull together; that we can identify and overcome internal and external challenges, plan, strategise, set
policy and forge ahead.

UK Music is currently working on a detailed report – to be published in late October – that will seek to do just this.

In order to take into account the widest spectrum of opinion, UK Music has announced an open, industry-wide consultation that will inform this report.

Consultation Summary

Specifically, we are asking all those working within, or affected by, the music industry, to contribute their thoughts to a vision of where our commercial sector should be heading over the next 5-10 years, the challenges we need to overcome, and the changes and policies that could positively impact on both individuals and businesses.

The UK is home to the world’s most amazing musical heritage. More importantly, on the world stage we continue to punch way above our weight in terms of musical creativity, innovation and commercial success.

To ensure this remains the case, we need your help and input.

To begin with, we would ask you to respond to the following five questions:

1. What are the key challenges to growth in your particular sector? Where are the greatest opportunities for growth? What policies do you think our industry should be collectively developing to address and support these aspects, and why? Is there any role for Government to help in these areas? If so, how?

2. How can our sector offer better opportunities for young people that wish to engage with our sector? How can we best support those at the grassroots level? Can our industry create better entry avenues for those people aspiring to work within our industry and develop a career in the music business?

3. Is there a skills shortage in your sector? If so, what sort of workforce development or training would best benefit your needs? What should our industry be doing to promote further workplace equality in and throughout the sector?

4. What can industry partners – for instance, commercial radio and the BBC – do to help promote new, diverse, local musical talent across all genres?

5. Are there any other significant issues you would like to draw our attention to? (All considerations offered are welcome.) 

Download the original PDF here: PDF : Redefining the Music Industry

The Scottish Music Industry Association(SMIA) – launched at Go North conference

July 21, 2009 /

To keep you up to date on developments in Scotland, Dave Cross sent us this message after Go North:

“The Scottish Music Industry Association(SMIA) was launched at the Go North conference in Inverness. The SMIA has been many years in the making and has been developed by a team comprising many established leaders in the Music Industry – they will now form its initial Board. The outline objectives, structure and role of the Association was the subject of a feasibility study undertaken by the Scottish Arts Council (SAC) and published in 2005. The formation of the Association then received support of the Scottish Executive and in particular the MSP who Chaired the Cross Party Parliamentary Group on Contemporary Scottish Popular Music. The remit, and integration with local, national and international players was carefully planned and it had been hoped to begin recruitment in 05. The SMIA has this week been able to appoint an administrator, who will be based in the offices of the Scottish Music Centre (next to the City Halls) in Candleriggs, Glasgow.

They have also commissioned Ronnie Gurr, seasoned promoter of networking and coordination of music activity across Scotland, to embarking on a more thorough analysis of the needs and opportunities facing music across all its facets, both in terms of genres and business activity. The Association’s published remit is to act as a representative body promoting the growth of the Scottish music industry with a single, clear voice, supporting the full diversity of Scottish music enterprise in a fair and committed way.

Generator has been closely following and contributing to the processes leading to the SAC feasibility study and the commitment to create the inclusive representative body that was launched today.

Contact them @ The Scottish Music Centre – Candleriggs, Glasgow G1 1NQ Tel 0141 552 5222

info at scottishmusiccentre.com

Download the PDF here: The Scottish Music Industry Association: Feasibility Study pdf

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