Can we brand a non-commercial entity?

I can’t believe the week in Austin is already over. Time to get back into school mode—classes, homework, getting up early, not seeing a great band or three every night. Most importantly however, I am sure that I left SXSW with more than I went there with six days ago. I have never been in a place like Austin during last week before. The presence of so many people all in love with and dedicated to the same thing truly carries over into the spirit and debauchery of 6th Street at 2 AM or the great discussions at the daily panels at the convention center.
On Friday I found a panel that offered an interesting view into the world of Web 2.0. Social Networking for the Anti-Social featured five apparently big names in the industry. Among other things, they stressed the importance of developing social networks and ensuring continuity with your brand that fits your organization’s image. Thinking about WRCU, I see a lot of possibility for us to bring our Twentieth century medium into the world of Web 2.0. I think presently, WRCU does a better than average job of attracting fans and listeners and reaching out to them. However, I think our ‘push’ may be stronger than our ‘pull.’ We have a lot to offer students and local residents, but either through greater promotion or content, I think we can reach out even more, and have more reasons to attract unsolicited listeners.
One concrete idea that popped into my head during the panel was the possibility of a social network for WRCU. While there are a plethora of online communication modes available to DJs or listeners, consolidating them into one WRCU social network system seems like a potential way to attract more listeners. In addition, it could also give us a clearer sense of purpose, an important facet of a brand’s digital image that the panelists were quick to point out. The social networking idea could be used as a tool for DJs to connect with one another and pique the interest of outside listeners. Even though this idea is vague and undeveloped at this point, I at least see a potential for branding that could be utilized and reaching out to our fans and starting communication in both directions.
The panel explained that a great way to get started is to look at whom you admire and mimic them. I think WRCU can examine the brand image and Web 2.0 presence of other radio stations, especially college and university stations, and take something from them, while avoiding the pitfall of shameless copying.
Looking at this panel from another point of view, it was designed for bands or companies, both (in most cases) commercial ventures. WRCU on the other hand, needs to maintain its independent spirit while still finding ways to utilize the tools that Web 2.0 has to offer.

Austin, we hardly knew yee.

Got a lot of interesting info today not from panels, but from talking to bands after shows. Headed out to Auditorium Shores by the lake first to see Beach House and The Cannabinoids feat. Erykah Badu. Then I headed back downtown and caught Hot Panda, whom I spoke with a little after the show. Said they'd be interested in playing a small college, but as I suspect is the case with a lot of new/unsigned indie bands, they haven't done it before. Wonder if these kind of bands front the money to register on a site like Sonic Bids or if the old-fashioned email way is best bet for booking a band like this. Around 10 I saw Yelle, a french electro/pop/rap act I've been waiting a while to see. And she did not disappoint! Might be the best thing I've seen all weekend, or at least top five. Checked out another electro act called We Have Band very briefly and then stopped in at Third Eye Blind's last performance of the festival. They had the nerve to be playing stuff from their new album, so I left immediately after the final chord of "Jumper", went down the street and caught the second half of the Spinto Band, a band I saw open for the Arctic Monkeys 3-4 years ago and love to see live. Got a chance to talk to them a little afterwards about their touring/ availability, and they specifically mentioned talking to labels. I guess the thinking is you set up a relationship with one label and bring a few of their bands over a period of time as a package deal kind of thing. Thought that was an interesting angle to take.
Now as I diligently type this blog in the hallway, a band called Superlasciva from Argentina hands me their cd and strikes up a conversation in Spanish. I warned them that I speak Spanish only "un poquito" but they were so enthusiastic. They even wanted to play a little for me out here but I told them some other time. When they found out it was my last night, they both said in unison "Que lastima!"
What a shame indeed.

Had to call it an early night tonight after nearly dying at the Black Lips (in a good way). GZA showed up and messed around with them at the beginning which was very cool.

Anyhoo, went to some interesting panels today, including "Bands, Brands, and Fans." Got me thinking that if Colgate has some kind of deal with Coke or Pepsi for athletics or the cafeteria or anything like that, that those kind of brands might be an interesting resource for music discovery/funding. Don't know if people would find it too sell-out-ish, but it might be cool to try to get a Spring Party Weekend act from a sponsor in the future. Also checked out Nardwuar's Video Vault, which was a presentation given by this wacky Canadian radio dj. He had some great footage of interviews over the last twenty years though, N.E.R.D, Michael Moore, Nirvana, you name it.

I think the most valuable info we've stumbled upon for CAB has been this website sonicbids.com It's a site that hooks bands up with venues, colleges included. You have to register to be a member and then bands start sending press kits to you, instead of just hoping to get something out of a one-off email, which is the way we book shows currently. Talking with some UT booking kids, it sounds like they're able to pull off a couple shows a week on campus. Granted, they are a lot bigger and have a lot more money, but we have a lot of money to spend, too, and with Donovan's Pub all shiny and new, I don't see a reason that CAB shouldn't be able to book one show a month if we had access to a resource like this. It eliminates the mystery part of the booking process, like who to email, when to call, how much they'll cost, etc. With sonicbids, all that information is available.

Alright, show list. Today was my favorite day so far:
The Takeover UK, Sleepy Sun, Bear Hands, The Postelles, The Ettes, and the Black Lips. Everyday I get downtown with a little schedule planned out and I have yet to follow it. I completely wung it today and saw some amazing stuff. Then again, if you walk down 6th St. and you're eyes are open, it's hard not to.

That Guy

Whilst standing on the sidewalk orienting myself outside the Austin Conference center, fresh from the womb of the hotel shuttle van I saw him, the guy from Rolling Stone.  I would of known his name but Rolling Stone just straight doesn't have the pull it once had, not with Web 2.0 and all. 

The first panel of my day was the Keynote Given by Quincy Jones. I would have twittered/blogged about it as approximately 70% of the audience did but my cellphone has a 15 minute battery life, so I just had to listen-old fashioned like. Quincy Jones's speech was the ultimate name drop, apparently knowing Frank, Bono, Dizzy, Michael and Miles gets you a keynote address. I was game but I was expecting more from the industry giant but all I felt was an industry giant.  Yes MTV was a hit, but I'm not sure Q still understands it's current state...

The next panel I was planning on seeing was the Make a 360 Deal With Yourself which was interesting and a new media appropriate event, I bet at least 80% of the audience would be on their blackberries/iPhones, but alas Q went over and I had to pick between the educational moment of the 360 Deal panel and the address by Devo.  Note: the scary woman from the Dresden Dolls sang to the line...

I chose Devo and I'd do it again. 

Devo invented new media, invented video form based on their miscalculation on the availability of laser disks. But I digress. As I looked into Devo's eyes and they to mine I was lost cold and tired in the dim light of the conference room. 

The concerts Thursday night, Meat Puppets, The Thermals, Annihilation Time, Gordan Gano and the Ryan Brothers. 

I will write more. There are as many things to say as there are panels I need to be at, now. 

Teaser: I shook Gordon Gano's hand. 

Artist-side research

I guess it's reasonable now to talk about why exactly I'm doing my best to find out a little bit about artist-focused resources on the web, considering I'm not exactly a musician myself. It all has to with understanding a musician's mindset, background, and environment to further my music-listening and music-finding endeavors. I've generally considered myself a digger rather than a mouthbreather when it comes to finding out about music new and old, and I've found the thing that helps me understand historical (as in, like, the 1970s) and modern trends is little bit of knowledge about the conditions the music developed in.

For instance, take the DIY hardcore culture that developed in the late 70s and early 80s in, among other places, California and DC. It's well-accepted that listening to that music without any knowledge of its context can only take you so far, considering those scenes were so focused on show-going and community-building. There are a plethora of other good examples, from British post-punk to Nigerian afrobeat, and the same logic even applies to more well-known periods like the rise of the Beatles in Britain in America. By this logic, having a deeper understanding of how musicians are coping with a post-music purchasing and post-mega label world will grant me (and anyone else interested) the knowledge we need to keep on digging for great new music, to support upcoming musicians, and to stay on the cutting edge of hearing (and hearing about) music.

Blogs, Blogs, Blogs!

To save you from another extended self indulgent post about how awesome SXSW Day 3 was I'll just say it was awesome and get on with it. So yesterday I had the fortune of being able to get into the Bloggers are Now In Control panel which featured the likes of Brooklyn Vegan, Aquarium Drunkard, and Done Waiting to name a few. Side note: yes, I am blogging about blogging. It was an interesting snapshot of the music "blogshere" and I really got a sense of how powerful the medium is. I never knew that one could fill or empty a venue with one blog post or that bloggers had enough sway to get artists signed. Blogs as a promotion tool are huge. Often It its like having a formal review of your music by someone who really likes you. Most bloggers blog only about things they like. This is due to time constraints or disinterest I'm not sure which one is more of a factor. And a note for all you artists out there: Want to get noticed in an email to a blogger? Make sure the subject line of your email says what you are all about and actually read the blog first will get you far.
One thing I did note is that these folks think very highly of themselves and even fancy themselves journalists. With several traditional journalists in the room there were some pointed questions about the legitimacy of blogs in the news media. What the journalists asserted was that blogs have no formal editing process, no oversight, and fact checking is often put on the shoulders of the reader. I think this is is a critical point of contention which the blogsphere never has adequately addressed and its dangerous if people run about calling music blogs news. Nonetheless, it seems as though there is a continued simultaneous specialization and expansion of blogs. There was a general agreement at the panel that gone are the days where people only blogged about "indie rock." They pointed out that there are even country music blogs now and one should expect to see the "Nickleback blogs" of the most mainstream music soon.

Online Resources for Musicians

This post will be a work-in-progress. My main focus during the SXSW panels series has been to focus on how the internet and Web 2.0 technology has affected how artists make their livings. The bulk of the good panels on this subject were on Wednesday. I'm going to do a summary of good artist-centered web resources for now, and when I have time throughout the rest of the week, update each link with more information.

Resources focused on distribution:

1. Kunaki
2. Cafe Press

Resources for promotion to fans about music and/or shows:

1. Eventful
2. Eventful Demand
3. Pandora
4. thesixtyone
5. Last.fm
6. Changents
7. Google Blogsearch
8. Rawwrip
9. Reverb Nation
10. Vista Print
11. Twitter Search
12. Twitter Feed

Business networking tools:

1. Sonicbids
2. Linked In
3. The Orchard
4. Imeem

Administrative tools:

1. Artistdata
2. Better Than the Van
3. Couch Surfing
   

Good sources for information:

1. Musican Atlas
2. Hype Machine
3. The Indie Guide
4. Cyber PR
5. New Music Strategies
6. Digital Music News
7. Artist House Music

Unclassified so far:

1. Noise Trade