I’ve followed developments in the shifting landscape of content—the ways it’s created and the ways it’s utilized—with keen professional, as well as personal interest. During the last decade advancements that benefit both artists and consumers, have revolved around the democratization of content. What does that mean? In brief, it no longer requires complex and expensive technologies and processes to make and acquire works of art.
Today, just about anyone can publish a book, or make an album, and a lot of people are trying. Does this potentially flood the market with inferior product? Certainly. Does it also ensure that more artists have the opportunity to be heard and discovered? Without doubt.
The good news: with sufficient ability, awareness and time, anyone can publish without paying for it or surviving the scrutiny of hit-seeking middlemen. The bad news: as liberating as this new DIY ethos is, the onus is now entirely on the artist. That said, the Internet changed everything. In an analog world, DIY meant selling cassettes out of your car. Digital files put both the creation and dissemination into the hands of the artists, and the last decade has been a welcome departure from an archaic model and a lifeline for artists outside the so-called mainstream.
(A lot more on this topic and how it has pertained to my own endeavors, can be found HERE.)
Jamie Saft, a critically acclaimed musician who has appeared on dozens of albums, made the decision in 2007 to form his own label. Veal Records is now a vital independent source of music, allowing Saft to work with whomever he wishes and releasing whatever material he desires anytime he wants. Nevertheless, just because the tools exist for virtually anyone to do this, it takes more than talent and good luck. The new DIY ethos demands a proficiency at production, distribution and marketing. Social media provides a crucial marketing advantage, and the ease with which fans can connect and spread the word with potential fans is a major breakthrough.