This past weekend I saw the Lego Movie. It’s a fun movie – more than just a 90 minute commercial, as FastCompany wrote, (really, I promise). Now, I rarely go to see movies, so it’s even rarer that I actually like one.
Will Ferrell has a great (non-animated) role, and Morgan Freeman shows off his considerable deadpan and off-the-wall comedic skills. Is there anything Morgan Freeman doesn’t narrate these days? If you’ve never heard him narrate his own life, I’ve embedded it below. It’s hilarious. But let’s get back to the movie.
I think in all honesty, the Lego Movie’s target audience is GenY parents and Baby Boomer grandparents more than children. I wouldn’t be surprised if the movie creates a boom in adult Lego construction. If you’ve read anything about Lego recently, though, they have been amazingly astute at marketing their products in the past ten years. They didn’t exactly need the movie to sell their products.
The movie is packed full of sly inside jokes and life lessons. I thought I would pluck just a few and write them down, trying not to spoil the movie for you, in case you haven’t seen it:
- Encourage creativity in yourself and others. Be patient. Like Vitruvius was with Emmet.
- Sometimes an empty mind can be the most fertile place for ideas to appear. Also, like Vitruvius said.
- Stay flexible so you can adapt to change on the ground. Keep moving forward even when you don’t know what’s going on. Like Emmet did.
- Sometimes a little anger accomplishes a lot. You don’t have to be happy all the time. Like Unikitty.
- Be yourself. Don’t try to be someone else just because you think it’s cool. You’ll attract the wrong kind of people. Like Wyld Style (AKA Lucy).
- Teamwork and collaboration can build things no individual can. Like Emmet showed the team.
- Sometimes the most mundane idea can save the day. Like the double-decker couch.
- Maybe someone who is standing in your way just needs a little encouragement and love. Like Mr. Business.
- Even the most ordinary creator is special. You just have to believe in yourself. Like the cat poster said.
- The prophecy is just made up. You make your own destiny. Like Morgan Freeman (AKA Vitruvius) said.
I think this is the shortest blog post I’ve written in quite a while. Perhaps there’s a lesson in there for me, too…
Would love to hear your thoughts, comments, rebuttals – as always, please leave a comment below.
Sometime in the summer of 2013, I decided to join The National Academy of Recording Arts and Sciences (NARAS), AKA The Academy®. I had heard it was a great way to network with other local musicians – including Seattle’s own Grammy®-winning writers, producers and artists like Sir Mix-A-Lot, Eric Tingstad and Sue Ennis.
Then, in the fall, on a lark, I decided to see what it was like to submit my music for the 56th (as they call it) Grammys. Just for fun, mind you, and to learn. I have no delusions of grandeur left about the music industry. Well, maybe a few.
The Grammys are the biggest honor in music you can get. I thought it would be interesting to participate in the process and see how it really works first hand, for an indie and from the inside. No PR machine, no label, no manager.
First, I did some research on indie artists who have gotten nominated. There’s been a lot of controversy in recent years, with EDM artist Al Walser and Americana artist Linda Chorney top of mind. This post is not about the controversy of the voting process, however. Believe it or not, this post isn’t even going to cite Macklemore and Ryan Lewis, although Seattle’s own hometown indie artists were nominated for seven (seven!) Grammys, in case you’ve been living under a rock this year.
What is most interesting to me are two things I discovered.
One is a shift, at least for the indie artists, away from the private Grammy365 website to social media sites like Facebook to promote their nominations. Social media is having an effect even on crusty and fairly closed organizations in the music industry like NARAS.
Second is the sheer explosion in both the number of Academy members and number of submissions for nomination, as more and more amateur recording artists and producers have begun creating and marketing their music. This has created not only technical issues for the Academy and its members’-only website, Grammy365.com, but it has also made the annual listening and promotional process within the voting members much more challenging.
For the second half of this two part series, I interviewed Robin Fairbanks, A&R at Seattle’s Setlist Music Solutions. Robin is an amazing music industry resource who has developed, managed and promoted many bands and solo artists across the country.
She has also done just about everything there else is to do professionally in the music industry, including being an on-air radio personality and doing radio sales, online radio programming, original music sales, full-service advertising and PR, booking, and event promotion. In this interview, Robin gives indie artists her perspective and advice on how to be successful in the music industry.
Robin is so engaging, we spent two full hours together talking together, so this is a long interview, but I think it’s chock full of important information.
You may also be interesting in reading Part I in this series, an interview with Robin’s colleague at Setlist Music, Elizabeth O’Keefe.
I recently interviewed two of my favorite, no-nonsense women in the Seattle music scene, Robin Fairbanks (A&R) and Elizabeth O’Keefe (Operations). They are both part of a music consulting company called Setlist Music Solutions, headed up by Sean Hensley, which specializes in artist development and management. Part I of this series offers Elizabeth’s perspective, and Part II will showcase Robin’s point of view. Both of these women have a lot of hands-on experience helping indie artists succeed.
It’s no secret that the options for self-promotion are greater than ever before for musicians. As a DIY independent artist myself, I often find it overwhelming just to understand all the different business and marketing things I need to do on a daily basis in order to be successful – to say nothing of actually getting them all done – and I have an MBA (and experience in marketing!) Like many artists, I fantasize about a record label riding in like a white knight, begging to sign me and to do all the work to promote my career as a musician. While this still happens for some artists, for most of us, it’s important to move forward with the reigns of our careers still firmly grasped in our own sweaty, trembling hands.
So what’s a girl to do when she realizes there is no way she can do it all herself?
The idea of a boutique recording or music label has been around for a while, and has been written about in articles like this in-depth Baltimore City Paper article published in 2010 or in this article about the Arizona-based Cosmica Artists label. While the terms indie label and boutique label often seem to be used interchangeably, a boutique label generally focuses on a small artist roster, or even a single emerging artist. It may even be started and owned by a producer, or the artists themselves. It could be a non-profit artist collective.
The signed artist(s) may do none, or some of their own marketing. The boutique label may or may not act like a traditional label, providing (and funding) most or all of the services an artist needs, from recording to promotion, booking and tour management. Artists may have to pay for some, or all, services provided, but they get to say they are “signed” to a label. Boutique labels will not sign just anyone, but they might take a chance on a relatively unknown artist. The artist and label’s brands are associated with each other. The boutique label generally chooses the artist, not the other way around.