It’s like taken the shit you just shit and wipe you ass with it!

It's interesting with Eurovision song contest (don’t be sorry if you don't have that in your country, it's the worst kind of entertainment, imagine Idol but worse). It's almost the only window now a day for the major companies. And every year when you speak with the organizers they want to be cooler, have better artists and better songs and be up to date with the rest of the music industry.

And every year they fail miserably.

They seem to go full in to find this artist that a local opening of a shopping center never will use. Or dig up old Idol artists that are not good enough. It’s all the opposite against what they talk about the rest of the year.

Even the Swedish presenters are like the worst of the worst. They take old farts of artists that have been in the completion to present the new shit. It’s like taken the shit you just shit and wipe you ass with it. This is the artist that are worse the Michel Bublé and only comes out on Christmas because you need to be so shit wasted to even hear them sing.

 

They take in the big failures like The Foo Conspiracy. This is a Swedish boyband. Yes you have never heard of it if you are outside Sweden. To be honest I never heard a song from them. Still they had a lot of small girls following them a couple of years ago. And now they make a last attempt (with one member short) in Eurovision. Tragic!

They take out Charlotte Perelli, who won the whole shit a couple a years ago. Since she only has worked with opening shopping mall since then. I guess she needs to be in the limelight for a bit. Same with the dreadful artist Loreen that won with Euphoria couple years ago. She is barely opening up shopping malls today.

Where have they dug up Roger Pontare? This is as bad as putting out a new single with Vanilla Ice.

Then you have the artists that are on every year, Ace Wilder, Lisa Ajax, Mariette. Failed artists that now just have to do Eurovision. Now also joining the parade is Jasmine Kara who really is the most failed artist ever. Of course they also have taken in artists that people listens to but is ashamed to listen to like De vet du.

The of course the artist they take in just so they can say that they have diversity. The hardrock band Dissmissed. Every hard rock band that has been on is just not taken seriously. Maybe they can no play on Sweden Rock since it was bought by Live Nation and they will probably destroy the lineup with bands like The Poodles. Sabaton Open Air is heading the same way, so maybe they can play there as well in front of the taco tent.
In this section is Les Gordons that we publish some songs of. They are put there just to be fill out with their rock’n’roll. Unfortunally my guess is that they won’t go further in their group. I’m surprised if they go to the second chance. In reality there is no backup on them and they are more in as a reason to tell the people that yes we have all genres, not excluding anyone. But all press goes on all old Idols stars and other stuff they just drown in the 10 other artist that universal will put money on.

A jojking same who is from South America. Yes Eurovision is like a freak show. And to top that you get Owe Thörnqvist, now we have a frak show a big freak show!

Värsta skandalen är schlagerfinalen där menlösa får visas upp varje år......

Monday

It's a long Monday. I started 7:00 this morning and I have meetings booked until 23:00. It's a long day.

Make up your mind.

It’s really interesting to see people present themselves to me with their music and claiming that they are really dedicated to doing music and become a successful artist.

Then you open their homepage and just a section is about music. There is sections that they write books, do poetry some amateur theatre. Just that they have just a facebook page nothing more. I mean if you are dedicated you probably would have homepage, facebook, twitter, youtube channel, everything containing your music, if that was really your goal.

Most of these people are mainly looking for handle over all work on somebody else so they could fix a career for them. Well if it fails they have other people doing the same on the other stuff they are doing.

Also people that has quite many bands are the same. Make up your mind and don’t have them all on one page. If you have several bands, let them live in different spaces, not the same space. That also just becomes for that, no you are not dedicated. 

Just some update

The last of the demo pile for this year.  And I will have a race of listening in 3 hours straight tonight.

It was fun on the seminars yesterday where the confession was that actually no one knows how to do it right releasing music right now. Everybody has their own ways and it seems like most just do trail and error. And it doesn’t seems to work on two different releases, it can change a lot very fast.

The most stupid was that yet another time someone thinks that they can do A&R work with just figures. I guess I need to write a longer post about that next week.

What pisses me off.

What really pisses me off is people that is very meticulous with their own things, but don't give a shit about others.

Like an artist that work for copyright issues for the union but when he put out music he used pirated bar codes to save money. Yes you should pay for his music but the person that maintain the bar code system you can just fuck over.

Or when an artist gives out covers but don't care to get all the info around the writers or publishers and just write stuff that is very hard to track. But are very concern to get out that dollar that came in through Spotify and make a hell of a scene to get it.

They are just about me, myself and I in their brain. And they usually market themselves as fair.

Nagg, but only if you have something to nagg about.

I sometimes get from artists that we should call up the radio stations, or blogs, newspapers whatever. The thing is you only do that if you have something new. They all look and read on our first send outs on e-mail. I know that since every time I speak to them they can actually say things from the text. So no it’s not that they don’t get the message. More that the message is not interesting enough to react on.

So if I then call back a week later and ask the same question “did you like the song, will you add it?”. They just say, well have something happened with it somewhere else. If the answer then is no, well they it’s easy for them to say no.

The strategy is to have something new to get in. Like calling up, “ Hey did you see they new video”. Or “Hey we just reached 50 000 streams and got in on this cool playlist”, “Or the artist will play in your city next week”. Anything new, not just did you listen to the song again.

Mainly also this is the problem that you get from the artists. If it is an artist release themselves they only have new things for two weeks, the song and a video. When you work with professional record labels they usually have things for at least 6 weeks. They really good ones 10 weeks or more.

They actually create all the “new” stuff happenings beforehand. Then if something really happens they use that and push the other stuff in the future.

And yes most media wait out other media so it is some kind of chicken and egg debate about it. Still there is so much stuff that can be done if you just plan ahead.

How was the song written?

When I’m on conferences around the world this is the headline I really hate “How was the song written”. In these panels they pick out the songwriters of some famous song and ask them how they wrote the song.

The problem is that yes they wrote the damn song in the same way everybody else write songs. They sat down or send files to each other.  That’s it. Usually it’s not much of a story about it. Yes they are good on writing hooks in songs. But really can you discuss how you do that? No I guess not.

And every time you are on these panels it’s the same. They sit up there and actually have nothing to contribute. And then someone ask a question how did the song get big? And they don’t have a clue around that one. That is actually the interesting part. I mean all the people in the audience want to know how to get their song as big as they got theirs. Often in these situations though they don’t know.

Because they just sold the song to a label with an artist. And the success of this song is because the PR team around that artist was the ones who made it a hit. And that story they don’t have, if you lucky they might have some fragments around it.

The answer is that yes we have a good publishing team with good relations to labels with a lot of money to put on their artists. That is not so sexy answer, but hey it’s the truth. Well then all will ask how we get in touch with these good people? That question they don’t want to answer.  I mean they don’t want to be bumped off the golden goose by someone else.

The interesting part is that you should bring down the PR team around the song, but that never happens. I guess these are the people that are hard to find. They don’t stand with the names under the song, but in most cases they actually did more work than the writer and artists together. It’s rare through they are shown on panels. Then also they can be quite many in each team.