from the it's-out-there dept
Last week, we wrote a post about an interview with Tommy Boy Entertainment boss, Tom Silverman, claiming that just 14 unsigned artists "broke the obscurity line," -- which was defined as sales of 10,000 albums. Amusingly, three days after this post, I met Silverman on an airplane over the Atlantic... and only realized it was him when he started talking to the guy seated next to me about my post not realizing who I was (small freaking world). We had a brief, but quite enjoyable conversation, and while I see his point, I'm still not convinced his conclusion is correct on the issue of breaking artists (his view of business models, however, seems right on). Meanwhile, in the comments to our post, Peter Wells from TuneCore disputed Tom's numbers. Since then, both have expanded on the discussion.
Tom provided more details on the number of totally independent success stories (decreasing the sum from 14 to 12 due to the fact that they had mischategorized 2 of the bands) over at the MusicianCoaching.com site. He then went on to claim that the long tail doesn't seem to be working for the music business:
Clearly the ease of making and distributing music does not benefit "breaking" music. Breaking music requires mass exposure which requires luck or money or both. I can say with great authority that less new music is breaking now in America than any other time in history. Technology has not helped more great music rise to the top, it has inhibited it. I know this is a bold statement but it is true.Certainly bold words, though they did not address my original criticism with the point -- which is that number of albums sold is a poor measure of "obscurity" (or non-obscurity, as the case may be). As I said then: "You don't have to sell albums to become well known, and just because you're well known, it doesn't mean you sell albums. It's not the best proxy for figuring this stuff out." This week, at Midem, musician Hal Ritson of The Young Punx put it much more succinctly: "Sales are not how you measure success any more. You figure out how to get as many people as possible to hear your music, and then you figure out if you're profitable." Also, I still think it's wrong to only count totally independent artists in this list, because many artists signed to labels (both indie and majors) may use new technology to help breakout (with or without massive support from their labels).
Either way, even beyond that, it looks like Silverman's numbers may be suspect.
I have to say that