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Miranda Ward

F**k The Radio, We've Got Apple Juice

What happens when getting played on Radio 1 isn't the goal anymore? What if music is really just about music?
A few years ago, Little Fish were signed to a major label and recorded an album in LA. They've toured with some big names (last year Debbie Harry saw them supporting Courtney Love and asked them to join Blondie for a UK tour, for instance) and played all over the world.
But earlier this year, they did the opposite of what the traditional rock n' roll myth says you should do: they came home again. They left their label, set up a recording studio in an Oxford bungalow, and started doing the things that made them happy, instead of the things they thought they should do to get played on Radio 1. They sent hand-letter-pressed cards to their fans, held raffles in the middle of their gigs, and played acoustic sets at local open mic nights.
Independence has raised a lot of questions for Little Fish. Why do we make music? What do people want from bands? How do you create a community? How can we make a living? What is a living? Joined by friend and writer Miranda Ward, who quit her job to follow them on their adventure, they plan to explore these questions, even if they never find answers, and to tell the stories about being in a band that you don't get to hear in NME.
F**k the Radio is a book about Little Fish, but it's also a book about making it work, making your own way, and making stuff — music, comics, t-shirts, fishy paper squares, stickers, badges, vinyl, stop-motion animations, even books. And fresh apple juice. It's about declaring your independence and rewriting the myths you live by.
271 páginas impresas
Publicación original
2013
Editorial
Unbound

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    Alexander Revinskycompartió una citahace 6 años
    And yet for all my irreverence, my selfishness, music is still a form of escape, a way of subverting the negativity of all those anxieties and ambitions.
    Bas Grasmayercompartió una citahace 8 años
    Grasmayer outlines a set of steps to success. In the first step, “a band, group, artist, label, has to differentiate themselves […] their music has to be very good, but it also needs an element which defines it.” The second step is “to give fans a message that spreads […] you have to be a story, as an artist or a label, be remarkable and be worth mentioning.” Then, “when this story starts spreading, that’s when you start building your ecosystem.” The fourth and final step is to use this ecosystem: “once the ecosystem is in place, one should start listening very closely to […] see what it wants. This is a paradigm-shift in marketing communications, because it has traditionally been about finding a consumer for your product, but this is about finding a product (business opportunity) for your consumers.” Everything he writes makes sense, of course. It may be initially jarring to read about “consumers”, “products”, and “business opportunities” in the context of music (especially because music, as Grasmayer points out elsewhere, is always also more than just a product 5 ). But it’s true: fans are consumers, an album is a product of sorts, and if it’s profit (or even just self-sufficiency) they’re after, bands need to look for business opportunities. And, as Grasmayer writes, “the power of an ecosystem in a digital world” is potentially liberating:With a strong ecosystem, one also doesn’t need to worry about gatekeepers that one traditionally would need, such as the people who decide what to play on MTV…the ecosystem should be like the cool party happening down the street.…Soon enough, the party will be attracting people from all over the area…the fun of the party depends on its own existence and therefore the party protects its continued existence. Now imagine that party without geographical limitations.

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