Strategy

This Office is Made for Music Business Management

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My office is where you see a brick wall in the background. When you look at this space more closely, you will find that this is not an office in the actual sense of the word. This is a place where I feel good. During the time when a large part of the work occurs remotely and the involvement takes place virtually, the comfort is of primary importance. Although there is +25 degrees Celsius outdoors, this ‘office’ is pleasantly cool. It is easier to think, plan and implement.

Office view from Author Mika Karhumaa's studio

 

 

 

 

 

 

 

 

However, music business manager’s office is not a physical location. It is more a place where your brains, engagement and heart is located. The idea of this story come from the brick wall that has received a lot of attention. Some of the contacts are based solely on it:).

These contacts will now be a lot. One advice is in place. If you are looking for a strategic guidance, read these books first.

 

THE ESSENCE OF THE MUSIC BUSINESS: STRATEGY 2nd Edition 2021

THE ESSENCE OF THE MUSIC BUSINESS: PHILOSOPHY 2nd Edition 2020

 

I will take against all the contacts I have. Reading those books greatly facilitates progress and accelerates all the possible processes. There is a reason why I have written them. We get easier to the point.  After reading those books you are almost forced to evaluate your business. This again facilitates the formation of your own opinion and the most important thing – the story you want to tell.

Modern music business management differs to some extent from we have accustomed to. It is not about mere external issues such as playlist pitching or constant social media promotion, although quickly viewed so could easily be thought. These functions are, of course, important, but not all. Today it is important to invest in unique things, story and how it is most sensible to bring out. It’s the tailor-made career counselling which still has the most important task of management. Against that background, it is also the easiest to understand the business itself. It is also important that the artist understands the things about themselves correctly. Transparency is the other virtue of today. The better we prepare the artists for their ‘game-plans’, the better the whole industry functions!

Here I am with a distinguished Ghanaian producer/artist, sLimBO – talking about new outputs and the story angles they should contain. These meetings are guided by necessity. Whenever there is a reason for it, the line opens. It’s a normal day at the office – as with all other affiliated artists.

Office meeting with sLimBO

 

 

Intelligence and Artist’s Independence in Modern Days

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Intelligence draws attention. Intelligence is noticeable in many different matters and even within different levels. Intelligence also has the ability to find out about things. Intelligence can be associated with vision and how it is converted into a tangible form. This is about, for example, when writing a song. When a performance and an artist is added to it, we are dealing with the visible side of the matter.

All this is not about intelligence, but talent, experience or learning. Can these really distinguish between? Intelligence increases with experience etc.. In any case, intelligence steps into the picture when we start thinking about what is done for this. Or how to get them out from existing, lacking, necessary or hidden resources out. Much is the question of what you should do for yourself and what is needed from the outside.

Being intelligent always relates of being independent – at least up to some extent. And precisely to this independence evolution within a music business gives the opportunity. Hardly ever has an independent artist had so much alternatives. However, independence is a relative concept. It also gives you a possibility of disposition. That is, to sign away the rights to carry out a larger objective. Traditional means still have their foothold. And this is not really black and white. A variety of hybrid solutions have been formed between these extremes.

It is a great note that the awareness of artists in the field and business has improved. It is no longer an artist always in need of an external management in all matters. They can handle management-related tasks by themselves more often. It is about an access to together deliberate of self-developed plans, their implementations and strategies.

Such contacts have come a lot recently. I usually step into the picture by a measure or measures when the artist’s means are not enough. Despite this, the plan is originally artist’s own – respecting the artist’s story and business motives. I only bring a piece of it to the next step required. An artist feels it fruitful to discuss and evaluate their own decisions with someone well-established in the field.

Here we are with Joachim Willems from Novotones. An hour’s meeting was ultimately a three-hour encounter that gets a continuation next week. The manager is no longer a patriarch, but sidekick. The artist is not worth waiving their equities too early as often mentioned at Shark Tank. If the collaboration then expands in the future, it can be developed together other responsibilities to meet the current state of affairs.

Talking about intelligence and strategies with Joachim Willems from Novotones

 

 

Hardcover Available on Amazon – Get Yours Today!

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I have ‘hardcover’ news! Hardcover books for The Essence of the Music Business have arrived on Amazon’s selection. Hardcover is a big deal for the author – it is somehow more impressive. There’s absolutely nothing wrong with paperbacks, or e- and audio books.  They have their own abilities. But still, the hardcover is the thing!

This novelty is a book worth reading. I like the definition it has received – Modern Basics for Artists and Other Music Business Professionals. It’s this long-term knocking on almost every writing in the field today. This book focuses on how this is worth taking into account in everyday activities.

Get your own hardcover HERE!

This book is also available on Google Play Books and EBSCO for academic purposes.

Hardcover of The Essence of the Music Business: Strategy 2nd Edition ISBN: 978-952-69469-6-2

 

 

 

 

 

 

‘ The fully revised 2nd Edition is here. New examples have been added to better reflect the present time. Also, as a main focus, strategic thinking, the ability to create long-term plans and how to prepare for this in everyday activities are present in this book.

Understanding the importance of strategy is the basis for rational advancement. In the music business – strategies are not always perceptible. They are multi-layered, long-lasting, but also instantaneously effective. The ultimate goal often transpires along the way.

In order to understand tactics, one has to read between the lines. The reason why different pre-conditions and industrial expectations must always be taken into account is due to conflicts between artistic and economic goals. An artist’s progress often depends on their interest groups’ comfort to these aspects and is about maintaining the balance between music business objectives and the artist’s story.

This book deals with factors affecting the strategy and how it relates to the artist and their management. Although viable passive income generation in the streaming era is what is sought most after, no other aspect, including social media capital, should be ignored, as it is often even more important. All this has an impact on how an artist succeeds in other music business areas. This book illustrates the current state of things in light of new opportunities.

‘Strategy’ is the final chapter of The Essence of the Music Business trilogy from Mika Karhumaa.’

Long-Term Plan and Strategic Thinking

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A long-term plan is at the center of the upcoming The Essence of the Music Business book. The long-term plan is closely associated with its essential ingredient – strategic thinking. One cannot be without another. This time, I have extended long-term thinking throughout the writing and publishing process. Every single phase is in some way linked to the back idea of the book, but also to how it is strategically imported. This way, I hope, the content of the book will be better understood.

Get your own book easily here!

Delta Enigma‘s singer, Vin Valentino, has been close to me for the entire writing process. We talked about the covers for a previous book – it didn’t happen that time. Usually Aleksi Manninen is the man behind my covers. This time however, the back idea of the book and the contribution of Vin supported the idea that he would make the cover. I gave him free hands here – how he visually understands a long-term plan and strategic thinking. I told him also to follow his own preferences. After all, many book arguments has a direct access to his band. I have to admit I like his vision;

A cover that tells how Vin Valentino sees a long-term plan

 

 

 

 

 

 

 

 

 

Otherwise, in this book, the manager discusses with the artist and vice versa. Music business is an artist-centered operating environment and this viewpoint offers a fertile reflection for a general perspective too. The first edition got a lot of praise just about this. Now the presentation will be further sharpened. It is also written so that you don’t have to be in the field to understand the matter.

There are many books about music business. And there are lots of great writings on the topic, webinars, workshops, podcasts etc. That number however, may cause difficulty to outline the overall picture. This book is made in view of that purpose. By reading this book, other writings in the field will open in a completely different light and enable a better understanding of things that you should pay attention.

I hope you will be entertained by a book. If there’s any further question, feel free to contact me.

-Mika

 

Meaningful Points to Strategy’s 2nd Edition

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Meaningful it has to be. Strategy has always been my favorite subject. Although all my books deal with strategic perspectives to some extent, this up-coming Second Edition at hand treats it with completely new dimensions. It is these meaningful and essential sections that have been better raised. And behind them, it is again added to the meaningful experience.

This book has already faced the readers with its First Edition. Since its publication I have used this book as a study book for my courses. That’s why it has been the subject of intensive debate, questioning and analyzing. Nothing else creates a better starting point for Second Edition than such an examination – especially as the speech is a strategy.

Different methods and different meaningful measures can achieve exactly the same end result. Strategy is not always a question of choice – sometimes it’s dictated by necessity. Although the strategy is often dependent on its user, it also affects how others adopt it or from other side – responds to it. A journey includes variables that force to think about choices from another corner. The strategy also involves dealing with morality, sustainable solutions and accountability in general. The strategy will not only affect in its immediate sphere of influence, but often even further.

Another meaningful factor is goals. Each release is always about facing the ideals of industry. The issues that are generally perceived as worthwhile. Each release also creates an opportunity to enrich the backstory of each involved. The release also involves a new metadata in the form of copyright. If your own goals differ from how to make the same thing in the field, it may require clarification. By taking note of this you will be understood properly.

This up-coming book deals with these topics. All of this and much more will be available in a soon to be published The Essence of the Music Business: Strategy 2nd Edition. The new edition has a polished presentation and included things that were left out of the First Edition. It’s much more consistent entity now.

I am privileged that I get to work with the professionals that are mentioned in my books. Every thanks in them is well deserved. Here we are on April 22th at Seinäjoki University of Applied Sciences, with Leonidas Chantzaras, talking about the significance of record companies in the 2020’s.

Talking about strategically meaningful things with Leonidas Chantzaras.

 

 

 

 

 

 

I have got a lot of inquiries about this next publication over the year. Please wait patiently – this novelty will be published in June!

-Mika

Understand the Strategic Side of the Music Business

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In its true essence, Friday seems to be a day of strategy. At least when it comes to successes in writing. Somehow, after just over five years of regular writing, lecturing and mentoring – it is starting to look ready. Intact. The whole trilogy. Although the subject area is broad, it narrows the more you learn to understand it.  You also learn to understand yourself, your strengths and your weaknesses. Sooner or later, you begin to focus on the essentials how to understand it.  This information is relevant to the strategies you use. And this year it is becoming a Second Edition.

Understand the Strategy on the Screen
The Essence of the Music Business: Strategy (2nd Edition)

 

 

 

 

 

 

 

 

 

 

When I begun this job, it really didn’t know what I wanted, or more precisely, what I wanted in it. Even though this is an update, the previous edition is just as valid. Each edition has its own emphases. Especially with this. This is the one book I will always write (including updates) in prima vista, trying to capture the moment. This will best take into account the trends that prevail at the time of writing. At the same time there will also be an estimated future, even if it cannot be known. In any case, from a strategic point of view it is important how to prepare, anticipate and create required pre-conditions, which are discussed in several sections of the book. Not to mention the interacting, congruent or divergent motives that may be associated with all the activities of the music business. In its own way – it’s about managing space – not so much the real thing but what happens at the level of thought.

The Second Edition received exactly 200 corrections or improvements and more than ten additional pages. I will not receive the exact number of pages until the layout of the book is completed. The nonfiction book is characterized by the fact that it improves with the Second Edition. By the time, it has already encountered its audience and the author has gained distance from the traces of first contact. It can be viewed more objectively. I believe that the corrections now made, with their new considerations shed more light on the strategic perspectives.

-Mika

New Year 2021

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Happy New Year to Everyone! I hope you are all doing fine. This is my tradition and fashion to welcome the new year.

The publication year 2021 looks interesting. Last autumn’s lecture series at Seinäjoki University of Applied Sciences sparked a variety of ideas. From the very first lectures I noticed that we are dealing with a new way of understanding the music business. Therefore, as on a structural level. Due to the activity of the students, I feel obliged to make a book about it. Duty though is a wrong expression here – it’s really about joy.

There will be several releases from the artists I represent coming this year. At least Delta Enigma, Melba Culp, Annika Nord and IRENE are releasing new material this year. Nevertheless, it gives room for writing. We have been doing groundwork throughout last year to make this year easier. We have got to know each other better, and there’s no need to take a meeting on every issue :).

In addition, more lectures are coming. Hopefully at some point the world will be open up again and we can do them live as well.

However, I am pleased to announce that this family will receive an increase when The Essence of the Music Business 4 – Artist Management goes into production. I haven’t started writing it yet as The Essence of the Music Business:Strategy needs a little update. Once this taken out from below, it is time for a new publication.

All you need to know about the music business in 2021

I want to tell you about the gift I received. I got a box of chocolate like this from Songtrust. Such a lovely gesture from them. I will use this as a prize. Whenever I successfully add a section to a book, I take one piece. There are 14 pieces in the box. I’ll let you know afterwards whether the writing happened faster or slower than before.

New Year's Box of Chocolate

Take care there and stay safe!

Mika

A Few New Ideas and The Music Business

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This idea has been surveyed a lot throughout the year. Finally I can tell you more about my upcoming publications. I’ve been thinking how to complete the trilogy. One option would be to write a brand new The Essence of the Music Business book. The other is the inclusion of new ideas and updated material within the previous three. Since the first part, Contracts, was already updated in March 2019, the other two parts, Philosophy and Strategy, remain.

I read both books twice – thinking about how they could be improved. I was particularly interested about the structure and order of presentation. Could I get new information there without compromising the understanding. Whether the existing structure gives room for new ideas or and whether there is enough space so that the book does not become too long. I realized that the update could take place in two steps. It allows me to complete the material if needed. If I make Philosophy first with the things I want to add there, I can further refine them in terms of strategy. This realization was followed by a sense of freedom. This would avoid the possibility that an entirely new book would actually be a repetition of three previous ones with only a few new ideas. The possibility of this always exists, as the trilogy as a whole contains more than five hundred pages.

This kind of solution also allows for depreciation. I can take unnecessary songs out of the books – these always remain, at least for first editions. When the time has elapsed since the publication, the text can be evaluated more objectively and from a better distance.

I have recently focused on streaming management, more carefully than in the past. Just because to get as much practical experience as possible on how to perform this task in the 2020’s. Or rather, I started this operation a few years ago – at the national level. Now it has been continued internationally, with the same team as before. The experiences I get from all this can be read in the new editions of The Essence of the Music Business.

The Essence of the Music Business
Round table meeting for Annika’s Debut Album release – 2019

So, there has been more to this than just writing and publishing. It’s been a pleasure to partner with Grey Beton Records. Our second joint operation, Delta Enigma’s Waterfall, will be released along that avenue. More likely all my other artists will end up with the same solution. Such a vision that CEO Richard Hiles has to offer also provides the experience required for modern streaming release behavior.

The Essence of the Music Business by Mika Karhumaa
Delta Enigma – 2020

Stay safe and stay healthy,

Mika

Behind the Scenes – Communication and Interaction

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Behind the scenes continues with interaction and consideration of all aspects involved. When it comes to music management and one of its sub-categories, artist management – it is important to consider the artist’s perspective. Without artists there are no managers. We got a great guest for this week’s lecture when Jack McConnell from Melba Culp brought with him things that the artist would pay attention when communicating with management. This is exactly what management needs to be aware of in advance.

behind the scene jack mcconnell skype lecture

It may be present, but not inside. For my part, I strive to bring the attendees as close to the actual situation as possible. Everything starts with the communication between the artist and management. There is a communication chain. At the beginning of the relationship, the focus is on getting to know each other, creating common routines and mapping the motives involved. When this stage is reached, the actual work begins.

When introducing artist management, it is extremely important to introduce the things for which the weekly communication exists. Every stage of an artist’s career promotion has two dimensions, the rationality of your own feeds and action and response of the reactions – as if it were simplified. It is kind of a Pokemon Go-game that the artist and the manager play together.

Tracking plays a huge role in all of this. This communication tracks how the artist’s communication reaches and responds the audience and fans. When you add your common goals, that communication lives up to the goal approached. Against this background, the division of labor becomes clear. Communication seeks to find answers to whose individual action makes sense to do and what to do together. Note, the role of the management has changed a lot over the last decade.

The lecture series continues the day after tomorrow. It is absolutely wonderful that Songtrust gave us a permission to use their materials. We get to hear Kato On The Track webinar on what a producer needs to know about copyrights and music publishing. Till then, talk to you soon!

all the students having a communication break

About Functional Biography

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My recent article on uncertainty received a lot of praise. Rarely will I get the same amount of feedback for a single post. Through Facebook alone, the article was read 500 times.

By the way, feel free to visit it, like it, follow it and let your friends know about it. Just type The Essence of the Music Business in the Facebook’s search box and you’ll find me!

Most often my texts are read directly from my website. That Facebook page is a new feature in my communication.

In any case, when the total number of reads rises to several thousands, you may want to write more.

This time one topic is over the other. Functional biography, the term that I started to use, has aroused widespread interest. As well as its relation to the artist’s story, its root and SEO (search engine optimization). This topic is so familiar to me that it’s easy to write about. On the other hand, I am not in a book writing mode now. This makes it a bit more difficult to structure – for consistency between the texts that I have already written.

The functional bio is a topic that’s not properly covered in my books. It has been referred to there, but in a slightly different context. In principle, I could do a completely loose presentation independent of my other texts. However, I do not want to compromise the learning experiences already achieved. I therefore consider it more important to structure in a way that supports my previous production.

Therefore, I will publish that article as soon as it is internally and externally aligned. This may take some time or it will be completed in an instant. Autumn brings with it lectures and this may keep me occupied – at least in some respects. On the other hand, in teaching and interaction with students, structuring tends to develop. So it is with preparation of lectures.

Until then, have a great autumn everyone. Feel free to be in touch if something comes up.

 

The Essence of the Music Business Trilogy is –

Philosophy

Contracts

Strategy

 

Functional Biography explained well in this book

How to Live with Uncertainty

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Uncertainty! This article has been requested for two years. It’s a difficult topic! I have started this article at least twenty times. Every time I have emphasized some other thing over the other. Now I am about to finish this. I decided to be more merciful to myself and just write things down – without any filters. I hope you find the end result useful.

Uncertainty is something we all are familiar with. You come across it in every area of life. You also often hear people say that you just have to live with it. Well, that’s how it is. Basically, it is how we deal with it, use the past experience and advice along the way.

I am talking about economic uncertainty that every music business aspirant have to react to. Instead of speaking it from a general perspective, I speak from my own experience. It seems to interest you the most. Secondly, a personal story is best known to you. It gives you the freedom to tell things without any restrictions.

The beginning of a career

It was 1995 when everything started. I was a first-year student in law school. At that time, resources were insufficient and life was like that. Moreover, time spent tasks was not regarded as sacrifice, but approached with curious, I am learning something new in mind. If I would give to 23-old myself an advice, it would be that always leave something in your pocket when receiving rewards. We’ll return to this below.

People often told me to focus on law and forget about music. As a lawyer, livelihood would be secured. Fortunately not everyone agreed with this. At a young age, you are more exposed. As a result, you could have made a different choices. I am lucky. I was able to attend a lectures of great teachers. One professor reminded us of copyright and how it could become more important in the future. Oh boy, he was right.

In my case, law school was the plan b – if everything had gone wrong. That knowledge in itself creates a sense of security. On the other hand, as you get older, you become more prone to worry. Every now and then I find myself wondering what if I had chosen otherwise. This is what I mean when I recommend starting everything at a young age. Later you will find it easier to place restrictions and excuses for yourself.

Knowledge Acquisition

Uncertainty is largely due to a lack of knowledge of the correct state of affairs, or how this business in general works. Lack of information usually manifests itself as hesitation. The hesitant mind, in turn, sees no opportunities. It is completely blind to them with its limiting elements.  Let’s move on.

You can fill this gap by reading music business books and articles, but also being in touch with music business professionals if that’s possible. Nothing however, beats the experience. It is always the best teacher. So let it be our guide. Entering the industry requires preparation. Without it, your journey becomes difficult.

For the sake of clarity – this article does not per se apply music professionals who are employed by companies in the industry. No, this article applies to those who operate independently in the industry.

In order to find your path, you need to know what you are after. That is why it is worth investing in those most uncertain years at the beginning of your career. At that very time, all kinds of experiments and changes in plans are easier to settle. If you’ve already become famous in some particular role, it’s harder to change it. It is not worth limiting yourself when you start this journey. I personally attended every meeting which came along the way when I was younger. It didn’t matter if the meeting made sense or not. Each meeting developed communication skills for different situations. For a manager, those skills are worth gold. The time when you start to think about economic value of your actions comes later. On a large scale, therefore. Trust me, you want to fill your data bank first. With that information you can easier to estimate what your path is – if it has remained unclear.

The better this footwork is done, the easier it will be live with prevailing uncertainty. You are bound to learn how this business works and what you should do there. Since the music business poorly suitable for part-time job, many end up as trainees in the industry. For those, who start from the beginning as self-employed, or as entrepreneurs, the situation is different. They have to start from somewhere, that is, to create their working facilities. It usually requires resources. Happy are those who have savings or other usable resources when they start out.

Earned Money

For my part, I proceeded as my knowledge from the field grew. This means I started as an agent – a task where success is realized immediately or at least with a really short delay. At this stage, we were not dealing with copyright – generating revenue as a source of passive income. The type of reward of the agent is commission for appearances.

However, this was a valuable time for collecting information. You get a reason to connect with the promoters and other operatives in the field. The commissions I received from these gigs also funded my studies. While I still worked as a substitute teacher, I got the necessary funds to gain early career knowledge and experience.  I did teacher’s substitute in music and that only slightly interfered with my real goal – to become a professional manager. Afterwards, I am happy with the choice I made – if it is considered in terms of knowledge acquisition.

Easy come and easy go. At that time, money came in surprisingly easy ways. I always had job that were paid. One thing I ignored.  Jumping from agent and surrogate teacher doesn’t happen overnight – at least if approached financially. If I were in the same situation now, I’d save most of my rewards for the future purposes.

As a manager, money begins to come into play when the artist’s actions make it possible. I started my career as a manager for new artists. It means that it takes time to produce and commercialize the production in an economically sound way. In addition, the beginning of every artist’s career requires time-consuming resources, which is difficult on a sideline basis. It is also the time when you make a name as a manager. Trust me – you want to do it well!

Derivative

Uncertainty is also created by industry derivative. As a manager, you are dependent on your artists and how their interest groups are doing their job. It is not uncommon for an artist, after all the preparation, not wanting to continue in the same way. At the beginning of a career, before any plan is realized, everything is more and less uncertain. This fact is good to consider when setting your bets. It is rarely worth putting all the eggs in the same basket – especially if your future income is dependent on the others.

I was already so advanced in my studies that I could offer legal services to others. I was pleased to see that most of the assignments came from within the industry. I was not as dependent as managers can be. It also made my relationship with my artists easier – the work was done voluntarily from both sides.

Reward

Reward is something you want to tackle as early as possible. The more obscure your financial figures are, the more uncertain will be your position. You need contracts for this. Basically, artists are in a better position. They have rights over their production from the moment it gets completed. It is up to them to decide how they are going to benefit from their output. When, in pursuit of their financial endeavors, they then sign away some these rights, the recipients obtain financial rights over the artist, in a way the agreement determines. WARNING! This paragraph is just an example and does not mean that you have to automatically give up your rights or some them to succeed!

I myself had a reservation about derivatives. At first I didn’t take anything from the artist, not because I didn’t deserve, but because my own motives were halfway elsewhere. By taking care of my artists, I got a reason to deal with the industry. I was also able to do it on a larger scale than just as an artist manager. It seemed unfair to charge artists the artist for getting that opportunity. If I hadn’t been in that role, I wouldn’t have got the information I have.

Secondly, I wanted to write the books I have written! Hardly any of my books would have been completed without this. Personally I started to include commission in my contracts from the moment I considered being ready for it, but also being as committed to the task as I should. In many respects, it is about believing yourself!

Investments

I’ve noticed routines to help with any kind of uncertainty. I myself start every Monday in the same way – answering to every contact I have received over the weekend. You would be surprised to know how many contacts an author can have and how it is that most of the new contacts actually take place when it’s weekend. These contacts form my weekly agenda for new assignments. When we add ongoing operations and agreed individual tasks, we are dealing with the agenda I am running through every day.

Now, let us return to what was the beginning of this article.  I always save some of the money I receive. This allows me to evaluate the amount of play that I have for my life and my mission. Part of the reward goes to the chosen funds with variable returns. By the way, it is interesting to see how they succeed.

The golden advice for entrepreneurs is to take good care of their cash flow and its sufficiency. Without it, all such spontaneous promotional steps will be missed. Here we come to the end game, the moment when the breakthrough is supposed to happen. We are also dealing with sacrifices that must be made before that very moment. You do not want to spoil today what is possible tomorrow. Sacrifices are also always about patience.

The Endgame

This is about mindset. Pretty much all of us have some idea or plan – in what kind of economic circumstances you’d like to do your life work. For my part, I was hoping to get one clear source of passive income – in terms of an economic goal I mean. The distance to that point has been a long one. It will take time before you can write books that really matter to people. Quite often, readers also require some level of experience from the author – especially when it comes to non-fiction books.

I have lived all my adult life in terms of this calling, if I can put it this way. It is surprising what kind of stretching ability you have when you want something hard enough. It is also about wanting and hunting the desired state of affairs – not at any cost though. When I was younger, I didn’t buy a house or car like most of my friends did. I thought all that would have restricted me. It would have driven the resources elsewhere. I needed them to accomplish the task. It is always about choices and they are unique to everyone. This article is not designed to prompt you to do the same. This is just about what I actually did.

When your work reaches a certain state of awareness among the industry, it makes it easier with derivatives and uncertainty. If an operation ends or it no longer seems to be meaningful, a new one comes into play. Still, it is important to keep risk ratio reasonable. Against investing in productions and projects that accumulate incomes in the long run and with delay should always be tasks that capitalize as they are done. If the funds are sufficient, you do not need to pay same attention on this.

After all, the breakthrough may not necessarily present itself as an economic one. Of course such is desirable, but it is also something else. It is the moment when your action takes its toll without active efforts. Although this is a mere hypothesis, it reflects the purposefulness of your actions. Accordingly, you have to condition each of your actions and choices before this condition is reached. Now the important question is, do you really want this. Or whatever you want from this industry. The answer to this gives you an idea of how much life you want to spend on this.

This is of course not so black and white. Like I said, it’s a mindset. The younger you start with footwork, the sooner you probably find what you really want from life. Youth is the best time for experimentation. It is worth taking advantage of and enjoying it. This concluding note because most of the requests to write this article came from younger people – so there is no intention in any way to discriminate against us older ones :).

I promised myself not to exceed 2000 words. Couldn’t follow the plan, it went 300 over. Anyway, thank you for reading this. I will return with articles when another subject comes in mind.

If you are interested in the subject, The Essence of the Music Business trilogy provides a great deal of information. Books are conveniently available on Amazon as in paperbacks or e-books. They deliver them in your home in a few days!

AMAZON US

AMAZON UK

More information about uncertainty in this book

‘In Hand’ Pictures

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These ’in hands’ pictures have become popular. Behind of all this is Victor A Baker from Chicago. He recently sent me a picture of one of my books in his hand. I then asked can I share it. He liked the idea and you probably guess what happened later on. I started getting similar images – from people who had read my books. I like these gestures a lot – that’s why I decided to publish this collage. I will also update this collage whenever so requested. That is, no picture will be published without permission.

The Essence of the Music Business book in hand from Chicago

Such interaction is also a motivator. Whenever such a picture appears in my mail, it reminds me why I am writing. I know this sound like a very much used expression – it is just hard to come up with other way to show my gratitude.

The whole trilogy in hand Austin Texas

Feedback is also an accelerator. It triggers processes that you might not have mastered yourself. This again makes you writing better books and updates when needed.

essence music business book series hand pesaro italy

The whole trilogy is fresh at the moment. Therefore it is relatively resistant to development. However, block chain entry may change the setting quickly. Not yet in practice, but with reservation. It depends on how the market responds to its potential and threats. Also music and tech is evolving. It is constantly creating new ways to enjoy music. All of these have copyright angles. These, on the other hand, require agreements, from the point of view of all those interested. The writer must be prepared for this. I try to keep release interval in line with the actual market situation.

two books in one hand river

I’ll come back to these pictures yet. They tell their own truths between lines. Book alignments have clearly found their target. The first part – Contracts – is read by lawyers, law students and managers – that is, the professional groups most concerned with the subject. The book has also been worthy for record companies, music publishers and agency’s staff. It is common that some of them at some stage in their career will continue to run it as an artist manager.

big mansion music business books in hand

The second book – Philosophy – was intended primarily for managers. However, it did not quite happen. It was embraced by the artists – by far its largest readers group. In retrospect, I’m really happy with the result. I got a lot of information included in it what artists need to know about the professional groups that support them. Some of the pictures where this ‘in hand’ is taken directly from the tour bus make me happy!

living room flower three books

Maybe the trilogy makes sense. On the other hand, it is about how you sing your song. You have to think about the content and how it is presented. Such a process also evolves. One cannot ignore the fact that next part can supplement and remedy the shortcomings of the previous ones. The last part of the trilogy – Strategy – benefited from this. It has become a popular book outside the music business as well. I bet the strategy in general is so fascinating globally that it attracts.

blue wall paper books steady grip

When you look at these pictures here – pretty many of them have all three involved. And no, this is not a cheap marketing trick. I think it is about consistent mindset– written by a same author. It is then easier to follow, even if the subject changes. So it is for those who started long before me – they have their own readership. I find it great to have a choice.

inked hand with music business books

If you ever hit your hands on some of my books and you want to take ‘in hand’ picture of them and feel free to send it to me. It is very possible that it will be published in a constantly updated collage.

Yours,

Mika

The Essence of the Music Business on Facebook and Other Social Media Forums

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This is what most of you have been waiting for – Facebook. Another inclusion on social media. This has also been requested a lot – as lame as it sounds:). I have just been waiting for the right moment. Reacting in the middle of writing books is more difficult than it is when the work is done. Ending the trilogy gives you time for everything else. Summer time is time for myself when it is good to learn something new. For me, this summer is creating and learning of the Facebook pages related to my books.

And yes – I know that I have used more LinkedIn. The question is not that it would be somehow a priority social media forum. No, it just somehow fits into the ‘phonics’ of writing. I developed my own routine how to deal with the outside world, both in private life, working life and in social media. However, I have had Facebook all the time in my mind. Now that the working situation as a manager, writer and lecturer has settled, it is time to add new features.

All the things that I feel worthy of saying will appear on this page. My greatest joy has always been live situations – in the same way as in lectures – or as a manager in negotiations. In such situations, there is something that attracts time and time again. That feeling is one of the reason why I do what I do. Depending on when I learn to use this page properly, I will include live parts here.

One thing to mention! I have visited numerous Skype conversations with my readers – according to the kind requested. It has been the salt for writing in many respects. At the moments when ‘composing’ seems lonely, a good conversation will liven things up. I am extremely grateful to these discussions.

I am very pleased, if you experience my book-related Facebook page interesting. Of course, it will not replace my other social media forum, although there will surely be overlaps.

The stage where my social media activity takes place

 

I wish you all the best of Summer,

Mika

The Final Chapter of the Trilogy

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What a feeling. It is finally out, not in any negative sense. Waiting time is long. When I started doing this trilogy, I wanted to write first about the strategy. Before this particular subject can be approached, it must be guided. Otherwise there is a risk that the details that require understanding will be ignored. For this reason, ‘Contracts’ and ‘Philosophy’ had to be published first.

If however, you have not read the previous two ones – don’t worry. ‘Strategy‘ works well as in independent work. It is not the purpose of this trilogy to ‘force’ everyone to read it. Of course, after five years of writing, it becomes a wish that as many as possible would read the whole series – but this is not an end in itself.

The book’s availability has improved from the past. The whole trilogy is available in addition to Amazon, Google Books and EBSCO, from Ellibs as well.

 

Final part of trilogy - complete cover

BACK COVER – ISBN 978-952-69057-4-7

Understanding the importance of strategy is the basis for rational advancement. In the music business – strategies are not always perceptible. They are multi-layered, long-lasting, but also instantaneously effective. The ultimate goal often transpires along the way.

In order to understand tactics, one has to read between the lines. The reason why different pre-conditions and industrial expectations must always be taken into account is due to conflicts between economic and artistic goals. An artist’s progress often depends on their interest groups’ comfort to these aspects and is about maintaining the balance between business objectives and the artist’s story.

This book deals with factors affecting strategy and how it relates to the artist and their management. Since viable passive income generation in the streaming era is what is most sought after, management missions have also changed. Managers, record companies or music publishers are no longer patriarchs as before, but more like partners. This book illustrates the current state in light of new opportunities.

‘Strategy’ is the final chapter of The Essence of the Music Business Trilogy from Mika Karhumaa.

Updates

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From this day on, The Essence of the Music Business books will also be available in e-books on Ellibs. I am extremely happy about this new distribution channel. Now my eBooks are available not only for academic libraries but also for public libraries.

Therefore, the network as a whole is now such;

Amazon

Google Play Books

EBSCO

Ellibs

and, of course, the wholesale of books, through which dealers can order books from Booky and Kirjavälitys.

Another current update is in place. The Essence of the Music Business – Strategy is coming out in the next few weeks. I cannot tell the exact date, but in June, however.

Some of you already follow my work on Linkedin. I have found it extremely functional forum. It is easy to add updates, but also to be in contact with my readers. Feel free to follow and connect.

I wish you all a great summer expectations. The next major news is then the release of The Essence of the Music Business – Strategy.

Yours,

 

Mika

Updates for the upcoming book release

A Few Insights Into Modern Music Business

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Modern Music Business and Its Traditional Dimension

Today we talk a lot about modern music business and how it differs from the past. This is most often combined with streaming. Streaming has become the word of today, not only economically, but also from the point of view of promotion. The higher the streaming readings, the more often it will be claimed. This is also one of the desired conditions – improve the ratings on playlists and social media forums. Also, to be quoted, readings must support that argument. I like the word claim – it has many meanings in this article. First of all, it is strategically interesting whether the artist or artist management takes a stand on artist’s success or does the artist gives others to make a number on it. The question is what kind of statements you make regarding your career.

The current state gives the artist the opportunity to learn the field, structure their story and interact with public reactions in a way that was previously impossible. Anyone can upload their production to the internet, follow and respond to reactions.

Everything has become more transparent, there is no longer need for record companies or other players in the field to be seen. This, of course, does not mean that these actors are unnecessary. No, it is not the purpose. The purpose is to explain the changed situation, or new opportunities. Earlier, the record company was an enabler, the gateway through which the music was made available to a wider audience. This affected management – the biggest pressure was on contract negotiations. This also influenced the artist’s career plans. The most important operating object was to get a recording contract. The same is still true – albeit somewhat different in content and reservations. The question is now how far the artists can reach their own. The recording company is perceived as being topical at a time when growth is no longer possible by its own means. If we think of it as a purely economic matter.

On the other side – the record company is waiting more and more completed operations. Those who already have some level of fan base and active social media. Such an artist does not have to spend so much time and money. This is not so black and white now, but as management earlier was preparing for contract negotiations, all the time today goes to make artist as attractive as possible for social media visibility and popularity. Record company negotiations are no longer considered topical before they are backed up by those readings.  Another consideration is what kind of weight those readings should be given. For some artists it is good to get recording agreement right from the start of their career, while others benefit from being able to start their own efforts first.

About Search Engines

Streaming success usually requires good playlist positions, we all know that. Let’s think about it a bit from another perspective. Let’s not forget the importance of SEO as it may well have indirect effects that support success.

The role of the artist is to provide the story roots. The root of the story is the thing that cannot be neglected. It is good to note that search engines with their artificial intelligence and algorithms start working on day one. At the time when you start making first statements about your career. When remarkable streaming numbers are a goal today, one dimension is easily overlooked. It is consistency. Search engines ranks hits based on their weight, public reliability, and popularity. If the early career promotion is aggressive, it will probably work on the search engine scales. It is not irrelevant what the search engine first offers. Even though the artist’s website is commonly the first hit, the same laws apply in that regard. What is the first thing your website tells from the artist. If the music or artist is not yet familiar, then the first insights will be created on the basis of these weightings. If the artist’s early promotion has been successful, it may have more weight than newer content here.

Content of the Story

Strategically interesting is whether these contents are to be featured in the future. If the artist’s story mainly reflects the importance of high streaming readings of the importance of finding a record company, the artist will certainly be assessed on how those projects are. It is therefore a very meaningful thing what kind of claims the artist gives at various stages of their career. One good advice is to include at least some kind of narrative reservations in all communications. These can be seized at moments when the story of the artist, for example, start repeating something of the same old pattern. These substantive reservations can be included in keywords and back links for any type of promotion. The more consistently it is, the easier it will be to use in the future. In addition, search engine artificial intelligence may realize the same.

It doesn’t change much when the story is viewed from an economic perspective. Then it is about finding meaning for content. If the artist, music and the story is of interest, active and successful promotions can result in a passive income stream. This is the point where the artist’s activity is of industrial importance. The better the performance the artist achieves or the higher the expected value for the artist, the more likely it is to succeed in the contract negotiations important to the artist.

Hence, the artist’s story contains two main story lines. One is independent of the financial result, the artist’s story, and how it is actually understood. It may be quite possible for the artist and the public to see each other in a completely different way. In this case, the artist’s communication has a collision. The other half of the story focuses on economic essentials, those priorities that have economic significance. These story lines should be in harmony with each other, as well as costume design. When an artist makes an artistic claim or measure, it should take into account its economic impact and vice versa.

To be continued..

Modern music business guide from Mika Karhumaa

The Essence of the Music Business – Updates

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Contracts 2nd Edition Update coverStrategy's update coming 2021The Essence of the Music Business: Philosophy cover

 

A few things came to mind related to my books and affiliations. The Second Edition of The Essence of the Music Business – Contracts has found its way to many bookshelves. I get a lot of feedback right now, for which I am extremely grateful. Over the past few years, I’ve been having hundreds of conversations with my readers. I don’t know if this is because of my artist manager background – it feels very natural. One of the most important features of the artist manager is to be accessible – when the artist needs it. The lower the threshold to approach, the better.

I would love to show the best feedback I have received – as would be best for book marketing. However, all of this has a personal dimension. I am talking with readers also about other topics than the music business only. For this reason I want to keep confidentiality and not compromise it in any form. It is surprising how little the content of my work has changed from the artist manager to the writer of these books, lecturer and legal adviser. Quite many conversations like these have led to go-to-action in the lives of the readers.

The streaming era changed the job description of the artist manager, at least in some contexts. Strategic social media exercise is nowadays the cornerstone of successful action as we know. All this no longer requires any specific geographic location.

These three books have been written in the order most commonly encountered in the music business. It also facilitates future updates when the subject is approachable from the three different but interrelated perspectives. Since the structure of the book and most fundamental laws are not to be changed all the time, the updates can also be presented where they have the most essential meaning. I believe such a presentation would best serve its purpose. There is no need to read these books in any particular order – they are sufficiently independent. Nonetheless, in the last chapter of this trilogy – Strategy – specifies a lot of things that are dealt with in the first two parts. So, the projected order to read these books would be;

The Essence of the Music Business – Philosophy (for beginners)

The Essence of the Music Business – Contracts (more advanced)

The Essence of the Music Business – Strategy (more advanced)

Information on my production issues are constantly added to news updates. For those multiple inquiries – the final chapter of Trilogy will be published in these prospects on May 15-30.

Here’s the back cover;

‘Understanding the importance of strategy is the basis for rational advancement. In the music business – strategies are not always perceptible. They are multi-layered, long-lasting, but also instantaneously effective. The ultimate goal often transpires along the way.

In order to understand tactics, one has to read between the lines. The reason why different pre-conditions and industrial expectations must always be taken into account is due to conflicts between economic and artistic goals. An artist’s progress often depends on their interest groups’ comfort to these aspects and is about maintaining the balance between business objectives and the artist’s story.

This book deals with factors affecting strategy and how it relates to the artist and their management. Since viable passive income generation in the streaming era is what is most sought after, management missions have also changed. Managers, record companies or music publishers are no longer patriarchs as before, but more like partners. This book illustrates the current state in light of new opportunities.’

I hope a really nice Spring time to you all!

Happy New Year 2019

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Happy New Year to everyone! The year 2018 was more than I could expect – full of interesting encounters, new, accomplished and yet unfilled challenges. Although there has been a pleasant hurry here, I was able to keep two-week break for the end of this year – for writing. You don’t believe how great writing can be. When you get peace of mind to think about things, structure them on paper and let you insights take over your mind.

I started writing an article series on Christmas holidays. I’ll publish it next year. The first one of these deals with the new roles of management in the streaming era.

Lectures and also mentoring are coming at least as much as last year. So will legal and operational assignments. However, this time I would think I would be able to reserve time for writing as well. To be honest, I wasn’t prepared to have so much lectures or other book-related tasks.

One interesting thing about last year is especially in my mind. I have been able to meet face to face surprisingly number of readers. Thank you for your courage to talk. Nothing is better than getting hear from you. It makes writing and everything else more tangible. Thank you also for the good tips I get through the year.

One more thing. Lectures have received many inquiries. Wherever you go, or hear me giving lectures nearby, feel free to contact me. I try to get you on the spot.

About publications. This family will get a new member  next year. The Essence of the Music Business – Strategy has been in proofread for some time and I get corrected version next spring. I would think the novelty interests you, just because of its perspective. Stay connected as before and let’s continue from this.

Yours,

 

Mika

All the books so far on the couch new year

Lectures and Articles

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There are only a few lectures to give and then it is Christmas. This year has gone a long way and a lot has happened. I have some good news. The third part of ‘The Essence of the Music Business’ will be completed on time, though I haven’t yet decided the publication date. So many things affect it, and it is not entirely in my own hands.

I’m coming to mentoring students next spring in various academies. This allows me to write more articles. I am sorry that I have not been able to write as much as I would have liked. This has been entirely due to the timetable of this autumn. When you are teaching, you are in a completely different mode than what is required for writing. When the legal mandates that I am getting relatively regular on it are still being added, it is difficult to split up to two. Those obligations go ahead of everything else. On the other hand, it keeps up-to-date on all developments in the field. I’ve got a lot of new topics that I can write about.

Below is student’s photo taken from this week’s lectures at Seinäjoki University of Applied Sciences.

lecture trip at SeAmk door view

Hope you are all well! I’ll keep informing when something new will come up.

Kind Regads,

 

Mika

The Essence of the Music Business – Strategy

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It’s been a while since I was writing here last. Autumn has gone a long way and small holiday has been kept. I had promised to return when the promotion of the second book is about to end. Now is the moment. A few things have left unnoticed. Throughout the autumn I have received a lot of questions about my books. I am really grateful for that. The most common question has been the extension. Yes – The Essence of the Music Business gets the third part. It is titled as Strategy.

Feedback has come to direct requests to write about the things that are not immediately noticeable. This usually means strategic perspectives. I decided in the summer to face that challenge. This again is an indication of why reader’s feedback is useful. I got a point of view that would not come to mind immediately. I would like to highlight my supporter – The Association of Finnish Non-fiction Writers. They granted me a scholarship for half-a-year, which enabled full concentration. This also enabled me to do lecturing work in support of writing work. So I got reflections also from live situations, not just from the reader feedback. This contributed to the difficulty of the structure of the book and the selection of content, but it certainly brought elements that would otherwise have been ignored.

The most comfortable thing in this operation was and is that the basics are presented in the first two parts. I got straight to the point. Writing after that insight was essentially the choice of matters to be included, which makes it possible to write more of the sequel when a change in the field gives it the cause. Every writer would be happy about this kind of situation. What I am trying to say is that all of your feedback is valuable. It is much possible that some of them will have their own chapter in my production.

The Essence of the Music Business – Strategy will be released in spring or autumn 2019 – depending entirely on the completeness of proof-reading. I am pretty sure that this book is worth waiting for. When I was writing it, I had such insights that had not come to mind before. I got them all on the paper.

Yours,

Mika

Articles and Autumn

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A few questions have arisen during this early autumn. There have been inquiries after new articles. Maybe this explains silence in this regard. I started writing the third and last part of The Essence of Music Business – series in the summer. It has taken an exceptional amount of time, even though writing has proceeded well. Because this is the final part of the series, I want to focus on its consitency. It should also be able to summarize the first two, but still provide new content. Maintaining such a thought structure is a full-time job. Writing a loose article on this topic is so difficult in the midst of everything that I haven’t been able to do. I do have material for those yes, but it is this structuring. When this finishing period is over, more articles are coming. When writing a book, it comes material that cannot be included in the book. Such texts on my computer can be found much. I find it important, however, the same consistency to bake these texts too. If I were to add them here, I would probably have to fix them later. There is also another reason. The fear of the writer is that the thought gets lost. So maybe it would happen if I focused on something else. Therefore the book goes ahead of the articles here.

The second question relates to the previous one. My release timetable may seem like causing difficulty of breathing – three books in less than two years. It would be so, but I started this job four years ago. It took its time before a large number of texts were given a functional structure and perspective that would be useful. When I came up with how things will be presented, the end has gone more easily.

An extraordinary number of lectures have been booked for the autumn. Also the publication of the second book keeps busy. That is one reason more why I cannot be active in the same way with articles. I hope you understand it. When those breaks come, I will add articles.

One thing that has been asked for is blogs. I have taken them into consideration:). It might be nice to tell about affiliations without actually switching to the subject itself. We’ll see.

Have a Nice Autumn Everyone,

Mika

Strategy In Narration

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If the artist’s intention is to tell his or her story, the strategic considerations must be taken into account in the narrative. It is not one and the same thing what the artist tells, if the story aims to influence the artist’s prospects or the artist’s image requires it. Part of that strategy is guided by the artist’s own ambitions and the other part is driven by necessity. Some parts of the story line requires a certain kind of response, while in other respects the artist is free to decide what is being produced at any given time. It is clear that some parts of the story are trying to create and open new grooves while the other parts are intended to confine the story and its content.

It is of great importance where the artist is in his or her career stage. At the beginning of the career the narrative aspirations are different from the situation where the artist has already created the relevant career. If the artist is world-renowned and there is no need to struggle to improve awareness or with the feed rates, the main focus is probably on the content issues. Instead, the artist who is just entering the industry and maybe gained some foothold in their home country, the situation is different – if it is to reach wider market. In this situation, in storytelling, it is hardly worth going ahead. The events around the artist and the success achieved create its own unique frame for the story. Pop music news flow has an essential part of the pursuit of success. Just for this reason, it is hoped to be included in the story of an ever-increasing number of artists – either directly or indirectly.

The best thing is always to stay in truth and practice what you preach. In the early stages of the career staying in this ideal is difficult if your music cannot find the listeners and your success is to be done under the terms of your story. This does not mean that the artist should color the story at the expense of truth. No – it’s more about giving efforts to improve the attractiveness of the story.

Earlier the greatest desire was to get the music to the widest possible public play in radios and television and tell the story to this end. Success in those channels would boost the sales of album and increase other copyright derivatives. The same goal is still being pursued today. However, there must also be success in the provision and presentation of streaming service providers. In the past, the commercialization of marketing was to bring the artist’s albums to the record stores and preferably, well-presented. In the streaming era, this same idea is to get the artist music to the best possible positions on the streaming supply, in their internal playlists and as quickly as possible to click. Before the artist has achieved the desired market position, the story must support these efforts. Therefore, the business reasons may limit but also dictate the narrative of the story if it has given such status.

The artist often uses different versions of the story in different geographical and market areas, depending on the feedback they receive in there. In many situations, this is even necessary. At this stage it is worth recalling the need for coherence. Bearing themes should not much differ from each other. So much to the public should not strive to influence that each market area would have a different story – the story that is appropriate for that area.

If the artist is just landing to some particular market area, no big achievements should be included in the story – they are not yet happened in this area. In this situation, the story could emphasize some other components, for example, artistic perception or artist’s personality. Of course, if success in some other geographical area has been so significant or noteworthy that it could have an effect outside that area, you should consider incorporating it. If the artist has achieved platinum sales, for example in some remarkable market, it may be relevant in another market area too.

The artist’s story must take note the structural aspects as well. The artist’s story is well written if it indirectly brings with it the elements such as those that the industry can capture. This is crucial at a time when the artist is still unknown to the general public. When the story of the artist reveals expectation-worthy factors, the recording contract will be considered in a different way than in a situation where there is still no evidence of this. If the artist is getting a television performance or own spot at some relevant festival – this is worth pointing out in the story. If something abnormal happens in the artist’s communication system, it is also worthwhile to include in the story, even if it seems insignificant. They for sure bring their own twist in the story. It is not uncommon for some genre to be particularly impressive in some particular geographic area. If the artist’s music goes through an area where the artist’s style is not usually popular, it is almost an obligation to point out. All this brings the value to the artist’s story and makes it interesting.

It is good to note that story lives all the time, even if its core would remain the same. A very few artists can pass through the story by dictating the terms of it. The public and industry’s reception makes it impossible. Especially during the early stages of the operation, all kind of monitoring is important when the artist is waiting and searching for the place to go through. If the popularity for some reason is growing or decreasing, the reason for this would be good to locate. If the number of audience or fans to a new artist is increasing from one thousand to ten thousand, and this change takes place in a short time, there is probably some reason for that. At this stage, in storytelling, it is worth focusing particularly on those factors and the channels in which that growth is taking place – even though the artist’s story would require something else. You can leave that back-to-back action and activate it when the current hype starts to fade. Especially the new artist must take advantage all the moments in which awareness of their existence and music grows.

The same is true in another direction. If something makes the artist less attractive or lowers the number of listeners, there is no point in targeting energy. It is good idea to change the plan and focus on it elsewhere. The attention should be taken to the places where the artist and the artist’s story seem to be more interesting. It is important for the story to continue and never stop.

Hence, the story of the artist is the root theme – a stone-based designation to respond to everything around. On the other hand, it is also the popularity and the business that is built for that purpose. It is characteristic that it changes in the artist’s career at different stages.

Your story may require a disclosure of some matter. Even your own desires may require this. However, if events around it do not support that decision, it is worth moving to a better time. Some specific theme around the artist is always framed the most. Importing a new episode may mess up previous patterns and cause confusion. As a rule, one could say that a new season cannot start until the previous one has been exhausted. Strategically interesting is the moment when the artist moves forward in the story or changes the emphasis.

There are two things to follow in particular – the hit accuracy of your own feeds and what people are really interested in. This makes us wonder what the artistic freedom is and whether it always exists at all. Fully strategically, proper communication may turn into plastic if it is obediently followed. It is good to note that it is life that happens within all this – with all its mistakes, successes and failures. It is these distractions that make the story interesting and thus a success in achievement.

The artist’s story has many narrators, one of which is the audience. A good story begins to live a life of its own. The more popular the artist is, the more the artist usually has resources to invest in this task. If somebody else is writing your story, make sure you can bear it. The music industry is characterized by the fact that the story of the artist is told partly by other facets than the artist him- or herself. There are reasons for this. The artist is not always the best interpreter of his or her story. For example, in the contract negotiations, the subject matter and the essential things is often presented by the artist’s manager. Internal communication in the field is a completely different matter as it is to the public and media. Still it is about the same story. In these cases, the root story does not always play the main role. That’s why it is important that the management speaks on behalf of the artist in forums where other vital details of yours are to be expressed than the story itself. Skillful management can place the promoting and selling arguments so that the story of the artist does not suffer.

What I am trying to say – it is usually necessary to share experiences, feelings, and of course to promote oneself to get the answer. Some of these feeds have some cool lively stories, vitalizing elements. Others are again invented ideas and perceptions that are not fully thought out. It is important to understand that all those messages form the image that you give about yourself. In an ideal situation, it is balanced with your goals and takes into account your needs and aspirations at any given time. Sometimes it is not in harmony with your story. The harmony might get broken as a result of some external matter, your own actions or the reaction of the public.

Tracking and analyzing your own communication is a professional way to deal with it. A well-designed operation may fail completely. In this situation, your choices are often the cause. Once this unbalanced state is set to return, it is important to remain faithful to the root of the story, the idea that everything is based. It is usually about finding a new or alternative display to return the course. Anyway – the experience is the best teacher. The story tells you how to develop. Mistakes should not be frightened. In the era of electronic media, its communication can be quickly changed and repaired – it can also react quickly.

The artist’s story requires it to be told all the time while the artist’s career is at the active stage. Sometimes it is written by the artist, sometimes someone else. Other noteworthy things than what this article demonstrates are there. It would have, however, longed the already long article. The purpose was to bring perspectives on this constantly topical issue.

strategy in narration has own chapters in this book