Five years ago, any music industry conference would feature hours of discussion about how to get your compact disc into the hands of DJs on FM radio, or tips on how to press and package a CD that wouldn’t get buried on the desk of an A&R executive at some major label. A lot has happened in five years. On Saturday, June 13 and 14, Hillsborough Community College and The Artist and Writers Group hosted the Second Annual Homemade Music Symposium in Ybor City, and in the combined 18-plus hours of discussion, commercial FM radio was not mentioned one time.

Instead, Saturday’s daytime programming included panels and workshops like “Alternative Media Promotion,” “Marketing, Touring and Band Management” and “How to Get the Most Out of a Studio Session.” Panelists included bloggers (Bryan Childs, Ninebullets.net), social networking specialists (Julia Gorzka, Brand Tampa) and local media (Lee Courtney, WMNF; Curtis Ross, Tampa Tribune; Julie Garisto, St. Pete Times as well as Creative Loafing’s Leilani Polk). Mr. Courtney was the only radio personality in attendance. (Tampa’s 88.5 FM is a community station that still allows their DJs to play CDs – they even sometimes play records.).

The Homemade Music Symposium’s goal is to educate nascent and struggling musicians in the ways and means of the music business and industry trends. It also included out-of-town industry folk and special keynote speakers – this year, it was Tunecore’s Peter Wells and Tony Michaelides, a local author from Manchester, UK, who’s colleagues and contemporaries include Factory Records’ Tony Wilson, David Bowie, U2 and The Stone Roses.

Conference attendees were mostly solo singer-songwriter types, with a sprinkling of MCs, publishers and managers as well as other local bloggers and marketers looking to get involved in the music scene or learn about new media. There was a lot of talk (maybe too much) about Twitter and Facebook, and of course the familiar geographical gripe of how Florida is difficult to tour/break out of, because there are no surrounding states (The closest top 10 market is Atlanta). A good portion of the crowd was visibly older, some dressed in flowery shirts and flip flops, and plenty of eyes glazed over when the topics inevitably circled back to “Tweeting” and social networks.

Sorely missing from the panel of experts, especially on the panel labeled “Area Record Labels and Artist Managers,” were representatives from the handful of local Tampa imprints, namely ADD, New Granada and 24 Hour Service Station (Geri X, Win Win Winter and The Beauvilles). 24 Hour owner Marshall Dickson stated that he would definitely be involved next year, but that this time around he just had “too much on his plate.” The only current label owner in attendance was Ivan Pena, who runs Mohawk Bomb Records (Soulfound, Ascending to Avalon and Rise of Saturn). Pena seemed optimistic about the Tampa Bay music scene, and about the fast-changing online industry, but insisted that artists need to tour incessantly and start treating their band like a business or risk failure.

The “Music Critics” panel, unfortunately the last session of the day, seemed to be the most pessimistic. One girl in the crowd asked for suggestions on how to become a music writer. The entire panel discouraged her. It may be in fashion for music writers to be moody and begrudging, but one would think their passion for music could somehow keep their chins up, not to mention grateful that they still have jobs in the age of Rotten Tomatoes and aggregated, user-generated reviews at Amazon.com.

As with any conference, the nighttime showcases are the payoff – a chance for attendees to party and an opportunity for the out of town industry folks to see what musical talent the surrounding area has to offer.

On Saturday night, Tampa’s New World Brewery featured performances from Rebekah Pulley, Lorna Bracewell, The Skull and Bone Band and 10th Concession. Crowbar hosted a Mohawk Bomb showcase and The Roosevelt had planned a “green” concert featuring some area hip-hop favorites like Dynasty and powered by a generator that ran on vegetable oil. Early Saturday, word had gotten out that the generator had broken during a run-through and that the Roosevelt showcase was cancelled.

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Sunday’s activities were mainly centered around The Bunker in Ybor City, which is home to the Tre Amici coffeeshop, REAX Space, a few art galleries and the neighboring Ybor City Museum.

Some of Sunday’s workshops included “DIY Sound Recording Techniques” at REAX Space as well as “Tips on Promotional Photography” (hint: no brick walls or train tracks) and “The State of The Scene” discussion at Tre Amici.

This talk was moderated by event organizer T. Hampton Dohrman and featured Courtney, Joel Cook (REAX) and yours truly. It began as a polite enough re-cap of the weekend and what could be done differently in years to come and escalated into a microphone free-for-all on how Tampa needs to publicize itself to become the next Austin or Seattle.

Singer-songwriter Emily Roff planted herself in front of the microphone and made a case for a large music festival that would draw thousands of people from all over the world. When some crowd members yelled, “What about [Tropical] Heatwave?” (referencing the annual music fest hosted by WMNF that typically features performers from the blues, folk, Americana and world beat genres), Roff shrugged. She’d never heard of it.

Beauvilles frontman Shawn Kyle made a spirited appearance at the discussion, only half-jokingly announcing his 2012 bid for city council and bemoaning the lack of attention the local media and concert promoters give to area college campuses (USF, UT, Eckerd, SPC, etc.).

What did come from the heated discussion was a summation of points that included the following:

1. The internet has replaced FM radio as a highly-coveted media outlet.

2. Musicians must treat their music as a business.

3. Musicians should treat Tampa and St. Petersburg as two separate markets to avoid saturation. (This point was argued)

4. Even though recording and distribution has become decentralized, quality recordings and the packaging and presentation of materials is still very important (maybe even more so).

5. Bands must tour out of market (once they have established themselves regionally).

6. With the decline in the sale of actual recorded music, musicians must learn to diversify their content/revenue streams to include audio, video, performances, merchandise, ringtones et. al. and utilize networks and messaging to stay in touch with fans and followers. (See the content model here).

7. Music criticism is dead. (This point was not argued).

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Here are some photos from the weekend:
Photos by Kelly Hickman | Photos by Denis Baldwin

Ed. Note: What follows is a repost of an item by CL Marketing Director Joran Oppelt from his recent trip to SXSW. At the time, I thought it was just a really cool video. Today I think it’s become something more. You can see Joran’s original post here.

Quincy recalls his first encounters with Michael Jackson and their work on the best-selling records Off the Wall and Thriller, as well as the birth of MTV and how they broke through the “no black artists” mandate.

This exclusive CL TV video was shot in March at Jones’ 2009 South by Southwest keynote address. Video after the jump …

After repeatedly hearing this new disc hyped by The Mars Volta leader Omar Rodriguez-Lopez in recent interviews as their “acoustic record,” TMV fans might be a bit surprised when they finally get to hear Octahedron.

Acoustic guitars highlight only a couple of the tracks on the new album, primarily the single “Since We’ve Been Wrong,” the over-7-minute “With Twilight as My Guide,” and “Copernicus.” The rest of the songs feature as much of the bombastic guitar and keyboard-driven rock as their fans are used to.

A special five-on-the-floor shout-out goes to track 2, “Teflon,” where vocalist Cedric Bixler-Zavala wails, “Let the wheels burn/ Let the wheels burn/ Stack the tires to the neck/ With the body inside.”

What strikes me as particularly “acoustic” about Octahedron is the lack of dense, arpeggiated guitar overdubs that typically define the Volta’s sound. In fact, the only guitar “solo” is placed at the end of “Luciforms,” the last song on the record.

The new songs are something the band could sit down and perform “acoustically.” And that may very well be what Rodriguez-Lopez meant. In the guitar-less space that’s created, Isaiah Ikey Owens’ piano and organ parts are allowed to shine through — something that’s struggled in the mix on past records. And Bixler-Zavala has again improved his ability to craft/graft melodies over the sonic maelstrom (most noticeable on last year’s Bedlam in Goliath) and not sound like the vocal parts were arranged months after the music was written.

To my ears, the band has decided to focus on songcraft, putting all their commercial eggs in the TMV (read: major label) basket — a keen business move considering their recent successes and touring opportunities — and leave the freaky, psychedelic improvisations to the many band side projects on Rodriguez-Lopez’s own label.

More after the jump.

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Leave your comment below.

Be sure to include your e-mail address, as winners will be notified via e-mail. If there is no e-mail field, you might need to log in or set up your CL profile. And keep checking back every week, as more clowns will be hiding around the site.

For contest details, visit the Fun & Free page.

Hot off a packed showcase at South by Southwest, Austin, TX-based Ivison are set to perform at The Garage in St. Petersburg on Friday, May 15 at 9 p.m.

An emotional blend of Muse and Radiohead, Ivison will release their second CD, Relativity Maestro, at the show – their only Florida stop. The Garage is located at 662 Central Ave. St. Pete. The show is 18 and up and tickets are $5 (or $10 gets you in plus the new disc).

Support TBA.

Their press kit has this to say about the new release:

The record is full of musical contrast, with Jayme Ivison’s clear vocal reach set against cutting guitar tones and Bryan Austin’s bombastic Bonham-inspired drum style, which has led to his work on world-wide tours and most recently with some of the most noted players and producers in Austin, Texas and beyond.

Jayme ivison connects the dots of his diverse experience in various forms of art and design through his songwriting.  “The relationship we share with music inspires everything we record, and everything we’re about.  You gotta be a giver to be a receiver.”

VIDEO BELOW THE JUMP

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Congratulations, you’ve found one of the hidden Saltimbanco clowns!

Leave your comment below.

Be sure to include your e-mail address, as winners will be notified via e-mail. If there is no e-mail field, you might need to log in or set up your CL profile. And keep checking back every week, as more clowns will be hiding around the site.

For contest details, visit the Fun & Free page.

Improvisational collective Legatto Staccato has released an exclusive new track entitled “Lemonjello’s Birthday” recorded sometime last year at the International Academy of Design and Technology in Tampa.

This recording is an excerpt from a half-hour session the band recorded using drums, bass, guitar, saxophone, percussion and various analog sound effects (including assorted balloons and toys). No word yet on whether the entire session will be released, but it’s likely. No word yet if this means more performances from the group, but keep checking their site and this blog for updates.

Leg Stac on MySpace

Legatto Staccato – Bounce.mp3

On Sunday, April 19, Skipper’s Smokehouse will host the 4th annual Alchemy Fest – an all-ages, family-friendly, outdoor event that’s like Easter, Earth Day and 4:20 all rolled into one.

This year, the concert will feature performances from Thomas Wynn and the Believers, Geri X, The Sheaks, Sons of Hippies and The Jim Morey Band.

There will also be face painting, tarot card reading by Natty Moss Bond, henna tattoos by Aleka Phoenix, arts and crafts activities for the kids and “many more surprises.”

The event starts at 2 p.m. and goes until 6 p.m. Admission is $10. Children 10 and under get in free. Skipper’s Smokehouse is also a restaurant that serves some of the best Florida/Cajun staples around such as hush puppies, crawfish and gator tail bites.

What: Alchemy Fest 4
When: Sunday, April 19
Where: Skipper’s Smokehouse, 910 Skipper Rd. Tampa
More: 2 – 6 p.m. | $10 | All Ages | 10 and under free

WIN TICKETS: Send MIXTAPE to 50618 for your chance to win a pair of tickets to Alchemy Fest 4.
Congratulations to our winners!

TWO VIDEOS AFTER THE JUMP …

Thomas Wynn and the Believers (RIYL: Pearl Jam, Creedence Clearwater Revival)

Geri X (RIYL: Damien Rice, Neko Case, Feist)

On Thursday, March 19, legendary music/film producer and arranger Quincy Jones spoke for 2-and-a-half hours to a packed house at the Austin Convention Center about the state of the music industry, the future of the music business, his first encounters with Michael Jackson, brain science, nanotechnology and the success he has enjoyed around the globe by being a ”Ghetto Gump,” happening to be in the right place at the right time. He also shared some personal anecdotes from his years in the industry. 

Jones recounted how he discovered Oprah Winfrey, having cast her in The Color Purple, a film adapted from Alice Walker’s novel and directed by Steven Spielberg. Walker was apparently hesitant to have such a young (not to mention Jewish) director at the helm, who until then was best known for the sci-fi/action blockbusters Close Encounters of the Third Kind and Raiders of the Lost Ark, but Quincy was able to convince her that this was the man for the job. Executives even doubted that they could get Spielberg to commit to Color Purple “before Schindler’s List was made.” Spielberg himself asked Jones, “Don’t you want a black director to make this film?” Jones’ reply: “Did you have to go to Mars to film E.T.?” 

During one especially tender moment, during a screening of Ray Charles performing “My Buddy (Quincy)” at Montreaux, the producer teared up and turned away from the crowd.

On the future of the music business, Jones was at a loss. He cited Napster, iPods and other technology for the decline in sales and said there would never be another multi-million-selling record, stating “I got mine,” and that it’s now up to future generations to figure their way out of the box. Yet, he sympathized with up-and-coming artists that find themselves surrounded by ”an entire generation that does not know people ever paid for music.” At one point, he even said he was “open to any ideas” for solutions to new revenue streams and suggested music could monetize itself through advertising similar to television.  

Jones has put forth a new idea, however. This year, he started a petition and at last count has aquired over 240,000 signatures in an effort to lobby President Obama to create a cabinet-level position entitled Secretary of Culture (or Minister of the Arts) - which most other countries already have – a postion that would be tasked with music education and artists’ rights.

VIDEO HIGHLIGHTS from Jones’ address in five parts after the jump.

Part 1: The legendary producer talks about his roots in gangsterism, the moment he discovered the piano and the invention of the electric bass.

Part 2: Quincy recalls his first encounters with Michael Jackson and their work on the best-selling records Off the Wall and Thriller, as well as the birth of MTV and how they broke through the “no black artists” mandate.

Part 3: Quincy talks about the collapse of the music business (Napster, iPods), the future of the music industry and the possibility of new revenue streams as well as the human brain and the 7 paradigms of nanotechnology.

Part 4: Quincy asks the audience to hold hands and leads them in a poignant closing prayer, then introduces up and comers Bianca Ryan and Alfredo Rodriguez.

Part 5: Bianca Ryan and Alfredo Rodriguez perform.

It took me a minute to readjust to driving on once-familiar roads and to which drawer the silverware was in, but I’m home. It’s my first day back at work, and I’ve re-told the stories countless times and am looking forward to doing it again next year. Plus, who knows, there’s always CMJ in October.

If you haven’t been following along, I suggest you read these posts in reverse order (1 – 9) and I’ll also be spending this week editing a ton of video from the bands and from Quincy Jones’ emotional keynote address. One especially tender moment I did not capture was a video tribute to Jones’ good friend Ray Charles that forced the legendary producer to turn away from the podium in tears. 

If there’s anything I learned from covering the entire week of South by, it’s a sentiment that was expressed by Mr. Jones (”Q” to his friends) and that is, “You’ve gotta go to know.”

I used to scoff at industry panels and workshops, but I’ve learned (and forgive me if I’m a little late to this party) that if you open yourself and participate, it’s not the panel that presents any new idea, it’s that you can have new ideas by participating in focused and elevated dialogue. Innovation is not handed to you at an industry conference, but it is born there.     

The 2009 Interactive Keynote with Virginia Heffernan and James Powderly.

And to the detractors at the NY Times that implied that marketing competed for attention with the music, I say, “that’s the point.” The parties would not exist without them. The bands themselves will soon be indebted to individual sponsors and be forced to sell ads around their liner notes.

And, finally, a shout out to all my new friends that I made in Austin: Travis McGuire (T. McG), Dave Schacherl, Monica Armmendariz, Sheppa, Iggy, Starsailor, Hannah (Montana), Logan Youree and Michael Bartnett at the Austin Chronicle, Amy Wanke at SXSW and to my old friends Chris Ledwith and Brian Austin (of Ivison). Thanks for everything guys. See you next time!