That’s not Shrek, that’s Marshall Applewhite

I like this one

I’m actually just now coming up on my tenth year in the biz, and most of my experience is with indie venues and artists — my perspective on these very good questions is somewhat limited!

On the marketing side, it seems to involve a lot of social media and local publications rather than the traditional music press, as you point out.

I’m sure A&R execs still do their thing with the big labels, but there also seem to be a shitload of small booking agencies/management groups that handle a lot of the organization and business end for national-level indie artists. It seems that a lot of folks in those organizations are doing actual work and not just sitting back collecting a fat executive bonus.

As far as jobs disappearing, my bet is on the assistants and other staff with indirect roles that maybe aren’t as involved since technology has allowed more folks to work from home. I’m thinking along the lines of people eschewing large studio spaces for home studios, since a lot of mixing and mastering can be done “in the box” on a computer with a good set of monitors and a decently-treated room.

I imagine the same would go for some of the distribution and licensing side, since instead of depending on a major label or hiring a person to mail out CDs to a bunch of radio stations and such, you can just use an online service like CDBaby to get your tracks submitted to multiple streamers at once and keep track of royalties without needing a dedicated accountant.

Again, take all this with a grain of salt, since my experience is still somewhat narrow! And also, I don’t intend anything I’ve said as a defense of do-nothing execs sitting back and amassing wealth at the expense of us regular folks on the ground. It’s just that in my experience, most of the non-artist people involved with the entertainment biz do actually provide value to the artist and fans.

Not OP, but I work in the industry, mostly in the live production side. Here’s a taste of behind-the-scenes stuff that artists often rely on others to handle after they leave the recording studio:

• Booking shows, radio and television appearances, and other events

• Advancing those events with venue staff

• Organizing transportation, lodging, and food for tour

• Acquiring and managing all of the gear for tour

• Getting the artists from show to show while protecting them from themselves and others

• Marketing for shows and new releases

• Mixing the material the artist just recorded in the studio

• Mastering the music the mix engineer put together from that recorded material into a dozen different formats, so you can listen on vinyl, Deezer, YouTube, Spotify, etc.

• Mixing the front-of-house (what the audience hears) and mixing the monitors (what the artist hears) for the live show

• Making sure all the folks involved with the above are booked

• Paying all the folks they booked to make the above happen

I’m not saying the entertainment biz isn’t fucked up and that artists don’t deserve a bigger slice of the pie, but a lot of artists rely on other folks to handle this stuff for them so they have the space to live their lives, create new music, and give audiences a show worth attending.

Certainly, I depend on people more creative and musically talented than me, but they also depend on me and my technically-proficient and business-savvy peers to translate their creativity into something you can access and enjoy.

The Dollars Trilogy is a great recommendation, and I think your analysis is spot on! The cinematography in the second and third installments is incredible.

I like to follow up with Tarantino’s Hateful Eight (my personal favorite film to recommend, especially as a Christmas movie in place of Die Hard) to see how hugely influential the Trilogy was.

The only way we cleared Tainted Lost at my house was playing co-op!