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Quote by Abhijit Naskar

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Neurosonnets: The Naskar Art of Neuroscience

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Abhijit Naskar

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“The most devastating thing artists can do to their career is get in their own way, and way too many people do. It's not the labels, the industry, the fans, the cities, the economy, the social media, the marketing, the promoting, the 'right time,' the music, or whatever other excuse you can come up with that determines whether you succeed or you fail. It is you, no one else,”

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Book:The Artist's Guide to Success in the Music Business: The "Who, What, When, Where, Why & How" of the Steps that Musicians & Bands Have to Take to Succeed in Music
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“Try not to sound like those singer-songwriters that go on and on with ten-minute, barely intelligible stories that everyone endures until the next song starts.”

Music BusinessMusic IndustrySinger SongwritersSelf PromotionMusic Careers
Book:The Artist's Guide to Success in the Music Business: The "Who, What, When, Where, Why & How" of the Steps that Musicians & Bands Have to Take to Succeed in Music
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“Do not assume that people are seeing you. The more you can clarify, optimize, and engage your fans and strangers with branded marketing and merchandise, the better chance you have of being seen and then heard.”

Business QuotesBusiness AdviceMusic BusinessMusic QuotesBranding QuotesMarketing Quotes
Book:The Artist's Guide to Success in the Music Business: The "Who, What, When, Where, Why & How" of the Steps that Musicians & Bands Have to Take to Succeed in Music
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“I’m not sure why I thought it would be a good idea to bring Kanish to Mel Odious Sound yesterday. Bringing a Billionheir to a large recording complex full of Producers is like opening a bag of chips at a seagull convention. It wouldn’t be long before every Producer within earshot swooped in to aggressively pitch his latest and greatest pet project, most of which would likely prove unprofitable. Rev is obviously going to pitch a project, and it very well may be something amazing. But as I’ve pointed out, in order for Kanish to make a profit, he would have to pick up half the Publishing—a non-starter for the Rev. He’s not a Songwriting Producer, so he likely doesn’t have a sufficient portion of the Publishing to share. And even if he did, no seasoned Producer is going to give half of their equity in a song in order to basically secure a small loan from an outside investor. There’s no upside. For starters, Kanish has no channels of Distribution beyond Streaming, which is already available to anyone and everyone who wants it, and which is currently only profitable for the Major Labels and the stockholders of the Streaming services themselves. Everyone else is getting screwed. And please don’t quote me the Douchebag Big Tech Billionaires running big Streaming Corporations. They are literally lining their pockets with the would-be earnings of Artists and Songwriters alike. What they claim as fair is anything but. Frankly, I don’t think we should be comfortable with Spotify taking a 30 percent margin off the top, and then disbursing the Tiger’s Share of the remaining 70 percent to the Major Labels who have already negotiated top dollar for access to their catalog. This has resulted in nothing but some remaining scraps trickling down to the tens of thousands of Independent Artists out there who just want to make a living. You can’t make a living off scraps, or even a trickle, for that matter. Mark my words, we are currently witnessing the greatest heist in the annals of the Music Business, and that’s saying something given its history. Can you say Napster? Stunningly, the only place that Songwriters can make sufficient Performance Royalties is radio—a medium that is coming up on its hundred-year anniversary. To make matters worse, the Major Distributors still have radio all locked up, and without airplay, there’s no hit. So even now, more than twenty years into the Internet revolution, the odds of breaking through the artistic cacophony without Major-Label Distribution are impossibly low. So much for the Internet leveling the playing field. At this point, only Congress can solve the problem. And despite the fact that Streaming has been around since the mid-aughts, Congress has done nothing to deal with the issue. Why? Because it’s far cheaper for Big Tech to line the pockets of lobbyists and fund the campaigns of politicians who gladly ignore the issue than it is to pay Artists and Songwriters a fair rate for their work, my friends. Same is it ever was. Just so I’m clear, there is a debate to be had as to how much Songwriters and Artists should be paid for Streaming. A radio Spin can reach millions. A Stream rarely reaches more than a few listeners. Clearly, a new method of calculation is required. But that doesn’t mean that we should just sit by as the Big Tech Douchebags rob an entire generation of royalties all so they can sell their Streaming Corporation for billions down the line. I mean, that is the end game, after all. At which point, profit for the new majority stockholder will be all but impossible. How will anyone get paid then?”

Music BusinessStreamingHeistSpotifyNapster
Book:#Mixerman and the Billionheir Apparent
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