Terry McBride's Blog
Sunday, July 20, 2008
Music Tank and Youtube
Music Tank - what a great organization of people who love music and have a passion for being in the business of music. Who else would put in a lot of energy to create a truly unique event purely for others. It was a fun and fascinating event. The high light for me was 3 Millennials getting interviewed by Musician and DJ Tom Robinson. They also fielded somewhat hostile questions from the music stakeholders in the audience. These young kids held their ground, but it really showed the business reality and the fear that permeates the current music environment. The brainstorming session was great. We had the Artist "James ", his Manager, and the rest of his team which included PR, Publishing and Record Label. The further we walked along the process the more the 175 participants got into it. We managed to step out of the traditional marketing sand box and onto the beach of our imaginations. In the end those same stakeholders started to use their imaginations and the session ended with a flowing sense of optimism and passion for what we love, "music". Also, the Artist and his team had a multitude of new, fresh and unique ideas that where authentic to the artist.
Seems the press have taken a sound bite of mine out of context. It revolves around Youtube. My comments came during the Music Tank seminar and the concept of Artists creating content that fans can then mashup up with their own creativity and share on Youtube. To date Avril's songs have been used over 200 million times on Youtube with a good percentage being fan generated. Youtube has deals in place with the stakeholders of the IP (Publishers, Labels, Songwriting societies) that sees a share on a pro-rata basis in the advertising income created from these social activities. In time this will generate a few million dollars in income for all collectively involved. Thus my suggestions that Artist's engage their fans creatively.
Certain press are also trying to raise a storm with the actions of Avril's fans that have pushed the "Girl Friend" video to #1 on Youtube. To be clear we do not sanction any manipulation of any situation, its not in either Avril's or Nettwerk's DNA to do so. Any postings that fans have made on the sites that Avril controls have been immediately taken down. Lastly I enjoy shady areas, away from the harmful rays of hate!! LOL!
Happy weekend everybody
Seems the press have taken a sound bite of mine out of context. It revolves around Youtube. My comments came during the Music Tank seminar and the concept of Artists creating content that fans can then mashup up with their own creativity and share on Youtube. To date Avril's songs have been used over 200 million times on Youtube with a good percentage being fan generated. Youtube has deals in place with the stakeholders of the IP (Publishers, Labels, Songwriting societies) that sees a share on a pro-rata basis in the advertising income created from these social activities. In time this will generate a few million dollars in income for all collectively involved. Thus my suggestions that Artist's engage their fans creatively.
Certain press are also trying to raise a storm with the actions of Avril's fans that have pushed the "Girl Friend" video to #1 on Youtube. To be clear we do not sanction any manipulation of any situation, its not in either Avril's or Nettwerk's DNA to do so. Any postings that fans have made on the sites that Avril controls have been immediately taken down. Lastly I enjoy shady areas, away from the harmful rays of hate!! LOL!
Happy weekend everybody
Thursday, July 17, 2008
Blog #13
Being a manager can sometimes be challenging, especially when you see a friend who is a great human being, who has done so much to make the world a better place, dragged through the mud under the disguise of reporting. Our world has become about the negative and is so based on the lower energies of criticism and fear. Many years ago I would have gone there as well; to criticize with a sense of sarcasm. I have since discovered that doing so was simply a reflection of my own personal state, one that was poisoning me mentally and physically. I choose these days to be different, not get involved in life's negative dramas and to "let go" of what my ego desires and actively get involved in being compassionate. I hope this personal shift will in some small part make this world a better place.
The deeper the music business shifts into the hands of the consumer, the more interesting it gets as new verticals of opportunity emerge for those that are receptive to them. Nettwerk these days is undergoing an amazing resonance, with an influx of new leaders and a new sense of who we are. The shift in music consumption has allowed us to get back to our roots of releasing music we truly "love". The sense of optimism is so real, the ideas profound and the people so amazing.
Thinking of an electronic game of Clue: looking for musical stems as points/prizes to create mixes of tracks, video, or other visuals that have never been heard or seen. Engaging, authentic, new, and with outcomes that cannot be predicted. Welcome to a whimsical brainstorm.
Off to Music Tank!
t
The deeper the music business shifts into the hands of the consumer, the more interesting it gets as new verticals of opportunity emerge for those that are receptive to them. Nettwerk these days is undergoing an amazing resonance, with an influx of new leaders and a new sense of who we are. The shift in music consumption has allowed us to get back to our roots of releasing music we truly "love". The sense of optimism is so real, the ideas profound and the people so amazing.
Thinking of an electronic game of Clue: looking for musical stems as points/prizes to create mixes of tracks, video, or other visuals that have never been heard or seen. Engaging, authentic, new, and with outcomes that cannot be predicted. Welcome to a whimsical brainstorm.
Off to Music Tank!
t
Monday, July 7, 2008
Blog #12
From the reflection of images dancing on a lake's surface to where the sunlight plays on leaves dancing in the breath of wind, to dance is a conscious co-creation with the ebb and flow of life. So don't let your spirit dance alone. These thoughts came to me as I have spent the past few days at the lake, surrounded by Mother Nature. For me, it's about letting go of one's desire for control and to fit into social boundaries, in essence the removal of "Ego", and just learning how to dance with your spirit, body and soul as one.
Want to touch this sense? Well, you can do this anywhere. Just walk outside, close your eyes and listen; soon a whole new world will emerge from the noise of your mind. It is these moments of silence when I turn the volume of my mind down that I find many answers that I do not know I am seeking and many ideas just pop into existence. It's not quite meditation, but the edge where the mind is finding the space between thoughts to allow new ones to emerge.
It is amazing to hear Sarah McLachlan's voice again. There is a purity to her magic as it's from a heart that is wide open and bare in its naked emotion. The melodies are addictive, the lyrics personal to each and everyone, and the delivery is both spine chilling and uplifting. The airwaves sincerely need her energy. There will be many tears shed, many in happiness, when these songs get released. The first track will go public one month from now.
Well the kids are gone today, so its time for a day or two of silence.
Cheers
t
Want to touch this sense? Well, you can do this anywhere. Just walk outside, close your eyes and listen; soon a whole new world will emerge from the noise of your mind. It is these moments of silence when I turn the volume of my mind down that I find many answers that I do not know I am seeking and many ideas just pop into existence. It's not quite meditation, but the edge where the mind is finding the space between thoughts to allow new ones to emerge.
It is amazing to hear Sarah McLachlan's voice again. There is a purity to her magic as it's from a heart that is wide open and bare in its naked emotion. The melodies are addictive, the lyrics personal to each and everyone, and the delivery is both spine chilling and uplifting. The airwaves sincerely need her energy. There will be many tears shed, many in happiness, when these songs get released. The first track will go public one month from now.
Well the kids are gone today, so its time for a day or two of silence.
Cheers
t
Friday, June 20, 2008
Music Matters Wrap Up - The Future of Music is Mobile
Written by Jay Oatway
Friday June 6, 2008
There's an old expression, "The less you know about how laws and sausage are made, the happier you'll be." Which is to say that the process behind creating these things is so gruesome that knowing what goes into it, would put you off democracy, or your dinner.
After two days at the Music Matters conference at the Hong Kong Grand Hyatt last week, I think the same is true for the music industry. The less you know about how music ends up on your phone, the happier you'll be.
But out of the madness, there rose a distinctive voice of clarity: Terry McBride, founder of Nettwerk Music Group, and the only music middleman who seems to truly understand how web 2.0 -- including the mobile web -- really works.
McBride founded Nettwerk 24 years ago, and has since risen to fame by encouraging his artists, like Avril Lavigne and The Barenaked Ladies, to engage their fans using the new tools available -- crowd sourcing and social networking.
I sat down with McBride on the sidelines of Music Matters and asked him what the future of music looked like.
How do you create value in digital music?
Scarcity creates value, but the Internet is a giant photocopier. As soon as a song is released it is no longer scarce and has little [monetary] value.
But, within the music business, there are a number of forms of scarcity. When a song is about to get released, for about five minutes it's scarce. We get first point of entry - we get to introduce it how we want. That has some uniqueness to it.
The access to the artist is unique. Everything you wrap around that can have scarcity. You can create a release experience that brings 10 million people to one place - you can monetize those eyeballs, you can create hoops that users have to go through before they can hear a song for first time.
It's crucial for any artist to have an authentic relationship with the fans. That's emotional scarcity. Their willingness to give has the value.
Much of the music industry is missing the future because they're not talking to who they're trying to sell their products to.
The media business is based on control: what you see, when you see it and for how much. That's now gone. The only control you have now is when it's first released. The only scarcity you have is the creator and the brand around it.
Should the Internet be blamed for the Music Industry's problems?
No, the internet takes a niche and turns it into a market place.
It is what it is, and we're not going back. Moore's Law doesn't just show us a doubling in speed and power, but also a doubling in the applications and the imagination that goes into it. There's also an emotional Moore's Law that's doubling by some greater multiple. Technology allows it to happen, but technology doesn't create all this stuff that people are doing behind it. And that's what's growing much faster.
I think this is a big part of what's being missed: how we as people consume music and how it affects us. And the multiple sensory points it has to hit to connect with us. It starts with basic text, the adds static visuals, then audio, and then moving visual. The more of those points you add together, the better the chances go way up some one remembering what they just consumed. The Internet allows artists to go beyond just music.
We need to think of the music business within all those sensory points.
How can mobiles contribute to those sensory points?
The possibilities are unlimited. But they are very culture coded depending where you go in the world. I think it's Very interesting that within Asia the data shows a desire for consumers to have just one personal device -- the mobile. But in North America we still have the desire to have two.
But the device itself doesn't matter all that much. Everything is going up into the clouds. It's not going to be physically with us, instead we're only going to want access to it. The better a mobile can access rich media, the more it will create a demand and a great economic model.
The desire to personalize the device is a whole other emotive connection. But the mobile is just that, it's just a connecting point. It allows me to connect with anything - with you, with music, with email, with photos, with whatever.
So, music isn't just some commodity that need to be monetized?
A song is an emotion. Whether a high-grade recording or a low-grade mp3, it's an emotion.
It's about psychology. We're all in tribes. Your tribal peers are your biggest influencers. Tribes get bigger thanks to the internet and mobiles. It's about sharing your passions.
My thought: let people share. Create a site where you can share it with others, wrap ads around it - and now I can monetize your behavior, rather than the music. Even if that's on YouTube. All the publishers and labels (except Viacom) have a revenue sharing deal with YouTube.
If I can get Avril to create something for YouTube, turning her 200 million hits into half a billion hits -- that's the same as selling a million records.
Why is it taking so long for the industry to seize these opportunities?
The most amazing innovations after they are done seem really simple. It's all because you can't see it, because you don't know what it looks like.
I think it's about having fun! Imagination is the most powerful tool we have. Once you know what it looks like the challenge is in bringing everyone's mind into the same room.
I don't believe holding onto an idea is power, I believe that sharing it is. I believe that a high-tide floats all boats. The more people that can be emotionally affected by the music the better.
Friday June 6, 2008
There's an old expression, "The less you know about how laws and sausage are made, the happier you'll be." Which is to say that the process behind creating these things is so gruesome that knowing what goes into it, would put you off democracy, or your dinner.
After two days at the Music Matters conference at the Hong Kong Grand Hyatt last week, I think the same is true for the music industry. The less you know about how music ends up on your phone, the happier you'll be.
But out of the madness, there rose a distinctive voice of clarity: Terry McBride, founder of Nettwerk Music Group, and the only music middleman who seems to truly understand how web 2.0 -- including the mobile web -- really works.
McBride founded Nettwerk 24 years ago, and has since risen to fame by encouraging his artists, like Avril Lavigne and The Barenaked Ladies, to engage their fans using the new tools available -- crowd sourcing and social networking.
I sat down with McBride on the sidelines of Music Matters and asked him what the future of music looked like.
How do you create value in digital music?
Scarcity creates value, but the Internet is a giant photocopier. As soon as a song is released it is no longer scarce and has little [monetary] value.
But, within the music business, there are a number of forms of scarcity. When a song is about to get released, for about five minutes it's scarce. We get first point of entry - we get to introduce it how we want. That has some uniqueness to it.
The access to the artist is unique. Everything you wrap around that can have scarcity. You can create a release experience that brings 10 million people to one place - you can monetize those eyeballs, you can create hoops that users have to go through before they can hear a song for first time.
It's crucial for any artist to have an authentic relationship with the fans. That's emotional scarcity. Their willingness to give has the value.
Much of the music industry is missing the future because they're not talking to who they're trying to sell their products to.
The media business is based on control: what you see, when you see it and for how much. That's now gone. The only control you have now is when it's first released. The only scarcity you have is the creator and the brand around it.
Should the Internet be blamed for the Music Industry's problems?
No, the internet takes a niche and turns it into a market place.
It is what it is, and we're not going back. Moore's Law doesn't just show us a doubling in speed and power, but also a doubling in the applications and the imagination that goes into it. There's also an emotional Moore's Law that's doubling by some greater multiple. Technology allows it to happen, but technology doesn't create all this stuff that people are doing behind it. And that's what's growing much faster.
I think this is a big part of what's being missed: how we as people consume music and how it affects us. And the multiple sensory points it has to hit to connect with us. It starts with basic text, the adds static visuals, then audio, and then moving visual. The more of those points you add together, the better the chances go way up some one remembering what they just consumed. The Internet allows artists to go beyond just music.
We need to think of the music business within all those sensory points.
How can mobiles contribute to those sensory points?
The possibilities are unlimited. But they are very culture coded depending where you go in the world. I think it's Very interesting that within Asia the data shows a desire for consumers to have just one personal device -- the mobile. But in North America we still have the desire to have two.
But the device itself doesn't matter all that much. Everything is going up into the clouds. It's not going to be physically with us, instead we're only going to want access to it. The better a mobile can access rich media, the more it will create a demand and a great economic model.
The desire to personalize the device is a whole other emotive connection. But the mobile is just that, it's just a connecting point. It allows me to connect with anything - with you, with music, with email, with photos, with whatever.
So, music isn't just some commodity that need to be monetized?
A song is an emotion. Whether a high-grade recording or a low-grade mp3, it's an emotion.
It's about psychology. We're all in tribes. Your tribal peers are your biggest influencers. Tribes get bigger thanks to the internet and mobiles. It's about sharing your passions.
My thought: let people share. Create a site where you can share it with others, wrap ads around it - and now I can monetize your behavior, rather than the music. Even if that's on YouTube. All the publishers and labels (except Viacom) have a revenue sharing deal with YouTube.
If I can get Avril to create something for YouTube, turning her 200 million hits into half a billion hits -- that's the same as selling a million records.
Why is it taking so long for the industry to seize these opportunities?
The most amazing innovations after they are done seem really simple. It's all because you can't see it, because you don't know what it looks like.
I think it's about having fun! Imagination is the most powerful tool we have. Once you know what it looks like the challenge is in bringing everyone's mind into the same room.
I don't believe holding onto an idea is power, I believe that sharing it is. I believe that a high-tide floats all boats. The more people that can be emotionally affected by the music the better.
Monday, June 16, 2008
Blog #11
Optimism - From my perspective you are your thoughts. Try yelling "No, No, No, No" out loud and see how you feel, then "Yes, Yes, Yes, Yes" and see how you feel. It will be different. Are all emotions simply choices? For me they are, so I choose how I want to feel and that, in turn, affects everything all around me. Many claim I am an "optimist", especially when it comes to the music business, but I am simply my thoughts. I simply imagine so many fun things to do that I intuitively know will create joy and abundance within my life. I cannot live in the negative and doom and gloom, it simply does not exist for me!
That is why I love Asia, the positive, optimistic energy is so real in that part of the world, you feel it when you arrive. It's in the land, in the people and in the culture. China is simply a magical place, the people are special, so warm and open, genuinely kind and their culture is so rich. There are those that will bring up the government and all their beefs with various issues. I respect all points of view as they are all inherently right, but I would never paint a people by the policies of any government. To me it's what I see and feel from those that I communicate with. The debate over piracy in China is an interesting one, it's one where we in the West apply our sensibilities upon another culture, a culture where music was always shared and the concept of copyright is foreign. We could debate this, but then again all sides are right from their perspectives. All I know is for Avril we have spent a lot of time and investment in the market over the past 5 years and it's the only market where Avril is seeing increased sales across so many IP verticals that it now represents 40% of her world wide IP income. It's bigger than North America or Europe. Some base figures on the most recent album 2.8 million ring back tones, 28 million full album streams, 5 million downloads and 2 million CD sales, then throw in one million-plus of Manga episodes, youtube views and you begin to see a real economic base.
Upcoming fun in Asia... How about allowing the Avril fans to socially vote their favorite local Artist into the support slot. Not like the old days of Promoters or Labels or Managers placing an Artist on tour... Or in some cases an Artist buying into the slot. This is all about an authentic relationship between Avril and her fans. It's about Avril respecting those local fans and giving them a say in the event, an ownership. After all, they own Avril's songs within their emotional social culture already; she is a part of their lives. When you begin to understand this principle everything shifts
That brings to mind a few fun things we will do in the next few months. We will release the 1st single by a big Artist as just mulit-track stems, nothing else. So it's not about doing a remix after the fact, there is no set perception as to how the song sounds. Fans can mix away and socially filter a winning mix to the top. Then we can release that mix with the Artists own mix to radio... Hmmm maybe even do a whole album this way?
If you have any other fun ideas, just shoot me a note... Remember our sandbox is the beach
Warm wishes
t
ps- chills at hearing new Sarah McLachlan songs
That is why I love Asia, the positive, optimistic energy is so real in that part of the world, you feel it when you arrive. It's in the land, in the people and in the culture. China is simply a magical place, the people are special, so warm and open, genuinely kind and their culture is so rich. There are those that will bring up the government and all their beefs with various issues. I respect all points of view as they are all inherently right, but I would never paint a people by the policies of any government. To me it's what I see and feel from those that I communicate with. The debate over piracy in China is an interesting one, it's one where we in the West apply our sensibilities upon another culture, a culture where music was always shared and the concept of copyright is foreign. We could debate this, but then again all sides are right from their perspectives. All I know is for Avril we have spent a lot of time and investment in the market over the past 5 years and it's the only market where Avril is seeing increased sales across so many IP verticals that it now represents 40% of her world wide IP income. It's bigger than North America or Europe. Some base figures on the most recent album 2.8 million ring back tones, 28 million full album streams, 5 million downloads and 2 million CD sales, then throw in one million-plus of Manga episodes, youtube views and you begin to see a real economic base.
Upcoming fun in Asia... How about allowing the Avril fans to socially vote their favorite local Artist into the support slot. Not like the old days of Promoters or Labels or Managers placing an Artist on tour... Or in some cases an Artist buying into the slot. This is all about an authentic relationship between Avril and her fans. It's about Avril respecting those local fans and giving them a say in the event, an ownership. After all, they own Avril's songs within their emotional social culture already; she is a part of their lives. When you begin to understand this principle everything shifts
That brings to mind a few fun things we will do in the next few months. We will release the 1st single by a big Artist as just mulit-track stems, nothing else. So it's not about doing a remix after the fact, there is no set perception as to how the song sounds. Fans can mix away and socially filter a winning mix to the top. Then we can release that mix with the Artists own mix to radio... Hmmm maybe even do a whole album this way?
If you have any other fun ideas, just shoot me a note... Remember our sandbox is the beach
Warm wishes
t
ps- chills at hearing new Sarah McLachlan songs
Tuesday, May 20, 2008
Blog #10
361 model is new, 360 is old
There is a lot of debate these days about the 360 models that the major labels are requiring most new artists to sign. On principle, I personally have no issue partnering in revenue from masters, publishing, merchandise, live and sponsorship, if who I am partnering with creates a win-win scenario. I am all about business partners bringing additional opportunities to the table that create a much larger pie to share from with the Artist making more in the end. We currently have such partnerships with agents, promoters, publishers and record labels. Each brings a certain skill set and infrastructure to execute to the table. In the deals that I am seeing put forward, I question to a large degree if these requirements are going to be met. Do the major record labels have the infrastructure to support added value to the live side of the business? Ten years ago most labels had touring departments that would actively market and promote live shows, coordinate co-operating advertising with the promoters and promotions that brought awareness and ticket sales to the impending live concert. Due to cut backs, those departments are all gone and the existing Marketing and Promotion departments are shells of what they used to be with many marketing services getting out sourced to third parties. Do concert promoters like Live Nation have the infrastructure to release, market and sell CD's and Digital IP? In time, all these models will either need to staff up, acquire the infrastructure, or make strategic alliances to service the rights they have retained or it will mean frustrating times for artists and managers.
On my last blog, I mentioned Reema Datta but I did not know that she had a web site as it is woven into an amazing charity called Usha Yoga. www.ushayogafoundation.org. In retrospect this makes perfect sense, as it so resonates with what I know of Reema. Check it out and her schedule as I see she is in North America over the next while.
Namaste
t
There is a lot of debate these days about the 360 models that the major labels are requiring most new artists to sign. On principle, I personally have no issue partnering in revenue from masters, publishing, merchandise, live and sponsorship, if who I am partnering with creates a win-win scenario. I am all about business partners bringing additional opportunities to the table that create a much larger pie to share from with the Artist making more in the end. We currently have such partnerships with agents, promoters, publishers and record labels. Each brings a certain skill set and infrastructure to execute to the table. In the deals that I am seeing put forward, I question to a large degree if these requirements are going to be met. Do the major record labels have the infrastructure to support added value to the live side of the business? Ten years ago most labels had touring departments that would actively market and promote live shows, coordinate co-operating advertising with the promoters and promotions that brought awareness and ticket sales to the impending live concert. Due to cut backs, those departments are all gone and the existing Marketing and Promotion departments are shells of what they used to be with many marketing services getting out sourced to third parties. Do concert promoters like Live Nation have the infrastructure to release, market and sell CD's and Digital IP? In time, all these models will either need to staff up, acquire the infrastructure, or make strategic alliances to service the rights they have retained or it will mean frustrating times for artists and managers.
On my last blog, I mentioned Reema Datta but I did not know that she had a web site as it is woven into an amazing charity called Usha Yoga. www.ushayogafoundation.org. In retrospect this makes perfect sense, as it so resonates with what I know of Reema. Check it out and her schedule as I see she is in North America over the next while.
Namaste
t
Monday, April 28, 2008
Blog #9
YYoga + Nettwerk = Nutone
So what is YYoga and where did it come from?
YYoga was born from an in depth conversation with a dear friend and Yogi, Lara Kozan, over 20 months ago. We discussed our different but entwined visions of what an amazing yoga studio should look and feel like. The name YYoga its self is a question (why) Yoga? The name came to me while I was winding through the streets of London in a taxi. The answer "pure freedom" came almost a year later after having conversations with many passionate Yogis who all believed that the linage they practiced was the correct one. From all their perspectives, they where right. So why not embrace them all into one and in doing so realize a sense of freedom?
YYoga was imagined as a social center where all are welcome and inspired to practice yoga, engage in wellness and be encouraged to interact with one another to build relationships and community. Essential to this creative purpose is the ability to be receptive to the thought that the community is the heart of our studios. YYoga studios are accessible, healthy, innovative and playful but authentic to embracing Yoga's lineage. The studios are intuitively designed to respect our environment by being ecologically and spiritually balanced. The larger studios will be know as wellness centers and will encompass many elements from yoga including meditation, massage, acupuncture, spa, retail, social spaces and food and beverage.
Music can be a big part of a yoga practice; I first heard Nettwerk artist Wade Morissette while practicing yoga. His music allowed my practice to take on certain ease and in time I found myself humming his songs. Many spiritual singers play at yoga studios with the more popular ones in theatres. I recently saw Krishna Das pack 1400 people into a church for a sold out "kirtan" (a singing chant fest). As such Nettwerk is bringing the "Nutone" record label back to life and signing some powerful artists to the roster. The initial roster will feature Krishna Das (http://www.krishnadas.com/), Wah (http://www.wahmusic.com/), David Newman (http://www.davidnewmanmusic.com/), Bhagavan Das (http://www.bhagavandas.com/), and Reema Datta. Each of these artists tour and have successful live careers. With their music gaining exposure online and in Yoga studios, their popularity continues to grow.
Nutone will be hiring a "Cultural Creative Product Manager" to lead this new initiative. As the roster develops, we will create a very unique team to market the abundance of this music. I am very excited to see this happen, as I know it will grow into something magical and help spread an abundance of beautiful, positive music to the mainstream, much like the vision that created Nettwerk 24 years ago.
Warm regards
t
So what is YYoga and where did it come from?
YYoga was born from an in depth conversation with a dear friend and Yogi, Lara Kozan, over 20 months ago. We discussed our different but entwined visions of what an amazing yoga studio should look and feel like. The name YYoga its self is a question (why) Yoga? The name came to me while I was winding through the streets of London in a taxi. The answer "pure freedom" came almost a year later after having conversations with many passionate Yogis who all believed that the linage they practiced was the correct one. From all their perspectives, they where right. So why not embrace them all into one and in doing so realize a sense of freedom?
YYoga was imagined as a social center where all are welcome and inspired to practice yoga, engage in wellness and be encouraged to interact with one another to build relationships and community. Essential to this creative purpose is the ability to be receptive to the thought that the community is the heart of our studios. YYoga studios are accessible, healthy, innovative and playful but authentic to embracing Yoga's lineage. The studios are intuitively designed to respect our environment by being ecologically and spiritually balanced. The larger studios will be know as wellness centers and will encompass many elements from yoga including meditation, massage, acupuncture, spa, retail, social spaces and food and beverage.
Music can be a big part of a yoga practice; I first heard Nettwerk artist Wade Morissette while practicing yoga. His music allowed my practice to take on certain ease and in time I found myself humming his songs. Many spiritual singers play at yoga studios with the more popular ones in theatres. I recently saw Krishna Das pack 1400 people into a church for a sold out "kirtan" (a singing chant fest). As such Nettwerk is bringing the "Nutone" record label back to life and signing some powerful artists to the roster. The initial roster will feature Krishna Das (http://www.krishnadas.com/), Wah (http://www.wahmusic.com/), David Newman (http://www.davidnewmanmusic.com/), Bhagavan Das (http://www.bhagavandas.com/), and Reema Datta. Each of these artists tour and have successful live careers. With their music gaining exposure online and in Yoga studios, their popularity continues to grow.
Nutone will be hiring a "Cultural Creative Product Manager" to lead this new initiative. As the roster develops, we will create a very unique team to market the abundance of this music. I am very excited to see this happen, as I know it will grow into something magical and help spread an abundance of beautiful, positive music to the mainstream, much like the vision that created Nettwerk 24 years ago.
Warm regards
t
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