Publisher of music magazine consulting about redundancies, while title will continue online.
The NME is to cease publication in print after 66 years, the weekly music title joining a growing list of once mighty magazine brands that now only exist online.
The NME.com website will continue, replacing the print edition’s cover star interview with a new weekly digital franchise, the Big Read.
The NME will continue to keep a sporadic presence in print with special issues such as its paid-for series NME Gold, to cater for music stars’ appetite for appearing in a printed product.
In 2015, the magazine stopped being a paid title after a decade of sales declines saw its circulation drop to just 15,000. It relaunched as an ad-funded, free title with a circulation of 300,000 in a last throw of the strategic dice for the print edition.
“Our move to free print has helped propel the brand to its biggest ever audience on NME.com,” said Paul Cheal, the UK group managing director, music, at NME publisher Time Inc UK. “We have also faced increasing production costs and a very tough print advertising market. It is in the digital space where effort and investment will focus to secure a strong future for this famous brand.”
Time is consulting with the NME’s 23 editorial and commercial staff about possible redundancies.
NME, which has been printed weekly since 1952, managed to make money as a brand overall through spin-off activities such as awards and events.
The first front cover of the magazine featured the Goons, Big Bill Broonzy and Ted Heath and cost sixpence. When the magazine went free in 2015 the cover price had risen to £2.60.
Early readers of the magazine included John Lennon, Malcolm McLaren and T Rex frontman Marc Bolan, while its writers have included Bob Geldof and Pretenders lead singer Chrissie Hynde. The film director, Michael Winner, was NME’s film critic in the 1950s and 60s.
NME’s sales peaked at almost 307,000 in 1964 when the magazine was a must-read for keeping up with the latest exploits of the Beatles and Rolling Stones.
The magazine hit what is regarded as its golden age in the 70s, becoming a cheerleader for punk and then a champion for the the new wave and indie acts that flourished in its wake, including Joy Division and the Smiths.
The magazine – whose initials stand for New Musical Express – began to feel the pressure in the noughties as music listings went online and music discovery started moving to services such as Spotify. This was exacerbated by the wider issue of readers moving to digital media, resulting in the falling sales and ad revenue that have claimed many other magazine titles in the past decade.
“NME will also be exploring other opportunities to bring its best-in-class music journalism to market in print,” Time said.
Epiris had been expected to sell or restructure a number of titles – the company said it wanted to bring “clarity and simplicity” to the magazine portfolio – with the print edition of NME known to have been loss-making for a number of years.
“Our global digital audience has almost doubled over the past two years,” said Keith Walker, the digital director of NME. “By making the digital platforms our core focus we can accelerate the amazing growth we’ve seen and reach more people than ever before on the devices they’re most naturally using.”
In October, Condé Nast, the publisher of Glamour magazine, shocked the market announcing that the UK’s 10th biggest magazine would stop printing monthly. Instead, it is focusing on a digital-first strategy with a print edition just twice a year.
Freedom for musicians is an international cooperative for musicians to share and cross promote each other’s work. In our Facebook group you can promote your gigs, products and
services to an international audience. You can also feature on our website www.ffmrecords.com
1) Ready to Quit Your Day Job and Be a Full-Time Musician?
Last week I answered questions during a Facebook Live broadcast. Here’s a segment where I covered knowing if you’re ready and how to deal with having a variety of creative passions.
2) Don’t Make This Self-Employment Mistake
Want to be your own boss? Great. But don’t get stuck in this common trap. In this video, I explain what this obstacle is and how to overcome it.
3) Seven Full-Time Musician Lessons from Dave Ruch
I’ve been following Dave for a couple years now. He’s a smart, savvy musician. In this article he shares seven things he wished he knew before he became a full-time musician.
4) 25 Quick and Easy Social Media Prompts to Post in a Pinch
This topic came up time and time again during the recent 30-Day Build Your Fan Base Challenge: What should I post every day so it doesn’t get old for me or my fans? Suzanne Paulinski has a nice checklist of ideas right here.
5) Apple Music to Surpass Spotify in the US
According to Bobby Owsinski’s Music 3.0 blog, Apple Music is growing at a higher new paid subscriber rate than Spotify is in the US. As a result, the service is on track to pass Spotify sometime during the summer of 2018.
6) The Most Powerful Way to Reach Your Fans
So many tools, so little time. What’s the most effective way to engage and interact with your fans? Want to know my top recommendation? This little gem, from my video archives, spells it out for you.
7) Attract More Fans — 4 Simple Steps
On this episode from my podcast archives, I present a simple four-step processyou can use to clarify who you are as an artist, identify your ideal fans, and reach them in a meaningful way.
With the release of their networking app for musicians and in house independent record label FFM Records, Freedom for Musicians are going to become a major player in 2018.
An international cooperative of musicians that is free from exploitation, FFM are a unique organisation that has the interests of its members at the heart of everything they do.
They provide a free marketing service to its members around the world as well as raising funds for music projects, supporting music related charities and creating a real sense of community for ordinary musicians worldwide.
Membership is completely free and simplicity itself. To join FFM, all you do is join the Facebook group and you have access to all their services.
Mixcloud Taps Gracenote’s Music Identification System For Better Song Recognition:
Mixcloud has been the leader for uploading DJ sets for some time with SoundCloud having to reign itself in from the wild wild west days of its start. It is looking to extend that lead with a new deal with Gracenote that will give Mixcloud access to Gracenote’s music identification system. This will allow for better identification of songs in each mix, notably mainstream tracks. It will still be up to users to get the times right and fill in the blanks where Gracenote fails.
YouTube Cutting Loops From Streaming Totals:
Earlier this year, YouTube was at the center of a controversy regarding chart position. Post Malone’s team had gamed the system by releasing a “full version” of his song “Rockstar” that was in fact just the chorus looped over and over again. It garnered millions of views and helped the song go number 1. In a statement to Pitchfork, YouTube head, Lyor Cohen and a spokesperson says they are stopping that and will be actively removing deceptive videos like that.
Penske Media Buys Majority Stake In Rolling Stone Owner, Wenner Media:
Rolling Stone’s owner Wenner Media has been on the market for a few months now. The Wenner family has been looking to sell their remaining 51% share of the company for some time now and have found a buyer in Penske Media Corporation at a valuation of just over $100 million according to Variety. Wenner has been laden with debt and struggling finances recently. They sold a 49% stake to BandLab, a Singapore-based company, which will still retain its part of the company.
The Glitch Mob’s Justin Boreta Joins Virtual Reality Company TRIPP:
The Glitch Mob’s Justin Boreta, or as he goes by as a solo artist, Boreta, will join mood-altering Virtual Reality company TRIPP as their creative director. Together with audio-visual producer and programmer Matthew Davis, Boreta has formed Superposition, a project focused on creating and performing immersive ambient music. TRIPP is a wellness technology that is developing its products through virtual reality and Boretta is going to help using music.
“As a long time meditator, I’m honored to work with Nanea [CEO Nanea Reeves] and the rest of the team to positively affect people’s mindsets,” says Boreta. “Using audio to create meaningful, positive change in people’s lives is a large part of that plan.”
Apple Music Facing Class Action Lawsuit Over Unpaid Royalties:
Apple is facing a class action lawsuit for allegedly not paying royalties to an independent musician Bryan Eich. Eich and his lawyer, say that Apple failed to license mechanical rights for the compositions on the service. Eich is asking for $30,000 for each song that Apple Music allegedly infringed upon. This isn’t anything new for streaming services. Other services like Spotify, Rhapsody and Google Play have all been hit with similar lawsuits and in those they have argued that they can’t always identify the publishing rights holders in order to license their compositions. The lawsuit claims that Apple did not do its proper due diligence in licensing the songs, so we will see if this becomes a larger suit with more artists.
Live Nation, Bowery Presents Founder Form New NYC Promoter:
Live Nation and Michael Swier, co-owner of two iconic New York music venues, Mercury Lounge and Bowery Ballroom, have announced a new booking joint venture called Mercury East Presents. Both venues used to booked by Bowery Presents, which was sold off to AEG Presents, but Swier left the company and has now started this Live Nation partnership. Mercury East will book both mercury Lounge and Bowery Ballroom, in addition to Live Nation’s Irving Plaza, Gramery Theatre, Warsaw and Ford Amphitheater at Coney Island Boardwalk. It will also help with The Beacon Theater and Madison Square Garden, and will collaborate with Founders Entertainment, the team behind Governors Ball and The Meadows according to Billboard.
New kids on the block, Freedom for Musicians (FFM) all set to take on the big boys in 2018
With the release of their networking app for musicians and in house independent record label FFM Records, Freedom for Musicians are going to become a major player in 2018. An international cooperative of musicians that is free from exploitation, FFM are a unique organisation that has the interests of its members at the heart of everything they do. They provide a free marketing service to its members around the world as well as raising funds for music projects, supporting music related charities and creating a real sense of community for ordinary musicians worldwide. Membership is completely free and simplicity itself. To join FFM, all you do is join the Facebook group and you have access to all their services.
I grew up with a beautiful Christmas story called “The Carol That Never Was Sung,” written by my father– a writer, peace activist and lover of music.
My pacifist parents had left the organized church in their youth, disillusioned when it declined to oppose war, stand for social justice, and take radical risks. But they believed in the persistence of hope in dark times, and they recognized the many ways, across religions, cultures and histories, of telling stories of hope.
“The Carol That Never Was Sung” told of a song that somehow never managed to show up in time to help celebrate the birth of “the child”: each year, it had met someone who was lost, imprisoned, at war, exiled, or orphaned – and had always stopped to bring the consolation of music, and was therefore too late. “But next year”, the carol promises…
We are almost in another “next year” and those songs are more needed than ever.
FFM are really ambitious for our members and in 2018 we want to offer scholarships, bursaries and financial assistance to aspiring musicians.
Help us achieve this by visiting our sponsors below
Rock Robbins is the Marketing Director at Music Teacher’s Helper, and a tech enthusiast, musician, and music teacher out of Southern California.
Created by KentState University’s School of Music, this infographic shows that music not only has educational merit, but that it can be used to close the educational gap among students and schools. As a private teacher, how much do you value the importance of music in schools? Or what is your reaction to the data in the below visual? Let us know in the comments.
Are you starting up a private music teaching studio? You probably have questions. Beginning teachers often ask the same questions. Usually the first is “How did you get started teaching?”
Let me answer that one before digging into others. I grew up in a family of professional musicians. My sister and I sang and played—and got paid for it—from the time I was five years old. Relatives composed songs and choir cantatas, wrote musicals and played in dance bands. My mother coached countless kids performing vocally and instrumentally, both individually and in groups. I was in on it most of the time, and began to coach others during middle and high school. By the time I started college, I had sung/played for over three hundred weddings. Yet it never occurred to me to earn a living at it until I discovered how unsuited I was for waiting tables!
So in my hometown, I let it be known I was going to teach beginning piano. I told people at church and put up a couple of small posters, hand-made. I started in the basement of my parents’ home on a 100-year-old piano with three students. I used the books I’d grown up with. I went straight through the books without variance. Somehow those three students stuck with it, thrived, and by word of mouth my studio grew. I was passionate about helping others make music. I added other instruments. And I got bored with the books. That made me take every opportunity, whether at the university or beyond, to educate myself pedagogically and grow as a skilled—and fun—teacher.
There are five questions I am most often asked. However… I will start with
One question no one asks, but should!
What is my motivation for teaching?
Your answer to this is crucial. It will affect almost everything about your approach to teaching. There are lots of possible reasons, and all are legitimate. But whichever ones reflect your mindset, I encourage you to run your studio in a businesslike manner. Take it seriously enough that music will happen. Here are four motivations, some of which may blend together:
It’s a hobby. You enjoy it and would love others to have the same fun with it you do.
It provides a service. One that is appreciated by many people. Plus there’s the added benefit of giving you extra cash.
You need to pay bills. You must earn a living, and intend to make this a success. It is your job.
It’s your passion. You want to pass music on to as many students as you can. You know how important it is to individuals for their entire lives. You know what music means to you and those around you. It is pure joy to see others take off and make music for themselves.
Be honest with yourself about why you want to do this. Many of the other answers to questions will hinge on this!
Five Questions I’m Most Often Asked:
Where should I teach?
Home—do you have a piano in good shape on which to teach? Is family privacy an issue? Is there space for parking? Do you need to ask neighbors about parking? Do you need permission from a neighborhood association? Are there insurance concerns? Where will parents wait for students?
Rent a room—from a church, school or community center? How is the piano? How much will the room cost? Is parking an issue? Is the place available whenever you need it? Do you have any control over heat or air conditioning? Think it through thoroughly!
Teach at a music school, store or studio—how is the piano? What size is the room? What are the studio’s policies? What is the policy concerning missed lessons—will you still be paid? Will you be responsible for scheduling makeup lessons? Is there sufficient noise control between other teaching rooms? Who does the billing and how do you get paid? Will you have other duties besides teaching?
Travel to students’ homes—they have a decent instrument, right? Will parents be at home when you’re there? Are there pets to watch out for? Are they friendly? Do you have a place to teach without distraction? Will the student be there when you come, and not forget?
I know many teachers enjoy going to the student’s home. I had an unfortunate experience with it. The dog was friendly, but jumped on me, piddled on my feet and on the piano bench; the students were not always there; the parents both worked and had not always arrived at home yet, so I’d be there alone with the kids. Essentially babysitting as well as teaching. Think the logistics through ahead of time!
What should I charge?
What’s the going rate in your area? Inquire of other teachers. Take your experience or lack of it into consideration. But don’t undersell yourself, or you won’t be respected. Start conservatively, but expect to raise your rates regularly to reflect standard of living and your experience and level of training. What sort of families do you wish to attract? What will be your overhead costs? What is your time worth? Remember that the actual teaching time is only a portion of it! You have lesson preparation as well. Factor in continuing education. Also studio costs like instrument upkeep, computer equipment and software, bookkeeping, etc. Here’s an article by Sarah Luebke in Music Teachers Helper.
What ages should I teach?
Are you uncomfortable with certain ages? Some teachers don’t want the wiggliest littles, or feel intimidated by adults. Or teens! Would you prefer beginners or are you prepared for higher levels?
How do I get students?
If you know other teachers, perhaps they’d be willing to speak to someone on their waiting list. Make yourself visible. Perform whenever you can. Do a program at the library. Be involved in your community. Put up posters wherever you can—at grocery stores, laundromats, other stores. Advertise in the local papers. Get to know music teachers at the schools and offer business cards. Get to know homeschoolers in your area. Offer a few group lessons as a springboard. Ask friends and acquaintances if they are aware of anyone looking for lessons. Volunteer to teach at a nursing home.
How should I set up my schedule?
If you teach at someone else’s studio or store, you might have to adhere to their hours. Otherwise, decide how many hours you feel you want to teach. How much money do you need to make? That might determine your hours. Understand that fewer people are available during the day because of school or work hours, so you might have to stick with 3:30 to whenever in the evenings, unless you add weekends. Homeschool students might be available during the days. Whatever you decide, do schedule yourself a break or two. I learned the hard way how important it is to have time to eat a meal or just breathe.
I use Music Teachers Helper to set up my schedule. I can save it as a spread sheet and see it on the calendar a month, week or day at a glance. It is a great help–check out the features.
All these things to consider, and you haven’t even gotten to the actual teaching yet! Who’d have thought?
In the next months I’ll cover questions about the actual teaching: methods & books, resources, games, composing, recitals, and more. If you have specific questions, feel free to put them in the comments, and I’ll see about including them soon. See you then!