5. Be a meaning-giver. Futurist Paul Saffo talks about the different "scarcities" the world has experienced over the past hundred and fifty years. First there was a scarcity of "conduit" (that is, pipeline). Then electric wires were strung coast to cost and conduit was hyperabundant.

Then there was a scarcity of "content", that is, information and programming to fill the conduit. Then content became hyperabundant too until today we're drowning in information. The new scarcity, according to Saffo, is "context", that is, giving meaning to all this information. The increasing flood of information calls for "filters", "editors" and "portals". The need for context is so strong that Saffo sees a time when people like Opra Winfrey and Peter Jennings will be licensing their "worldviews" to software companies to create products that screen vast amounts of information and present digestible info-bites in an acceptable framework for users!

A clear example of providing context in the hyperabundant field of music is the compilation. Once a mere afterthought of the recording industry, these "variety packs of music" have emerged as a vital force in the market. Have you noticed all those compilations on the counters of lifestyle retailers Pottery Barn, Structure, Williams-Sonoma and others?

One man - Rock River Communications' Jeffrey Daniel - usually chooses the music. If mixing tapes is an art, then Daniel is the most popular artist you've never heard of: his branded compilations have sold nearly 5 million copies. Rock River's annual wholesale revenue is about $8 million, on par with a midsize record label.

How might you, in your area of expertise, be a meaning-giver in the world of music? Are you an expert in the use of ProTools or on 70s soul? Is bluegrass your passion or is it music education for kids? Are you highly informed about microphones, roots reggae, or lyric writing? How can you put that to use using channels like the Internet and other digital tools?

6. Own your niche. The times call for focus. Mass customization and a segmenting marketplace encourage the development of products and services of a "niche" nature. Since few of us have the time, money or energy to mount national marketing campaigns, it is in our best interest to discover and concentrate on a niche that we can explore towards successful enterprise.

Niche is an architectural term referring to a special place that's designed to display or show off an object of some kind, like an ornament, that's placed in a recess of a wall or an arched area of a room. And that's just what a niche can be for you. Finding your niche will set you off from others who do something similar and draw the best possible attention to you and what you can offer.

Examples of niche marketing abound in the world of music: Chris Silvers, a Dallas trumpeter, used to take out every Latin music recording from the Dallas Public Library and play along with them, until he mastered the horn lines. As a result, he became a first-call musician and horn arranger for all latin bands passing through the Dallas-Fort Worth area and beyond.

Chicago native Joycie Mennihan was always drawn to music's power to heal. She took this interest and turned it into "Sound Health", a company providing workshops, seminars and books about music therapy and its health benefits. Lee Jason Kibler (aka DJ Logic) turned an interest in sampling and a love of multiple music styles, into a unique production sound so that his chops are some of the most in-demand from top recording artists.

Boston's Rosie Cohen, took a love of singer songwriters, a passion for adult literacy, and tireless devotion, and turned it into Big Girl Records' first release, "Can You Read This Boston?," a compilation album of singer-songwriters, with a portion of the proceeds going to the Boston Adult Literacy Fund.

Choosing a niche will open certain doors to you while closing others. But just as you'll never get to see the world if you can't decide which destination to head for first, so it is with committing to one focus for your career and business marketing. The doors that will open to you once you fully commit to one endeavor will present new opportunities you may have never imagined. On the other hand, the 21st century musician should remain flexible and be ready to re-purpose when the time comes.

When asked about what advice he had for young players, pianist Ahmad Jamal once said: "Prepare yourself to have options. Many of the greats were lost because they didn't have options. If there is one exit door when a fire breaks out chances are you're going to get trampled to death. You can conduct, perform. Teach, arrange, produce, go to an institute of higher learning and get the options, and avoid the exit door".

7. Use the Force Nothing speaks louder than something creative. No one can define "creative" but we all know it when it's present.
Unfortunately, most of us traffic with societies demanding little in the way of creativity.

We can get by, and even be very "successful" with partial participation, re-cycling culture and conversation ad infinitum. Studies show that a child's creativity plummets at around age 5. What usually begins at that age? Right. Though the word "education" comes from the Latin 'educare' (meaning, 'to draw out'), our systems betray a fear of human nature and instead pour in reams of information that a committee somewhere decided we should know.

In the process, the multidimensional child-artist is flattened and "de- programmed". To make room for all this intellectualizing art, music and drama are pushed to the margins of education and are often the first activities pegged for budget cuts. Few of us get any training in how to tap our inner creative. The last few centuries were outward-oriented to the extreme and much of the ancient knowledge about human power went underground.

As a result, we hear that humans use only 10% of their brains. There are two responses to this: accept it as the expert opinion, or push on to the other 90%. Beginning in the 1950s a more inclusive consciousness began to spread, and people experimented more readily with new ways of thinking and acting.

These "new ways" were, of course, often old ways rediscovered and renamed. They included a more appreciative attitude about the body, the environment, and different lifestyles. Another was a "turning inward" and the power of thinking to affect reality. In its most basic form, it says, 'you are what you think you are.'

Today we all have the chance to compose our own lives. It's a liberating prospect, but also daunting, because it requires a high degree of self- knowledge. If we don't start at the core if we instead accept reflexive, inherited, or half-thought-out definitions of who we are and what we have to contribute we run the risk of being overwhelmed by the possibilities that we face.

To break through to those other parts of ourselves that sit submerged beneath our everyday consciousness demands courage. There is nothing more brave than filtering out the chatter that tells you to be someone you're not. There is nothing more genuine than breaking away from the chorus to learn the sound of your own voice.

In his 1994 inaugural address Nelson Mandela spoke these profound words: "Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness, that most frightens us." Well that certainly turns it on its head, doesn't it?

The poet Robert Frost similarly observed: "Something we were withholding made us weak, until we found out that it was ourselves." Tapping into the creative means first understanding the qualities creative people share: keen powers of observation, a restless curiosity, the ability to identify issues others miss, a talent for generating a large number of ideas, persistent questioning of the norm, and a knack for seeing established structures in new ways.

COMMENCEMENT
The only way to lead in the new world of music is to deconstruct the ruling dogmas of our industry (like, for instance, that records are the best vehicles to convey music and they should remain the chief support pillar of the industry), to generate heretical ideas to challenge that dogma, and then to build strategies around those ideas.

There's a new dynamic in the biz today, one that flies in the face of all received wisdom. It can be said the first phase of the music industry (c. 1935-70) was music-driven, new sounds came up from the streets and clubs, and entrepreneurs responded.

The second phase (c. 1970-1995) was business-driven, lawyers and accountants ascending to decision-making posts and corporate imperatives dictating "hits".

The third phase (1995-now...) seems to be market-driven, consumers themselves are taking control of their music consumption. There, of course, are elements of all three approaches at all times, but one has dominated each era.
 
Moving forward to individual audience empowerment brings music back into a more purely aesthetic relationship again, which is good for the art itself, and better for artists too. Artists may never recapture the kind of control of their relationship with their audience that they had in the past (except live, in concert), but a genuine aesthetic interplay with their audience is much better than being beholden to the least common denominator of the average of a mass audience's taste.

The current difficult climate serves as a form of reckoning. The tougher the times, the more clarity you gain about the difference between what really matters and what you only pretend to care about. No one knows where all the cards will fall in this industry-wide shake up, but the good thing about radical change is that, during those times, the little person has a chance to make a big difference. It is the time when big ideas are brought to life, big names are made, and, yes, even big money is made. The power's in your corner.

Rise.