Michael Jackson was world-famous because he was supremely talented. He sold 120 million records across the planet because, simply put, he made great music. He was by all accounts an exceptionally hard-working perfectionist; he wrote some of the best-known songs of all time; he was a shrewd businessman; and he pioneered moves that have changed the face of modern dance.

Michael Jackson was also the last superstar of his kind. He was the last in a lineage that can be traced all the way back to Bing Crosby and Frank Sinatra; then Elvis; The Beatles; and finally Michael. They are all entertainers that changed both the way that we listen to music but also pushed cultural and societal boundaries to a whole new level.

Michael Jackson single-handedly gave rise to the hit-driven, superstar-centric music business of the late-70’s and 80’s. If you think about it, when most of us think of the “music business” we think of the one that Michael Jackson created: mega-selling albums; lavish music videos that get played non-stop on MTV; consecutive Billboard Chart-topping singles; songs that get endlessly played on cross-format radio; stadium-filling tours with huge productions; superstars that collaborate with consumer brands to promote colas or cars or clothing. In other words, everything that I often declare as an anachronism on this blog.

In a funny way though, Michael Jackson also helped give rise to the concept of the modern, empowered artist. He was the first artist to really demand and get complete control of all aspects of his career: he wrote his own songs; he co-produced his own music; had complete oversight of the way he was marketed; chose his directors and had total creative control of his videos; negotiated by all accounts some of the most favorable recording deals ever; understood the value of owning your music publishing when Madonna was still a drummer in a New York underground band called “The Breakfast Club”; and knew that in the end, the only thing that matters, is your relationship with your fans (all this in a pre-Twitter, pre-Facebook era).

Michael Jackson’s death (on my birthday of all days) represents the formal passing of the Superstar era. There will never be another Michael Jackson just like there will never be another Beatles, not because great music is not created every single day today but because the era of the mass market is over. (Music today influences us as a collective force, rather than an individual one.)

It’s worth remembering though, that besides giving birth to the music business of the big, bloated budgets and hit-obsessed labels, Michael Jackson also helped create the concept of the artist as a proactive entrepreneur.

Here’s to you Michael, the world’s first empowered artist.

Panos

I found out on Friday that Popkomm, which is the second largest music tradeshow in Europe, has been canceled for 2009. The show was scheduled to take place in just two months from today, and though not completely unexpected, it’s still rather shocking.

It’s a major disappointment for us given that we are a close partner and Popkomm has always been one of the events that we use to reach out to our European members.

More importantly, I am not quite sure what this means about the current state of the economy and our industry at large, though any time a big show like this gets canceled, it hardly bodes well for anyone.

If you are a member that’s submitted to perform at this year’s Popkomm, we are contacting them this week to address refunds.

Panos

The big news of the day is the lay offs at MySpace. After a management shake up in April, the company is laying off about 30% of its staff (which will remain at a still robust 1,000).

I know many folks at MySpace and as a businessperson, I understand these decisions – they are painful but sometimes necessary. The broader question is, can MySpace get its mojo back? With its Google advertising deal scheduled to expire in 2010 and its social relevance in free fall, what’s the second act?

Not sure if I see their way out of this one.

Panos

Just back from the first Billboard Music & Advertising Conference that took place in New York City last Thursday and Friday. I thought Billboard did a great job organizing the event and it seems that attendance exceeded their wildest expectations. Why? Because most of us in the industry know that in many ways, Madison Avenue represents the future of music discovery by the masses.

My biggest regret about the conference is that all panels seemed to talk too much about major label music (admittedly, my favorite: Cadbury’s Gorilla ad) and not enough attention was given to the shifting consumer trend towards independent music.

I gave a quick 8-minute speech on and why these brands should spend more on promoting themselves by using independent music. Here are my notes:

The internet has given rise to a new type of artist, what we call the Artistic Middle Class. They are different than every other group of artists that preceded them and here’s how:

•    Today’s independent artists are high quality. Costs of production and ability to get gigs have dropped to nearly nothing — giving the ability to artists to experiment and hone in their craft. There is no discernible difference between a major label produced album and a home produced one.

•    Independent artists are entrepreneurial. They take charge and make things happen, They know how to market themselves and connect with audiences using all available media, especially online (social, twitter, etc.).

•    They are pragmatic. Gone are the days when artists did not want to have anything to do with brands. This new breed of artist knows how to work and collaborate with brands to reach an audience. They realize that consumer brands are the new labels, the new arts patrons. And these artists are willing to get exposure in exchange for realistic fees.

• They are inexpensive – and easy to work with. Unlike major label artists with large entourages of managers and agents and publishers and pubicists, indie artists will cost less but give you a whole lot more.

•    Collectively, the artistic middle class reaches a lot of people. The mass market in music is dead; long live the mass of niches. The average artist on Sonicbids has a base of 1,000 fans that they to talk to daily. That’s 200 million people.

•    Independent artists know how to connect – and how to develop relationships. Today’s music world is all about having a conversation with your audience. There is no longer a barrier between artists and fans. Engagement and dialogue and collaboration with fan base is key (Twitter).

•    Indie music is authentic and uncompromising. Because of falling costs of production, distribution, and marketing, independent artists can make a living while staying true to who they are. There’s integrity in the Sound – and audiences crave authenticity.

•    Independent artists appeal to young consumers’ sense of individualism. It used to be that I got my sense of belonging by listening to music that all my peers listened to. Today, I get my sense of individualism by listening to music that expresses  me.  Why? It’s easier today to find and connect with music. They reject status quo. Independent music appeals to this sentiment.

My point: consumers are moving away from mass produced, mass consumed music. Time for Madison Ave. to follow suit.

Panos

According to the Wall Street Journal, a Boston-based company called Charity Partners is buying tickets for seats at shows of major artists like the Stones, Coldplay, etc., marking them up, selling them at aftermarket prices and donating the proceeds from the difference to charity.

Pretty cool concept as the ticket buyer actually gets the tax credit for the part of the re-sell ticket price that goes to charity. A number of major artists have given their blessing.

Would you do it? Is it promoting scalping and unsustainably high ticket prices? Should the artist get the tax credit? Either way, I personally love the creativity of it.

Panos