Today, we talk with theremin virtuoso Clara Venice who discusses her musical and visual aesthetic, her journey within the music industry, and her mission to make music technology more colorful, inclusive, and above all – more pink! Dmitri and Tristra also cover the latest industry news, including Spotify's new music pro service and (even more) research on social media's impact on younger users.
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Episode Transcript
Machine transcribed
Dmitri: Welcome back to Music Tectonics, where we go beneath the surface of music and tech. I'm, your host, Dmitri Vietze, I'm also the founder and CEO of Rock Paper Scissors, and you know if you're a Music Tectonics listener that every year we do an amazing conference in Santa Monica on the beach, and this year we met up with an artist named Clara Venice, and it's, it's exactly why I do Music Tectonics.
It's to find the creative Interesting folks come out doing really innovative stuff that's having an impact on the industry. Claire is a theremin prodigy with a message to music creation companies, an even stronger message to anyone dreaming of making music. And when you think about artists carving out new paths to career in art, after you hear her interview today, she'll be at the top of your list.
We also have in store an amazing publicist [00:01:00] Leland Grossman is going to let you in on a little secret about PowerLists, those lists of cool people in the industry. Um, so you'll get some stuff there, but first let's go to the news.
Music: Rock Paper Scanner.
Dmitri: what's going on, what, what's on the horizon for music tech, music innovation, as well as tech and broader. Whenever I bring Tristra onto the show, she widens things out.
She gives us that 10, 000 ft view. So it's a blast to have her here. Trista, Newyear Yeager chief strategy officer with Rock, Paper, Scissors. Welcome back.
Tristra: Hey, thank you. Thanks for having me back. I'm glad I've I'm glad I haven't overstayed my welcome yet.
Dmitri: Now [00:02:00] you never will. Let's talk about a couple of quick headlines. And then I know you've picked out something you want to dive into. I've got one. They're very different. a couple of headlines that just caught my eye. Spotify to launch music pro service with super fan perks, like early access tickets and AI remix tool for up to 599 more per month.
That's from music business worldwide. Everybody's been wondering, how are we going to extract more revenue for the industry from fan engagement and now Spotify is making some moves. So that's one that I was interested in.
Tristra: It's interesting that there's not a lot of talk about high res audio, which was for the focus for a long time of that super premium
Dmitri: Yeah, there'll be some experiments there. Another one I caught Tristra media research, Mark Mulligan, uh, everyone that listens to the podcast knows we are always watching when he has to say, he put out a new article called craft versus character, the equation, the music industry needs to fix. And, it's, it's a little bit about how, we've got these like 15, 32nd hooks that have kind of become the thing in social [00:03:00] video and social, social media and, uh, He's saying that's not the way you've raised the value of music necessarily.
So it's really great to have him step back and give us that viewpoint. Now you saw some news you were interested as well,
Tristra: Yeah, yeah, this isn't directly related to the music industry, but it's indirectly related. It was an article by the BBC covering some really interesting research by a group of scholars. The headline is hilarious. How a computer that quote drunk dials. videos is exposing YouTube secrets. So, um, don't let the bizarre headline confuse you.
It's some pretty interesting research. Uh, now that YouTube slash Google is not releasing exactly how many videos are being uploaded, they'll give something vague like, Oh, 500 minutes, or 500 hours or something, a day or something like that, or probably a minute. Um, anyway, the, these scholars are really diving deep into YouTube and looking to see what's there.
And so it's really worth checking out their research and, looking at the, what the platform's actually [00:04:00] like and how many videos they believe they're actually there. I thought that was really, really interesting.
Dmitri: in transparency of what's going on there.
Tristra: Mm hmm. Totally, totally.
Dmitri: let's dig into a couple articles. What's, what's the one you want to dive into Tristra?
Tristra: sticking with the research heavy leaning of I guess this week, I wanted to point everyone's attention towards a report from nber. org. and it's got a really, it's got a, little a title that it may be is deceptively, um, low key, but it has some really interesting insights that I think everyone in the music industry will want to think about.
When product markets become collective traps, the case of social media. So this research, It has looked into the attitudes of younger users towards platforms like TikTok and Instagram. And there seems to be a changing consensus that younger users feel like they have a lot of negative utility, meaning if they don't engage with social media, [00:05:00] they will lose out.
be at a loss, they'll miss something, um, they won't have contact with their friends, etc. But there's not a lot of positive utility. So they don't really feel like they're getting much out of these platforms. And it's a really, that is a that is a sentiment that's existed for quite some time. I may remember some similar research coming out about Facebook back in the day.
But I think this is an interesting moment, maybe a canary in the coal mine for us, because, looking at some reporting that appeared in Billboard last week by Elias Light, on the average length of songs, which went up by 20 seconds in 2024. So it's breaks a longstanding trend of songs getting shorter and shorter, a trend that was closely correlated with, uh, dominance of music discovery.
But I think what we're starting to see is maybe the tide is turning. And as Mark Mulligan put it, maybe we're going to have less of an emphasis on character and social media engagement and more and more emphasis on content. [00:06:00] quality, creators and, the notorious quote unquote, super fans that are dominating the conversation, not just in music, but across, the creative industries and Patreon just put out a big report last week about, the emphasis on quality and core fandom, for people who are far outside of music.
So, I just wanted to point out that trend. I think it's significant and I think it's something I'd love to hear from our listeners, how they're experiencing this and if they're seeing that in their work.
Dmitri: This is why Tristra New Year Yeager is on this podcast. She sees the big stuff out there and pulls it in, analyzes it, and then applies it to music. Helps us all push our thinking one step further. Maybe I should call you Tristra New Year Mulligan Yeager.
Tristra: Oh, I don't know if I'm, I'm not yet worthy of the title of Mulligan, but, um, a bow to Mark. Yes.
Dmitri: Yeah, Love it. That's that's a really good one that I didn't catch. So I appreciate that. All right now I've got one Trisha that on the surface just you know, it's a launch of an app It's a new app that allows a fan to remix hits from Doja Cat [00:07:00] Ed Sheeran and more launches an app store This is Kristen Robinson's piece in billboard mash app features a library of songs licensed from the three major music companies in cobalt I mean first of all You How often do we see an app that launches with all three majors?
Sign and cobalt signed in, uh, at the beginning to have music licensed. So that in itself to me is kind of a, a vibe change, a vibe
Tristra: totally vibe shift. Total vibe shift there. That's like a huge, huge thing.
Dmitri: getting the three majors at launch is to me a really significant thing.
Is this a sign that major licensing deals are thawing? Is it maybe just MashApp's been working on it in the background for a long time and it's all come together, but they're doing it right, which is super awesome. Ian Henderson, the Spotify executive. so he, he gets it in a lot of ways. and But I don't think this is the only, the only app that's kind of done this.
there's a kind of a tick tock [00:08:00] competitor called connect, connect with a Y that launched with license from WMG. I remember, universal a year or so ago did had a big press release about this company called med rhythms. This digital therapeutics company building direct stimulation solutions that use clinical grade sensors, software, and music to help restore function lost to neurologic disease or injury, what a cool license that is to see the majors seeing.
These opportunities, for so many years, it's all been threats. Granted licensing with majors is not cheap necessarily, but there are some like experimental opportunities, um, some ways to get those things started. I noticed in the mash app, News that, it's not the full catalogs. It's select pieces, which is a really smart thing to do.
Tristra: Totally. I also want to point out that there's still this ongoing idea that. The major stakeholders in the industry are going to always be obstacles that they'd rather, like, say no and then sue you. but I don't think that's our strategy anymore. And I think [00:09:00] it's time for us to, or especially people outside the industry, uh, seem to really, really still be clinging on to sort of the Napster ethos.
but that, is I think that's fallen by the wayside and, we're everyone's starting to see the value of finding new ways to license being more agile and licensing. and that there, and I guess maybe the technology has come far enough along that we can actually track things and figure out the admin side more efficiently.
That may have been really what was holding people up. Not a, not a feeling of like, well, we just don't want to license to any of these,
Dmitri: Or maybe both, maybe a little bit of both.
Tristra: a mix of both.
Dmitri: I will say.
Tristra: a fun debate. Oh, I don't know.
Dmitri: On one of our early how to start up podcast at music tectonics, Vicky Nauman, our friend and great advisor and consultant in the music tech world, introduced this concept of minimum viable music, which is this idea that you don't need to license everything.
she did say you do need to license something. If you think you're going to squeak under the wire without licensing, because you're so early. Yeah, sure. You will. But as soon as you start making money or [00:10:00] raising money, you're going to get hit with some serious lawsuits there. But I loved her theory there.
And I feel like that may be what. A little bit of what we're seeing come to fruition here. It's something I'll talk about at my South by Southwest session on how to start up as well. so come to that if you're going to be at South by Southwest, but you know, the other thing about this story, and again, I know it's, it's a product announcement, but it's like really cool product.
I can't wait to play with it myself. I've downloaded it. it's got the, the tick tock, like vertical feeds. So you can share remixes. I think that's part of it too. It, it has a social component. So not only do you feel like, Hey, I can finally put together two sounds that I always thought would be cool without having to be a DJ or have any hardware or anything like that, other than a phone, but also there's this sharing component, and I think that, you might look at it and say, oh, well, that's a feature, um, and with Spotify announcing this, Remix feature, which they barely mentioned, by the way, in that press release, it was a mention, but it was also like down the road, but actually, you know, like, I think there's a lot of times where you don't necessarily want your Spotify to be your place where you're hearing a lot [00:11:00] of remixes and friends screwing around with stuff, but another, like an app of its own could actually be really valuable.
You could really get into it and be like when you download a game app and you're. you open that game to do the same thing every time. You're not playing like a million different games on a single app. So it'll be interesting, to see how that takes off. I can't wait to make my own, remixes.
Yeah, I know. I know you've been longing to do that quite some time. Yeah,
And, this might be the lowest barrier for, for, for music creation. you know, all you do is take out your phone, start mixing licensed music that you've always loved and wanted to play with and then share it with a friend.
Tristra: and a new a new channel for music discovery, right? So say say mashup suggests that you try mixing this track in this track and you're like wait I've never heard that track or yeah, I like Kesha, but I've never heard that one. So I'm gonna listen to that Oh, I don't really like that so I I mean you can find a lot of I found a lot of cool stuff from remixes DJ sets and Mashups a lot of songs that I wasn't familiar with So, hopefully, the next generation of users will
Dmitri: Yeah. I love that idea that music discovery and music creation are kind of mashed at [00:12:00] mashed up in mash app and in itself, like you discover it, then you remix it and then somebody else discovers it and they remix it. And yeah, super cool. All right, Tristra, as always super blast. Thanks for, uh, doing the rock paper scanner with me every week.
Um, yeah, let's, uh, let's go read some more news.
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Music: Uh, Uh, Uh, Uh,
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Music: You
Dmitri: and in terms of their career for all the Hypothesizing and pontificating we do in the industry. These are the artists who are putting the theories into practice They're experimenting and innovating and creating new pathways while creating Great new sounds and music. And I have just that type of icon joining us today on Music Tectonics. Clara Venice is an electronic musician, producer, and theremin artist creating portals through sound. Dubbed Canada's theremin prodigy by CBC, she's pioneering a new approach to electronic music that bridges technology with human experience.
Through her unique fusion of lo fi pop and theremin, Clara creates cosmic lullabies that transform digital spaces into dreamlike dimensions. Opening for iconic acts like Violent Femmes and [00:14:00] Bare Naked Ladies, Clara has brought her sonic vision to major venues and festivals worldwide. She's been featured on Vice, CBC, and gave an official TEDx talk about the intersection of technology and magic in music.
She also headlines the National Music Center's permanent Theremin Gallery installation. And here she is with us today. Welcome Clara Venice.
Clara: Thank you so much for having me. I'm so excited to be here.
Dmitri: Me too. I'm so glad we found you. To help our audience who may be new to your music and your video, if a stranger asks what kind of music you make and before you open your mouth, a good friend or a fan just like dives in and responds, what do you hope they say?
Clara: I hope that they say that I make that's it's an interesting question because what I would say is I make ambient lo fi dream pop
Dmitri: Mm hmm. Yeah.
Clara: and those are really specifically chosen descriptions but I feel like people could just say that I make [00:15:00] dreamy lullabies for lovers and and dreamers. Like that's, I, I'm living in a dream and music to me is like the ultimate dream machine.
So
Dmitri: That's great. Okay. I think that those are both great descriptions. Um, both yours and your, your imaginary fan or friend who's nearby who just jumped in here. I know I asked that question kind of in a weird way, but I kind of wanted to hear what you might hear from other people too, just to help get our audience there.
Anyway. Yeah. Your videos and songs are like, they really are. They're like nothing else. They're colorful. They're dreamy. They're melodic. They feel like they come from maybe a different planet or a different era. So I guess that dreamlike quality you're talking about. Where does the visual. And Sonic aesthetic come from for you?
Clara: well, I have always, one of my earliest memories is that I was talking to my mother and I was like, how can I record my dreams? I want to tell you about it, but like, there was always a fascination that I had with sharing my inner world [00:16:00] and like my dream world. And my mother is not a musician and not, she's a critic actually, but, um,
Dmitri: Wait, like a music critic?
Clara: Yeah, I know an art critic, but
Dmitri: art critic. Okay. Cool.
Clara: uh, but yeah, she was like, you can't do that. That doesn't exist. And so that question of how to share my dreams literally never left me. And when I was about 12, my dad, who is a musician or was a musician, he gave me Nuendo, like Cubase. My first song.
software because he was like, Oh, you just have to learn how to produce because that's what you're going to do now. And, um, I started violin when I was really young, but, uh, and I've, I still play the violin. It was my first love. But anyway, when I learned how to produce music, I was like, aha, now I have my machine to share my dreams.
And, that became, I guess, that was the foundation of my aesthetic. And then from [00:17:00] there, as you know, when you're producing music, it's really an exercise in listening to these different sounds and deciding what resonates. And, you know, So the more that I listened and the more different sounds I explored and the more instruments and waves and frequencies, I really started to collect things that just resonated.
And that's where my description of my music being. ambient comes from because ambient technically is like a mood or an environment as opposed to this like more formal structure. But I thought these, this is my world. This is my inner world that I'm sharing. And then to go along with it, I, I think I echoed the same thing on My outside was like, what colors do I like?
What shapes do I like? What textures do I like? And so I started collecting things that match that, both like with fashion, with beauty, [00:18:00] with makeup, with, uh, my home furnishings. And so now I basically live in a world people come over. They're like, Oh my God, because everything is very consistent. And this is my life.
Like, it's not just a performance. It's literally the way that I live my life because this makes me happy and I believe that we should all, especially these days, we need to do as much as we can to really make ourselves feel good. And I think that music especially is like the most direct way to create that kind of overlay on reality so that we can just be happier and feel safe and good.
Dmitri: I love that. I've had this theory that there are like lyrics people, and there's rhythms people, and then there's like timur people, like I'm kind of like weird sounds. This makes me excited and so forth. Now you've introduced this idea of the ambience. [00:19:00] piece of it too, which is, it's almost like you, you step outside of it.
It starts to feel like you're around the music or the music's around you. It's this interplay of dimensionality that you're introducing. And then it even translates to aesthetics. Like you're such a visual performer and, and creator as well.
Clara: think that when you are resonating in like your most deepest When you can connect to yourself the most deeply, I think that is what people call aura. And it's interesting because I'm a theremin player. Like when I started, as I said, I started playing violin when I was four. I saw it. on TV. I was like, I need to play that.
And luckily my parents were very supportive and found me a teacher and I started violin. I studied opera. I studied, those were my things until I went to a concert one day and saw Theremin. And then I was like, Oh my God. And that, that [00:20:00] was love at first sight. It was just literally like in a film where the entire.
The entire club, everyone receded, and it was just me and the theremin connecting, and I was like, I need that. And in fact, because the most famous theremin player of all time is named Clara Rockmore, and she was, she worked with theremin, who invented the theremin, and she was absolutely iconic. People think that I actually named myself after her, but I was like, no, my name's Clara and it was meant to be.
So the theremin is a really interesting instrument because it's one of the only instruments that you play without touching it. It's like, to me, a very direct line from, again, like, from your inner world, from your emotional world, to being able to translate that into something that other people [00:21:00] can experience.
So I think that's magical. For me also an example of how because you're not touching it, I kind of describe it sometimes is that I'm manifesting the music I'm kind of like making it appear out of thin air using my energy and it proves that your energy can change the world around you. And also, when I'm in a bad mood and I start playing the theremin because the experience is all about grounding yourself.
and then using your energy to conduct the music through the Theremin's antennas, you end up in a much better mood afterwards. And that was one of the things that really got me thinking about frequencies in the way that people are kind of sharing them now on TikTok. And it's like, Oh, this frequency and that frequency.
And I'm like, I think people are just trying to get out that thing of finding what resonates. And once you [00:22:00] find those things that really resonate with you, you can start exploring that more, building on that. And like, hopefully more people will try to start making those frequencies for themselves and start, you know, my dream now is that everybody will just start producing and doing, doing that for themselves and not waiting for somebody to provide that.
So,
Dmitri: Yeah. I love it. To go from dreams To making dreams into sound, sound expanding into the visual world, the aesthetic, and now like it's like going out even further now to other people to do the same, that's that seems like a bit of your vision. So you live at this confluence of music and technology, and though gear is an important part of your sound, obviously you got to have a thought process.
Therein, you gotta have an instrument. You talked about producing and, and that's an inherently electronic and hardware process. It's not like you're trying to out gadget anyone. I mean, you and I have both been to Nam [00:23:00] and . You, you can see what it's like for somebody who's, I can't get enough gear, I need more gear, or they get into the technical aspects of so far, but I could see in your approach.
Clearly the colors, but also how you're talking about how you think I could see a lot of little girls and grown women being inspired by what you do. Does that line up with your experience? And if so, is that intentional?
Clara: well, it's not intentional, but I have, it's true. I, one thing for me and, you know, I've always I love technology and I just learned the other day about this concept called like technophilia and technophobia, which I was like, Oh, there are people who are afraid of technology. And I think when you look at the numbers in terms of how many women are buying synthesizers, honestly, like, it's not that many.
And the number of women who are producing music, it's so low. It's so much lower than you [00:24:00] would think it's the statistics vary, but it's about 6 percent of producers are women or non binary in the music industry. And that, that is. That is, there's no reason for that, right, in terms of we are totally capable of being able to produce and I think music production is tied to gear, as you said, and It's very obvious when you're at NAMM, like I, my joke when I go to NAMM every year is like, does it come in pink?
Because, and I'll just go up to, you know, any cool thing and I, I collect not just theremins, I collect synthesizers, I collect all sorts of gear, I collect plugins, I'm, I'm just, I am kind of a fiend, but I really like gear that belongs in my world. And my world is very pink, pastel, and you know, there [00:25:00] aren't that many instruments at NAMM that would fit into my world.
And part of what I'm trying to do is really, I just think that the world needs more pink synthesizers. And I'm saying that not just pink, obviously, but it's a metaphor because pink is a very coded color and it does explain visually who belongs in this world. And so I would love it to be more inclusive and customizable.
And I think that is how, if I look at the gaming industry, for example, like I've also always been a gamer. And if you look at how they've really embraced Having more colors, having more styles, like the consoles come in pastels, that has done so much to make the gaming world more inclusive, that I think that music tech could really benefit from looking at that and opening up this world to [00:26:00] more voices and more ideas.
And I think doing that visually, like even though it's very easy to dismiss that as, oh, it's just superficial, your tools are connected to you, like your tools are an extension of you. So I think it is very, it's very deep actually that our tools reflect the rest of our lives and the rest of our worlds and that they belong there.
So it's, it's a dream, but I think that we can make it happen. And I think the time is now because when I look at the way that music is, to me, it's, it's really become so background. And I'm like, this is, Such an important part of being human. It's this universal language. We are all born speaking. It is our birthright to be musicians.
That's I believe that, and I believe everybody [00:27:00] is. And I believe that technology is the thing that unlocks that. So I would love more people to get those keys and to say, this is my sonic aesthetic, not just my visual aesthetic.
Dmitri: Nice. Well, you're on the right podcast. I'll tell you that you're not going to find, you're not going to find any disagreement here. I don't think with the music tectonics audience
Clara: Yeah, no, you guys are amazing. No,
Dmitri: the career side of this. We've talked a little bit about the, the sonic and visual aesthetic and like the role that music plays in your life and in society and where you see things needing to go in terms of being even a more accessible and open and receptive field, art form, et cetera.
But I'm curious about on the career side, how do you see unfolding differently than the traditional industry artists because clearly you're not following the you're not following the the rule book or anything.
Clara: [00:28:00] I definitely, I did, uh, when I was younger, I mean, I had a very typical young girl wants to be a singer. And what happens when you start young, you get put into a lot of rooms with Much older guys who are the producers and they tell you what to sing and everything from lyrics to the sound to everything and I always had my own ideas and honestly, I got kicked out of a couple sessions because I would ask, could you, could we try this?
Could we try that? And it, it was not done that way. And I remember one day going to the bathroom and crying cause I just felt it was, it was horrible to just be told, sing what we tell you to sing. And. Wear what we tell you to wear. And I was like, I have a different concept. [00:29:00] And then when I discovered the theremin, it was like, okay, I brought it in to the studio.
I was like, okay, so I'm going to play the theremin now. And they were like, absolutely not. They're like that because most people think of the theremin as a sound effect, but the theremin is a beautiful instrument and it can be used just like any other instrument. To create any timbres or sounds or vibes that you want it to create.
So that was, you know, the start of my journey. And then I had to learn how to do everything myself, essentially, because I had a vision and nobody else really understood and. So the more that I did that, I, and then performing my music, I started using Ableton because Ableton is great, uh, for transitioning from the studio to a live performance.
Um, I started performing as a one woman band. I even did one of my [00:30:00] earlier festivals was like the one man band festival in Montreal. And that's really how I identify. And then from there I started. People started noticing what I was doing. So Kevin Hearn from the Barenaked Ladies, who also was at the time Lou Reeds.
musical director came to one of my shows and he was, he really loved it. And he was like, I want to work with you. I want to support you. And he's been an incredible support to me and my career. Just, you know, all it takes really is a few people, because I went from doing the one man band festival and shows at clubs in Toronto to going on a stadium tour opening for the Bare Naked Ladies, you know, in literal stadiums with my therm and I was like, That's crazy.
That was my first tour and I've gotten to tour in Japan, which was a dream come true and play at the Canadian embassy to a full house and all. And it's kind [00:31:00] of amazing cause I I've never had a manager and like, I just did what I wanted to do and did it well and really went out and learned the skills that I needed.
To learn and I believe that if you have that dream, you can do it, you just, it's really just a lot of work and passion, but you can, and especially now I think we are so lucky to be living in this time when we can get our music out there and share. And connect with people who, they might not even be in your city or your country or anything, but we can connect, um, with, with other people that get it.
Dmitri: All right. Yeah. So, uh, this episode's coming out February 26th. So tomorrow you have your first single dropping from Dreamology. Um, we have to wrap up here in just a sec, but tell us a little bit about Dreamology and this [00:32:00] idea of the Claraverse. If you go to claravenice. com, you have such a fun web interface.
Love to, love to dive in. It feels like you're stepping into a world. So congrats on, on such a cool thing there. But tell us about Dreamology real quick. Yeah.
Clara: Well, Dreamology is my, it's actually my first full length album and I produced, wrote, and performed the entire thing. During the process of writing it, I also became certified as a sound therapist. And so I started integrating the things that I learned In that world, with this pop music, with recording the environment, and you know, every song to me is like a different dream and a different And to release the album, I really wanted to do it in a way that hopefully will get people to engage more actively.
So I'm releasing it as a deck of oracle cards, which are [00:33:00] every card corresponds to a different space. Song, and you can pick like a musical message for the day, or you can use that for journaling. You can use it for active listening. You can use, I've done ambient versions of each track, like so that you can use it for if you're doing a morning routine or just being able to integrate it into your life.
And To introduce it in that way where maybe like these ideas that I have can become more tangible for people and to give as many different entry points into the world of sound and sound design in your life. as possible. So yeah, and uh, my first single is called To The Light. An amazing artist, one of my favorite artists, Alex McLeod, did the video, so I'm really excited about that.
And then the rest of the album comes out later in March, and I'm just so excited to be sharing.
Dmitri: I can't wait to check it out, Clara. [00:34:00] Definitely check out Clara Venice on Instagram and YouTube and check out the website, claravenice. com. This has been super fun to dive into your world. You definitely expanded my mind in this conversation. You've got me wanting to pull out some of my gadgets and play some music as well.
And I'll probably be wearing pink pants just to be clear.
Clara: Well please, I give you permission, if anybody out there needs permission to put on whatever they want, or to make whatever sounds they want right now, consider it. Granted.
Dmitri: Amazing. Straight from Clara Venice. Thanks, Clara. We'll see you soon.
Clara: Okay.
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Robot: Now give me a PR tip.
Leland: Hi, this is Leland, publicist at Rock Paper Scissors. My strategy for you this week is about power lists. Power lists are a great way to show your credibility to your industry peers and potential clients and partners. recently helped a client earn a spot on Inc. 's 250 female founders list, which then [00:35:00] turned into a feature article. Keep track of what you do throughout the year at work that might be relevant toward your application. And keep track of what you do outside of work. If you're on a board or if you participate in giving back to the community, those things are of note. You want to add those to your submission. out the Busy Awards, Libera Awards, Variety, Billboard, Music Week, Inc.,
Fortune, Fast Company, just to name a few of places you can go and look submitting.
Music: Thanks for listening to Music Tectonics. If you like what you hear, please subscribe on your favorite podcast app. We have new episodes for you every week. Did you know we do free monthly online events that you, our lovely podcast listeners can join? Find out more at MusicTectonics. com. And while you're there.
Look for the latest about our annual conference and [00:36:00] sign up for our newsletter to get updates. Everything we do explores the seismic shifts that shake up music and technology, the way the earth's tectonic plates cause quakes and make mountains. Connect with Music Tectonics on Twitter, Instagram, and LinkedIn.
That's my favorite platform. Connect with me, Dmitri Vietze, if you can spell it. We'll be back again next week, if not sooner.
Let us know what you think! Tweet @MusicTectonics, find us on LinkedIn, Facebook and Instagram, or connect with podcast host Dmitri Vietze on LinkedIn, Twitter, and Facebook.
The Music Tectonics podcast goes beneath the surface of the music industry to explore how technology is changing the way business gets done. Weekly episodes include interviews with music tech movers & shakers, deep dives into seismic shifts, and more.