SCHED* SXSW 2011

Demo Listening Sessions offer a unique opportunity for selected musicians to get direct feedback from music professionals, those who listen to demos as part of their job.
http://schedule.sxsw.com/events/event_MP990054

Los países latinoamericanos han desarrollado excelentes artistas alternativos desde hace décadas, y con esto no nos referimos a artistas como Shakira, Juanes, Ricky Martin o Maná; nos referimos a los otros artistas, a los "alternativos". Algunos de estos actos exitosamente han logrado convertirse en íconos populares en sus propios países e incluso en la gigantesca región que es Latinoamérica, pero parece una utopía que alguna de estas estrellas regionales puedan tener una oportunidad de ser un verdadero protagonista en la arena internacional, principalmente en los mercados que dominan la escena mundial de la música como Estados Unidos, Japón y/o Europa. ¿Por qué los artistas alternativos latinoamericanos ( por falta de un mejor término ) no son protagonistas globales? Expertos en el tema compartirán sus experiencias e impresiones para lograr entender este fenómeno y generar ideas que ayuden a lograr algún día revertirlo.  A petición de los organizadores, este panel será el primero en los 25 años de historia de SXSW en el que se expondrá el tema a tratar totalmente en español. 
http://schedule.sxsw.com/events/event_MP990223

Demo Listening Sessions offer a unique opportunity for selected musicians to get direct feedback from music professionals, those who listen to demos as part of their job.
http://schedule.sxsw.com/events/event_MP990055

How will artists become famous five years from now? Is the mass marketing machine that broke artists like Michael Jackson, U2 and Radiohead becoming less effective? Artists are still "broken" by traditional radio and mainstream press. Five years from now will this still be the case? What will the top charts look like? Where will those artists come from?
http://schedule.sxsw.com/events/event_MP5594

Demo Listening Sessions offer a unique opportunity for selected musicians to get direct feedback from music professionals, those who listen to demos as part of their job. This session will focus exclusively on Metal.
http://schedule.sxsw.com/events/event_MP990056

Independent music and labels have always been the life-blood of the industry. Of the 41 artists featured on the first ballot of the Rock And Roll Hall Of Fame, 39 of them started at independent labels. In the late 80s, while the music industry was living the last part of its renaissance, major labels once again turned to independent music for its future. The results: a sonic revolution that changed the sound of popular music, and the music industry forever. This discussion will look at the history of the major label/independent label relationship, with a focus on the time period during the 80s when the majors decided to take meaningful chances on the crazy underground sounds of the post-punk era. And with Arcade Fire winning a Grammy this year, we will ponder the future of the “underground” artist.
http://schedule.sxsw.com/events/event_MP990197

In 1986, in the wake of MTV’s The Cutting Edge crashing the Austin music scene, then-Austin Chronicle columnist Michael Corcoran penned an infamous screed declaring “Austin Music Sucks!”. If ever there was cue for hometown hate mail at The Austin Chronicle, this was it. As The Austin Chronicle celebrates its thirtieth anniversary and the publication of The Austin Chronicle Music Anthology, we want to take the opportunity to look back at how both the Austin music scene and the role of music criticism have evolved over the decades. Scouring a colorful history of anecdotes, journalism, fandom, and flaming, we’ll use Austin and The Austin Chronicle as a microcosm to look at how local music scenes get born, blossom, break big, and burn. Slicing through the passion and the perils of covering the hometown scene, this panel will explore the changing landscape of music journalism from an historical perspective and the inevitable love/hate relationship that evolves between local publications and the music they cover. How do journalists deal with the potential conflicts of interest in criticizing scenes with which they are so intimately involved? Is it better for a band to start with local traction, or aim nationally? Do local music scenes, and the publications that cover them, breed creativity or unproductive competition? And what is future for cultural community publications like alt weeklies in the shifting media landscape?
http://schedule.sxsw.com/events/event_MP7869

Demo Listening Sessions offer a unique opportunity for selected musicians to get direct feedback from music professionals, those who listen to demos as part of their job.
http://schedule.sxsw.com/events/event_MP990057

We're overloaded with new--and established--services that claim to help get the word out and sell music. With so many options available, how do you choose the best marketing tools for you and your music? You can't do it all. What's really the best use of your time and energy? This panel will describe how several different social networking/marketing/online services work and what each one is best for, as well as strategies for maximizing the use of the services. Panelists from MXP4 (interactive widget) Sound Cloud, TuneCore, Top Spin, Reverb Nation, Facebook, etc. will explain and advise on what exists now and what's coming in the future.
http://schedule.sxsw.com/events/event_MP7743

World music is getting hipper, grittier, and younger (Balkan Beat Box, Chicha Libre, Antibalas, All Music is World Music Showcase, etc.) and indie music is getting more international (Vampire Weekend, MIA, Blk Jks, The Fader Fort, etc.). Will the two merge so there is no longer a distinction? Until then, how can international artists who keep their roots intact or merge cultures and languages break out of the world music ghetto? What can we learn from MIA, Vampire Weekend, and Fela? Do musicians have to sing in English to cross over? What is the role of photos and videos in breaking down walls? Whether you are into Afrobeat or Balkan electronica, Latin Alternative or Asian Massive, join this explosive and interactive conversation about taking global music off of the coffee table and onto the main stage. Topics will include why some promoters prefer to stay in the world music ghetto, phases of fan conversion, building from niche to mainstream, branding/marketing across cultures, getting mainstream presenters to accept gritty sounds, and why world music has some advantages over other categories. This panel turns the conference model on its head, where you the audience are the panelists.
http://schedule.sxsw.com/events/event_MP8169

Demo Listening Sessions offer a unique opportunity for selected musicians to get direct feedback from music professionals, those who listen to demos as part of their job.
http://schedule.sxsw.com/events/event_MP990058