The democratization of the media has been underway for more than a decade. Gone are the days of despotic gatekeepers choosing who lives or dies in the entertainment industry. Now, if you have the talent, you can simply upload content to any of the nearly endless platforms available to the public. Want to make your name known as the world’s greatest steel drum percussionist? Ask a friend or passerby to upload your street performance to TikTok. Find a solution to the latest political news in your shower? Podcast about it on Patreon.
Of course, there are still more traditional avenues artists can take to build their brand, like the ever-popular american idol and America’s Got Talentbut the top performers inevitably transcend the platform and still make the rounds on social media.
Ancient Rockstar: Supernova Competitor, recording artist and CEO/co-founder of Stationhead, Ryan Star, has been on both sides of the media machine, working first as a cog under the watchful eye of the almighty Guardian, and eventually free from the archaic mechanics of it.
Star has reinvented himself as an entrepreneur with a mission to unscrew the last nuts and bolts from the rusty mechanized beast that is traditional media.
From consumer to creator
Stationhead is a social audio app that turns its users into streaming radio DJs. Fans from all over the world come to host stations, stream live together and talk, chat and celebrate their favorite artists. The idea behind Stationhead is to democratize music streaming and recapture the personality of traditional radio shows. It does this by bringing back the kind of conversation and personal connection that a playlist lacks.
“They don’t want guards. They don’t want Spotify’s algorithms telling them what to play. They want their employees to have an experience with them,” Star said.
One of the coolest moves in the creation of Stationhead is the integration with Spotify and Apple Music. The partnership means Stationhead doesn’t have to make its own licensing deals with music labels. For listeners, this means that when a DJ plays a song, they’ll hear it streamed from the music service of their choice.
In addition to giving a platform to young artists, Stationhead allowed music lovers and fans to come together as a community.
“It’s really evolved into more of this experience, more of this musical experience together and it feels more like you’re joining… Lately it’s been more like a place where you go to experience the community and experience music together than a traditional radio where I have a mic and you’re going to listen to me,” Star said.
As the lines blur between content creator and consumer, a symbiosis is created between the two; fan communities drive artists’ careers. Stationhead further facilitates this dynamic by providing a platform where artists and consumers can interact. And interaction is the key word in today’s era of instant and continuous communication.
We are never really alone in the modern world. Whether we’re reading an article, commenting on a social media post, or listening to a podcast during a morning workout, there’s always the faint hum of an external stimulus swirling through the psyche. Moreover, we cannot simply experience something in pure form — we have to hear the analysis, watch the reaction, listen to the commentary. This is where Stationhead stands out from its competitors. This is fan-based content streaming – a democratized hybrid radio streaming platform that has so far been lacking on a seemingly endless list of platforms.
Of course, there would be no interaction without the content created by the artists. With Stationhead, artists and streamers can hang out in the same virtual space, giving artists a chance to build real-world relationships with their fans.
“It’s this really, really special place where these stations are created and the fans become the new creator and then the artist comes in and all this beautiful world happens and it’s really special because I feel like that’s where Spotify, Apple and DSPs come out of left in this very lonely music experience,” Star said.
all about music
Social media has undoubtedly created opportunities for emerging artists where there used to be a brick wall. But, with the democratization of the media, creators are scrambling desperately to make their way to notoriety.
“There’s a narrative that’s going on with these big stars kind of saying, ‘Really? This is what I have to do now to be a musician? I would submit a record to my label thinking it was my content and they were saying we need content, and they meant go take pictures of your French toast in Brooklyn and post it so people can find out who you are. said the star.
Stationhead changes that paradigm and allows the experience to focus on the music and the fan community behind it.
“For a lot of people it was like, they love music and they want to play music, so where’s the platform where they could do that, and back then, for me, it was just radio “, said Star. “It felt like I had to drive all night to put on headphones, talk to fans and play music. It doesn’t really exist, it doesn’t exist anywhere else in this social experience.
The machine and the man
During the turbulent early years of trying to “make it,” Star gained a new perspective on the entertainment industry. The constant confrontation between him and the executives of record companies and television stifled his artistic expression and his career path. That’s probably why he’s so passionate about giving young creatives a path to success.
“This archaic old Earth pattern is going to die because it was never cool,” Star said. “In defense of radio, it wasn’t organized that way at first.”
All the famous artists before us were the equivalent of what is happening now. People took risks. They were radio DJs and at midnight they were spinning the new Aerosmith in the 70s. It was a matter of luck. So you take the fearlessness and the independence out of any industry and it will become the machine and the man, and then the youth will want to rebel. We are on the side of the rebels.
Although his understanding of the traditional music industry prompted him to reinvent it, Star has always been passionate about helping people with their careers and giving them a platform. In 2010, Star shot a music video for his song To breathe. With a Hollywood budget for video, he created the Breathe for Jobs project, the purpose of which was to hire unemployed artists and actors for video in hopes of jump-starting their careers.
“My mom is an activist,” Star said. “I grew up with the understanding we all need to make this world a better place. It was in my value system growing up. I took it with me. I also learned that the voice of ‘one person can change the world for a kid who grew up in the generation, who cares, slacker grunge, fuck everybody.
“I saw the light because my mother taught me that you can change things and for the better. So I took that with me and yes, when I had the opportunity and that I was sent a real Hollywood budget, the idea of just making myself look better or win didn’t make sense to me. It felt uncomfortable.
“So the idea at that time was to reallocate the money to do good, and the common thread and belief that I have. One of our investors, Kevin Liles, is a well-known music executive , a hip hop legend and the CEO of 300 Entertainment.
“He’s got a quote he once said on Stationhead when he was talking to kids who were just starting out in music, and he said, ‘It’s not an opportunity unless it’s an opportunity for everything. the world”, and I take it with me. I think you only win if you win with everyone.
According to Star, something special is going on with Stationhead. There are young people between the ages of 12 and 24 around the world who realize that there are people like them and that together music is more fun.
In fact, it’s so much fun that the artist wants to be part of it too. Young artists mobilize and monetize their passion and talent by becoming creators. In Star’s words: “We’ve given birth to a new kind of creator and that’s the fan.”