Bleu, a musician who’s been through the major label ringer, was Kickstarter’s artist of the year in 2010, utilizing that service — where the musician sets a monetary goal and a time limit, hoping fans will contribute money to fund the recording process — to collect some $40,000. Of course, not all artists who use Kickstarter, or a number of other sites like it, are quite so successful.”I think half of the projects still fail,” he said. “To me that’s great — it means it’s working for the people it should be working for.”
It’s a curious concept, the panel all agreed, that the microfunding model seems to be catching on, especially when you consider how difficult it has been to get consumers to spend 99 cents on a song. Why would they rather spend $10, or even $100?
“The thing that people want is to be involved directly and feel like they’re a part of it,” Bleu said.
In earlier days, the music industry was like playing the lottery, Gotcher said. “I’m a big believer in the emerging direct-to-fan business models. Artists need to think about creating a small business and building customers over time. I think there’s a real desire among fans to cut out middlemen of any type. There is a patronage motive.”
“Paying for music has become voluntary, Ron Nordin, a VC behind companies like Nimbit, said. “Essentially now, everyone becomes a patron rather than a consumer.”
That’s partly because they appreciate being able to pay the artist directly, but also because consumers are starting to realize if they don’t, the music might not ever be made.
Currently, I’m trying to start a new band, filling in with another band, and I’m running a blog on how to run a band. And guess what? I’ve hit media overload. Facebook, Twitter, YouTube, blogging–the social media list grows every day. I try to keep up, but it’s freakin hard! Not to mention I have a day job. Refreshing my Facebook page 30 times a day doesn’t help with job security. After backing off for a little bit, I’ve come up with a strategy to manage my time more efficiently. This post will concentrate on managing online activities since they can cut most significantly into a band’s time.
Whether you have a successful album or a label that supports you or backs you, there is a relationship with the people who make you who you are. That’s way more important nowadays to me because that’s what the industry is broken down into — trust. If I trust you and have a relationship with you, and you are telling me you are putting a record out and it’s going to be good, I’m going to buy it because I trust you.
This morning he wrote: “I am Scott Adams” and Gawker confirmed the story with MetaFilter’s founder. Later Adams followed up with this comment: “I’m sorry I peed in your cesspool. For what it’s worth, the smart people were on to me after the first post. That made it funnier.”
MetaFilter moderator Cortex responded to the revelation: “Scott, if you wanted to sign up for Metafilter to defend your writing, that would have been fine. If you wanted to sign up for Metafilter and be incognito as just another user, that’d be fine too. Doing both simultaneously isn’t; pretending to be a third party and high-fiving yourself by proxy is a pretty sketchy move and a serious violation of general community expectations about identity management around here.”
How not to engage your audience online.
Ben Folds, Damian Kulash (OK Go), Amanda Palmer (Dresden Dolls, solo), and author Neil Gaiman will write and record eight songs in eight hours (4:00 p.m. to midnight) at Berklee College of Music, Monday, April 25, and release them 10 hours later during Rethink Music, in Boston. Like Radiohead did recently, this group will show how record companies are becoming superfluous to building buzz and distributing music.
The historic collaboration will be broadcast live from the recording studio at rethink-music.com. The album will be released through Bandcamp.com; proceeds from the first week of downloads will benefit Berklee City Music, which provides free music education to underserved teens.
Glad I will be there.
This shift has also changed what it means to be an artist.The traditional record industry has strongly reinforced a belief that artists should just be artists. As creators of cultural content, artists were told they should not have to worry themselves with how they are engaging with their audience; these activities were viewed as disturbances to their creative energy. But as we know, the age of the aloof artist, disconnected from his audience or not even knowing them at all, is long gone. It is not that there cannot be artists who center mainly on the process of creation, but for every artist that is not willing do get more deeply involved with their careers, there are many, many more who are willing to do the hard work.
Long essay by Kyle Bylin with many good points and references.