We all know what the World values: things that makes noise, “expert” opinions, sales, charts, hype, lists, awards, trends, tap dancing, self-promotion…it hangs high price tags on what it says the herd wants. And it is true that there are people who only like to look at what they think other people are looking at, who only want to live where other people want to live, who watch, read and listen only to what they’ve heard that piles of other people are watching, reading and listening to, who buy the voodoo, who never stop asking, “What’s happening? What’s the best?” They suck down that Kool-Aid.
Sometimes we try to keep up with this by making noise, by tap dancing, pointing at what we’ve done, trying to get people to turn around and look…show it off. But passionate work and showing off are not in the same sphere. Passionate work is private, focused, contemplative and selfless. I’m sure I don’t need to tell you that showing off is the opposite. No one should be asked to do it. If you never stop tap dancing, when do you do the work?
Believing in showing off is when you lose Eden, whether you are the creator or the consumer. It’s the first clue that you’ve slipped off the path. Billy says, “It’d be much less boring and way more honest if we shared our flaws, frailties and uglinesses.” It seems like a contradiction, but the quiet way is more social. We share what matters, ego-less. The tap dancing ego obscures what’s real.
I don’t care who you are, the World is not your world. Movie stars imitate you, not the other way around. Movies and books and songs are about small worlds because that’s where real life happens. You have passions, your loved ones are your stars, your stories are true, your opinions are valid, you are the only expert when it comes to what you love. That’s what’s happening: your life. It’s what’s best. Because it’s the only thing that’s real.
And like that little bimbo Tinkerbell, fake comes to a crashing halt when we stop clapping.
Twitter for Musicians and Artists
Sound and vision
For music fans, Twitter is the next best thing to being backstage. And for performers, connecting with your fans in an authentic way is one key to your success. A Twitter connection tells fans how much you appreciate them, and it also enables you to tailor your messages. The fact is, Twitter provides more authenticity and creative control than any other online medium. Tweets come straight from you, and go right to your followers all over the world, in real-time.
Twitter styles are as varied as the people who use Twitter. Whatever your goal, Rule #1 is that your Tweets should reflect the things you’re passionate about. And you won’t be surprised to hear us say that practice makes perfect: just like learning an instrument or writing music. That’s why we’ve put this guide together: to help you and your fans get the most out of every single Tweet.
Whether you’re a mega-pop star or a self-funded indie band, here are some examples that will work for you.
Official advice from Twitter.
Approximately one quarter of Twitter’s verified accounts belong to musicians, many of them quite famous. The Echo Nest is applying our music intelligence platform to identify which verified accounts belong to recording artists and to deliver that data to Twitter, helping to organize Twitter verified accounts, but that’s just the tip of the iceberg.
We are also adding these artists’ Twitter IDs to our Rosetta Stone ID mapping technology, which helps music services and app developers easily incorporate Twitter into their music apps without having to manually scour through the Twitter API to find musicians. Now, any developer can include these artists’ tweets within their apps. (Developers must comply with Twitter’s terms of service, of course.)
This move strengthens Twitter’s position as a crucial part of the internet’s infrastructure; it allows music app developers to incorporate real-time statements from popular artists into apps of all kinds; and it will help create a stronger bond between artists on their fans on a variety of platforms.
To those who spend little time navigating entertainment blogs, Gosling, 31, is merely an actor who has deservedly earned an Academy Award nomination and appeared in three wildly different films in recent months: “Drive”, “Crazy, Stupid, Love” and “The Ides of March”. (Four, actually, if you count “Blue Valentine“, which rolled out in wider release back in January.)
But to those who track the online fervor that surrounds the Canadian star and unofficially designated “dreamboat of choice” to women younger than 40, he is the modern, self-aware equivalent of Humphrey Bogart, Marlon Brando and James Dean rolled into one simultaneously uber-cool, sensitive male soul.
Reading his memes on MTV: http://www.mtv.com/videos/movies/604790/ryan-gosling-addresses-a-certain-inte…
“It is sometimes even pleasant in that the reader’s mind has collaborated in a creative way with what I have written.”
– Ralph Ellison on reader interpretations of his symbolism
Pitchfork: Is the internet a big part of your life?
Tom Waits: No. I mean, it’s necessary, but it’s not really part of my world. It’s robots, right? They are taking over the world. What is the biggest enemy of a computer?
Pitchfork: I’m going to say water.
TW: There you go. Slowly, their goal is to eliminate all the water on Earth so they can just hum in a room somewhere with each other, generating information. Right now we’re part of their plan because we’re helping them promote and become more popular, but eventually they’ll kill us off.
Pitchfork: Right now I’m only able to listen to your album in front of my computer because of this promo stream thing I have.
TW: Oh, sorry about that.
I’ve been told that Tom Waits doesn’t use computers but has other people do it for him when needed. Exhibit A in enduring over time without using social media.
Artists are encouraged to tweet and post on their own, rather than having someone do it for them, Snowden said. “We have to be careful that everything stays in their voice,” he said. This presents challenges because recording artists are “imperfect marketers” and don’t always understand the impact their posts will have.
Marketing an artist as a brand is also different than marketing a product, Snowden said. “Our brands are people. They get upset, they get angry, they feel neglected. It’s different than, you know–Dr. Pepper is not a person.”
The emphasis on personal marketing also means matching social media campaigns to the style of the artist, so they publish what comes naturally to them, Snowden said. When his team first sat down to coach Rob Thomas, lead singer for Matchbox 20, he initially rejected all their selections. But once they found out that he did a lot of texting to friends and family, they were able to sell him on Twitter as being like “texting to all your fans.” Initially skeptical, Thomas wound up tweeting 70 times the first day and building a huge following (more than 250,000 followers as of today).
Sutter said one of her challenges is that artists won’t necessarily cooperate in including the tracking code she would like to see in every post. However, Snowden’s team has been clever about getting artists like Bruno Mars to use smartphone apps that include that code automatically. “Bruno doesn’t know it’s there, but I do,” she said.