The In-Crowd: Week 9-ish – Gracefully, Now

“The In-Crowd” is an inside look at crowdfunding, with Ariel Publicity Artist Phil Putnam and RocketHub.com co-founder Brian Meece.  Each Monday, the boys are giving us an honest look at a crowdfunding project in action and dish on how things are going each week.
What is crowdfunding?  Find out here.

What does it look like?  See here.
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WEEK 9-ish:  60 days in, 15 days remaining.  $3,888 raised (39% of the $10,000 goal), $6,112 needed.

Phil Says:

Having been raised in a WASP-ish household, I grew up understanding that social graces matter.  RSVP to invitations.  Never arrive at a party empty-handed (extra points if what you have in your hand is vodka).  A drunk bride is unforgivably tacky.  Don’t overstay your welcome.  Wear clean underwear, in case you get hit by a car, go to the hospital, and the medical community concludes that you’re a filthy slut.  And above all, handle every circumstance, good or bad, with style, satin wit, and grace.

You gotta recognize when people aren’t laughing at your jokes.  You gotta know when you’ve lost the room.  You just gotta be able to see when they’re not interested.  And that’s what I’ve done.  In general, people just aren’t interested in my crowdfunding project.  Besides the 60 sensational, faithful, deeply cherished friends and fans of mine who have supported the project, the rest of my community of fans/friends just don’t care.  Well, maybe they care, but the best I can see is that they’re indifferent.  Indifference speaks.  Caring acts.  Over the past 60 days, over 200,000 people have heard about this project directly from me, whether during podcast and radio interviews, videos they’ve viewed, facebook posts they’ve commented on and liked.  Over 200,000 people are aware of this project, and only 60 have taken action to support it.  That’s a 0.0003% response rate.  Three thousandths of a percent.  There’s no pretty way to paint that; it’s just not happening.  They’re just not interested, so I’m just not trying to push them to be.  Not anymore.  The party has crested, I’ve grabbed my coat, and I’m making the goodbye rounds gracefully.

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New Media Pioneer: Maria Teresa of The Marveloddities

The Marveloddities is a blog about whatever comes to mind. This blog features an indie  artist every   week. They think independent musicians are pretty impressive, since they continue to work their hearts out without making a lot of money.  It’s something to be admired.

Q) Tell us a little bit about your site. What inspired you to start it?

A) The Marveloddities is a blog about nothing and everything.  We usually write about whatever comes to mind from the perspective of a teenager, most of which is unimportant in the big picture, but a big deal to us since we still live in the little picture. I was inspired to start it because I was really impressed with the quality of blogs nowadays.  A few years ago Blogger was dominated by emo teenagers who wrote about the hell they suffered through in school, their crush, how no one understood them, etc.  (We’re probably just as obnoxious, but not as depressed.)  There are a lot of blogs now which are really really good.  Some of them are devoted to a particular subject, and others can read like a journal but still make you laugh.

Last year, I decided that I could probably start my own.  I enlisted my friend, Josette, and my sister Sofia, and now we all contribute to our blog.

Q) Why do you believe new media resources (i.e. blogs, podcasts, internet radio stations) have become so popular? How have they been beneficial to artists? How have they been detrimental?

A) I think new media resources have become popular for several reasons.  Most of the people who are on the internet right now are teens, and almost all of them will continue to spend the vast majority of their time on the internet.  I think multi tasking comes into play here.  While you’re researching for your history report/stalking your friends on facebook, you might as well tell everyone about your day on your blog, listen to your Pandora, and then check out new artists while you’re at it.

The internet makes everything more accessible, faster.  Why go to a record store to discover new artists if you can find them at home?  Why buy a CD, why even own a radio, if you can download any song, any album and listen to it on your laptop or iPod?

It’s easier now for artists to market their music to reach out to new audiences.  Everyone is connected, so exposure is much more attainable.
It’s been detrimental for artists, since they may not make as much on their music as they would have before.  Also, the music industry is not as exclusive as it used to be, because everyone with a computer can market their music.  This has its pros and cons, the positive being that it’s easier to get your music out there, as I mentioned before, the negative side being that for the same reason, it is harder to be picked out of the growing crowd of musicians.

However, I do think that the internet has aided musicians more than it has hurt them, and in the long run, it’s one of the best tools an artist can have.

Q) Media 2.0 has changed the way artists communicate with fans. Where do you envision online communication going next? Any thoughts on what Media “3.0” will look like?

A) I’m pretty sure that holograms will the next big thing in online communication.  (Just kidding, but that would be a cool way to watch a concert you couldn’t go to.)  Really, I’m pretty bad at making predictions.  When I was ten, I thought that by now I would have written a noble prize winning book, or that I’d at least have a boyfriend.  I have neither Nobel nor significant other.

Obviously, we’re going to see more social networking sites.  I’m surprised that Twitter has not only lasted this long, but is growing so quickly.  I believe we’ll see similar methods of communication in the near future.  Also, several few artists have started blogging seriously.  I see this becoming more popular, because fans really want to feel like they have a “bond” with artists, and blogging gives them that connection.

Last year, 30 Seconds to Mars had their fans sing on their record, as well as grace the covers of their albums.  Other than giving the band a lot of publicity, it changed the relationship they had with their fans.  They weren’t just the people who bought their CD’s; they were a part of their music.  Whether you like 30 Seconds to Mars or not, it was a bold, impressive, and ultimately successful move.  I’d like to see what would happen if more musicians would have their fans become similarly involved in their music.

The internet isn’t used to its full potential yet.  And while I only have some vague ideas of where it might be in the future, once the internet is spread to other parts of the world, taking music along with it, interesting things can happen…

Q) What does an artist have to do to get your attention? Are their specific characteristics that you look for?

A) If a song has me hooked before the chorus, then I’m pretty impressed.  Lyrics are very very important to me, and if they’re well written, then that artist has my eternal devotion.

Secretly (not anymore, I guess), I find myself attracted to lo-fi production. I like grungy, raw, sounds.  (Of course, I appreciate great production, and I think a good producer should be on the top of any aspiring musician’s list.)  I’m thinking the White Stripes, or the Velvet Underground.  It’s just a personal taste, like preferring Swiss instead of cheddar on your sandwich.  It makes you happy when you have it, but it’s not like your going to scream it out to the world or throw a fit if it’s not what you get.

Q) What do you ultimately hope to accomplish with your site?

A) Besides the obvious, (grow readership, post more, etc.) I’d like to expose my readers to new music, and show that young people can be thoughtful and idealistic. Proving wrong all them mean girls from my grade school days who said I wouldn’t amount to anything would be nice too.  But I’ll stick with the thoughtful idealism, the obvious, (grow readership, post more, etc.) I’d like to expose my readers to new music, and show that young people can be thoughtful and idealistic. Proving wrong all them mean girls from my grade school days who said I wouldn’t amount to anything would be nice too.  But I’ll stick with the thoughtful idealism.

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The In-Crowd: Week 7 – The Third Half

“The In-Crowd” is an inside look at crowdfunding, with Ariel Publicity Artist Phil Putnam and RocketHub.com co-founder Brian Meece.  Each Monday, the boys are giving us an honest look at a crowdfunding project in action and dish on how things are going each week.

What is crowdfunding?  Find out here.

What does it look like?  See here.
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WEEK 7:

44 days in, 31 days remaining.  $3,753 raised (38% of the $10,000 goal), $6,247 needed.

Phil Says:

Songs About You is at a point that has felt far off and surreal up until this moment: there’s one month left until the deadline.  This snuck up on me, mostly because I’ve been thinking of the timeline in thirds and I know that the middle third always feels the longest and most difficult.  Well, it was difficult, but it just flew right by and now I’m on the precipice of the last leg of the journey.  I’ll be honest, there is a sense of relief due to seeing the light at the end of the tunnel.  This experience has worn on me more than I anticipated, in ways I didn’t imagine it would.  The relief isn’t the lone sentiment in my heart, though.  I’m excited by the possibility that this could still work, that all the money could be raised.  It feels like a long shot, but it’s still in the realm of reality.

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Top Seven Reasons Why Artists Strongly Resist Social Media

It happened a few weeks ago in Australia.  I was standing at the opening cocktail reception for APRA’s Song Summit Music Conference overlooking Darling Harbor in Sydney, and I was chatting with a perfect stranger (who it turns out is a very famous Australian musician with quite a few top 10 hits in Oz).  Noting my foreign accent he asks “What brings you here?” “I teach artists about online marketing and social media.”  I answer sheepishly, because this news is not always met with elated enthusiasm.

Him: Really?

Me: Yes

Him: You know one thing I have noticed about Social Media and marketing…

Me: What is that?

Him: I noticed that you don’t really have to be a great artist or well respected by your musician peers to succeed now a days – you just have to be really good at marketing and you get more success than you ever would have in the past.

Well, he’s right. I’m not saying that his point is fair and he only voiced what 99% of most musicians only think: That guy’s music really sucks but he got good at being pushy on Facebook and so he gets more people to his gigs than me, and he sells more than me.

Really? Is that what you think?

What I would say is: It doesn’t matter if you think that musician sucks. The POINT is that artist managed to identify and relate to enough people who think his music is great and his fans reward his efforts. So, stop judging others and worry about how to make a difference for yourself.

Why?  Because there are 500,000,000 people on Facebook to connect with.

And anyone can connect with a few hundred people, forge great relationships and then market music that those fans who want it and like it. Simple.

What is NOT simple is getting your judgments about yourself and other artists out of the way and just diving in.

So here I am to debunk a few of your (ahem) resistances and the aforementioned one is #1 on the list of….

Top Seven Reasons Why Artists Strongly Resist Social Media

#1: I don’t want to be pushy and over-hypey, like all those other artists that I hate. (or “I hate the way he markets and I don’t want to market like him!”)

OK – so talking about yourself is icky.  But having people love your music is wonderful. So my advice is: when you use Social Media, take the spotlight off of YOURSELFF and shine it on OTHERS (the people in your community/ fans / friends).

Share things that feel mundane. Don’t even think of marketing yourself or your music for a few months until you get the hang of it; and then after you do, use it to gently lead people to your newsletter sign-up, your website, and to help yourself with Google rankings.

Keep this in mind: 78% of people trust peer recommendations (i.e. the “Like” button on Facebook) for products and services that they BUY.  Only 14% trust TV/radio/print advertising (source: Socialnomics). You need to be one of the artists that peers are recommending.

#2. Promoting my music on Social Media won’t put any money in my pocket I’ve tried it and it just creates more work for me.

Here is what is true: Social media most probably won’t directly put money in your pocket in the short term. But when used in concert with traditional marketing and as part of a plan it can be integral in re-enforcing relationships between you and your fans which will down the line lead them to a point of purchase.

In a recent Top Spin training class I learned that being Googlicious (your Google rankings) and your email newsletter list are two vital components to putting money in your pocket and social media can help you strengthen both.

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New Media Pioneer: The Chillcast with Anji Bee

“The Sexiest Voice in Podcasting” Anji Bee of the Chillcast talks about the show and her double life as both podcaster and musician.
The Chillcast features a sexy and sophisticated mix of  calming, chill podsafe music, hosted by Anji Bee. The station plays a blend of Electronica, Jazz, Soul, and New Age music.

http://www.anjibee.com

Q) How did the Chillcast get its start?

A) I guess you could say The Chillcast got its start with college radio DJ’ing. After 3 years of doing various shows and working in management at a college radio station, I was pretty well hooked. Then I discovered Internet radio, and started creating both live and prerecorded Internet radio content – including interviews with indie bands like Hungry Lucy and Sunburn in Cyprus. Eventually podcasts were invented, and I put 2 and 2 together. Podcasting was better than radio because listeners could tune in whenever was most convenient for them – which seemed really revolutionary! My first podcast was actually Chillin’ with Lovespirals, which Ryan and I launched to help promote our 2nd album, Free & Easy. Shortly after, I started getting permissions from indie band friends to create a weekly music show podcast – because you have to understand that at this time the podsafe music movement was barely getting started! Adam Curry had just begun his Podsafe Music Network — which is actually how he and I met and became friends, when Lovespirals joined the site. Adam played us on the Daily Source Code, and then we started talking back and forth on his podcast about Creative Commons vs BMI and all those kinds of things. To make a long story a bit shorter, I put together a few fledgling episodes of The Chillcast, hosting them on the Internet Archive site and C.C. Chapman, who was really active with PodShow at the time, pitched the show to Adam and PodShow management, and I was signed as one of the first group of podcasters to the new PodShow Podcast Network.

Q) What have you learned from operating on both sides of the broadcasting world, as a podcaster and as a musician?

A) Good question. Podcasting is a great way to communicate with your fans, to give them a sense of who you are as a person, as well as to inform them of your latest projects. You can really build a sense of brethrenship, not only with your fans, but fellow indie musicians and fellow podcasters. Podcasts are more intimate than a newsletter, less time consuming than a forum, and both more immediate and long lasting than a personal appearance. I’m surprised more bands aren’t doing podcasts, actually.

Q) With over one million downloads of the Chillcast, what is the top tip you would give aspiring podcasters in terms of building such an impressive listenership?

A) Consistency. Being consistent with the quality, content, and output of your show is really important. Listeners want to know they can rely on you to provide whatever experience it is you’re providing on a regular schedule. If done well, your show becomes a part of your subscriber’s life that they look forward to, and you don’t want to let them down!

Q) Chillin’ with the Lovespirals was one of the earliest band podcasts, what was the impetus behind such inspiration and foresight?

A) Well I mentioned this briefly in your earlier question, but the idea was to share information about the new album we were releasing, and what better way to promote an album than with the music itself? We had shared audio interviews we’d done with radio stations in mp3 format on music sites for years, so I knew people liked to listen to us talk about our music and band experiences. We have all the recording gear here at our disposal, so it just seemed logical to produce our own audio content and make it available via our site. We had fun doing it, too. At that time, iTunes was just launching their podcast directory, so getting listed on that was a real thrill.

Q) Why should a band be PodSafe?

A) Podcasts are a very low cost promotional tool. Unlike radio, it’s very easy to break into the podcasting world. There are still relatively few bands vying for attention on podcasts. If your music is good, you’re bound to get noticed. And podcast subscribers are truly interested in music. These are the cutting edge people who have sought out an alternative form of entertainment; they’re serious. If they like something they hear on a show, they actually go out and buy it. I get email and comments all the time about buying music from my shows — in fact, I got one this week from a guy who was sad that Sun Dula Amen wasn’t on iTunes yet, because he wanted to buy it! And of course, I know for a fact that I sell my own CDs from podcasts, I see the proof from orders on the Lovespirals Webstore.

 
T: You’ve said, “an indie band can make more money selling less CDs without a big label” so where should the revenue be coming from?

 
A: Everyone’s experience is going to be different, but in the case of Lovespirals, we have personally been able to make more money selling less CDs having released our music on our own label. When you consider that standard royalties paid per CD are between $1 and $2, I mean, come on — you’re going to need to sell an awful lot of copies to make any appreciable amount of money! And even then, you’re only paid quarterly, so it will take a long time to see anything come in. When you sell your CDs yourself, especially directly from your own website or at live shows, then whatever money is made is all yours, right away. And then there’s the money made from digital sales and licensing. Its a lot of work to do on your own, I won’t deny that, and most people probably aren’t willing to take on the additional responsiblity, but we did and it seems to be working for us.

Q) What’s next for The Chillcast and Lovespirals?

A) Lovespirals are continuing to promote our new album, Long Way From Home. We have a remix EP off of the first single, “Motherless Child,” being released digitally, and we have a remix contest lined up for the second single, “This Truth,” with Peace Love Productions. In all likelihood we’ll do a digital release with the winners of that contest in early 2008. The Chillcast just launched a Video Edition, which is a new weekly feature for the feed. The first episode included a video by Karmacoda, and the second includes Beth Hirsch. As for the regularly scheduled audio show.

For music from Lovespirals go to www.Lovespirals.com To check out what’s playing on the Chillcast go to AnjiBee.com

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The In-Crowd: Week 6 – Gimme’ a Break

“The In-Crowd” is an inside look at crowdfunding, with Ariel Publicity Artist Phil Putnam and RocketHub.com co-founder Brian Meece.  Each Monday, the boys are giving us an honest look at a crowdfunding project in action and dish on how things are going each week.
What is crowdfunding?  Find out here.

What does it look like?  See here.
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WEEK 6:

37 days in, 38 days remaining.  $3,443 raised (35% of the $10,000 goal), $6,557 needed.

Phil Says:

There are many things that I do, tasks that I can perform repeatedly, consistently, over and over again, simultaneously with other tasks of varying degrees of difficulty.  I can do these repetitive simultaneous tasks several times a day, or week, or month, and to them every day, week or month.  I can type, write, speak, sing, play, teach, eat, run, count, plan, book shows, compose songs, chat online, post status messages, tweet, send newsletters, host dinners, fly, drive, ride, float, sail, design, direct, consume, inspire, empower, evoke, contrast, compare, seal, close, end, debrief, reopen, communicate, and sell.  I can do all these things every day, all day, day after day, and just get better at it and more energized about it.  There are so many things that I can do, but with all these things I do, there is one thing I just can not, do not, will not do.  I do not stop.

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