Ever spotted a terrible video on YouTube with an inconceivably high view count? Of course you have. Would it make you feel better knowing that most of those “views” were completely automated and only lasted 30 seconds with the sound turned off?
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Entries in Digital Strategy (6)
For independent musicians, a digital publicity campaign can be a critical component to the overall marketing strategy that will help to:
1. Reach new fans
2. Increase online influence
3. Create new content that can be used to continue to build strength of existing fan base through social media
While all three of these are important goals for musicians to have, and there is no doubt that a PR campaign can help artists to achieve them, many musicians decide to jump into this too early. Without the proper assets, the likelihood that you will actually achieve these goals from a PR campaign are greatly decreased.
In order for a PR campaign to truly be successful, you must have the 5 following assets:
Take down your Christmas tree! Walk away from that last mouthful of turkey! Stop putting cranberry on everything! It’s 2012 folks. Time to get back to business. 2011 was the year of absorbing, observing and conversing about mobile marketing. 2012 is all about getting amongst it. But hold your horses! Before you jump in at the digital deep end, let’s start with the basics. What exactly is mobile marketing?
Future of Music Coalition (FMC) has launched a groundbreaking research project called Artist Revenue Streams, where we ask US-based musicians and composers, “How do YOU make Money from Music?” Project Co-Director Kristin Thomson from FMC explains in this MTT post where they idea came from for this research and why it’s so important that every musician or composer in the US takes this online survey, which is available at http://futureofmusic.org/ars until October 28, 2011.
I was recently asked to create a list of all the digital services and tools an artist can use for social media, as it’s often overwhelming to comprehend all the tools online when you’re trying to focus on making good music. So here it is.
Q: Can you talk a little bit about the musical environment in Leeds when Gang of Four was first formed? What were you listening to? And how revolutionary was punk for you at the time you were first made aware of it?
A: I had been listening to John Peel’s BBC radio show for a few years prior to landing at Leeds. Peel’s unparalleled taste in music and his extraordinary talent at filtering a playlist for each night’s radio show (he allegedly listened to all submissions to his show), exposed my young ears to a broad swathe of music, some contemporary some not, and as the era of punk arrived he would of course add punk bands to his ever-expanding playlist. And yet he didn’t play it at the expense of his usual faire at the time, such as Robert Wyatt, Peter Tosh, Burning Spear, and David Bowie. Or “prog” bands like Soft Machine and Matching Mole as well as many underground bands of the time including Welsh outfit Man, and pre-punk bands such as Blurt.
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