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This article was written by our intern Benjy Jean Baptiste about his own experience as an artist manager.
For independent artists, Youtube can be one of the most powerful platforms available for promotion and exposure. Of course, it is also one of the most difficult platforms to garner any significant growth and attention.
This challenge was no different for 23 year old hip-hip artist, and Brooklyn native Rob Scott.
As his manager, it was my job to figure out how to bring his dream to fruition. Without any assistance from record labels, we began to effectively use YouTube as a platform to get Rob Scott noticed.
Within the first couple of months, it was painful to notice that his long nights in the studio would only result in his songs receiving 11 views. To make matters worst, the 11 views I am speaking about came from the friends and family that was in the studio with him.
I’ve recently become intrigued with DIY, Youtube sensation Alex Day. Coverage of his ongoing artistic success has been popping up here and there for the last year and I finally sat down to review and digest the different possible factors that have led to his success in hopes of revealing a path I may be able to co opt for my own musical efforts.
*I’m Jamie Leger, and if we haven’t already met, I’m here to hook you up with this caliber of content on the regular. You can sign up for my VIP Email List to get the latest premium content, as well as answers to your questions, and someone who really gives a crap that’s out here testing, (experimenting both personally AND helping others) and reporting what works and what doesn’t.
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?
I’m continuing the Music Marketing Experts FAQs where my favorite gods and goddesses of online marketing and Social Media promotion share with me the questions they get asked the most by musicians.
What’s most important as a promotional tool; Facebook, Twitter, or YouTube?
I was at a digital music event earlier this year, and was shocked to find out how many people had not heard how easy it is to monetize your YouTube channel through Ads. YouTube will pay you for doing what you already do! Take your money!
A few weeks ago Wired posed the question “Is YouTube Bad for Music?”. Their article asks if music fans’ access to almost limitless free music via YouTube is hurting revenue for artists by undercutting premium streaming services, and of course, iTunes/CD sales.
Later on, YouTube responded, stating that “Free Music Can Pay As Well As Paid Music”. YouTube retorted that their monetized views via AdSense and In-Video ads were putting millions of dollars into musicians’ pockets every month. (well, more accurately, into the record label exec’s pockets, but that’s a discussion for another article).
The more interesting debates seemed to happen on various music industry blogs who weighed in on the discussion with their own oped pieces.
This is not another one of those opinion pieces, this is a fact piece.
The latest version of MP3 Rocket (a media downloading app) now allows you to download YouTube videos as mp3s, so you can listen to that new Lady Gaga single whenever you want. MP3 Rocket claims this isn’t breaking any copyright laws, because their software is to be used only for “time-shifting, personal, private, non-commercial use”, which cites the same ruling that video tape and VCR manufacturers use to make home-recording of TV shows legal.
The first argument that should pop into everyone’s head is that YouTube videos don’t air only once, on Monday nights at 7pm Est / 6pm Central… YouTube already provides the convenience of “time-shifting” because you can ALREADY watch or listen to the video whenever you want, as many times as you want.
Yesterday I uploaded what I’m calling a “Video LP” for my album Erase This to YouTube. [watch it here] The Video LP consists of eleven different videos (one for each song on the album, and a personal introduction from myself), tied together by a YouTube playlist that will automatically roll through all eleven videos, in order, with the click of one button.
For music listeners and fans, the Video LP (LP referring to “long playing”, the name given to 12” vinyl records in the 40s) is a great format for sampling an entire album before making a purchasing decision. It’s similar to streaming the entire album on my website, but better. The Video LP format allows for on screen lyrics and all of the liner note artwork typically associated with CD and record sleeves. You won’t find that on most streaming mp3 players.
Additionally, because each song is its own YouTube video, songs can be favorited, commented on, embedded and shared easily, in a format that listeners/viewers are already familiar and comfortable with.
My wife, Roxanne and I saw Jamey Johnson last weekend in an awful club in Clifton Park, N.Y. Johnson’s a country songwriter cum recording artist who’s anything but awful. He’s one of those rare artists who come along once in a generation in a genre, in this case country.
He’s so raw and real it hurts. He’s of the outlaw breed, and his songs — even some of his hits – hold a bare light bulb to reality.
He’s a Montgomery boy, an ex-marine, ex-family man, and ex-rebel rouser, and his voice is as perfectly imperfect as his life. I’m not writing this to pitch Johnson, but country fan or not, this plainspoken poet is worth a listen.
I’m reminded of Steve Earle, who blew me away with his 1986 debut album “Guitar Town.” One literate bad boy with a voice to match. The first time I heard him I wanted to burn my guitar and typewriter (remember those), but eventually returned to my auteur senses.
It’s no longer the flavor or the month or what used to be called 24/7 or wall-to-wall coverage. The new media cycle, at least for this nanosecond, is called “perpetual movement.”
In other words, spin or die. That’s the latest from Internet guru Michael Moritz, a Sequoia investor who backed Google, Yahoo and the Sugar Inc. blog-networks.
Quoted in a recent New York Times article, Moritz says:
“Perpetual movement is the essence of survival and prosperity online. If online media and entertainment companies don’t improve every day, they will just wind up as the newfangled version of Reader’s Digest — bankrupt.”
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