Blues Music In The Digital Age - Part Two - Social Networks & Internet Streaming
From Blues Blast Magazine
Blues Music In The Digital Age - Part Two - Social Networks & Internet Streaming
By Nikki O’Neill
With the massive changes in technology that have taken place in the music and media
world for the last 10 years, we at Blues Blast Magazine wondered how these
changes are effecting the Blues music industry and Blues artists.
How are digital downloads and social networks affecting the careers of Blues artists —
especially those who aren't computer savvy? We contacted a number of prominent
Blues labels and publicists to hear their thoughts on marketing the Blues in the
digital age. We also included a Blues artist and founder of a Blues society, who
actively uses Internet technologies for promoting and networking in the Blues
community.
Everybody answered independently, without hearing the other's responses. In part two of this report we look a how Social Networks and Internet
Streaming are impacting the Blues music market. We sincerely thank those who
took the time to respond to our questions:
Bruce Iglauer - Alligator Records
Scott Billington - Rounder Records
Thomas Ruf - Ruf Records
Jerry Del Guidice - Blind Pig Records
Randy Chortkoff and Robert Fitzpatrick - Delta Groove Productions
Joe Morabia - Blues Leaf Records
Steve Dawson - Black Hen Music
Michael Powers - Yellow Dog Records
Mark Carpentieri - M.C. Records
Richard Chalk - TopCat Records
Fred Litwin - Northern Blues Music
Michael Frank, Earwig Music Company, Inc.
Betsie Brown - Blind Raccoon (publicity firm)
Mark Pucci - Mark Pucci Media (publicity firm)
Phil Gates, founder of the Los Angeles Blues Society, producer and blues
artist
What are your views of Facebook, Twitter, MySpace and other social networks? How useful are these tools in targeting Blues fans, and how do
you use them to market your artists?
Michael Powers: I think they are great for getting the word out. We're on twitter and it's a great way for people
to get mini-announcements about new album reviews, tour dates, etc.
At the same time, this sort of fan interaction via the internet has been going on
for some time. Bulletin-board style forums like Blindman Blues and Tweed's Blues
have been around for a while, and email lists like BLUES-L for even longer. I'd
call the new generation of social networks an evolution of that activity rather
than something entirely new.
Steve Dawson: We use MySpace, but don't bother with the rest. It's a good way, for sure, but we only have so much time
and energy, so those network sites tend to fall by the wayside. Most of our ad
budget is spent on online promotion though, so we're not ignoring the digital
side.
Richard Chalk: We market our artists using mainly MySpace and YouTube. Not so much Facebook or Twitter.
Fred Litwin: I like Facebook a lot, but am no longer a fan of MySpace. Too much spam in Myspace. I use Facebook
ads, and Facebook groups to get the word out.
Thomas Ruf: They are useful today, just as magazines, radio and other traditional forms of spreading
information about music were in the 60's. In the past, people may have been
discussing music in coffee houses and other social venues. Today, they might sit
in front of a computer and chat about music on digital social platforms. It's
just a different form and manner of communication, but it has the same
effect.
Bruce Iglauer: We encourage our artists to maintain MySpace and Facebook pages, and we've set them up for the artists who can't. I'm unsure
about Twitter...we use it and it's handy, but the short messages are kind of
self defeating for getting information out. I think that most of these services
will become less popular over time, but at the moment, if I send a tweet and
it's picked up and copied, it can get to thousands of people. On the other hand,
maintaining these sites, etc. is a lot of energy, and touring artists can find
it overwhelming. Also, we have a number of artists with limited formal education
and computer skills. This stuff is really hard for them.
Jerry Del Guidice: Our promotional department maintains pages on all these social network
sites. They certainly help spread the word, just like our more conventional
approaches (mailings to terrestrial radio, magazines, blues societies,
retailers, talent buyers etc.) If someone on Facebook likes a song, they post it
on their wall and then tell all their friends about it. People get to hear the
music and comment upon it, but I don't think it results in any significant
sales. After all, what's the point if you can hear it as much as you like
without ever having to purchase.
Joe Morabia: The social networks are very helpful and useful for our artists. Besides having a website, we have
Facebook, MySpace, and we use Reverb Nation. It is a way for fans to follow our
artists.
Mark Carpentieri: They all help, but getting people to buy CDs, well, not so much. I believe it works better for artists to connect and maintain
connections with fans.
Mark Pucci: In addition to our own web site, we maintain accounts on MySpace and Facebook, and are using them more and more to
help publicize albums and events. We use Twitter to a lesser extent right now,
but that’s increasing.
Betsie Brown: Just as any genre, we must use every tool at our disposal to spread the word and engage youth.
Randy Chortkoff: They are all vitally important at this point in time and will
increase in importance as time goes on. We use most of them as much as
possible.
Scott Billington: Artist-driven activity on the social networking sites is a keystone of any music career these days. Record companies
have not been as successful in attracting friends and followers. We help artists
to interact with fans via social networking sites.
Michael Frank: These tools are very useful to increase attendance at gigs, and to build and maintain
a relationship with fans. I use these tools to do the above functions, and to
brand Earwig artists and myself as manager of Honeyboy Edwards and as CEO of
Earwig Music Company. I also use MySpace and Facebook to do research on where to
book Earwig artists and to find other folks to collaborate with. One of my ex
interns started a blues cd distribution company by finding musicians on MySpace
and Facebook who had finished product and did not want to distribute it
themselves.
Phil Gates: I think that the popular social networks of the day are to myself extremely important, and no different than the sandwich-board
ads people used to wear walking down the street, or the concert posters,
playbills, radio disc jockeys, yellow pages, newspapers, magazines, billboards,
and skywriting. They are all tools to engage the fans with what we do, and to
communicate with the very people that are looking for blues music.
Some of the many things that have changed include the area covered by these tools and
the instant feedback from fans. It went from reaching a few blocks to a portion
of the town, then to a city, and now it's global. The ability to reach as many
fans as possible has always been the challenge, and these social sites are
imperative tools in conjunction with the existing methods of print, radio, and
video. So many blues societies have really gotten involved with this, which is
great.
How do you think fans spread the word about artists they like nowadays?
Betsie Brown: Word of mouth is still one of the most important tools.
Mark Carpentieri: Social networking sites.
Jerry Del Guidice: In the past, a fan may have purchased a CD at a performance and then
brought it home to listen to with friends. That would help generate retail
sales, but that follow up sale is lost today. If someone says ‘boy, I really
like that CD’, instead of going to a retail outlet to buy it, they just rip a
copy or pick it up on a file sharing site. That's been especially hard on the
artist as well as the label.
Joe Morabia: The blues community is very good about sharing information on new artists or new CDs that they like. A good
CD will usually find a way to reach people. In this computer age, it is very
easy for fans to share information.
Robert Fitzpatrick: People spread the word about artists and product they like through newsletters, e-newsletters,
blogs, buying CDs and word of mouth, as well as going out to live venues and
seeing performances, and through the wonderful support of people and
organizations like yours.
Bruce Iglauer: As far as how our customers spread the word, some do indeed use social networking, but for many it's still
old-fashioned in-person networking, just whom the fans already know and discuss
music with.
Phil Gates: The viral effect of the web social networks and cell texting are the new "have you heard?" because now you can link right to the
artists’ pages or videos.
Do you find a different kind of Blues fan in these social networks?
Betsie Brown: No, not really.
Mark Carpentieri: Not sure.
Steve Dawson: Can’t say – we don’t really take part.
Jerry Del Guidice: Perhaps more technologically savvy.
Fred Litwin: A more technically savvy blues fan.
Thomas Ruf: Mostly younger. Older folks hold on to the forms of communication that they grew up with. Young
people grow up with different forms of socializing and communicating. It's just
a different way of doing the same old thing: socializing...
Phil Gates: All blues fans are great! If I had to name differences, I think that on social
networks, you get some fans that are more apt to be experimental. If a non-blues
fan had to buy a blues magazine just to browse the articles, or go to a show to
get introduced to the blues, they may have more of a conscience about their
disposable income. But in a social network, that same person could be curious
about the blues and then go search out artists or genres at no risk, and become
enlightened to the vast array of great artists in the blues genre. This
introduction could lead to sales, as well as a growth of the blues community at
large. The die hard blues fans are going to use what ever is available to stay
up on their favorite artists.
Mark Pucci: In my experience thus far, I haven’t really noticed a difference. The great thing about blues fans – wherever
they may be and however you hear from them – they are among the most loyal and
consistent fan base out there.
Joe Morabia: I don't know if there is a different kind of blues fan. People may not be blues fans, but if they hear
something that is good or see a good show, they become fans of good
music.
Randy Chortkoff: I don't know.... we can only hope that younger people are exposed to this wonderful art form of feel good music and that the
market opens up. We old timers are getting older every year, but we have tons of
energy... and good spirits... thanks to BLUES MUSIC.
Bruce Iglauer: I'm not sure I can generalize. My casual observation is that there are a few kinds
of blues fans. Some really immerse themselves in the music, the whole tradition,
want to constantly hear artists new to them (including dead ones) and read all
they can about the music. Others enjoy the social aspect, hanging out together,
going to gigs, taking pictures, and networking, but aren't really so interested
in diving headfirst into the tradition. My casual observation is that more of
this second group are doing more of the social networking. But... those people
are coming to gigs, supporting the artists, and garnering new fans. That's all
good.
Michael Frank: These fans are more social, more likely to be proactive in seeking out fellow fans and musicians they appreciate or want to
explore. These fans are internet savvy, so they are easy to reach. However, they
do not appreciate hard sales pitches, which do not work with social
media.
How savvy are your artists when it comes to all these new technologies and using social network sites? Do you discuss marketing ideas
together?
Scott Billington: We work closely with our artists on social networking activity.
Fred Litwin: Some are savvy and some are not.
Steve Dawson: We mostly focus on marketing from our own perspective - ads, getting reviews, airplay, etc. We leave it to the artists to build their
own social network sites.
Phil Gates: I think the artist is becoming more and more savvy out of necessity. Today via MySpace, Facebook, ReverbNation,
TuneCore, iTunes, and scores of other sites and web stations, many, many more
blues artists can connect to their audiences.
Michael Powers: Music talent and marketing/technology use skills are completely different. It would be
a shame if someone with great music talent also had to have technology skills in
order to succeed as a musician. Part of the value that a label can provide is to
contribute that sort of infrastructure so that the musicians can focus on making
music for all of us to enjoy. That being said, some of our artists (Fiona Boyes
is one example) are pretty active with blog posts, newsletter blasts, and
participation in social sites like LiveBlues World.
Bruce Iglauer: It varies a great deal. Some are pretty hip to social networking, etc. Some are
computer illiterate. A lot of musicians start playing professionally at a young
age, and don't stay in school. The older blues men and women are often from
depressed areas and have limited and bad formal education. Some will hire people
to do these services for them. Some can't afford to. There have been artists on
Alligator who could barely read and write. I think only one artist on the label
has a bachelor's degree. Many didn't finish high school. So this can be hard for
them. The lucky ones have helpful friends or spouses. Or they call on us to help
them, which we're very glad to do.
Jerry Del Guidice: Depends on the artist. Many maintain their own websites and social network sites.
Mark Carpentieri: Depends on the artist, but most are locked in.
Joe Morabia: Most of our artists, if not all, are computer savvy. They all have their own
websites and My Space pages, and on Reverb Nation, all their information is
consolidated into one sight. Our website is more about our CD’s, where the
ReverbNation site is more about the artists.
Mark Pucci: Some grasp the technology and relevance better than others and we’re always trying to educate
and push our artists into understanding what this is all about and how it can
benefit them. We also give our opinion to our label clients as to where they
could best spend their advertising dollars.
Richard Chalk: Depends on the artist. Although many are internet savvy, work their web pages and utilize
blogs/social networking, most are not so technically oriented and so usually get
someone who is to do those tasks for them.
Robert Fitzpatrick: Younger artists are very involved. Artists like The Insomniacs and Jason Ricci are
constantly utilizing media and social media. Older artists are slower to adapt,
but they are beginning to recognize the value inherent therein.
Betsie Brown: Most who truly understand the commitment to a career in the blues world,
work at it constantly. Every way to spread the word has to be researched,
planned and implemented. This is a business, not a hobby.
Thomas Ruf: Again there's a generation gap: our young artists do nothing else all day long
when they're on tour but work on their iPhone, listen to their iPods, and send
messages on their Facebook pages, etc. They are more savvy then their label boss
with these things! And the label bosses will hire young staff members who can
work the artists in the digital world...
Michael Frank: All the current Earwig artists use email, MySpace and Facebook, though some are more active. All
have streaming audio on their web sites. And some are experimenting with giving
away free downloads. All Earwig recordings are sold as downloads through several
hundred sites worldwide, though Earwig's digital distribution deals with The
Orchard and Bug Digital Distribution.
We have some discussions and will be having many more on an ongoing basis. I will be offering online and offline
marketing and promotion trainings and software to Earwig recording artists in
the very near future.
Internet streaming of live Blues shows – what’s your view on that? Do you think there's a big enough Blues audience for that
sort of thing?
Phil Gates: I think any use of technology to get the music to more people is a positive thing. While I don't know if the platform would
work band by band, a blues show platform could be very
interesting.
Richard Chalk: Absolutely! Streaming and/or digital download/video-on-demand sale of artist shows are excellent ways to promote
artists and generate revenue.
Steve Dawson: Sure. I think there should be more streaming live shows. It's a good thing.
Michael Powers: I don't think that will feasibly have broad appeal (for any genre) until there is an
easy-to-use technology for getting the streaming content to play on your main
TV/media center. The technology exists, but I don't think it's in widespread use
because it's not simple to set up... yet.
Bruce Iglauer: A few concert promoters or festivals promote streaming. Of course, if streaming happens, the
streamer must be licensed by both ASCAP and BMI (for the song publishers) and
Sound Exchange (which pays a small royalty to the artists). That's the law. Lots
of folks don't realize this.
Jerry Del Guidice: Judging from the amount of license money we receive from Sound Exchange, music streaming is becoming
extremely popular.
Joe Morabia: Streaming blues shows seems to be getting bigger and bigger, as we get a lot of airplay through these type of shows from
all over the world. These shows are very important, as they make the world a lot
smaller and unify the blues to one audience no matter where you
live.
Mark Pucci: I would love to see more streaming of blues shows on the internet. I think it’s an untapped resource at this point.
Michael Frank: Yes there is a large worldwide audience for internet radio. In fact, I
may start an Earwig podcast.
Nikki O’Neill is a singer, songwriter and guitar player in Los Angeles. She fronts the Nikki O’Neill Band – a soul,
r&b and rock band. She's included in Sue Foley’s upcoming book “Guitar
Woman,” featuring a who’s-who list of great players like Bonnie Raitt, Ana
Popovic, Me’shell Ndegeocello, Jennifer Batten, and more.
www.nikkioneillband.com www.myspace.com/nikkisguitarlessons
Online Class in Music Publicity: http://www.musictalksedu.net/content/nikki-oneill
Music Business articles: www.onlinerock.com (the One-On-One section)
NEXT WEEK - Part Three - Licensing and other Revenue Streams
Blues Music In The Digital Age - Part Two - Social Networks & Internet Streaming
By Nikki O’Neill
With the massive changes in technology that have taken place in the music and media
world for the last 10 years, we at Blues Blast Magazine wondered how these
changes are effecting the Blues music industry and Blues artists.
How are digital downloads and social networks affecting the careers of Blues artists —
especially those who aren't computer savvy? We contacted a number of prominent
Blues labels and publicists to hear their thoughts on marketing the Blues in the
digital age. We also included a Blues artist and founder of a Blues society, who
actively uses Internet technologies for promoting and networking in the Blues
community.
Everybody answered independently, without hearing the other's responses. In part two of this report we look a how Social Networks and Internet
Streaming are impacting the Blues music market. We sincerely thank those who
took the time to respond to our questions:
Bruce Iglauer - Alligator Records
Scott Billington - Rounder Records
Thomas Ruf - Ruf Records
Jerry Del Guidice - Blind Pig Records
Randy Chortkoff and Robert Fitzpatrick - Delta Groove Productions
Joe Morabia - Blues Leaf Records
Steve Dawson - Black Hen Music
Michael Powers - Yellow Dog Records
Mark Carpentieri - M.C. Records
Richard Chalk - TopCat Records
Fred Litwin - Northern Blues Music
Michael Frank, Earwig Music Company, Inc.
Betsie Brown - Blind Raccoon (publicity firm)
Mark Pucci - Mark Pucci Media (publicity firm)
Phil Gates, founder of the Los Angeles Blues Society, producer and blues
artist
What are your views of Facebook, Twitter, MySpace and other social networks? How useful are these tools in targeting Blues fans, and how do
you use them to market your artists?
Michael Powers: I think they are great for getting the word out. We're on twitter and it's a great way for people
to get mini-announcements about new album reviews, tour dates, etc.
At the same time, this sort of fan interaction via the internet has been going on
for some time. Bulletin-board style forums like Blindman Blues and Tweed's Blues
have been around for a while, and email lists like BLUES-L for even longer. I'd
call the new generation of social networks an evolution of that activity rather
than something entirely new.
Steve Dawson: We use MySpace, but don't bother with the rest. It's a good way, for sure, but we only have so much time
and energy, so those network sites tend to fall by the wayside. Most of our ad
budget is spent on online promotion though, so we're not ignoring the digital
side.
Richard Chalk: We market our artists using mainly MySpace and YouTube. Not so much Facebook or Twitter.
Fred Litwin: I like Facebook a lot, but am no longer a fan of MySpace. Too much spam in Myspace. I use Facebook
ads, and Facebook groups to get the word out.
Thomas Ruf: They are useful today, just as magazines, radio and other traditional forms of spreading
information about music were in the 60's. In the past, people may have been
discussing music in coffee houses and other social venues. Today, they might sit
in front of a computer and chat about music on digital social platforms. It's
just a different form and manner of communication, but it has the same
effect.
Bruce Iglauer: We encourage our artists to maintain MySpace and Facebook pages, and we've set them up for the artists who can't. I'm unsure
about Twitter...we use it and it's handy, but the short messages are kind of
self defeating for getting information out. I think that most of these services
will become less popular over time, but at the moment, if I send a tweet and
it's picked up and copied, it can get to thousands of people. On the other hand,
maintaining these sites, etc. is a lot of energy, and touring artists can find
it overwhelming. Also, we have a number of artists with limited formal education
and computer skills. This stuff is really hard for them.
Jerry Del Guidice: Our promotional department maintains pages on all these social network
sites. They certainly help spread the word, just like our more conventional
approaches (mailings to terrestrial radio, magazines, blues societies,
retailers, talent buyers etc.) If someone on Facebook likes a song, they post it
on their wall and then tell all their friends about it. People get to hear the
music and comment upon it, but I don't think it results in any significant
sales. After all, what's the point if you can hear it as much as you like
without ever having to purchase.
Joe Morabia: The social networks are very helpful and useful for our artists. Besides having a website, we have
Facebook, MySpace, and we use Reverb Nation. It is a way for fans to follow our
artists.
Mark Carpentieri: They all help, but getting people to buy CDs, well, not so much. I believe it works better for artists to connect and maintain
connections with fans.
Mark Pucci: In addition to our own web site, we maintain accounts on MySpace and Facebook, and are using them more and more to
help publicize albums and events. We use Twitter to a lesser extent right now,
but that’s increasing.
Betsie Brown: Just as any genre, we must use every tool at our disposal to spread the word and engage youth.
Randy Chortkoff: They are all vitally important at this point in time and will
increase in importance as time goes on. We use most of them as much as
possible.
Scott Billington: Artist-driven activity on the social networking sites is a keystone of any music career these days. Record companies
have not been as successful in attracting friends and followers. We help artists
to interact with fans via social networking sites.
Michael Frank: These tools are very useful to increase attendance at gigs, and to build and maintain
a relationship with fans. I use these tools to do the above functions, and to
brand Earwig artists and myself as manager of Honeyboy Edwards and as CEO of
Earwig Music Company. I also use MySpace and Facebook to do research on where to
book Earwig artists and to find other folks to collaborate with. One of my ex
interns started a blues cd distribution company by finding musicians on MySpace
and Facebook who had finished product and did not want to distribute it
themselves.
Phil Gates: I think that the popular social networks of the day are to myself extremely important, and no different than the sandwich-board
ads people used to wear walking down the street, or the concert posters,
playbills, radio disc jockeys, yellow pages, newspapers, magazines, billboards,
and skywriting. They are all tools to engage the fans with what we do, and to
communicate with the very people that are looking for blues music.
Some of the many things that have changed include the area covered by these tools and
the instant feedback from fans. It went from reaching a few blocks to a portion
of the town, then to a city, and now it's global. The ability to reach as many
fans as possible has always been the challenge, and these social sites are
imperative tools in conjunction with the existing methods of print, radio, and
video. So many blues societies have really gotten involved with this, which is
great.
How do you think fans spread the word about artists they like nowadays?
Betsie Brown: Word of mouth is still one of the most important tools.
Mark Carpentieri: Social networking sites.
Jerry Del Guidice: In the past, a fan may have purchased a CD at a performance and then
brought it home to listen to with friends. That would help generate retail
sales, but that follow up sale is lost today. If someone says ‘boy, I really
like that CD’, instead of going to a retail outlet to buy it, they just rip a
copy or pick it up on a file sharing site. That's been especially hard on the
artist as well as the label.
Joe Morabia: The blues community is very good about sharing information on new artists or new CDs that they like. A good
CD will usually find a way to reach people. In this computer age, it is very
easy for fans to share information.
Robert Fitzpatrick: People spread the word about artists and product they like through newsletters, e-newsletters,
blogs, buying CDs and word of mouth, as well as going out to live venues and
seeing performances, and through the wonderful support of people and
organizations like yours.
Bruce Iglauer: As far as how our customers spread the word, some do indeed use social networking, but for many it's still
old-fashioned in-person networking, just whom the fans already know and discuss
music with.
Phil Gates: The viral effect of the web social networks and cell texting are the new "have you heard?" because now you can link right to the
artists’ pages or videos.
Do you find a different kind of Blues fan in these social networks?
Betsie Brown: No, not really.
Mark Carpentieri: Not sure.
Steve Dawson: Can’t say – we don’t really take part.
Jerry Del Guidice: Perhaps more technologically savvy.
Fred Litwin: A more technically savvy blues fan.
Thomas Ruf: Mostly younger. Older folks hold on to the forms of communication that they grew up with. Young
people grow up with different forms of socializing and communicating. It's just
a different way of doing the same old thing: socializing...
Phil Gates: All blues fans are great! If I had to name differences, I think that on social
networks, you get some fans that are more apt to be experimental. If a non-blues
fan had to buy a blues magazine just to browse the articles, or go to a show to
get introduced to the blues, they may have more of a conscience about their
disposable income. But in a social network, that same person could be curious
about the blues and then go search out artists or genres at no risk, and become
enlightened to the vast array of great artists in the blues genre. This
introduction could lead to sales, as well as a growth of the blues community at
large. The die hard blues fans are going to use what ever is available to stay
up on their favorite artists.
Mark Pucci: In my experience thus far, I haven’t really noticed a difference. The great thing about blues fans – wherever
they may be and however you hear from them – they are among the most loyal and
consistent fan base out there.
Joe Morabia: I don't know if there is a different kind of blues fan. People may not be blues fans, but if they hear
something that is good or see a good show, they become fans of good
music.
Randy Chortkoff: I don't know.... we can only hope that younger people are exposed to this wonderful art form of feel good music and that the
market opens up. We old timers are getting older every year, but we have tons of
energy... and good spirits... thanks to BLUES MUSIC.
Bruce Iglauer: I'm not sure I can generalize. My casual observation is that there are a few kinds
of blues fans. Some really immerse themselves in the music, the whole tradition,
want to constantly hear artists new to them (including dead ones) and read all
they can about the music. Others enjoy the social aspect, hanging out together,
going to gigs, taking pictures, and networking, but aren't really so interested
in diving headfirst into the tradition. My casual observation is that more of
this second group are doing more of the social networking. But... those people
are coming to gigs, supporting the artists, and garnering new fans. That's all
good.
Michael Frank: These fans are more social, more likely to be proactive in seeking out fellow fans and musicians they appreciate or want to
explore. These fans are internet savvy, so they are easy to reach. However, they
do not appreciate hard sales pitches, which do not work with social
media.
How savvy are your artists when it comes to all these new technologies and using social network sites? Do you discuss marketing ideas
together?
Scott Billington: We work closely with our artists on social networking activity.
Fred Litwin: Some are savvy and some are not.
Steve Dawson: We mostly focus on marketing from our own perspective - ads, getting reviews, airplay, etc. We leave it to the artists to build their
own social network sites.
Phil Gates: I think the artist is becoming more and more savvy out of necessity. Today via MySpace, Facebook, ReverbNation,
TuneCore, iTunes, and scores of other sites and web stations, many, many more
blues artists can connect to their audiences.
Michael Powers: Music talent and marketing/technology use skills are completely different. It would be
a shame if someone with great music talent also had to have technology skills in
order to succeed as a musician. Part of the value that a label can provide is to
contribute that sort of infrastructure so that the musicians can focus on making
music for all of us to enjoy. That being said, some of our artists (Fiona Boyes
is one example) are pretty active with blog posts, newsletter blasts, and
participation in social sites like LiveBlues World.
Bruce Iglauer: It varies a great deal. Some are pretty hip to social networking, etc. Some are
computer illiterate. A lot of musicians start playing professionally at a young
age, and don't stay in school. The older blues men and women are often from
depressed areas and have limited and bad formal education. Some will hire people
to do these services for them. Some can't afford to. There have been artists on
Alligator who could barely read and write. I think only one artist on the label
has a bachelor's degree. Many didn't finish high school. So this can be hard for
them. The lucky ones have helpful friends or spouses. Or they call on us to help
them, which we're very glad to do.
Jerry Del Guidice: Depends on the artist. Many maintain their own websites and social network sites.
Mark Carpentieri: Depends on the artist, but most are locked in.
Joe Morabia: Most of our artists, if not all, are computer savvy. They all have their own
websites and My Space pages, and on Reverb Nation, all their information is
consolidated into one sight. Our website is more about our CD’s, where the
ReverbNation site is more about the artists.
Mark Pucci: Some grasp the technology and relevance better than others and we’re always trying to educate
and push our artists into understanding what this is all about and how it can
benefit them. We also give our opinion to our label clients as to where they
could best spend their advertising dollars.
Richard Chalk: Depends on the artist. Although many are internet savvy, work their web pages and utilize
blogs/social networking, most are not so technically oriented and so usually get
someone who is to do those tasks for them.
Robert Fitzpatrick: Younger artists are very involved. Artists like The Insomniacs and Jason Ricci are
constantly utilizing media and social media. Older artists are slower to adapt,
but they are beginning to recognize the value inherent therein.
Betsie Brown: Most who truly understand the commitment to a career in the blues world,
work at it constantly. Every way to spread the word has to be researched,
planned and implemented. This is a business, not a hobby.
Thomas Ruf: Again there's a generation gap: our young artists do nothing else all day long
when they're on tour but work on their iPhone, listen to their iPods, and send
messages on their Facebook pages, etc. They are more savvy then their label boss
with these things! And the label bosses will hire young staff members who can
work the artists in the digital world...
Michael Frank: All the current Earwig artists use email, MySpace and Facebook, though some are more active. All
have streaming audio on their web sites. And some are experimenting with giving
away free downloads. All Earwig recordings are sold as downloads through several
hundred sites worldwide, though Earwig's digital distribution deals with The
Orchard and Bug Digital Distribution.
We have some discussions and will be having many more on an ongoing basis. I will be offering online and offline
marketing and promotion trainings and software to Earwig recording artists in
the very near future.
Internet streaming of live Blues shows – what’s your view on that? Do you think there's a big enough Blues audience for that
sort of thing?
Phil Gates: I think any use of technology to get the music to more people is a positive thing. While I don't know if the platform would
work band by band, a blues show platform could be very
interesting.
Richard Chalk: Absolutely! Streaming and/or digital download/video-on-demand sale of artist shows are excellent ways to promote
artists and generate revenue.
Steve Dawson: Sure. I think there should be more streaming live shows. It's a good thing.
Michael Powers: I don't think that will feasibly have broad appeal (for any genre) until there is an
easy-to-use technology for getting the streaming content to play on your main
TV/media center. The technology exists, but I don't think it's in widespread use
because it's not simple to set up... yet.
Bruce Iglauer: A few concert promoters or festivals promote streaming. Of course, if streaming happens, the
streamer must be licensed by both ASCAP and BMI (for the song publishers) and
Sound Exchange (which pays a small royalty to the artists). That's the law. Lots
of folks don't realize this.
Jerry Del Guidice: Judging from the amount of license money we receive from Sound Exchange, music streaming is becoming
extremely popular.
Joe Morabia: Streaming blues shows seems to be getting bigger and bigger, as we get a lot of airplay through these type of shows from
all over the world. These shows are very important, as they make the world a lot
smaller and unify the blues to one audience no matter where you
live.
Mark Pucci: I would love to see more streaming of blues shows on the internet. I think it’s an untapped resource at this point.
Michael Frank: Yes there is a large worldwide audience for internet radio. In fact, I
may start an Earwig podcast.
Nikki O’Neill is a singer, songwriter and guitar player in Los Angeles. She fronts the Nikki O’Neill Band – a soul,
r&b and rock band. She's included in Sue Foley’s upcoming book “Guitar
Woman,” featuring a who’s-who list of great players like Bonnie Raitt, Ana
Popovic, Me’shell Ndegeocello, Jennifer Batten, and more.
www.nikkioneillband.com www.myspace.com/nikkisguitarlessons
Online Class in Music Publicity: http://www.musictalksedu.net/content/nikki-oneill
Music Business articles: www.onlinerock.com (the One-On-One section)
NEXT WEEK - Part Three - Licensing and other Revenue Streams
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