Posts Tagged: peer to peer

Go The F*ck to Number One

I’ve long been a fan of artists, publishers and film studios using piracy and peer to peer to turn a profit, instead of fighting the tide. I talked about it for film here, and for music here and here.

Is it a simple solution? No. Does it have pitfalls (mainly, are their folks out there who won’t ever buy your stuff legally)? Yes. Can it work? Yes. There have been several case studies in music (mostly the “pay what you want” model, as espoused by bands like Radiohead and concept companies like 1band1brand, in which the “what you want” part is occasionally zero but the overpayers/true fans often make up for that) and a couple in film (mostly movies obtaining small release deals from the peer to peer buzz they generated).

Now we have a solid book publishing case study in the new children’s book “Go the F*ck to Sleep“. Instead of rewriting the Fast Company article that gives more detail on the story, I’ll point you to it and let you form your own opinion.

If the creative industries who are feeling their old business models crumble under their feet are seeking a one to one replacement for the old business model, they aren’t going to find it. We are now in a fluid creative content economy based in a la carte sales and peer to peer recommendations, dependent largely on reach.

Am I encouraging people to pirate? Heck no. I’m a big believer in paying the artist who makes what I like. Am I encouraging people who have things to sell to think creatively about price structure and sales tactics and be fluid in getting the message out? I am indeed.

I’d love it if you shared your stories about pirating helping (or hurting) your content and business model in the comments. Only by examining both sides of the peer to peer coin can we develop new ways for people to support themselves with their art.

Music Discovery Under Constant Siege

In recent years it’s never been both easier and harder to get your music into the ears of potential new listeners. One question I get asked often from potential clients (perhaps second only to “How do I make money at this?”) is “Why aren’t people listening to my music?” It’s a tricky question to answer.

In the past, you’d have listening parties when you got new albums, or swap mix tapes. Bootleg concert tapes made endless circuits, introducing people to what your music sounded like live and how you interacted with your fans in real time. For a while there were some interesting online renditions of the mix tape, but most of these sites and services met the ax wielded by the short sighted RIAA. More recently, user driven recommendation engines like, Grooveshark, Pandora,, Sound Hound and more are coming to the surface. This is all great news for the indie musician out there, but often it comes as a surprise to discover the work it takes to get music listed on or found by these sites. Sites like Blip, while fun, can be especially frustrating for users who have to slog through hundreds of covers of your song to find the original version, and Pandora often frustrates those trying to discover your tunes by directing the listener away from the very music they asked to seed a playlist with.

Musicians (and filmmakers) still flock to MySpace, and television shows such as Glee have found innovative ways to use the MySpace karaoke engine to promote their shows via transmedia and audience participation, but as the perception of MySpace declines, so does your potential fan base. I find this unfortunate – music has always been something MySpace does well, and the player on people’s profiles has always been a fun way to learn what friends were listening to – however, the perception of MySpace as uncool makes it a mixed success for artists.

YouTube and other video channels are now doing some innovative things with music, to be sure, but aren’t doing a lot (yet) to make them discoverable. Unless you take the time and initiative to set up and promote your own channel, there is no great way to sort videos by type of music on many of these video sites. Hopefully, that will change as the need becomes more apparent, especially in light of the new YouTube Vevo live concert series and partnership. The industry still targets these sites as well, though, and many music videos find themselves being taken down eventually, even if they were uploaded with the full consent and knowledge of the musician.

Sometimes it is as a shock to learn that even if you work hard to put your music in the hands of your fans, and are good at it, the “powers that be” will still try to cramp your style, even if you don’t want, need or request their “help”. Witness the case in point of the RIAA and FBI going after sharers of Radiohead’s album In Rainbows – an album the band released under a pay what you can model to fans. Peer to peer is a great way to get your music out there, especially if you know how to leverage your actual files to encourage even pirates to come back and pay, but it becomes a constant battle between fan, RIAA, label and artist, even though it can lead to great ROI. So what does a musician do to avoid all of these potential roadblocks to finding new ears?

1. Be prolific – put your music out there in as many places as you can
2. Link back – use your web site as your hub and make sure every blurb, bio, description, tag and more links back to it and references it in searchable text as well
3. Don’t assume – third party sites rarely have your best interests at heart. They are there for their own ends. Make sure your files and content are hosted on your own web site and fully backed up if you share it elsewhere as well. This will save you endless grief if your data on third party sites gets lost, deleted, censored or otherwise removed or damaged.
4. Be DRM free – encourage sharing, but remember to link back.
5. Have multiple pay points – give fans as many places and as many ways to buy your music and merchandise as you can sustain. Make it easy.
6. Share buttons – make sure all of your blog posts, song uploads and more have easy to find buttons for immediate liking and sharing.
7. Use free tools – those third party web sites may not have your interests at heart, but they do give you great tools to get your music heard. Incorporate these widgets, like buttons and tools to help you reach more people.
8. Paper trail – don’t assume everyone is online 24/7. The concert poster, flyer, and weekly event column are not dead. Make sure you list your web site links and social links somewhere on each piece of print media you generate.
9. Engage – if you can sustain actual engagement online with your fans, that will amplify all of your other efforts to their fullest, even if you can only sustain your real engagement on a limited number of platforms due to time constraints.
10. ROI – ROI is money, folks. If your social strategy isn’t getting you butts in seats at shows, downloads, CD sales, and merch sales – you need to re-evaluate the sites you’ve picked for engagement and more. Remember you are one of thousands of voices online – your ROI tells you if you are doing a good enough job being heard.