Multiple Chapters on "Music Artists and New Ways to Reach Fans"

Multiple Chapters 10 pages (3661 words) Sources: 6 Style: APA

[EXCERPT] . . . .

" He elaborates on this notion by drawing on other researchers' works, "Nancy Baym's notes that artists "often feel compelled to engage in direct, proactive and increasingly interpersonal modes of interaction with their fans" and that "what used to be clearly performer-audience relations increasingly resemble ordinary friendship" ("Fans or Friends" 1). Part of the reason for this blurring of roles is technological. The technology underpinning the micro-blogging network Twitter, for example, makes celebrities and micro-celebrities seemingly more accessible than they are in other forms of mediated representation (Marwick and Boyd)(Morris, 2013)."

Social media outlets like Twitter and Facebook allow for more direct publicity and fan interaction. Key to this understanding is the idea of identity formation and creation on a digital platform. As Morris puts it, "these connections allow for artists and other famous people to perform celebrity in a way that seems more authentic and intimate than in other media." By accessing fans at an interpersonal level, these fans are able to form a stronger connection to the artist and feel a sense of responsibility for their continued success. Social media in the digital era plays an outstanding role in the success of an artist, as does the artist's relationship with their fans through these platforms.

In addition to Wikstrom's discussion of the original music industry model, there are two specific chapters that focus on fans and users, as well as the increased amount of amateur activity in music production, promotion, and distribution. The fourth chapter of his work examines how these developments have complicated the roles previously played by labels and industry executives, while Chapter 5 considers how co-production, fan-funding, and other social and creative uses of music are now becoming the norm. These chapters tie into Jeremy Morris's article Artists as Entrepreneurs, Fans as Workers, which notes the importance of social media relationships between artists and fans. For most artists in this digital era, in order to reach a certain level of success, "interpersonal" relationships created with fans through social media and various digital platforms are vital.

Evidence

Rethinking Music: The Future of Making Money As A Performing Musicians is an article written by Panos Panay in which Panay analyzes the discourse of various magazines, print media, and online forums concerning the fall of the music industry. Popular artists and musicians "are loved, even worshipped, not only for their abilities to write songs and perform them publicly, but for their ability to 'speak' to their audiences (Lull, 1987)," Panay cites in his article (2011). Digital technologies have impacted the traditional communication methods used within the commercial recording industry. Many music artists are now using the internet and social network sites to directly engage with their audience. Social network sites are defined as "web-based services that allow individuals to construct a public or semi-public profile within a bounded system, articulate a list of other users with whom they share a connection, and view and traverse their list of connections and those made by others" (Boyd & Ellison, 2007). Music artists who have established an Internet presence can now form a dynamic relationship that allows for feedback in a two-way communication mode, or facilitate fan-to-fan communication about them in a third or three-way communication mode as well (Panay, 2011).

Direct artist-fan engagement online can also help create multiple revenue streams for the music artist through live performance, in which the artist creates an unique experience for audience members, sponsorship and marketing, in which brands and companies effectively serve as arts patrons, providing in-kind and/or monetary support in return for affiliation with the music artist, and fan-generated and merchandise revenue in which fans help support the artist through crowd-sourcing websites as well as merchandise related purchases (e.g., album credits, unique artist-fan experiences, concert tickets, etc.) (Panay, 2011). Also cited by Panay, Chiou, Huang, and Lee (2005) found that "purchasing and using the merchandise produced by or named after the celebrity can enhance the identity of a fan toward the celebrity" in their study of music piracy antecedents. Meanwhile, traditional recorded music industry revenue streams still remain in place, which includes licensing and performing rights monies generated through the use of music in advertisements, films, products, television and video games (Panay, 2011).

Recent History of the Music Industry and Changes in Revenues

The Future of Music Coalition, a public policy organization, conducted the recent Artist Revenue Streams project. The purpose of this study was to analyze how U.S. based musicians and composers currently generate their income. The organization also examined how artists' earning capacity has changed over the past five years. The research design involved three method components, including an online-survey of over 5,000 U.S. based musicians, approximately 80 individual artist interviews, and a detailed review of ten musicians' financial data (DiCola 2013). The study results concluded with a discussion of how the former challenges of distributing a musician's work to their audience is now "essentially solved" through the use of numerous digital platforms. Audience building and fan communication were also considered to be easier than it had been in the past since there are now a variety of tools musicians can use to help promote their work.

A new consumer research has shown that music fans are expecting a closer and near constant relationship with artists in exchange for their attention. "Music To The M. Power" shows how social media has dismantled barriers between artist and fans creating a "zero-distancing" effect. But that doesn't necessarily mean they'll pay for the music that they say they love. According to the study, buying music is little more than "symbolic patronage" for Millennial fans. The Survey concluded with few assumptions;

1) Zero-distancing:

Artists are expected to be constantly accessible, especially on social media, offering unique and intimate moments to their fans.

2) Artist As "Friend":

Fans have an expectation for direct interaction between fans and musicians.

75% of Millennial say they feel a stronger connection to musicians who are open about who and how they are.

53% say the more an artist shares online about themselves, the closer they feel to them.

91% say it's OK if an artist has some flaws -- it makes them human and likeable.

3) The Daily Feed: Fans have different expectations from different communication channels.

Facebook - the formal and official outlet" for tour updates and information.

Twitter - a "blow-by-blow feed."

Instagram - "seeing the world through their eyes."

Tumblr - an intimate glimpse into an artist's psyche/spirit.

Website -- an official showcase for production details, costs of CD/DVD etc. And upcoming event updates.

4) Co-creation: A fan-artist symbiosis - working together on social media as one another's branding machines.

1 in 4 Millennial has made his or her own parody of songs, artists or music videos.

64% like to be the source for new music for friends and 58% say they are motivated to post and share music when they get feedback.

5) Music is on shuffle:

85% agree that "among people my age, it's cooler to listen to a diverse range of music vs. one genre."

6) There's no such thing as selling out:

As savvy marketers of themselves, Millennial understand that the system of getting free music/streaming means artists have to make their money somewhere.

7) Buying music is symbolic patronage for Millennial:

When they buy, it's because they want to support an artist that they respect and connect with.

Revenue Sources

With album sales nowhere near what they used to be and streaming not yet a truly viable source of income for musicians, a lot of artists are looking for new ways to distribute their work that will both reach their fans and result in some remuneration. A few examples of emerging revenue generation models have been identified in an industry blog (Bernard, N.d.):

1. Patreon

Many artists have tried to use internet services like Kickstarter, Indiegogo, or PledgeMusic to launch new campaigns. However, one of the drawbacks is that the artist continually have to lauch new projects for support. To provide a customized service that is well-suited to the music industry, a service named Patreon has created a new platform to streamline the process.

The creator of Patreon was Jack Conte. Conte had struggled to promote his YouTube videos to an extent that would provide the financial reward he was hoping for. He realized that if he could offer something more than a one-time campaign, then he might benefit. As a result, Patreon became a platform that request that the fans contribute a set amount per project. For example, a fan of any particular artist can pledge $1 per song that the artist creates, then when the artist creates a new song or album they receive their pledges.

Patreon has become a popular solution for many artists who were struggling to fund their music. This service can even be used for up-coming artists to help cover their basic expenses and offers many advantages for musicians over the traditional YouTube model. Patreon can… READ MORE

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