RE: The Steem-Powered Web Will Turn Musicians From “Unpaid Interns” to Paid Employees of Society
I think musicians have, through much of history, had "portfolio" careers: a bit of teaching, a bit of composing, maybe a dayjob some of the time, and a fair amount of performing. In the 20th century there was a situation where you could reach a huge audience -- but only if you could access the equipment to record your work. And yes, some labels do take unfair advantage of musicians, while others are more equitable. But this thing where recording and distributing your own work required the services of a label meant that some people quite literally became rock stars, and some of them got very, very rich; and the average listener, through radio and television, got a lot more exposure to these musicians much more easily than they would have in e.g. the second half of the 19th century (back then, reaching an audience beyond what you could do by gigging was all about publishing piano sheet music.) So there's this expectation that if you're a good enough musician you, too, can be a rock star; but the reality is, as you say, somewhat different.
That said: what happened toward the end of the 20th century is that duplication and distribution of recordings got really, really easy, and to an extent less centralised. If you're a musician whose work fits a small niche, no, you're probably not going to get a huge following online; but you might well get a better following than you would have if you tried to go through a big label. Everything is a lot less centralised than it was a few decades ago.
I think this does make it a bit harder to reaching "rock star" levels of income, though of course some people do have their work go viral. But it also makes it easier to earn a modest income from music that's a little off the beaten path; there are people out there who are willing to pay for the music they like, and they will go looking for it. My own work is pretty niche: I compose choral music, mostly sacred at the moment, and no traditional publisher of choral sacred music will touch my work because of my commitment to Creative Commons licensing. So I self publish, and release my scores online, and the amount I made last year through Patreon is roughly equivalent to a year at the organist-and-director-of-music gig I left in 2016, while having a lot more flexibility. (That gig was somewhat underpaid, but I'm also somewhat desultory about my online networking, mostly because at the moment I'm working on a PhD). Meanwhile, most sheet music publishers would still want me to be active on social media and sending out links to my work and doing lots of networking.
And that's the thing, I guess: if you sign a deal with a label you still have to do gigs, if you publish your sheet music with a trad publisher you still have to do your own promotion, if you get a contract teaching violin or guitar or trumpet or whatever in a school or a music shop you probably still have to scrounge around for students.
I don't know enough about cryptocurrencies to have strong opinions on whether Steemit, in particular, will have a similar impact on my work; but I don't think @heymattsokol was trying to imply that just putting your content here and not doing any networking would be a viable strategy.
You are so right in what you write. The 'rock star' status is there for a few, and any artists have to do more than just releasing music. In the electronic music segment (the segment I know pretty well), releasing music is mostly not for the direct revenues, but the indirect revenues, ie it is marketing to stay in the picture of promoters since most of them require an artists to have recent releases to book such artist, and this includes artists taking good sums of money per gig the average person in the western world have to work a couple of month to a year for.
I like all these new platform that try to create alternative places for artists (mostly marketplaces for marketing and sales) to earn from their work. My statement was, and still is, many of those platforms are out in the market that are not based on blockchains and crypto currencies, while they support the artist in finding revenue. Too much hallelujah around blockchains and crypto currencies and earning potentials imho, since everything has a limit, and the value of a crypto has a limit, and the number of units as well. I simple tried to put some nuance to the original post as I tried to do in the post I refer to in another comment to this post :)
I know some people who have had great success with Bandcamp, and it looks like a pretty viable platform. As I produce sheet music rather than recordings it's not much use for me...
I think some of the issue, too, is that for most people, one platform isn't going to be the answer. That's mostly a good thing, because platforms come and go. When I first joined Twitter the signal to noise ratio was pretty good, and now it's terrible. I was never in the niche that found MySpace important, but when it basically collapsed (because Facebook had more people on it and was easier to use from a smartphone, among other things), some people who had been relying on it too much and not finding some other way to stay in touch with fans ended up being left behind.
So the thing that concerns me about Steemit isn't so much that I'm worried about blockchain currencies being Monopoly money (though I'm certainly skeptical), so much as the concern that people here don't seem to be linking to their mailing lists or websites or whatever very much: it's in the nature of the platform to encourage interaction here and here only. That's great until it implodes and you end up starting over elsewhere.
What is good about this platform, as far as I can tell, is that it does appear to work on the basis that the effort involved in writing blog posts, replying to comments, and so on is labour that adds value to the site (and maybe to wider society?) and as such should be compensated. To anyone who has spent half their life gigging for free "for the exposure" that sounds like a pretty sweet deal.
(Sometimes performance "for exposure" is actually a good idea, of course. It depends what kind of exposure you're talking about. I had an e-mail this afternoon asking if one of my pieces could be used for a choral conducting class at a university, and of course I said yes: having the next generation of choral conductors exposed to some of my work is a great thing, and this is exactly the kind of exposure I want. But that piece was already online for free anyway, so I didn't even have to think about it.)
Thanks for the yet another good comment with everything you state is not far of from what I think is the situation. Just to simplify: To monetise digital work, one need a place to store the work and can distribute it to those who wants to consume it. On top of that one need to use any appropriate channel to market their work. To market in the digital age using digital channels, I will say the same as you: Don't use a single channel. My producer friends are using Facebook a lot, but slowly they need to start incorporating Instagram and maybe in some years Snapchat due fans moving from Facebook to Instagram and the youth now on Snapchat, may stay on Snapchat when the reach the age being allowed to go out and party and with that become very relevant for artists to connect with.
I think it can be hard to predict which platforms are going to be around in five years, though.
I would suggest that a better strategy is to spend some time each week or month checking out new platforms, and starting to build some community on them. Not all of them will work out, and that's fine, but you won't find the new ones if you don't explore.
And, of course, have your own website and your own e-mail newsletter, so that if people from whatever platform want more of your work or want to keep up with what you're doing, it's easy for them to do so. The people who will sign up for your newsletter or read a blog at your own site or come back and look at your stuff when they're doing their Christmas shopping or whatever are the people you need to connect with; but you can't connect with them if they're on one platform and you're on another. So you have to go where people are, but make sure you have an online "home" that people can actually find.
I need to do better at this, myself.
That was also part of what I tried to say, not so many artists are business people, and/or know how to market themselves. That is where third party people and companies (big or small) come into play, they can advise, support, manage those aspects while the artist can concentrate on their work. I see to many good artists not reaching anything with their art, since they dont work with the right people to handle the 'business' side of things.
But a lot of platforms and businesses -- not all of them, but enough -- aren't interested in selling business and marketing services to artists at a reasonable rate. They're interested in owning the artist's output, and charging rents on it that the artist will mostly never see; and much of the time they are still expecting artists to do lots of networking and marketing, not letting them "concentrate on their work".
I'm really suspicious of any platform (whether it's a business or not) that tells me it's the only way to reach a certain part of the market. Most of the big labels are completely irrelevant for the type of music I compose!
I'm also really suspicious of any platform that's trying to be "the only place people go for X". The truth is, I probably wouldn't have access to a larger audience if my music were on iTunes, because I am actually more connected to my (very niche) audience than iTunes is. My niche is small enough that iTunes (or whatever platform), in turn, isn't going to put any effort into marketing my work, because they'll get a much bigger return on something less niche. The same is true for the vast majority of the big labels.
There isn't one solution that works for everyone, anyway; but the solution that works for the "big fish" isn't the solution that works for those who make good art, but are a little off the beaten path. The solutions that make occasional rock stars are almost universally unsuitable for someone working in a small niche.
And the thing is, and this is why it's relevant to @heymattsokol's post: everyone starts out in a niche.
Everyone starts out unknown. And to get known they have to be on a bunch of different platforms, going where people are, trying to find the group of fans who are dedicated enough to follow them. You can't skip that work by signing with a label. You can't skip that work by getting a publishing deal. If anything, once you've signed with a label, or gotten a publishing deal, or whatever else? You now have pressure from them to keep doing the social media marketing and you also have pressure to them to create work that sells rather than work that's true to your own artistic integrity (obviously, some work sells and also has integrity: but some doesn't).
@heymattsokol's point isn't that platforms like Steemit will mean artists don't have to do that work: it's that currently, artists doing that work on platforms like Twitter and Facebook are doing work by creating and talking about the content that makes the platform valuable and being rewarded by, er, being forced to watch ads, whereas here they are doing that work and getting paid for it in currency. That makes a big difference, especially if you don't spend that money on toys, but on things like music lessons, or rehearsal space, or maybe even something smaller like website hosting. Early on in my experimenting with Patreon I started spending the money I earned there on demo recordings of my choral pieces, and it made a huge difference to the accessibility of my music. I wouldn't have been able to afford that without the (small) income that I was getting from Patreon.
And now? Well, I'm probably never going to reach the rock star career trajectory, and that's fine. But the existence of and proliferation of alternatives to the prevailing model of how to get paid for making music means that I can expect, with a lot of work, to have a much higher proportion of my income come from composing and related activities than would otherwise be the case. My portfolio career can include more composing and less teaching, or less performing, or similar. I can pursue otherwise unavailable educational opportunities: my composing is paying most of the tuition fees for my PhD (the rest is covered by a scholarship).
None of that replaces me having to do work, both in terms of workng on my art and in terms of networking. But it sure helps.
I don't disagree with you. The point I was making was simply that fact that too many people sing hallelujah wrt art and music and blockchain based services! And that is so not true, since other platforms do exist already to allow the same, or similar. Also, the music industry may seem dominated by a couple of big companies, those who create the rockstars, but most of the music industry is very fragmented wit LOTS and LOTS of small players being able to help out on all sort of tasks and services. And YES, because on;ine platform only want to do the simple thing, you willnot get from them other services an artist requires, therefore the industry as it is will continue to stay as it is for a considerable time: many small companies, to single person companies, handling booking, publishing, label, and other needed artists services for most artists to be and stay relevant.