Here are the most important things to keep in mind when trying to setup a page for your band or music on Wikipedia:
Wikipedia stresses that the article or page must be from a neutral point of view. So although writing the page entry yourself might be the quickest way to get onto Wikipedia, chances are that it will get deleted very quickly for not being neutral.
A Wikipedia article is not meant to be a promotional page for your band, but an unbiased documentation of your band’s music and career. So it would be best to find someone who already contributes to Wikipedia to write the entry instead. This could very well be a fan or friend of the band, but make sure it’s not an obvious conflict of interest, which Wikipedia also frowns upon.
Information about your band or music must come from a verifiable source. So even if the information is factually true, Wikipedia insists that it must be verifiable before you can add it to the page.
If a friend is writing the entry for you, be sure to collect all links to reviews, articles, mentions and information online about your band. That way the person writing the entry can cite outside sources for information about your band so that it can be considered verifiable.
The next thing to keep in mind is that for any articles or sources that are cited on your Wikipedia page, they must come from reliable, independent, 3rd party sources. So it’s better if the author cites an article in the media, rather than the band’s website, or something the singer’s mom said on her personal blog.
Me & You & The World is the third studio album, and first major label release, by American acoustic rock performer Dave Barnes. The album was launched internationally on April 1, 2008, with the first single “Until You”, which is a re-recording of a song from his first independent album, was released on February 19, 2008.
In the past, money was a huge barrier for musicians, and one of the main reasons many were forced to tie themselves to a record label. Today, many musicians are finding their own ways to creatively fund their albums and tours, with the most popular option being crowdfunding. Crowdfunding is a huge undertaking, but, if done correctly, you can come out of it with a whole lot more than just money. It also presents dedicated and creative artists a chance to connect with their fans in a whole new way.
Learn how to run a successful crowdfunding campaign with these 5 tips:
1. It takes a crowd.
I think a lot of people mistake crowdfunding for an endless well of money, but, the sky is not the limit. The amount of money you can raise is entirely dependant on the size of your fan base – your crowd. Generally, the more fans you have the more money you will be able to raise, although there are other variables like fan dedication and income level. Amanda Palmer was able to raise upwards of a million because she has a huge, dedicated fanbase with spare cash to throw around. Pretty much the perfect scenario.
There’s no way to tell exactly how dedicated your fans are and how much money they would be willing to donate, but you can look at some figures to get a better idea. Look at how many people you have on your email list, how many people come to your shows, and how many people you have following you on social media. Don’t assume that every one of your fans will donate – even the most amazing musician in the world couldn’t accomplish that.
For over four years now, we’ve been somewhat mystified by the hatred from some musicians and labels towards streaming services like Spotify. The general complaint seems to be that “it doesn’t pay enough,” but “enough” is often at ridiculously high standards. I’ve now seen three separate analyses that show that, on a per listener-per play basis, Spotify pays more than any other source. The problem, it often seems, is one of expectations. Part of it is simply that musicians seem to forget that their labels take a giant chunk of their earnings, and that the payments that eventually trickle down to musicians are often months or years late. Also, those doing the complaining often seem unable to comprehend that these services take time to grow, and as they grow, the payouts get bigger and bigger. But the biggest mistake of all seems to be the idea that not having your music where your fans want it is somehow a good idea. We’ve pointed out repeatedly that making music disappear from where people are looking for it only harms the musicians.
Furthermore, as we’ve seen over and over again, as these services get bigger and start to catch on, artist are realizing all sorts of ways they can profit from them. Two recent examples are quite handy. First up, we have independent musician Ron Pope (music here), who has written a fantastic piece for the Huffington Post about just how wonderful Spotify has been for his career.
In the good old days of digital music — say, five or six years ago — high-tech talent scouting by record labels meant trawling MySpace for hot new bands. Labels still hunt for acts online, but the pools of data they consult have become much more vast, and access to them highly competitive.
On Wednesday, the Warner Music Group, the company behind Bruno Mars, Wiz Khalifa and the Red Hot Chili Peppers, will announce a deal with the music app Shazam that will create a label imprint for new artists who are discovered through Shazam.
Shazam, used by more than 88 million people worldwide, identifies songs playing on the radio, on television or at a nightclub. According to the company, it is used about 500 million times each month to identify, or “tag,” an audio signal, which each year leads to more than $300 million in download sales.
The deal would let Warner executives use Shazam’s data to see what songs are catching on and where — potential signs of a breakout hit. Warner could use this data to sign new artists to a special Shazam imprint, and market them with Shazam’s help. Specific terms of the deal were not disclosed.
“There’s so much information that we’ve never had before as an industry, and Shazam is at the forefront of that,” said Rob Wiesenthal, chief operating officer of Warner Music. “When a consumer hears something he or she likes and holds up their phone, that enables us to learn more about the likes and dislikes of fans.”
Rich Riley, Shazam’s chief executive, said that big hits represent “a relatively small percentage” of the music tagged on the app, and that it is often used for songs by unsigned artists — the acts that Warner will be most interested in.
For Shazam, the Warner partnership is also an opportunity to move beyond its “name that tune” function and become more of a conduit for various forms of content. Last November, the company struck a deal with the media-services agency Mindshare to make it easier for advertisers to incorporate Shazam in campaigns.
“We want it to be the place you go for lyrics, the place you go to see video, the place you go to engage around a particular artist,” Mr. Riley said. “This is a big step in that direction.”
For the music industry, data is the new gold. A number of music companies have struck deals recently to help them comb through the noise of social media to see the early flickers of hits. Twitter is working with 300, a new company led by Lyor Cohen, Warner Music’s former head of recorded music, and last month Gracenote and Next Big Sound, two music data specialists, said they would work together to develop a customizable Internet radio app.
But whether all this data can lead to more hits is unclear. Jim Lucchese, the chief executive of the Echo Nest, a music data company that works with Spotify, Sirius XM and others but was not involved with the Warner-Shazam deal, said that the challenge is not so much getting access to information as having the expertise to interpret it.
“The massive amount of data that’s available is incredibly exciting,” Mr. Lucchese said. “The reality is that there is a scarcity of people out there who really know how to make sense of it.”
ARTISTS / LABELS: Get your music on Shazam now with ONErpm! Click HERE to get started.
This Gigantic Robot Kills is the sixth album by nerdcore musician MC Lars.
Lars has stated that he worked with "Weird Al" Yankovic, the Rondo Brothers, Nick Rowe and Mike Kennedy of Bloodsimple, James Bourne of Busted, Daniel Dart of Time Again, Donal Finn of Flash Bastard, Pierre Bouvier of Simple Plan, MC Bat Commander of The Aquabats, Suburban Legends, Worm Quartet, Gabriel Saporta of Cobra Starship, Brett Anderson of The Donnas, MC Frontalot, Amie Miriello of Dirtie Blonde, Jesse Dangerously, Linus Dotson of Size 14, Parry Gripp of Nerf Herder, Jonathan Coulton, Aesias Finale, Sebastian Reynolds, Brendan B. Brown of Wheatus, and classical musician Walt Ribeiro on songs for the new album.
Pick the album up on iTunes!