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.
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.
Social media is the cornerstone of your music career. It’s what lets you stay in touch with your fans. However, it’s hard to find a balance between social and promotional – after all, you still need to sell your record or tickets to your show. Here’s 10 secrets to help you find that social media balance.
Socializing is, by nature, a two-way exchange. Try holding a conversation with someone with your ears plugged. Social media is talking with your audience! There are other tools out there for talking at an audience. Make it a habit to read comments and messages. You’d do the same on your personal accounts, wouldn’t you? By listening to your fans you could also get valuable information like what new song they are digging the most or what they liked about your show last night.
2. Leverage Online and Offline
There is no one-size-fits-all solution. While some artists have managed to build their career on one channel, most of us need to find a balance of online and offline. Maybe you leverage Facebook, YouTube, Instagram, and some local shows in your area. The key is to think about how you can send fans from online to offline and visa versa. You need to create a flow.
If there is one thing that almost every musicians dreams of, it is of that first major tour. Its that feeling of playing night after night, in the best venues of all of the major cities around the world, and always to a sold out crowd. But before that will ever happen, you need to answer one major question: Do you have a plan? If not, you can be sure to kiss that dream goodbye. And if you do have a plan, is it good enough? Music is a business just as anything else, and as such it is your job to play entrepreneur and marketer. While it is your product or service you are trying to sell, it is also your job to expose your music to the public.
First we will take a look at forming a proper plan, followed by exploring different strategies for putting that plan into action. The following are very important steps to ensuring that you have a proper plan in place before you even attempt to get that first gig:
1) CHOOSE THE RIGHT VENUES
Every venue has its own style, and is known for showcasing music of specific genres. Some venues are known to hold rock concerts, other are known for hip-hop, so on and so forth. It all comes down to the location, and the surrounding music scene. Picking the right venue for your gigs is very important, as is the first step towards growing your core fan-base, which will ultimately increase the attendance at your gigs. If your not playing to a crowd who won’t absolutely love your music, then you haven’t targeted your audience correctly.
As with any well thought-out marketing strategy, the first important step in promoting yourself and building your brand is knowing who your audience is. If you are trying to build a core fan-base, you better be sure you know who that crowd will consist of. If you are playing acoustic folk/rock, don’t play in a club for people who are looking to dance to reggatone. The same thing goes for hip-hop artists- don’t play in a coffee shop filled with art students who listen to indie rock.
We’re gonna tell you a lot of things that you might not want to hear (especially if you’re doing or NOT doing some of these items). A lot of mags and industry professionals (mostly those who want your money) don’t want to hurt your feelings, so they patronize you and talk to you like children when it comes to these things. I’ve seen some God-awful, condescending nonsense in print when it comes to career advice for musicians.
We respect you more than that. We think you’re adults (for the most part) who can handle a dose of reality every now and again if it means making some positive changes in how you conduct your business. And if your band isn’t a business, maybe you should re-think seeking out press in the first place.
A healthy majority of these list items come from discussions we’ve had with editors and journalists from around the country, and some of them are our own pet peeves. Take everything with a grain of salt, if you must. We’re just telling it like it is, giving you a peek behind the curtain.
OK, no more preamble, no sugarcoating, no bullshit. Here (in no particular order) are about two-dozen plus reasons why your band isn’t getting anywhere with press. So, if you’re ready for some harsh truths, read on. We start with…
1. You look, sound or act like the ass-clowns in Brokencyde. See Exhibit A below.
Chances are, if you’re in your 20’s or 30’s, you’re doing too much. You have a Twitter, Facebook, Instagram, Tumblr account, and maybe more. You may not even realize it, but you find yourself wishing you’d start that business, try for that dream job, or make that record… and you don’t because of “obligations” or “responsibilities”, or worse yet, simple “lack of time.” I’m with you. I’ve been there. Unfortunately for us as humans, this doesn’t get easier as we grow older and add families or children to the mix, so it’s best that we learn how to handle it now. No more excuses. It’s time to trim the fat.
This rule applies to people as well as activities. You know those friends I’m talking about; the ones who seem to disappear until they have a favor to ask of you. Though removing yourself from unbalanced friendships may have its difficulties now, the rewards in time and creative energy down the road are exponential.
While the term “independent” in the music industry generally refers to running your own career, it doesn’t necessarily mean you have to do it alone. This is one part of the puzzle that I find many creatives miss. I know I certainly did. The beauty of being an “independent” artist is that you’re suddenly the boss of your own career; the CEO and founder of your music, and it’s your job to build a team under you.
So how do we do this? If you’ve followed rule #1, you should have already eliminated anything that isn’t necessary to do. With what’s left, ask yourself if it’s necessary that You specifically do the task, or if someone else could do it for you, possibly even better than you. [side-note: I don’t generally suggest delegation of creative work. That’s what you enjoy, remember!?] If it’s work that you personally need to do, [for example, communicating with your fans] I move it onto the next rule. Otherwise, I find a way to delegate it.
Below is a question/answer conversation with EricTheReDD, the former general manager of WJSC-FM (Johnson State College, Vermont), about his experience with college radio and everything it takes to get your music played on a college radio station.
Would you mind introducing yourself? What station did you work for and how long were you there?
My radio handle is EricTheReDD; former General Manager of WJSC-FM. I started at WJSC in September 2003 as a volunteer DJ and slowly worked my way up the ranks. I became assistant to the Production Manager after a few weeks of kissing ass. There ended up being a mass exodus of upper-management and I rose quickly to the position of General Manager; a title I held (through an electoral process) for 4.5 consecutive years. I took the position once more when our then-GM was forced out for violating station rules involving drugs and alcohol in the studio and I held the position in-interim until elections when I chose not to run and resumed my duties of Program Director, Music Director and DJ until I finally stepped away in May 2012. In total, I worked at WJSC for just shy of 9 years; holding every management position at least once, overseeing two radical format changes, re-branding, building of a brand-new station and complete overhaul of our on-air booth in the process.
Since I left the station has reverted to a fully open radio format (very common for college radio) and plays everything from bluegrass to metal to show-tunes and plenty of everything else in-between.
How many packages did you receive from bands every day? How many of them actually ended up getting opened and listened to? If not 100% of them, why did some of them get tossed aside?
Very few packages came directly from the artist; they normally came from labels or promotional companies. But a package was a package and all we cared about was getting it to the proper recipient. A lot of labels rely heavily on the promotion and spins that college radio can provide and therefore stagger their releases to ensure a present student body. Hence, few lesser-known bands release albums over the summer but there’s an explosion of releases in the fall.
Every package gets opened. EVERY. SINGLE. PACKAGE. And every day is different. Some days we’d receive a postal container full of packages and sometimes we’d maybe get one or two. It depended heavily on the labels we were affiliated with, their release calendar, and other factors like that. Typically, we split up the mail by genre; each sub-director being responsible for their own share. Mine was Hard Rock / Metal / Punk. I’d open my packages, keep the PK (Press Kit insert) with its respective disc and recycle the packaging. I would then take the stack into my office (or the production studio if it wasn’t being used) and go through the music. I’d put a disc into the player and scan through the tracks while reading the PK notes. Songs needed to grab me. Long intro, I might skip in to the minute mark. If I wasn’t dazzled in about 5 seconds per track I’d keep going through the disc.
PERSONAL RULE: I always give the title track a chance to “wow” me. In my experience, if you’re going to name the album after that track then it’s got to be something special. If the title track sucks it’s going to be tough to get me to take the rest of the album seriously.
In terms of airplay or “getting tossed aside” it comes down to democracy. The free spirit of college radio is in the DJs and we gave them free reign (within the law) over their weekly chunk of airtime. We DID have a few requirements; playing a PSA once per hour, reading something from our underwriters (businesses that donate money in exchange for mention; it’s a non-profit thing), and the coveted “PUSH” pile. Labels foamed at the mouth to get their albums into the “PUSH” pile. We would require that twice an hour the DJ pick any disc from “PUSH” and play something from it. This ensured new music was getting played and labels were getting the necessary spins to keep their executives happy. Directors would leave little post-it notes on each disc with a brief description and one or two recommended tracks to make it easier on the DJ. But at the end of the day there are still piles of albums that, for whatever reason, don’t garner much attention. They’re archived alphabetically and by genre and tucked away on the shelves. And about once every 5 years we’d go through the “vault” and clean house; selling albums that people are willing to buy and giving away the rest (typically a FREE bin outside the station was sufficient).
There’s a popular business acronym that says goals should be S.M.A.R.T., or Specific, Measurable, Attainable, Relevant, and Time-Bound. Your music career is no different. Unless you have a target that you are reaching for, you’ll just continue down random pathways hoping to get somewhere.
Oftentimes, artists tend to limit their music sales to iTunes only, which is a crucial mistake considering the surge in popularity of streaming music services. It’s extremely important to get your music onto various platforms to accommodate fans that prefer to stream rather than download, as well as the fact that some services are more popular or non-existent in some countries.
EPs are a fan favorite these days! There is more music being released than ever before, and EPs sustain the listeners attention span by offering a taste of what a band is all about. In addition, creating EPs is a much cheaper route to take and allows for you to put out something new and fresh more than once a year.
One of the best ways to acquire email addresses from potential fans is to offer them something for free. Probably the most easiest solution is to offer a free download of one of your tracks. You can accomplish this using widgets and other tools that are available on ONErpm.
It takes quite a bit of time to handle the day-to-day social media aspects of a band. Ideally, you should find 2 or 3 prominent sites and build out your audience on those platforms. This will ensure that you put in the quality work that is needed to be successful on each one.
Furthermore, take advantage of apps and plugins, such as ONErpm’s Facebook store. If your fans are constantly on Facebook, why not give them the opportunity to purchase your music without leaving the site?
If you haven’t got a website yet, spend the majority of your time on getting one. This is basically your online business card, and a tool that will make you look more professional to people considering hiring you for gigs, media coverage, etc. It’s also a great way to engage with your fans, encourage music / merch sales, and keep fans informed.
This is actually one of the most important tips. If you’re making good songs that can compete with other popular musicians in your genre, then it’s time to really start marketing your music…CONSISTENTLY. Otherwise, not many people will hear or purchase your music, thus making it harder to build traction in terms of getting your name out there.
You may feel the need to up that number to increase your chances of getting your music heard; that is if you’re already been spending a good amount of time on marketing efforts and aren’t seeing the results you had hoped for.
It takes very little time to set up, but once you do you can set all your videos to be monetized. YouTube selects ads to be shown around your videos, and you are paid a portion of the revenue.
Don’t create only official music videos. Make any type of quick video (at least a minute long) talking about anything, recording in the studio, on the road, etc. Sure, some of them may make you very little, yet over time the volume could start collecting into something meaningful.
Make a playlist of your videos and direct people into watching a playlist instead of an individual video. This makes it easier for fans to view more of your videos, which is a plus in that every view counts toward more revenue!
Once you have monetized your channel, you can enable your annotations to have live links to iTunes, Google Play and other retailers. This creates instant traffic to sell your music and merchandise.
Do you already have a large audience to work with? If so, you can join ONErpm’s YouTube network and we’ll leverage your audience for higher ad rates. In addition, we also bring other monetizing opportunities for your videos, as well as cross promote with other network channels to drive up views.
Make sure your music is put into a database that allows YouTube to match your song anytime it is used. What this means is, every time your music is added to a random video with or without your permission, you’ll get a piece of the revenue. If your distributor doesn’t offer this, use a multi-channel network like ONErpm!
Don’t simply include the basic information on your video in the description. Take advantage of the opportunity to sell to prospective fans by adding outbound links to everything that you’d like to sell. Be sure to include merch stores, iTunes, Spotify, etc., to send your fans to for further revenue.
Try at all costs not to use one of the thumbnails YouTube generates from your video. What’s better than a custom, eye-catching image with your band logo to encourage users to click on your video? NOTHING!
Don’t wait for someone to randomly find your song to put behind their video on YouTube. Use companies like Audiosocket and CueSongs. They allow artists to have YouTubers legally license songs for their videos for low rates, which in turn leads to more exposure and revenues for you.
Author Zig Ziglar was often as saying, “If you aim at nothing, you’ll hit it every time.”
Your music career is no different. Unless you have a target that you are reaching for, you’ll just continue down random pathways hoping to get somewhere. How will you know what successful looks like if you haven’t defined success for yourself? You need to begin by creating (or revisiting) your goals.
There’s a popular business acronym that says goals should be S.M.A.R.T., or Specific, Measurable, Attainable, Relevant, and Time-Bound.
Many good articles exist on how to be more effective at writing and reaching goals. In fact, there have been many great books about them. It’s one of the most important aspects of your career, so it’s good to spend time on goals.
Here’s a quick rundown on how you can make S.M.A.R.T. goals:
A ticket stub does so much more than just admitting you into an event. A ticket stub is a filled with memories, emotions and, if you’re lucky, your favorite singer’s autograph. Just one glance at that flimsy piece of paper, and the flood gates are opened. You are submerged in a pool of memories, like which song the band opened with, the moment you made eye contact with the guitarist, the hoarseness of your throat from screaming along with the lyrics, and how, for a couple hours, nothing else mattered in the world. That flimsy piece of paper can become a prized possession.
A memento is a keepsake or a souvenir of remembrance, and almost anything can be turned into a memento. It is so important for bands and artists to give fans a chance to take home with them something that will remind them of why your performance was the best ever, and why they should go see you perform next time you’re in town.
So what can you offer your fan as a memento? Merch is always a great option as long as you have something available for every budget. Then there’s always the setlist. Write out a couple tracks and make sure the person vibing out the most gets it. Throw out your picks and drumsticks. Hand out digital download cards of your single. Take along some of your tour posters and have them available for your fans to grab. Get creative! And of course, always make yourself available to autograph these mementos and get a few photos snapped.
Source: MusicThinkTank (by Katie Woods)