Social Media Marketing Works! A Look At The Numbers

Twitter, Facebook and YouTube. In many cases, the numbers are intoxicating. Did Coca-Cola really get 86.5 million impressions for a Promoted Trend on Twitter? Did Twelve million people really tuned in to watch a man put an iPad into a blender? The numbers just tell part of the story, but as they say, you can’t argue with the numbers.You can only take issue with how “great” they are.

Have A detailed look at 6 Social Media Campaigns & Their Metrics.

5 Tips To Build an Amazing, Personal Twitter Brand

Leo Widrich | Industry Tips | October 19th 2011

CREDIT: JEFF TURNER ON FLICKR

One of the amazing things with Twitter, Facebook and Google+ slowly gaining maturity is the power coming through it to build my personal brand. What I found most crucial when doing so is that I don’t waste all of my day doing this.

The best part here is that this can become very powerful for many aspects of your life. If you develop a fairly large and engaged Twitter following these are only a few of the great aspects you can leverage:

• Amplify your voice for distributing your knowledge and content
• Find new jobs and projects by interacting with like-minds in your field
• Get feedback on ideas and projects from your followers
• Have quality conversations with people interested in the same fields

Here are tips to build your personal brand on Twitter on the side, without wasting hours each day on it. In fact, I believe these things can be done within 30 minutes of effort each day.

Maximum Management Announces Emerging Artist & New Business Development Services

See what's possible here.
Or contact Brian.Watson@MaximumMusicGroup.com for more information.

Facebook's Musician's Playbook

Facebook recently released a lengthy, detailed guide for building a serious band page. This 40-page guide (embedded below) includes everything from the best top-level approach to debugging details. And, in between, tips on driving better traffic and engagement, managing logins, setting up analytics, and choosing plugins. It's the "Musician's Playbook," and it's a serious guide for building something directly and independently.

Musician's Playbook

Connect with Fans (CwF) and give them a Reason to Buy (RtB). CwF+RtB=$$$

An excellent presentation from Michael Masnick, founder of TechDirt.com, highlighting some real world D2F (Direct To Fan) Marketing success stories from Trent Reznor & NIN to Josh Freese and more.

Direct To Fan (D2F) Marketing At It's Best!

This performance of Atomic Tom was filmed unannounced on Friday October 8, 2010 aboard the New York City B Train, over the Manhattan Bridge into Brooklyn and edited from 3 iPhone cameras. All footage is performed 100% live and executed in one take.

If you like the tune, it's available on iTunes.

http://facebook.com/atomictomband
http://twitter.com/atomictom

How Much Money Do musicians Really Get Paid

Recently, the UK government passed The Digital Economy Act which included many, perhaps draconian, measures to combat online music piracy (including withdrawing broadband access for persistent pirates).

Much was proclaimed about how these new laws would protect musicians and artists revenue and livelihoods.

But how much money do musicians really get paid in this new digital marketplace?

InformationIsBeautiful.net

5 Social Media Trends Artists Need To Understand

For musicians, proper marketing and networking using social media can be tough. The possibilities are seemingly endless and as such, musicians are likely to spread themselves too thin. But not all forms of social media will give you the big pay-off. In fact, some methods are a complete waste of time for musicians looking to grow their fanbase, sell more albums, tracks and tickets, and who are ultimately achieve enough success to sustain a viable career within the industry.

It is very important for musicians not to get caught up in the semantics of every new thing, yet is just as crucial to follow and understand the current trends of social media so that their efforts are not in the wrong place. Why is it important to follow the trends? Simply put, the bigger the trend, the more likely it will be that you see quicker and more significant advancements within.

The following are 5 current trends in social media that all musicians NEED to know about. Not every trend will apply to every artist, but not understanding and assessing if they are right for you is a wasted opportunity:

1) Fan-Funding Campaigns:

Finding the funding for an upcoming project can be an extremely difficult process, as more than ever before, labels are only looking to invest in artists and bands with proven high-volume sales records. Tom Silverman, founder of Tommy Boy Records, has stated that the 10,000 units (albums) sold mark is called the 'obscurity line' - upon this achievement, you are no longer seen as an obscure artist within the industry, and it is not until this point that labels will take an interest in you.

This new trend in social media is one that absolutely every musician should take a look into. Fan-funding (or crowdfunding) is the simple concept of empowering the fans to raise money for you- to FUND your project. Typically this is done through an incentive system, in which the artist will set a monetary goal, and has a set amount of time to reach said goal. There are then different levels of rewards that vary based on the amount a fan contributes towards the project.

A fan-funding campaign is an excellent way for emerging musicians to create a grassroots marketing campaign around their next passion project. But be forewarned, this takes both significant amounts of time and effort in preparation and execution. Most fan funding platforms, such as Kickstarter, Pledge Music and Rockethub, require that the entire goal be hit before the artist sees any of the money.

2) Metrics:

The internet has made it easier than ever for artists to make effective, informed decisions about who, when and where to target their audience. But a bunch of analytics/ insights start-up companies have set out to make this process even easier and effective, by giving artists the ability to obtain actionable data about their music and their fans.

Each start up offers a slightly different variation, but the goal is to supply artists with analytical data based on fanbase growth, fan engagement and/ or online music streams across multiple platforms. Many of the services can even track the geolocation of the plays and/or fans helping artists understand where their fanbase is the strongest. Tip: This is HUGE for when you are preparing your first tour. Some of the most popular music analytical services are:

- Band Metrics
- Next Big Sound
- GigsWiz
- Music Metric
- RockDex

3) Social Currency:

Social currency is the evolved idea of giving music away for free. The myth that giving away music for free would garner new fans has been (somewhat) busted, as more often than not, the music will be given away, yet the new 'fans' will never return. The exchange was off-balance.

With social currency, musicians create an even-exchange by 'charging' for their music through an exchange of a track or an album for a tangible return that will increase their reputation and reach, rather than their bank account. The most ideal choice of social currency is to exchange music for an email address (and location if possible -this will come into play next), as it gives artists a direct connection to their fans. Bandcamp does an excellent job of facilitating this exchange for artists.

Other forms of social currency that have recently become popular are tweeting for a download, and a similar idea of a Facebook wall post for a download. Both of these options have the pitfalls of being less beneficial for the artist in a long term sense, and are unfortunately seen by many as just a new form of spam. A few popular tweet-for-a-download services are Tweet For A Track and Pay With A Tweet.

4) Geolocation Marketing:

In the past year, the use of geolocation has become one of the most important advancements in social media. Through services such as Four Square, Gowalla and more recently, Facebook Places, users can 'check in', leaving an update focused on their current location rather than their current activities. While most geolocation based social networks include some form of gaming component, rewarding long-term use and excessive exploration with unlock-able badges and the like, it would be easy to overlook the benefits that these services offer to musicians.

Two of the most popular mailing list services, Fan Bridge and Mail Chimp, have both included a geolocation feature called Geo-Targeting, which allows artists to send out location specific announcements/ updates. In other words, if you have a show in NYC next week, you can send out an announcement of the show or special offer to those on your mailing list who are located within and around the NYC area.

Geolocation marketing also gives artists new opportunities for fan engagement. The idea that an artist or even the fans can now 'check in' when and where they arrived at a specific location creates new possibilities for the artist to engage with the fanbase through competitions (i.e. first 10 people to check in at a specific location gets a free album), scavenger hunts for free tickets, and even unannounced concerts.

5) Streaming Video:

The Youtube craze has been sweeping the emerging music community for quite some time now, but streaming video, through services such as UStream and LiveStream, is a trend that is just starting to explode. There are numerous ways that artists can use real-time streaming to offer additional value for fans, such as streaming live performances for fans who cannot attend, stream jam sessions or intimate acoustic performances from the comfort of their own home, or even engage directly with fans through a real-time question and answer session or even a fan request performance.

By Jonothan Ostrow of Hypebot

If You Want Ticket Prices To Go Down, Stop Stealing Music!

"so if you want ticket prices to go down stop stealing music."
@irvingazoff, Aug 3rd.

Skip the Twitter fireworks and ridiculousness for one second. And there's plenty ahead. But Irving's opening Twitter salvo makes a good point. Because the concert industry is suffering partly because of piracy and its resulting havoc on recording sales.

Turns out that the seemingly-separate subdivisions of the music industry are actually quite interrelated. Often scarily so, and the sinkhole happening in recordings is actually dragging areas like publishing and even touring with it. This is a body with highly interconnected organs and appendages.

Once upon a time, the thinking was that artists would simply make their money on the road, by delivering a unique and controllable experience. Forget about the recording, that was so easily duplicated, stolen, and devalued. But the live performance! That's where the unique, one-of-a-kind experience happens, the memory of a lifetime. So artists were urged to simply give away the recording, jump in the van, and enjoy the fruits of a tweaked model.

Except, every artist embraced this advice. And, artists started leaning disproportionately on touring to generate more and more revenue. This is partly why they demand such a huge cut from the ticket price!

Oh, and then the Great Recession put the accelerator on the entire mess. Artists needed more cash, but fans suddenly had much, much less. Get the picture?

And this is not just about the biggest touring artists, Irving's roster. Labels used to give developing artists touring support, to work the chops and stimulate local followings. And, smaller independent or unsigned acts could stuff themselves into a van and struggle from gig to gig.

Actually, that of course still happens, but a critical moneymaker is now subtracted from the equation. Namely, the CD. Yes, it turns out that the album freefall has had a huge impact on merch table revenues. Once a small-but-meaningful purse for otherwise starving artists, the decimation of in-venue CD sales has switched the touring math considerably.

So, is piracy responsible for higher ticket prices? Like most things in this industry, the answer is quite complicated. But the devaluation of recordings is factoring into the current concert crisis more than it would seem.

But outside of a time machine, the solutions are limited. The file-swapping kitty has been out of the bag since 1999, and its milk long since spilled. This is not an issue Live Nation can solve, but ticket prices (and service fees) must be adjusted nonetheless. That's the market today, and that's what Irving and Live Nation can actually control.

Feeling Overwhelmed?

Anybody who tells you they've got a grip on today's landscape, that they know everything, what's truly going on, is full of shit. I doubt anybody even knows all the sites name-checked in this video.

But that's the point...It's overwhelming!

Meanwhile you DIY artists out there, never forget most people start these sites with money in mind. They say they want to help the artist, but after they're helped first. Which is why they suck and so often don't get traction. Because the concept is lame. The concept is how can I get rich? Whereas if the concept is about the art, then you truly have got a chance of getting rich.

In the end the truth comes out...

The Music Must Be Good and It's All About One Fan At A Time.

Warning! Some Of These Stats Are Really Scary

As the music industry stumbles into a totally new place, the number of artists actually selling serious quantities is astonishingly low. At New Music Seminar on Tuesday, Tommy Silverman and Eric Garland rolled through a tirade of stats showing the extreme challenges that marketers and artists. Sure, the album itself is waning, but these stats are still worth examining (Nielsen Soundscan is the data source).

• Albums that sold at least one copy in 2009: 98,000
• Albums selling more than 10,000 units in 2009: 1,319
• Albums selling more than 10,000 units in 2008: 1,515
• Albums selling more than 250,000 units in 2009: 85
• Albums selling more than 250,000 units in 2001: 214
• Albums selling more than 5,000 units in 2009: 2,058
• Albums selling under than 1,000 units in their first year of release: 92,601
• Number of albums selling less than 100 copies in 2009: 81,000

Distribution Is King

Distribution is king. Remember that please. He who owns the pipe wins. It's why John Malone is so rich and powerful, to the point where one can argue HE is the most important person in the music business, owning so much stock in Live Nation. Distribution is not glamorous, but it's where the action is. Let me make it simple, it doesn't matter how good your album is if no one ever hears it. The major labels were in charge of getting music made and heard. That monopoly on distribution is gone. THAT'S why they're in trouble, not P2P theft. The Internet broke their hold on distribution.

The reason major labels survive to the extent they do, other than their trove of copyrights, is their control of distribution on terrestrial radio and television. You cannot get a record played on a major station unless you're on a major label. Insiders know that the Spitzer crackdown actually made the result worse. And television wants gatekeepers, channels don't want to deal with every wannabe in the world, they want to be spoon-fed acts that will be supported, that will make a splash in the media, they don't want to be caught out on a limb. Alone. Which is why you rarely see the cutting edge on TV. The mainstream is a club, it's not about taking risks.

Then again, I was out with a major label publicity person and a powerful indie and they both said that late night TV gives no bump whatsoever. Used to be there were few shows many watched that featured music only occasionally. Now music is on constantly and no one cares. There's no sales bump. You want a spike? Go on Sunday morning television, they say that still has power.

But the main power of the major labels used to be the control of retail distribution. They could get records in stores and could get paid. And if you think either of those are easy you live in a fantasyland where your eight year old just got GarageBand and you believe he'll be a world-dominating superstar in three months.

But the Internet killed the major label distribution stranglehold. Anyone can sign up with Tunecore and get their music on iTunes. ANYBODY! Sure, the music won't sell, except to family and friends, but it's what this represents that's important. Access and the ability to get paid. The power has shifted.

As for terrestrial radio...it means ever less. Same with TV. You can thank technology, most especially the Internet, for that. People watch what they want when they want. The days of sitting in front of the TV seeing what's next are heading towards extinction, killed by the DVR and online access.

And speaking of TV, all of the above is inspired by a fantastic article in "The Atlantic" about Netflix. About its distribution power. How content creation does not scale, how that's not where the money is. It's long, and it can get boring, but I recommend it:

http://bit.ly/jDgN0N

So the major labels aren't coming back. Never ever. Don't pay attention to the hype. Sure, they can make superstars of the bland playing to the masses, but most people just don't care. And the action is in the rest of the morass, the amalgamation of all of the indies.

I'll make it simple. iTunes is distribution. Apple creates and sells no music. It's just a storefront, a pipe. But look at Apple dictating to the labels, look how powerful Apple has become. Hell, Apple not only killed record stores with iTunes, but the CD with its iPod!

I can't tell you exactly where we're going. Oh, I could, but I'd be wrong. Because you just can't predict the future. But I will tell you that more people will make music, because the barrier to entry is so low. And that he who can connect the public with good music will be very powerful. So powerful he can dictate to the creators. That was the power of MTV. They owned the pipe. The major labels don't want to give any entity the REVENUE of MTV. They should worry more about giving a new entity the POWER of MTV. Because first comes the power, then comes money.

Look at Vevo. It's distribution, but not only does it lose money, it fails to aggregate all the indies. That's YouTube's power. YouTube is where you go to see videos. YouTube is a distributor.

So never ever believe content is king. Howard Stern would be irrelevant if no radio station aired him. Then again, before re-upping with Sirius XM, Howard contemplated distributing his show himself. That's now possible. That's why radio is in trouble.

And who's got a ton of power? THE CABLE COMPANIES! THE WIRELESS COMPANIES! THAT'S WHERE YOU GET YOUR INFO! THE INTERNET FLOWS THROUGH THEM!

Pipe is not sexy, but pipe is where both the money and the power are.

Content creators get all the ink. They're the sauce everybody's interested in.

But those who deliver the content truly have all the power, make most of the money.

Insiders know. DISTRIBUTION IS KING!

The Problem Is You!

I don’t care how much it cost you to make your record, how long you practiced, how many years you’ve been in the business. If no one hears it, it’s WORTHLESS! That’s the value of unheard music, NOTHING! Stop complaining that you’re underpaid and deserve more and start thinking about how you can reach more people and get them to listen to your music. If it’s good, they’ll react. If it’s bad, no harm, no fail. But instead you’d rather complain the system is stacked against you, that you can’t get on the radio, that you can’t get paid.

The problem is you. - Bob Lefsetz

Let's Fix Cancon - Sign The Petition Now!

Gregg Terrence, president of the Canadian Independent Recording Artists’ Association, has created an online petition called Let’s Fix Cancon. Terrence proposes introducing “Cancon credits” that would entice stations to play new or developing artists. The site makes the case that when music programmers must choose between the ‘safe bet’ international star and the ‘risky’ established, national or developing artist … there is simply no incentive for choosing the lesser-known artist. So far the petition has 5,335 signatures.

Just 1% of Releases Account for 82% of New Album Sales...

An incredible 81.7% of new album sales come from just 1% of new release titles, according to details released by Nielsen Soundscan on Wednesday morning. "It's ridiculous," commented Nielsen executive David Bakula during the presentation at Canadian Music Week in Toronto.

But it's been that way for years, at least in the US. According to the same Nielsen dataset, the top 1% accounted for 83.3% of new album sales in 2009, and 82.8% in 2008. And, the figure was just shy of 80% in 2005, 2006, and 2007.

The story is much better in Canada, where stronger breadth and diversify exists - at least on frontline releases. In 2010, the top 1% accounted for 57.6% of overall sales last year, though previous years have also shown a lopsidedness. In 2009, the figure was 67.9%, and earlier years were mostly in the 60-percent range.

Following Comment By: wallow-T 
As a culture, we are going to have to decide: do we want art, or do we just want cheap entertainment. Art requires subsidy. The Canadians understand this, as does most of Europe.

In the old days, label heads could use the profits from cheap entertainment to subsidize art music of more lasting value. Think of the Velvet Underground, of whom it was said: their album only sold 5000 copies, but everyone who bought a copy started a band.

Now, as America worships at the altar of the Free Market, any subsidies which were steered towards worthy artists have been squeezed out, because that money rightfully belongs to the stockholders. There is no reason, according to the god of the free market, for any music below that top 1% to even exist. Gaga, Bieber, Boyle and Beyonce should fulfill all consumer needs, and screw the rest, there's not enough money in it.

Coming next: the defunding of NPR, which will strike a huge blow to liberate us from art music. Isn't freedom glorious?

Quote of the Day: Bob Lefsetz to Me

Consider it a privilege to work in entertainment, not a right. Respect those with careers both on stage and off because to be able to maintain is almost impossible. There are always new bands and nobody really needs any of them. So if you're getting tattooed to look cool...hold off on the ink.

“Why is high-fidelity going backwards? What’s wrong with people?”

Beginning in the late1940s, we’ve been told to upgrade to a new type of music playback medium every five or six years so that we be able to experience better sound.

If you’re brave enough to step into my basement, you will find CDs, LPs, 12-inch singles, 7-inch singles, cassettes (both pre-recorded and homemade), a couple of 8-tracks (Where did those come from?), a pile of DAT tapes, assorted MiniDiscs, some rescued concert recordings on 10-inch reel-to-reel tape and probably a couple of 78’s. Under the stairs is a pile of 12-inch Laserdiscs that I’m willing to let go cheap. I’ll even throw in the player.

About the only thing that’s missing are some cylinder recordings and a couple of stillborn formats like the Elcaset and anything to do with DCC.

The International Standard Organization’s approved the algorithms that make music as MP3 files possible in 1991. Twenty years on, the public’s love affair with the format’s convenience seems to know no end.

We’re firmly into the digital age. Global digital music sales reached $4.6 billion in 2010, which equals about 30 per cent of all sales by record labels. The value of the global digital music market has gone up 1,000 per cent since 2004. There are more than 13 million tracks legally licensed for download by music publishers. The MP3 rules.

But despite the severe high-fidelity shortcomings of MP3s, most people seem completely happy with what they deliver. The same goes for Apple’s AAC format, which is what you get when you buy a song through iTunes.

Although technology used in today’s hard drives keeps driving the cost of storage lower and lower, few music consumers seem interested in switching to a better sounding codec like FLAC. A song ripped to FLAC is about four times larger than when ripped to MP3—but if you’ve got the room, who cares?

Outside of a hardcore cadre of audiophiles, no one seemed much fussed that the public is listening to music with sonic qualities that are substantially worse than what we heard from vinyl on a good turntable 30 years ago. I find it strange—and rather depressing—that while we continue to demand bigger and better HD and 3DTVs, few people are demanding that the audio quality of their music gets better.

Why is high-fidelity going backwards? What’s wrong with people?

- Alan Cross

The Grammy Bounce And The Real Seller

It used to be that a Grammy performance was worth a million unit sales. That's obviously not the case anymore, but at least for some artists, the Grammy's can mean a significant sales bounce. Arcade Fire, Lady Antebellum, and Eserpanza Spalding all saw big iTunes gains after their performances on Sunday's show (see the chart on the left). Mumford and Sons saw spikes as high as 156% for some songs.

And while that might seem impressive, consider this. The Grateful Dead began presales of their Europe '72 65 CD set (yes, 65 discs) and sold out their 7200 unit run in 4 days - at $450 each. That's $3.3 million dollars, an amount that any record label would kill for these days.

Grammy Hangover - Do Singles Build Careers?

In the old days, we never would have known Mumford & Sons was the hit of Grammy night. Because we wouldn’t have instant sales information and the album couldn’t have been successful because the limited physical inventory would have sold out in a flash in brick and mortar stores.

But now you can manufacture ad infinitum, online, iTunes was ready with all the inventory necessary. Mumford & Sons is still number one on the iTunes chart.

The old wave constantly bemoans the new wave, says the Internet ruined music. What the old wave hates is it’s lost control. Which came in the form of distribution. Radiohead could not go their own way. And it would have been hard to seed retail with enough copies of Mumford & Sons to show a spike, to feed demand.

The future is not digital sales, it’s streaming. And if the labels were smart, which they are not, they’d go with Spotify immediately, before Apple or Google allows customers to keep their purchases stored in the cloud, obviating a need for subscription services. So these sales statistics, which are anemic by old wave standards, are not harbingers of the future. But they do illustrate demand. You cannot categorize what appeals to the public. In this crazy world anything can hit. With everything available, the public selects from the giant smorgasbord, messing with the system.

People want to be touched emotionally. That’s what Mumford & Sons delivers best. In other words, in an era where so much music is made by machines, people truly desire that which is made by humans.

When it’s all said and done, Mumford’s album could outsell Katy Perry’s, it’s close. Sure, Katy sold more singles, but do singles build careers?

Weekly Roundup

GUITAR HERO
It was a fad. Stuns me that a business that specializes in selling fads didn’t realize this. Ringtones were going to save the music industry, then ringbacks and Guitar Hero/Rock Band. They’re all fads. In the modern tech world you get in early and get out early, just like with a musical fad. Give props to Scooter Braun and his Justin Bieber movie. Because it won’t be long before there’s no fever surrounding the Bieber. How do I know? Because I’ve lived long enough to see everybody from the Monkees to NKOTB to the boy bands to Miley Cyrus come and go. And let’s not forget Leif Garrett…

LADY GAGA/EXPRESS YOURSELF
"Express Yourself" was a hit in 1989. That’s twenty two years ago. Most of GaGa’s fans hadn’t reached consciousness or weren’t even born yet. No one cares. And "Express Yourself" was a good record!

PEAS AT THE SUPER BOWL
Of course they sucked. But they weren’t playing for you, they were playing for the mainstream. The Hold Steady are never going to play the Super Bowl, get over it.

THE GRAMMY SHOW
Train-wreck incarnate. The same people complaining about the Peas are gonna bitch about this show. But never forget, it’s about television, not music, it’s about ratings, not quality. Just like radio is about advertisements, not content. Don’t get your knickers in a twist. The show is meaningless. Just a celebration of what once was in the mainstream. Yes, most of the stars will be gone tomorrow. And the audience doesn’t care, it’s too addicted to Facebook.

EGYPT
We were there first, music fans already revolted. They killed not only the album, but the major labels. We’re living in an era of chaos. To complain is to be Mubarak. The audience was oppressed for too long, given an opportunity to go its own way, it did. Remind me how it helped the audience to have to buy a fifteen dollar CD to hear the one track that was a hit? Now they just buy the hit on iTunes. And if they don’t do that, they don’t even bother to steal it, they just watch it on YouTube. You don’t need to own it, next year it won’t mean anything.

WARNER/EMI
The latest report is that Warner wants to sell itself before EMI, to get the most cash. The major labels were decimated by the Internet. Their assets are worth something, but not what they once were. Publishing will go for a lot. Someone will end up with the masters. As for new music, that’s up for grabs. Who’s going to break new music? Who’s going to pay for its development? That’s a problem we need solved, but you don’t see VCs and techies throwing money at that, because it’s just too difficult, it’s easier to trade on the assets of what once was.

EMI
Ignore Faxon. Banks don’t like to hold assets. That’s not their business. EMI’s for sale, it’s just a matter of when.

VINYL
Enough. There are people who collect buggy whips too. Sure, it sounds better. But do you think everybody’s going to drive fifties Thunderbirds because they look better? Face the future, don’t try to bring back the past. At some indeterminate time bandwidth will be so plentiful and cheap that quality sound will return. But it’s not imminent.

THE DECLINE OF WEB-BASED E-MAIL
The Decline of Web-Based E-Mail

People check their e-mail on their mobile handsets. Young ‘uns don’t use e-mail at all. Think mobile. That’s where all the action is. That’s how you reach customers. And that’s what’s killing the major labels. They’re still making revenue from physical product when the future is streaming to the handset. If you’re married to the past, you’re lost in the future.

WORLDOMETERS
worldometers

The numbers are positively staggering. You need to start right in front of your nose, but don’t stay there. The money to be made exploiting music around the world is huge. You don’t need to reach everybody, there are so many people out there.

HOWARD STERN ON TWITTER
Howard Stern - Twitter

Today he watched his own movie, "Private Parts", and tweeted the real story behind all the scenes. Musical acts should go on Twitter and do the same thing, tell the real story behind making their music and being on tour. The public eats this up. If you do the tweeting yourself and are honest. Don’t forget, the key is TRUST!