Deciphering Culture

Posts Tagged ‘Social Media

Short Takes: Tracking Musical Taste — Trendsetting Cities

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Earlier this year, I prepared a literature review on changes in musical taste for a study commissioned by the San Francisco Symphony so the ephemeral subject of how musical tastes develop, shift, morph (choose a verb) is a little higher on my radar than usual. Discover Magazine recently published a quick summary of a research paper that maps the geographic flow of music on the social-networking music site Last.fm. There’s more to it than this but the researchers found that among American Last.fm users, Atlanta is the trendsetting city. There are some quibbles I have with how grand a conclusion you can make based on info. gathered from a single social media site but it’s interesting and they created some cool info graphics so I’d recommend checking it out: Which City Is the Musical Tastemaker for the US? Hint: Not NY or LA.

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Written by Jeffrey Callen

May 6, 2012 at 4:58 pm

SF MusicTech: Has Over-Tweeting Killed the Mystery Around Musicians? (SF Weekly)

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My first contribution to SF Weekly‘s All Shook Down blog:

SF MusicTech: Has Over-Tweeting Killed the Mystery Around Musicians?


By Jeffrey Callen, Tue., Dec. 7 2010 @ 8:09AM
The only discernable displays of emotion at yesterday’s S.F. MusicTech Summit — the seventh such gathering of musicians, techies, and industry types — came during the artist panel at the end of the day. Moderator Tamara Conniff (founder of The Comet and former editor-in-chief of Billboard) set the stage for a discussion of how the artists on the panel used social media to build their careers — but the panel took this subject and ran with it.
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​In response to Conniff’s question about whether musicians had ended the “mystery” that stars used to have through over-tweeting, Evan Lowenstein (of Evan and Jaron, the twin brothers responsible for 2000’s “Crazy for this Girl“) said the “romance needs to come back between artists and fans,” and plugged his website StageIt, a social media site designed for musicians, as one means toward that end. Oakland’s own Del the Funky Homosapien said all that was needed to bring back the mystery was to create “good product.” Lebo (of ALO) and singer-songwriter Raul Malo (formerly with the Mavericks) said what solidified their relationships with their fans was playing live, not tweeting or Facebook.
After some theorizing about where and how it had gone wrong, the entire panel agreed that the industry was ready for change, and stressed the need for creating one-of-a-kind musical experiences: live internet concerts (Lowenstein), a return to albums with artwork and credits (Del) and bringing back vinyl and analog sound (Malo and Lebo). Showing that they’d all talked with an MBA or two at some point, the panel disagreed about whether “the long tail model” had gone too far in opening up the music market, but agreed with Malo that, “we don’t need the wizard behind the curtain anymore.” It’s a new day for artists and fans; where it will take us is hard to say.
My interest at yesterday’s summit was captured by what the changes — tech, biz, and social — mean for the music-makers themselves. Is the landscape for creativity opening up or closing down? Are the new revenue streams offering creative independence for artists, or is “the new boss the same as the old boss?” (for the rest)

Short takes — The changing face of social media (4)

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Two interesting articles on social media:

  • First from Kyle Bylin of music industry site Hypebot.com on  how the pervasive use of social media to promote new bands is a double-edged sword, at best.

A New Age Of Extremes: Why The Social Media Hype Machine Kills What It Creates Too

An illuminating excerpt:

The emergence of the social web, one fueled by Tweets, status updates, and blog posts informs the same audience of what they should be listening to right now. This very minute. Artists that get caught in the stream, however delighted they are to be plucked from obscurity, oftentimes lack the resources to properly capitalize on their newfound stardom. Some have have the sites and the widgets. Some don’t. That or they’re just not mentally or emotionally ready to deal with it.

The slayer of these types of breakout artists—major label represented, indie, or otherwise—that same unfortunate paradox, is that the media hype machine that created them will likely kill them before it makes them stronger. Some may make it out alive. But, sadly, for most artists, the odds aren’t stacked in their favor.

 

  • And an interesting article by Jay Baer over at Convince & Convert on when the social media winners and losers will begin to appear — great opening line (see below). Baer predicts it will begin to shake out in about 18 months.

When Will the Social Media Losers Emerge?.

Today, social media is like a soccer league for seven year-olds: everyone gets a trophy.

The vast majority of press coverage and conversations around social media centers around the fact that businesses are DOING social media, not necessarily doing it EFFECTIVELY. Do you know why every article or blog post with even a scintilla of information about success metrics goes supernova? Because we’re still in the social media head-patting phase, and we’re handing out participation ribbons by the truckload. Thus, anything with real data snaps us to attention like a Taser. (read on)

Related Article:

Short takes — The changing face of social media (3)

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iTunes Icon

Image via Wikipedia

An email sent to iTunes users this morning touted its Ping music social network which “lets you follow your favorite artists and friends to discover the music they’re talking about, listening to, and downloading.” Unfortunately many independent artists are still left out of the conversation. That same email from Apple stated that just over 2000 artists were on Ping. This low level of artist participation is not, however, usually by choice. (from Hypebot.com)

Short takes — The changing face of social media (2)

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Image representing MySpace as depicted in Crun...

Image via CrunchBase

 

The much-hyped inevitable demise of MySpace may not be the done deal that many commentators are presuming. MySpace has carved out a niche for musicians that may not be easily replaced. Contradicting much of what has been written on the site lately, Bruce Houghton of Hypebot offers 6 Reasons Not To Quit MySpace:

 

1.  Eyeballs

Nearly 60 million unique visitors viewed 500 million pages on MySpace last month. Those numbers may be smaller than a year ago, but they are are still significant. And I don’t buy the argument that most of them are other musicians.

2. Search Rank

Search for most bands and MySpace will usually appear as one of the top 5 results.  Can you afford to have fans click on that link and find a dead or out of date MySpace page?

3. MySpace Is Still Mostly About Music

There are some good music add-ons for Facebook, but MySpace is still about music at its core. A place about music attracts fans and bands should want to be where fans are.

4. It’s Easy

MySpace not be pretty, but it is easy. Services like Hoote Sutie to Sonicbid’s ArtistData make it simple to keep multiple social networks up to date simultaneously.

5. If Other’s Aren’t There…

Be a contrarian. If some artists are quiting MySpace or leaving pages unattended, that decreases the competition for those 60 million pairs of eyes.

6. The Makeover

MySpace is in the middle of a major makeover.  I’m as skeptical as you are that it won’t help. (Check out their absurd new logo). But is it smart to delete your account before we find out?

 

And David Harrell of Music Think Tank offers a nuts-and-bolts analysis of #2  — why MySpace has and will probably maintain its high search result rank for music acts: MySpace Still Rules Google Search Results for Music Acts

Social Media & Social Capital (an applied approach)

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As an ethnomusicologist applying my training as a researcher and scholar to work outside of academia, I am looking for ideas of how others are approaching putting humanities and social science research and analysis to work in cultural projects (commercial or non-profit or public). Although, undoubtedly shaped by a different cultural and political setting, the efforts of the InteractiveCultures group of the Birmingham School of Media recently caught my attention. The description of their work presents an engaging model for the much-needed creation of effective interfaces between arts & culture research and arts & culture practice and policy:

Our work is part of a wider strategy by the Birmingham School of Media to make arts and humanities research useful in commercial and cultural projects, and to ensure academics engage with commerce and culture. Our partners have improved their business models, developed new insights, or instigated new cultural strategies as a result of their work with us….   We provide a consultancy service for partners from businesses and organisations in the cultural sector, developing new modes of working and informing public policy.  We demonstrate creative online techniques, assist our partners in developing new strategies, and work on online prototypes.

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My interest was especially captured by a recent blog post on InteractiveCultures by Jon Hickman (Social Capital & Social Media) that resonated with my prior work on the social capital created by a nightclub district in North Richmond, California and research on online musical communities. Hickman expands upon an earlier conference paper to make a simple, yet important, point: a community created by social media is not simply a network but a culture dependent on the availability of social capital to its members. The social capital created by social media is not equivalent to that described by Robert Putman in his landmark Bowling Alone (which built on the work of earlier sociologists, such as M.S. Granovelter’s “The Strength of Weak Ties”) but firmly in line with the earlaier use of the term by Pierre Bourdieu as:

…aggregate of the actual or potential resources which are linked to the possession of a durable network of more or less institutionalized relationships of mutual acquaintance and recognition (Bourdieu, “The Forms of Capital” in Handbook of Theory and Research for the Sociology of Education. 1986, p.248)

Eschewing the theoretical frameworks and formulas placed on the analysis of social capital by Putnam (and others that came before and after him), this approach simply acknowledges “that social capability can confer power upon individuals and groups.” As Hickman states, “… that is the key issue at the basis of much that is interesting about social media.” Further, this approach opens up many interesting questions. The one Hickman addresses is how social media communities use social capital to work together for a particular benefit to the community. Community members utilize the potential social capital “resource” that existed and “was activated by a set of social media practices, delivering benefit to its collective owners. Without the social capital, the clever social media tools would be useless.” The last sentence is crucial to remember when examining social media practices — it’s not the technology but the members that have agency.

Written by Jeffrey Callen

July 24, 2010 at 5:13 pm

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