Member Blogs
Lights, Camera, Action
Category: Member Blogs
Tags: POWER ENERGY INSPIRATION PEOPLE 2016

Thanks to Akon Lighting Africa we have launched in one year a new dynamic and helped raising collective awareness: solutions are available, ready to hand and we can address the electrification challenge – QUICKLY!” AkonUntil now we used USD 240 millions out of one billion dollars that we have at our disposal. We are present in 14 countries and want to expand into an additional 30 countries very soon”Samba Bathily“Africa needs strategic public-private partnerships to progress. We have one common objective, that is, building a brighter future for our youth”, President of Benin Mr. Boni Yayi

source=akonlightingafrica.com

Earth, Wind And Fire - Collection of Earth, Wind & Fire
Category: Member Blogs


Earth, Wind & Fire were one of the most musically accomplished, critically acclaimed, and commercially popular funk bands of the '70s. Conceived by drummer, bandleader, songwriter, kalimba player, and occasional vocalist Maurice White, EWF's all-encompassing musical vision used funk as its foundation, but also incorporated jazz, smooth soul, gospel, pop, rock & roll, psychedelia, blues, folk, African music, and, later on, disco. Lead singer Philip Bailey gave EWF an extra dimension with his talent for crooning sentimental ballads in addition to funk workouts; behind him, the band could harmonize like a smooth Motown group, work a simmering groove like the J.B.'s, or improvise like a jazz fusion outfit. Plus, their stage shows were often just as elaborate and dynamic as George Clinton's P-Funk empire. More than just versatility for its own sake, EWF's eclecticism was part of a broader concept informed by a cosmic, mystical spirituality and an uplifting positivity the likes of which hadn't been seen since the early days of Sly & the Family Stone. Tying it all together was the accomplished songwriting of Maurice White, whose intricate, unpredictable arrangements and firm grasp of hooks and structure made EWF one of the tightest bands in funk when they wanted to be. Not everything they tried worked, but at their best, Earth, Wind & Fire seemingly took all that came before them and wrapped it up into one dizzying, spectacular package.
White founded Earth, Wind & Fire in Chicago in 1969. He had previously honed his chops as a session drummer for Chess Records, where he played on songs by the likes of Fontella Bass, Billy Stewart, and Etta James, among others. In 1967, he'd replaced Redd Holt in the popular jazz group the Ramsey Lewis Trio, where he was introduced to the kalimba, an African thumb piano he would use extensively in future projects. In 1969, he left Lewis' group to form a songwriting partnership with keyboardist Don Whitehead and singer Wade Flemons. This quickly evolved into a band dubbed the Salty Peppers, which signed with Capitol and scored a regional hit with "La La Time." When a follow-up flopped, White decided to move to Los Angeles, and took most of the band with him; he also renamed them Earth, Wind & Fire, after the three elements in his astrological charts. By the time White convinced his brother, bassist Verdine White, to join him on the West Coast in 1970, the lineup also consisted of Whitehead, Flemons, female singer Sherry Scott, guitarist Michael Beal, tenor saxophonist Chet Washington, trombonist Alex Thomas, and percussionist Yackov Ben Israel. This aggregate signed a new deal with Warner Bros. and issued its self-titled debut album in late 1970. Many critics found it intriguing and ambitious, much like the 1971 follow-up, The Need of Love, but neither attracted much commercial attention, despite a growing following on college campuses and a high-profile gig performing the soundtrack to Melvin Van Peebles' groundbreaking black independent film Sweet Sweetback's Baadasssss Song.
Dissatisfied with the results, White dismantled the first version of EWF in 1972, retaining only brother Verdine. He built a new lineup with female vocalist Jessica Cleaves, flute/sax player Ronnie Laws, guitarist Roland Bautista, keyboardist Larry Dunn, and percussionist Ralph Johnson; the most important new addition, however, was singer Philip Bailey, recruited from a Denver R&B band called Friends & Love. After seeing the group open for John Sebastian in New York, Clive Davis signed them to CBS, where they debuted in 1972 with Last Days and Time. Further personnel changes ensued; Laws and Bautista were all gone by year's end, replaced by reedman Andrew Woolfolk and guitarists Al McKay and Johnny Graham. It was then that EWF truly began to hit their stride. 1973's Head to the Sky (Cleaves' last album with the group) significantly broadened their cult following, and the 1974 follow-up, Open Our Eyes, was their first genuine hit. It marked their first collaboration with producer, arranger, and sometime songwriting collaborator Charles Stepney, who helped streamline their sound for wider acceptance; it also featured another White brother, Fred, brought in as a second drummer. The single "Mighty Mighty" became EWF's first Top Ten hit on the R&B charts, although pop radio shied away from its black-pride subtext, and the minor hit "Kalimba Story" brought Maurice White's infatuation with African sounds to the airwaves. Open Our Eyes went gold, setting the stage for the band's blockbuster breakthrough.
In 1975, EWF completed work on another movie soundtrack, this time to a music-biz drama called That's the Way of the World. Not optimistic about the film's commercial prospects, the group rushed out their soundtrack album of the same name (unlike Sweet Sweetback, they composed all the music themselves) in advance. The film flopped, but the album took off; its lead single, the love-and-encouragement anthem "Shining Star," shot to the top of both the R&B and pop charts, making Earth, Wind & Fire mainstream stars; it later won a Grammy for Best R&B Vocal Performance by a Group. The album also hit number one on both the pop and R&B charts, and went double platinum; its title track went Top Five on the R&B side, and it also contained Bailey's signature ballad in the album cut "Reasons." White used the new income to develop EWF's live show into a lavish, effects-filled extravaganza, which eventually grew to include stunts designed by magician Doug Henning. The band was also augmented by a regular horn section, the Phoenix Horns, headed by saxophonist Don Myrick. Their emerging concert experience was chronicled later that year on the double-LP set Gratitude, which became their second straight number one album and featured one side of new studio tracks. Of those, "Sing a Song" reached the pop Top Ten and the R&B Top Five, and the ballad "Can't Hide Love" and the title track were also successful.
Sadly, during the 1976 sessions for EWF's next studio album, Spirit, Charles Stepney died suddenly of a heart attack. Maurice White took over the arranging chores, but the Stepney-produced "Getaway" managed to top the R&B charts posthumously. Spirit naturally performed well on the charts, topping out at number two. In the meantime, White was taking a hand in producing other acts; in addition to working with his old boss Ramsey Lewis, he helped kick start the careers of the Emotions and Deniece Williams. 1977's All n' All was another strong effort that charted at number three and spawned the R&B smashes "Fantasy" and the chart-topping "Serpentine Fire"; meanwhile, the Emotions topped the pop charts with the White-helmed smash "Best of My Love." The following year, White founded his own label, ARC, and EWF appeared in the mostly disastrous film version of Sgt. Pepper's Lonely Hearts Club Band, turning in a fine cover of the Beatles' "Got to Get You Into My Life" that became their first Top Ten pop hit since "Sing a Song." Released before year's end, The Best of Earth, Wind & Fire, Vol. 1 produced another Top Ten hit (and R&B number one) in the newly recorded "September."
1979's I Am contained EWF's most explicit nod to disco, a smash collaboration with the Emotions called "Boogie Wonderland" that climbed into the Top Ten. The ballad "After the Love Has Gone" did even better, falling one spot short of the top. Although I Am became EWF's sixth straight multi-platinum album, there were signs that the group's explosion of creativity over the past few years was beginning to wane. 1980's Faces broke that string, after which guitarist McKay departed. While 1981's Raise brought them a Top Five hit and R&B chart-topper in "Let's Groove," an overall decline in consistency was becoming apparent. By the time EWF issued its next album, 1983's Powerlight, ARC had folded, and the Phoenix Horns had been cut loose to save money. After the lackluster Electric Universe appeared at the end of the year, White disbanded the group to simply take a break. In the meantime, Verdine White became a producer and video director, while Philip Bailey embarked on a solo career and scored a pop smash with the Phil Collins duet "Easy Lover." Collins also made frequent use of the Phoenix Horns on his '80s records, both solo and with Genesis.
Bailey reunited with the White brothers, plus Andrew Woolfolk, Ralph Johnson, and new guitarist Sheldon Reynolds, in 1987 for the album Touch the World. It was surprisingly successful, producing two R&B smashes in "Thinking of You" and the number one "System of Survival." Released in 1990, Heritage was a forced attempt to contemporize the group's sound, with guest appearances from Sly Stone and MC Hammer; its failure led to the end of the group's relationship with Columbia. They returned on Reprise with the more traditional-sounding Millennium in 1993, but were dropped when the record failed to recapture their commercial standing despite a Grammy nomination for "Sunday Morning"; tragedy struck that year when onetime horn leader Don Myrick was murdered in Los Angeles. Bailey and the White brothers returned once again in 1997 on the small Pyramid label with In the Name of Love. After 2003's The Promise, the group realigned itself with several top-shelf adult contemporary artists and released 2005's Illumination, which featured a much-publicized collaboration with smooth jazz juggernaut Kenny G. By Steve Huey

http://marvingaye.me/the-pop-life/
Category: Member Blogs
  • Marvin Gaye was shot dead by his father 10 years ago this Friday. To mark the anniversary and honor Gaye’s 26-year career, which critics have said left an indelible mark on popular music, Motown Records is kicking off a yearlong celebration featuring the reissue on compact disk of many of his works.

    Gaye, an internationally popular singer, songwriter and musician who died on April 1, 1984, a day before his 45th birthday, is remembered by many as a handsome, sultry soul balladeer. But he was also recognized as a recording-session drummer, a gifted instrumentalist, the first artist associated with the Motown label to begin producing his own albums and a performer concerned with spiritual matters. Rock singers like Mick Jagger and Rod Stewart were influenced by his singing and several of his songs, including “Sexual Healing” in 1983, were perhaps the most overtly sensual popular music recordings of their time.

    “Marvin went from ‘What’s Going On’ to ‘Here, My Dear’ to ‘Sexual Healing,’ ” said Jheryl Busby, Motown’s president and chief executive. “He was sharing so much. I think he would be perceived today as an artist who lived his life through his music. He would be perceived as an artist who has credibility.”

    First to be reissued is “Here, My Dear,” the 1978 double album that traced the dissolution of Gaye’s marriage to Anna Gordy. Considered an ambitious and brilliant concept album, it was not a big hit and has been out of print. It will be followed by his final Motown album, released in 1981, “In Our Lifetime?,” and a four-disk collection that includes “Let’s Get It On” (1973), “I Want You” (1976), “Troubleman” (1972) and a compilation of previously unreleased material. There will also be a boxed-set career retrospective and a reissue of “What’s Going On” (1971), the first album by a major black pop artist to grapple with the Vietnam War, industrial pollution and similar issues. A television special is also planned.

    ” ‘What’s Going On’ was done contrary to the conventional wisdom of the time,” said David Ritz, Gaye’s biographer. “No one thought you could do a whole album of songs that went for more than three-and-a-half minutes and had sociological, ecological and political elements. But he didn’t care at that moment in time, and it turned out great.”

    “That’s also true of ‘Here, My Dear’ and ‘In Our Lifetime?,’ which were done when Marvin was the most disturbed and serious about his art and when he didn’t feel any commercial restraints,” Mr. Ritz added. ” ‘In Our Lifetime?’ is about his struggle for his soul, this terrible inner turmoil between the fundamental Christianity of his childhood and his self-indulgence.” ‘Bolero’ on Guitar

    After a four-year recording break, the guitar virtuoso Stanley Jordan is back with a new album, “Bolero” (Arista), and a national tour that will take him to the Blue Note in Greenwich Village from Tuesday through April 10.

    “The main reason I play isn’t for my work but because music is essential, like a spiritual food,” said Mr. Jordan, who is noted for his two-handed tapping technique, which can produce an almost orchestral sound. “I got to the point that I was so caught up in obligations in my career that it started to feel like a job. I wanted to get away from the music business and remember why I really play.”

    Mr. Jordan says he kept himself occupied writing software for sequencers and other electronic musical gear and doing a computer analysis of Roget’s Thesaurus. At the end of the hiatus came “Bolero,” which incorporates his first recorded use of the acoustic guitar. The title track is a contemporary rendition of Ravel’s composition and the album also includes classics like Jimi Hendrix’s “Drifting” and Herbie Hancock’s “Chameleon,” as well as original material like “Plato’s Blues,” on which Mr. Jordan plays two guitars simultaneously. He says he wrote it as a tribute to his mother, a scholar of Shakespeare and Plato who died last year.

    “When I compare the music on this record to the last couple of albums before this, I hear more joy in the music,” he said. “Even though there was a lot of struggle I was going through, I can hear that I’ve come through it. Even though losing Mom had difficult aspects, I learned about life and I feel I’ve grown from it.” University Conference

    Want to know about the latest developments in pop music? Try New York University’s conference called “A to the K: New Directions in Popular Music.” It will be held April 16 and 17 with performers like Me’Shell NdegeOcello, Phranc, Kid Capri and Moby, as well as music critics, producers and film makers. For $5, you get the conference and a dance party. Pre-registration is required. Information: (212) 998-8648. Hip-Hop and Respect

    At the top of Vanilla Ice’s wish list: respect from the hip-hop world.

    “But that’s a hurdle,” he said from his home in Miami. “Nobody would have heard of Vanilla Ice if it wasn’t for hip-hop, my music. That’s what got me here. My first album crossed over to pop stations but that wasn’t my fault.”

    Vanilla Ice’s 1990 debut album, “To the Extreme,” was extraordinarily successful, but within hip-hop the white rapper was greeted as a fraud, a joke, a white boy trying to sound black. He describes the style of his new album, “Mind Blowin’ ” (SBK/ ERG), as “a lot harder.”

    “I’m not wanting to sell as many records as I did before because I don’t want to cross over to pop radio stations,” he said. “In the hip-hop community, if you go to pop stations, you’re a sellout.”

Remix Contest
Category: Member Blogs
Tags: Enrique Iglesias

Hello Everyone I wanted to invite you guys to listen to My Remix for Enrique Iglesias - Baialndo. its a remix contest so i will like to ask for your help and vote for me tomorrow february the 25th 

 

this is the link 

 

https://www.indabamusic.com/opportunities/enrique-iglesias-bailando-remix-contest/submissions/ca6a2040-bc7c-11e4-9e9f-0e5dcda3bfc6

Promoting your Own Music
Category: Member Blogs
Tags: Promotion Indie Marketing

8 Steps to Creating an Effective Sales Promotion Strategy for Your Music

StrategyBy Bobby Borg on Sonicbids.com 

Sales promotions are short-term incentives intended to stimulate a quick buying response in your target customer. Coupons, one-time exclusive offers, customer loyalty programs, two-for-the-price-of-one discounts, and limited-time prizes with purchase are all examples of sales promotions in the consumer world. 

While it's true you'll  have to give away your music for free to build awareness and help start a buzz, sales promotions can be applied to everything, including merchandise, studio time, music lessons, concert tickets, and more. From choosing the right type of sales promotion that fits your band, to executing your sales promotions tastefully, these eight tips will help you create a strategy that brings light to your products and services and generates healthy sales.

1. Decide on the type of sales promotion that fits your band.

Whether you choose to utilize discount ticket coupons that you allow fans to print out from your website, or you announce a "one-time exclusive offer" to purchase your music at your record release party, remember that you must always stay in sync with the desired image you’d like to project into the marketplace. An anti-capitalistic punk band must obviously use sales promotions very subtly (or not at all), or they might otherwise come across as being phony.

2. Decide on the different media you’ll use to deliver your sales promotion.

Remember that sales promotions can be delivered using internet techniques (email and your personal website), guerrilla marketing techniques (postcards and flyers you hand out to people on the street), direct marketing techniques (brochures you mail), and face-to-face selling techniques (pitches you make to music students and recording clients). The idea is to utilize a couple different mediums to ensure you thoroughly reach your intended audience.

3. Decide exactly when the sales promotion will begin and end.

Sales promotions must have a clearly defined beginning and an end. Will it be just for the night of a show, for two weeks, or for the entire holiday season? Whatever it is, make it very clear. "Urgency" is a key ingredient in sales promotions and in getting your fans to ultimately respond.  

4. Test the sales promotion on a limited number of people.

Before printing a few hundred coupons to send off to your fans, be sure to get some feedback on the words and graphics you use. The idea is to create the most effective promotion that will push your fans' buttons and get them to take action. Test out your sales promotions on a small sample audience first and make any necessary adjustments. You’ll save time and money.

5. Keep the purpose of your sales promotion clearly in mind.

Be clear on why you're holding a sales promotion and what you'd like to achieve. Is your goal to sell a specific number of units so that you can take your musical act out on the road? Or is it to raise a certain amount of money for your Kickstarter or GoFundMe campaign to produce a live concert that will benefit a charity? Whatever it is, state a very clear objective.    

6. Control the number of promotions you hold.

Remember that too much of a good thing is a bad thing. Sending out emails every other week telling people that they can record in your studio at a "one-time specially reduced price" just looks bad. Always be tasteful, truthful, and subtle.

7. Stick to the rules of the promotion.

Don’t be tempted to make an offer that's not in line with the rules of the promotion. Doing this can clearly compromise the integrity of the promotion and even your brand. Stick to your own rules! If you say the promotion ends on December 24, the promotion really needs to end on December 24.

8. Remember that "sales" is not a bad word.

Some people think of marketing as sleazy or pushy. This reaction is usually due to bad past experiences with deceptive advertisements or pushy marketing tactics. But as media critic Douglas Rushkoff said in a PBS special entitled The Persuaders, "Don’t let your marketing show." If you can focus on the creation of products and services that uphold your vision, satisfy fans by giving them what they need, and present your offers in a non-intrusive manner that make fans feel like they're part the process, people won't even know you're marketing to them. 

Unless you're just a hobbyist, at some point you have to start generating some type of income from your music. Sales promotions cause fans to take action and help increase your sales. So make no mistake: if you want to make it, you have to market.

 
bookBobby Borg is the author of Music Marketing For The DIY Musician: Creating and Executing a Plan of Attack On A Limited Budget (September 2014). Find the book on Hal Leonard's website under "Trade Books", or Amazon. Signed copies with a special offer are also available at bobbyborg.com.
 
 
 
 
 
 
the way i live
Category: Member Blogs

always inspired!

INDUSTRIAL BAND SKINNY PUPPY BILLS DOJ FOR USING ITS MUSIC AS A TORTURE DEVICE
Category: Member Blogs
Tags: music us army rock government

 

INDUSTRIAL BAND SKINNY PUPPY BILLS DOJ FOR USING ITS MUSIC AS A TORTURE DEVICE

http://www.infowars.com/industrial-band-bills-doj-for-using-its-music-as-a-torture-device/

 

spind.jpg

 

INDUSTRIAL BAND SKINNY PUPPY BILLS DOJ FOR USING ITS MUSIC AS A TORTURE DEVICE

 

“What really bothers us is that they played our songs at an intolerable volume for hours on end”

 

Adan Salazar

Infowars.com

February 6, 2014

 

Electro-industrial rock band Skinny Puppy is billing the U.S. Justice Department after finding out their tunes were used as a means of torturing detainees at the Guantanamo Bay detention facility in Cuba.

 

 

Skinny Puppy invoices DoJ / Image via Facebook

 

The band recently invoiced the DoJ for $666,000, requesting royalties be paid for unauthorized use of their music. “We thought we would invoice them properly, so we hit them with the evil numbers of $666,000,” keyboardist and founder CeVin Key told the Tampa Tribune. “We gave them a breakdown of the bill.”

Members of the Canadian experimental electro-industrial group say they’re not only aggravated their music was used without permission, but that they’re also against torture in general.

 

 

“We never supported those types of scenarios,” Key said. “Because we make unsettling music, we can see it being used in a weird way. But it doesn’t sit right with us.”

 

In an interview with the Phoenix New Times last month, Key said the news made him feel “not too good.” “We heard through a reliable grapevine that our music was being used in Guantanamo Bay prison camps to musically stun or torture people,” Key said.

 

“What really bothers us is that they played our songs at an intolerable volume for hours on end. The guards would ridicule the detainees when they defecated or urinated themselves. How can there be a torture camp there? It’s wrong. We’ve found out all about this over a year ago and it just ticked us off,” Key told the Tribune.

 

“Music torture,” as it has been dubbed, has long been a favored “non-lethal” method of the U.S. Army, employed to psychologically wear down an enemy. The playing ad nauseum of what victims consider to be “offensive” music for prolonged periods at loud, uncomfortable volumes, the Army argues, provides a safe approach to aid interrogations or break the will of opponents.

 

During the U.S.-led invasion of Panama in 1989, U.S. forces blasted Van Halen and Metallica in attempts to ferret self-appointed ruler and drug-trafficker Manuel Noriega out of asylum. Ten days later, it worked.

 

The FBI also played incessantly loud music during the siege on the Davidian compound in 1993, in attempts to frustrate and weaken members of the religious cult.

 

During the Iraq War, the U.S. military blasted modern heavy metal and rap genre tracks from groups such as Nine Inch Nails, AC/DC, Deicide, Pantera, Drowning Pool, Eminem, and Dr. Dre, as well as melodies from children’s classics like Barney and Sesame Street, to torture Iraqi prisoners in U.S. detention facilities.

 

“They can’t take it,” Sergeant Mark Hadsell with the U.S. Psychological Operations Company (Psy Ops) told the BBC in 2003. “If you play it for 24 hours, your brain and body functions start to slide, your train of thought slows down and your will is broken. That’s when we come in and talk to them.”

 

NIN frontman Trent Reznor publicly denounced that his music was used in such a manner. “It’s difficult for me to imagine anything more profoundly insulting, demeaning and enraging than discovering music you’ve put your heart and soul into creating has been used for purposes of torture,” the multi-talented industrial musician and songwriter said.

 

However, some artists aren’t offended to learn their music is used this way. Metallica singer James Hetfield, for instance, said he’s actually “glad” to have been part of the torture process. “We’ve been punishing our parents, our wives, our loved ones with this music for ever. Why should the Iraqis be any different?” the singer said. “If the Iraqis aren’t used to freedom, then I’m glad to be part of their exposure.”

 

Human Rights watchdog Amnesty International has been critical of the unorthodox procedure, stating the sleep deprivation produced by such intense cycles of heavy audio is in itself “cruel, inhuman and degrading.” According to the BBC, at least one Iraqi prisoner complained of being kept awake for four days by loud music. “This is an issue that seriously concerns us. If there is a prolonged period of sleep deprivation, it could well be considered torture,” a spokeswoman with the group told the BBC.

 

As for Skinny Puppy, they’ve recently embarked on a new tour following up on the release of their 2013 record “Weapon,” an album “conceptually inspired” by their dispute with the DoJ.

 

source = http://www.infowars.com/industrial-band-bills-doj-for-using-its-music-as-a-torture-device/

 

 

13 Topics That Musicians Can Easily Blog About
Category: Member Blogs
Tags: Topics Musicians Blog About

There are plenty of reasons for musicians to blog on a regular basis. First and foremost, blogging is one of the best ways to drive people to your website. Every time you create a new blog post, it’s an excuse for you to invite fans to check out your website.

Blogging also shows that you are active in your career. If a potential fan visits your site, enjoys your music, and then sees that you have months of regular blogging under your belt, they might click on a few posts to get a better sense of your personality. If they really like what they read, you might have a fan for life.

Blogging is a great way for your fans to get to know you better. Reading about you and your art adds context to the music, and that’s how they’ll come to value it more. They might be fans of your music already, but if they become fans of you on top of that, then the music gains an increased perceived value. Our CEO David Dufresne likes to make the comparison of having your music in a gallery versus at IKEA.

Blogging is great for SEO

Improving your SEO (search engine optimization) is another great reason to blog. Simply put, the more you blog, the more Google can find you, and the higher in the search results you will potentially appear based on the keywords, titles and content of your blog posts.

So what can you blog about? Here are 13 topics that musicians can easily blog about:

13 Topics Musicians Can Easily Blog About

Not sure what to blog about? Here’s a quick brainstorm of 13 things you can blog about that might help trigger even more ideas:

  1. Preview an upcoming show

  2. Review a recent show

  3. Stories from the road

  4. Behind the scenes at rehearsals

  5. Songwriting process

  6. Making of your album

  7. Crowdfunding campaign

  8. New gear

  9. Other great bands/musicians in your local scene/genre

  10. Music that’s inspiring you at the moment

  11. Your crazy pet(s)

  12. Passion outside of music (maybe you’re a big sci-fi geek, or have a favorite sports team)

  13. An issue you care deeply about outside of music (the environment, human rights, etc.)

Note: If you do decide to start blogging, it’s really important to keep it up to date. Just as an updated blog can show that you’re active in your career, if your last post is from a year ago, it can create a negative impression. Focus on blogging regularly, rather than trying to make each post perfect.

Photos & Videos

Some of you might be thinking “Well, that’s sounds great, but I’m not good at writing blog posts!”. That’s ok, your blog posts can contain mostly photos, or can even be videos.

Whichever method you are most comfortable communicating with, go for it. The important thing is to post new content on your site on a regular basis where fans can gain some insight into your career and who you are as an artist.

 

 

 

http://www.musicthinktank.com/blog/13-topics-that-musicians-can-easily-blog-about.html   

Country Music Listeners
Category: Member Blogs
Tags: Country Music Listeners Trends

New Statistics About Country Music Fans Revealed at Billboard Country Summit

New Statistics About Country Music Fans Revealed at Billboard Country Summit
New Statistics About Country Music Fans Revealed at Billboard Country Summit

Country fans have generally been thought to be rural, less educated, less technically savvy and a lower earning group of people than the general public. But new research from MRI and independent research by the CMA indicates that the new demographic for country music fans puts them on average or above with most Americans, according to CMA market research director Greg Fuson.

"The country consumer and who they are may not be who you think they are," Fuson told attendees at the Billboard Country Music Summit in Nashville. "The data from MRI surveyed 25,000 U.S. residents and was compiled into a 112-page document. The CMA did proprietary research, including interviewing people who attend our annual Music Fest in Nashville, where we talked to 3,600 people last year."

Statistics for the average country fan show that they are 45 years old with an income of $75,392. Seventy-five percent of country fans own a home (valued at $228,586), which is higher than the national average. Thirty-two percent are parents with 2.3 children and their net worth is $316,337, which is just under the national average.

The survey shows that 42 percent of the population is a country music fan, which breaks down to 95 million country music fans in the United States, a number that Fuson said gives the country music community the opportunity to open a lot of doors with sponsorships and other partnerships.

A further breakdown shows that 48 percent of those who like country music are male and 52 percent are female. The age brackets are interesting, as 13 percent are in the 18-24 age range; 17 percent, 25-34; 18 percent, 35-44; 20 percent, 45-54; and 16 percent each in the 44-64 and 65-plus. Twenty-six percent are singles who have never married.

As for education, 24 percent have college degrees and 30 percent have some college. Post graduates total eight percent, and 34 percent are high school grads.

One in two people with an income of $100,000-plus are country fans and one in three people who have professional or managerial jobs are country fans. One in four of the people who live in the top five DMA's are country fans. Again, Fuson pointed out that this opens a lot of doors because there is a whole new market where country fans live.

"Country music fans are also passionate about their family," Fuson said. "We found that 90 percent spend time with their family, and 81 percent have dinner with them every night compared to a national average of 43 percent. Seventy-nine percent of the country fans wish they had more time to spend with their families."

The surveys also found that country fans are more likely than the U.S. population to go dancing, go out on the town with friends, entertain at home and dine out. In fact, Fuson said, country fans spent $16 billion dining out with friends and family last year.

Country fans are also more tech-savvy than had been previously thought. Two in four of the people buying new technology are country fans, while four in 10 people who are asked for advice on technology are country fans. Seventy-six percent of Music Fest attendees last year were engaged in some kind of social media, including Facebook and Twitter, with 55 percent engaging with Facebook daily. That is up 30 percent from 2008. Another 23 percent are active on Twitter, up 40 percent from 2009.

The CMA introduced a CMA Music Fest app two weeks ago, and in that time period has had 11,336 unique visitors, 9,500 from iPhones and the rest from Android.

When it comes to finances, 43 percent of active investors say they are country music fans, who are more likely to use a financial planner to help with their future plans. One in four people who say they are country music fans like to take risks for a chance at a high return.

In the automotive realm, not so many fans drive pickup trucks down back roads anymore, with 41 percent saying they research and compare motor vehicles before making a purchase. Many of those have done that research online. Forty-three percent of people who purchased a recent vehicle that cost more than $30,000 were country music fans. Country fans also like accessories, with the most popular being ONSTAR, GPS, Bluetooth or other hand free devices -- and heated/cooled seats.

In the telecommunication world, country fans spend $7.6 million on cell phone service for homes that have 2.3 cell phones. One in four people who have cell phones with no landlines are country music fans. The country music fan is more likely to download a ringtone and a song, use texting to vote in a contest, watch a video clip and visit a website for entertainment information.

In the realm of vacations, country music fans spent $46 billion on domestic travel last year; another 18 percent took an international trip. Vacations included visits to top-rated golf resorts, snow skiing, and health spas and retreats.

"To recap, the country music fan looks like the average U.S. population, but the best thing to know is they come in all ages, income brackets and markets," Fuson said. "We need to engage them all. The country music fan has spending power; we have a vast opportunity to reach them in so many ways that fit into their lifestyle."

Source:http://www.billboard.com/biz/articles/country/1177554/new-statistics-about-country-music-fans-revealed-at-billboard-country

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