"We can’t name names, but we’ve seen artists either totally ignore or totally embrace best practices," wrote Lamberti on the The difference in revenue is ridiculous and we have hard data to back it up." A
The same campaign brought in 200,000 Jimmy Eat World Twitter followers in just 30 days (now 350,000), and between tweets and re-tweets the word spread quickly that fans loved the new live release. “It’s as if you were in a record store looking at the new Jimmy Eat World release and 1000 people standing next to you told you how good it was,” Martin says.
Does this mean that Twitter is the new holy grail? No, says Rogers, "This isn’t about “the next big thing”. It’s about how little we know about how marketing will work and how transactions (not just purchases, but any kind of value exchange) will be earned (and I do mean earned) in the future."
"People are powerful marketers," Rogers' continues. "But not only are the drivers for traffic evolving, the tools we use to measure the attention economy are going through a really interesting growth phase. It’s hard not to be excited by seeing some of these tools work in ways that are more than just novel, they’re shuffling meaningful amounts of attention around and making real money for artists."
In all probability, which strategies work will continue to evolve rapidly.They will also vary widely from artist to artist. Van Morrision fans may be far less excited by Twitter than Jimmy Eat World's, and an extremely visual artist may be better served by viral video, for example. Nor will any one source of buzz and traffic ever be enough, as radio did in the '60's and 70's. But as Rogers' says these are "exciting times indeed."
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