Elements of a Good Band Website

Okay, so here’s a rant that I’ve had boil up in my head for the better part of a year or two, and finally, well, I’m here.

If I made a band’s Web site, I would have, at a minimum:

  1. Lyrics to the songs. This is so unbelievably important, and it’s so unfuckinglybelieveably frustrating that more bands don’t do it. Let me give you a hint, bands: hiding your lyrics from the Web will just have some fanboy put them out there for the world to see, and the people who will get the traffic [and the ad revenue] are the shady jerks with the “Congratulations, you have won a free Nintendo Wii!” ad that screams at you the moment the page loads. You want that traffic. Why? You want them to know who you are.
  2. Tour date listings. Essential. It’s a pain to update them, I know. There’s many apps out there for that, but I would choose Yahoo!’s Upcoming if I were you. Upcoming is searchable, scriptable, extensible, and also pretty darn easy to update. Then there are folks like me who use All Crazy Style to mash up Upcoming data with Last.FM plays to find out when bands I like are playing near me. Real simple: you load the data in Upcoming, and you can spit it out on your site. You can update Upcoming from anywhere.
  3. Links to listen to your stuff. Don’t fire music at me when I load your site. I know you’re a musician, but the Web is largely about text. Let me choose to listen, and give me that option, but that auto-load bullshit is for MySpace. [And don't get me wrong, MySpace has value.]
  4. Links to buy your stuff. These need to be everywhere: main site, discography pages, album pages, individual song pages. If you create a page per song, that individual song page should have a link of a place to buy that song—iTunes, eMusic, what have you. You want to cater to the fan coming in to Google some obscure lyric they heard on a commercial or in a Zach Braff vehicle—they’re gonna buy that shit if you give them half a chance.

The way to think about it is this: most people aren’t going to load up your main Web site and have that be their entry point. They just aren’t. Google is going to send them to you. So, think about a song you really love, Mr. Band Guy, and Google that. So, if you love Led Zeppelin’s “Stairway to Heaven”, you get Last.FM’s page for the song … which has … BINGO … iTunes link. Last has done the heavy lifting for you here. But they’re gonna do that for Page and Plant … chances are they won’t for your garage band.

Some thoughts: if you get a song picked up for Grey’s Anatomy or Kyle XY or whatever, you want to 1) have that fact listed on a page about that song, and not just in a news feed/blog 2) lyrics of the song on that page, so the Googlers who are bad with names but good with ears for mumbled lyrics can find it and 3) a quick, fast way for them to buy that song and 4) relevant links on that page to find out more about you. The scenario is this: “I heard this killer song on Scrubs last night. Let me find it on Google … ooooh, there it is. 99 cents? Sure, I love that song. Hmm … who is this guy? Let me read more about him …”

It’s hell getting found in the music business. It’s hell getting found in the blogging world, too—which is why this entry is named like it is. Chances are that, if you’re not one of my regular readers, you got here from the Goog, too … so you should be nodding your head.

Okay, okay, okay, examples.

Bad: M. Ward: LOUD MUSIC, can’t find shit. Damn shame, because I love M. Ward.

Poor: Shearwater, which has a lyrics page for their stuff, but … in PDF. I know, you want art. I want to cut and paste the lyrics into iTunes. Don’t make me work, dammit.

Okay: The Mountain Goats, who have lyrics for The Sunset Tree available, but that page does not get you anywhere on that site. There isn’t a link to be found—not to the rest of the site, not to a place to buy the song you Googled, nothing. Kudos for posting the links, though.

Good: Andy Osenga, and not just because he uses some of my photos on the site. But he’s still not to great, because lyrics … Andy Osenga lyrics on Google don’t get you anywhere near him. [Or, for that matter, near andrewosenga.net, which is a problem Chris Hubbs and I should fix...]

Great: well, hell, no one really comes to mind. Leave suggestions for good band sites in the comments.

Folks, I know … this shit is hard. But it makes you money, so you better work at it.

(Re-)Presentation of Self

I was reading an invigorating [to me] interview with Adam Greenfield about his upcoming book, Everyware : The Dawning Age of Ubiquitous Computing, and I ran across two consecutive question-and-answer sets that made me really think about the danger of what we’re all doing here on the Internet:

B&A: Then let’s talk about opting out. When we are in control, we have the option to hide, to consider which face to put forward, even to manipulate. Will we still have this ability? And if not, are people ready to lose this control?

AG: I’m not so sure we will retain much of this ability, which in sociology is generally referred to as “presentation of the self.” With so much information about our past and current activities available to be searched, cross-referenced, and made available in real time, when we meet someone for the first time, we are likely going to lose control over the image we present to them.

Imagine what this will look like in practice. Whether you are interviewing a prospective new hire, meeting a potential romantic interest for the first time, or simply sitting next to someone on a plane, you no longer have to take a person at face value. It’s easy to see that this can occasionally be very useful, if you happen to be on the empowered end of the transaction. The trouble is that this ambient intelligence—facilitated by a ubiquitous deployment of informatic systems—cuts both ways.

And with the ability to control how others see us, I believe that we lose also a certain protective and beneficial hypocrisy that allows us to function as a society. We all, without exception, have habits, behaviors, experiences that we don’t necessarily want to share with the wider world. When you evert these experiences, and archive them, and tag them with metadata, and make them persistently accessible, it gets very difficult indeed for anyone to maintain the unimpeachable public façade our current mores require of us.

This is something that people who consider ubiquitous computing from a purely instrumental or technical perspective frequently miss: it’s not just a change in the way we use computers, it’s an alteration in some of the very foundations of the self as it’s been constructed in the West for the last few centuries. We’re in for a wild ride.

B&A: You know that when we’re doing something “on the record,” we tend to act and speak a bit differently, even in contrived ways at times. So how will this awareness of everyware affect how we present ourselves?

AG: Well, I think you’ve hit the nail on the head. Anyone who’s had, for one reason or another, to get used to being in front of cameras or microphones with any degree of regularity knows how hard it is to be “natural” when confronted with the prospect of being recorded, or transmitted to a large audience, or both.

When artifacts like cameras and microphones (to say nothing of sensors capable of recording one’s position and location, and verifying one’s identity via unique biometric signatures like retinal patterns or even gait period) are embedded in the objects and surfaces of everyday life, we all potentially become subject to the most intense kind of mediation. Barring some regulatory or other intervention, we’ll be forced to assume that we’re at least potentially “on,” just about all the time. And the sheer ubiquity of output modes offered by the robust deployment of everyware means that whatever once goes into the network can come out again just about anywhere.

Among other complications, this strikes me as being very likely to give rise to many of what MIT sociology professor Gary T. Marx calls “border crossings”: irruptions of personal information at an unexpected place or a time, in an unexpected context. Again, I don’t think we’re even remotely prepared for what this is going to do to social cohesion.

[Emphasis mine on both parts.]

As I had folks over this weekend, I was interested, as usual, to hear Jeff and Adriene talk about marriage. Adriene related a hilarious anecdote from their second week of marriage regarding how Jeff likes his sandwiches made. It’s such a trivial thing, but … it’s important to us.

I sometimes write about the secrets that we keep from others and even ourselves. I’ve heard many folks—Jeff and Adriene, Stephen and Misty, Mark and Karyn—talk about how marriage is a refining process in their lives. The quote that sticks in my mind from Jeff this weekend is this: “It’s like you go through life with blinders on, and after that first year of marriage, you realize, ‘Oh man, I’m such a horrible person!‘ ”

One of the reason that people so judiciously defend privacy in this age of ubiquitous information is that there’s the risk of being burned. Having an illicit affair? You could be outed. Flirting with some chippie online? Hell, the guy you’re flirting with could be your son! [Try explaining that one to your husband.] We crave privacy because we’re afraid of our true self being rejected.

It’s obvious to me, though, that we want people to be real. When it’s clear in our society that people are being phony, they lose face; many folks believed Rafael Palmeiro’s stern statements about having never used steroids until he was caught by a drug test. Some people always felt Kobe Bryant was putting on a facade, and then he was busted for sexual misconduct. Alex Rodriguez was raked over the coals for his “will he, won’t he” approach to the World Baseball Classic until news came out that his mother wanted to play for the Dominican and his wife wanted him to play for the U.S. [Hey, as much as I'm not a fan of how A-Rod handles himself, that's a shitty position to be in; either way, you're going to make one of the women in your life unhappy.]

I think Greenfield has it right: it’s all about the sociological phenomenon of presentation of self. Some people have found this out firsthand: Mark Pilgrim got fired for writing about his addictions, and, yes, I’d be remiss if I didn’t mention Heather Armstrong’s firing creating the term “Dooced”. Just as we’re all shocked, shocked, SHOCKED! to find out that we’ve been living next to a serial killer for fourteen years, or maybe even going to church with him, well … yeah. These things happen. Sometimes that guy you thought was a great friend turns out to be a … not-so-great guy.

Some people mourn this loss of privacy. I’m not sure that I do—even as I cover up the things that I want to cover up and keep hidden. Hypocritical, sure, but the answer is that I’m willing to be known as a hypocrite primarily because we could all easily be found out for being one!

I think that the fundamental tension in my writing here is being torn between a desire to flay myself open and the understanding of social norms that prevent me from doing so. Chew on that as you will…

How and Why I Use Last.FM

At the behest of David Thompson, I’m writing this entry on how and why I use Last.FM.

How I Use Last.FM

The how I use it comes down to a few mechanical things:

  1. I use the various iTunes plugins—the Windows version on my office PC, and the Mac version at home.
  2. I seed Last.FM with music almost 24/7 at the office.
  3. I use the Last.FM Mac player to listen to music at home. [I fired it up just as I started this entry, in fact. I'm listening to the Similar Artists radio for Sufjan Stevens, just for my own amusement.]

How I Use Last.FM’s iTunes Plugins

This one is pretty straight forward: just grab the plugin and install it. Both are dead simple to use, and only require an account—which is free—to get set up. As you can see from my user page, I’ve been an Last.FM user since Nov 2004—actually, I was using Audioscrobbler for most of that time. Only lately have I come around to Last.FM, and really only since I got my Mac at home. [More on that later.]

How I Seed Last.FM with Data

I have the luxury of having an office machine on a nice, stable network at the office that I can run 24/7. [There is a business case for me running it 24/7; from time to time, I do analysis runs for co-workers on my machine during off-peak hours. The rest of the time, I run BOINC.] As long as I have network connectivity and power—after power instability fried my last hard drive and impaired me, I spent the money to buy my own UPS; it’s mine and not corporate’s, but it’s saved me lots of frustration and saved me from losing time at work redoing stuff, so that’s a positive!—and iTunes doesn’t get buggy on me and crash, I’m seeding data.

I use a variety of iTunes playlists; ever since Dougal Campbell shared his iTunes playlist sets in a comment on my Weblog, I’ve adapted his suggestions to my own needs. I’ll probably post that list tomorrow; I tweaked it a bit more today in an effort to have it be the sole source for my iPod. Suffice it to say that, 95% of the time during non-business hours, it’s on one of two playlists: Radio Airtime [the aforementioned playlist], or my Recently Added playlist that’s a component of the Radio Airtime family. [Tonight, I left it on Recently Added; I'll probably switch back to Radio Airtime for the Christmas weekend. That, or it'll be on my Christmas Music playlist. :) ]

How I Use the Last.FM Player

Given that I seed data regularly and that trying to seed from work and home triggers Last.FM’s spam protection, I let myself traverse the musical neighborhoods of artists I like while I’m at home, using the Last.FM Player. I am in a re-evalution phase with how I execute my never-ending Great CD Preservation Project at home thanks to my acquisition of a Mac mini.

Using the Artist Neighborhood is a fun option, as many artists have signed up for free streaming of their msic with Last.FM. It really is like having your own radio station—which, of course, you actually do with Last.FM as well. [Interested in hearing what I listen to? Check out gfmorris radio.] I end up getting to listen to artists that I’ve heard folks talk about, and sometimes I find some hidden gems.

Why I Use Last.FM

I use Last.FM in three ways:

  1. Evaluating friends’ musical tastes.
  2. Finding out about new artists.
  3. Ego.

Evaluating Friends’ Musical Tastes

As I’m sure I’ve mentioned many times, I run The Rumor Forum @ [rocksmyfaceoff.net], the message board for fans of Caedmon’s Call, Derek Webb, and the artist community that largely surrounds them. We have a Music Board, and the discussions there can get pretty … intense. After a couple of years there, I slowly came to the realization that there were just some people with whom I agreed musically, and others who I just didn’t. I’m of the opinion that I’d rather just like to see whose tastes agree with mine, so I know to trust their opinion more. [Yes, I am actually claiming an axiom I normally mock: "The level of a man's intelligence is the degree to which he agrees with me." That said, I'm just looking for music I like.]

That was actually my inspiration for firing up Audioscrobbler in the first place, thanks to the urgings of Andrew Thomas, to whom I am indebted. [He helped me overcome initial resistance to outsourcing my music metadata to someone else. I was dead wrong about the idea.] After some time, I came to find that two of my friends—Jeff Holland and Katey Orr—were my two strongest peers in terms of musical taste. Now, when either of them talks about music, I listen. Many of the .net folks are on Last.FM; we have our own group.

Finding New Artists

I’m forever finding new artists because of Last.FM. Two artists I now really dig—Hem and Sufjan Stevens—were largely influenced by Last.FM. Because of Audioscrobbler/Last.FM, I had reason to believe that I’d like what I’d be buying, and I was right. In listening extensively to both, I’m buttressing the response of my musical neighbors and concurrently moving into the neighborhoods of those who share my interests in these artists. As the old line goes from Star Trek, “Your uniqueness will be added to our own.”

Last.FM portrays itself as fomenting the “social music revolution”. In creating tools to help music fans find each other simply by doing what they love to do most—listen to and write about music—they’ve succeeded.

Ego

No doubt, sharing my musical taste on Last.FM is an ego-driven thing. I’m okay with admitting that to you. But this is one of those situations where my own self-interests actually help the community—it’s a well-crafted system.

So, there you have it: how and why I use Last.FM. Do you use it? Why or why not? How do you use it? Have I made you think about using it differently? How do you think I could use it differently? [Maybe you think I should journal stuff there.]