#earning platform for creators

[truefanz]

How Does Influencer Marketing Boost Brand Awareness?

Know more: https://www.truefanz.com/post/how-does-influencer-marketing-boost-brand-awareness

[fanzlab]

INFORMATION FOR CREATORS:

HOME PAGE:

[xhibitur]

🚀 The Speedy Route to Earning Money from Creative Content Sharing 🚀

Hey there, Tumblr fam! 💫

Are you a creative soul eager to turn your passions into a paycheck? Well, you're in the right place because we're about to dive into how quickly you can start earning money from sharing your creative content. Buckle up; it's going to be a thrilling ride! 🚀

1. Content Creation Platforms

The digital world is your canvas, and content creation platforms are your brushes. Here's a sneak peek at some of the speediest routes to monetization:

📽️ YouTube: Imagine getting paid to do what you love! The YouTube Partner Program lets you earn through ads, channel memberships, and merchandise. Just hit 1,000 subscribers and 4,000 watch hours within a year to apply for monetization.

📸 Instagram: Love snapping pics? With sponsored posts, affiliate marketing, and selling your creations, Instagram can be your personal piggy bank.

🕺 TikTok: Dancing, singing, or making people laugh? TikTok's Creator Fund rewards creators based on video performance. Also, you can score big with brand collaborations and product promotions.

📝 Blogging: Are words your superpower? Blogging platforms like Tumblr, WordPress, and Blogger offer monetization through ads, affiliate marketing, sponsored content, and the sale of digital goodies.

2. Freelancing

Ready to put your skills to work? Freelancing is the way to go:

💼 Upwork, Freelancer, Fiverr: These platforms connect freelancers (that's you!) with clients in need of all sorts of talents. Bid on projects, land gigs, and start earning in no time.

3. Digital Product Sales

Have digital treasures to share? Platforms like Gumroad and Etsy make it a breeze to sell digital products like eBooks, printables, or online courses. Cha-ching! 💰

4. Affiliate Marketing

You love a product, and they pay you for spreading the word! Sign up for affiliate programs that match your interests, incorporate affiliate links into your content, and start earning when your referrals make a purchase.

5. Crowdfunding and Patronage

If you've got a loyal fanbase, Patreon and Kickstarter are your trusty sidekicks. Patreon lets your fans pledge a monthly sum in exchange for exclusive content or perks. Kickstarter can fund your creative dreams in a flash with the support of backers.

6. Networking and Collaboration

Your creative network is your net worth:

🤝 Attend virtual events, join forums, and connect with fellow creators. Collaborations can range from joint projects to sponsored content, boosting your income and expanding your horizons.

Conclusion

While building a steady income from creative content sharing may take time, there's no shortage of opportunities to start earning quickly. Just remember: consistency, engagement, and a dash of patience are key ingredients for long-term success.

So, what are you waiting for? Unleash your creativity, share it with the world, and watch the magic happen! 🌟💵

[richiehugs]

This Romanian cub has got problems. Working part-time as a security guard, he obviously doesn't earn enough money, so he started off a side project on CB. The only problem was his shape.

He has a nice, round fat belly, and weighing around 100 kilos, he is feeling the pressure to hit the gym and grow some muscles. He has a big appetite, and his literal dream is to find a sugarmommy or sugardaddy to soothe his seemingly insatiable appetite.

As he started noticing that quite a few of his viewers don't mind his belly, let alone support paying him extra for a nice, filling meal, he decided to start going with the flow and letting his belly grow.

He is a really nice guy, a good chat, and a hungry mouth.

Everything is shared with consent of the creator. I do not own or claim any right for the footage.

CB/OF: passionalmax

[empresa-journal]

Can GIFTO (GFT) make money from Gifting?

Gifto (GFT) is a decentralized finance solution built to enable blockchain gifting. For example, Gifto allows users to generate nonfungible tokens (NFTs), e-cards, profile pictures (PFPs), generative art, and red envelopes they can give as gifts. Users can create NFTs, sell NFTs, PFPs, and generative art in the Gifto Store, and receive Gifto (GFT) rewards. To elaborate, a profile picture (PFP)…

[lady-raziel]

idk man i know times are hard but i can't help but feel that watcher putting all their eggs in the basket that is their own streaming service is a bad call. like sure i totally get wanting a platform where you have full control both creatively and financially but i feel they might be misjudging how much loyalty non-hardcore fans might have for what they're creating. in every internet fandom there's a subsection of people willing to pay with actual money to support the creators they enjoy, and that's what services like patreon are for. but to expect that casual viewers will sign up and pay a monthly fee to get access to just watcher content when a large portion of them were likely just watching the content because it was free and accessible on youtube assumes that someone who isn't a diehard fan won't just go "oh well" and find something else on youtube that IS still free? that seems like a miscalculation to me. the massive fanbases online content creators have may literally be only possible because the content is available to anyone-- it seems foolish to assume that every single one of those fans is going to stick around once you try to upsell them.

i hope this new venture goes well for the watcher crew. I really do. but i also know that a lot of brands and startups that bank on the loyalty they earned when their product was free or low cost and expect that to sustain them while they try to do something that historically has not gone well for the vast majority of businesses. at best, they'll have halved their fanbase by alienating those who can't or don't want to pay and made it much more difficult for remaining fans to create fandom products like memes or gifs that promote their shows on social media. at worst, they'll discover in the near future the independent streaming service model is unsustainable with only the fans they have left and by that point they'll have already deleted themselves from youtube and made it impossible to come back to the level of success they had before. any attempt to return to youtube will be an admission of a critical miscalculation and i doubt many remaining fans will tolerate the back and forth. they'll have crippled their credibility, relevancy, and fanbase loyalty over a very short period of time-- and i don't know if it would even be possible to come back and still be beloved after all that.

worst of all-- if the watcher streaming service crashes and burns after they've already removed all their content from youtube, all the watcher shows are essentially going to become lost media, only accessible via reuploaders willing to risk a copy strike or if you know someone who has a copy downloaded. given how genuinely good the watcher content is in the sea of lackluster youtube mush, that really seems like a damn shame.

i hope the watcher team sees how everyone is responding and decides to course correct before it's too late and get away with only the hit to their reputation that they've already taken by announcing this, instead of pushing forward on a path that might lose them everything instead. nothing i've said here is with any hate intended toward anyone involved or those who are excited about the new service, but this just seems like a really ill-advised decision to me.

[hellofansofy]

Creators! Wanna get exclusive perks from Fansofy?1. Login into your account and Register through an email address and create a username & password2. Fill in your details and submit!3. After that, fill in your details and submit!

[thebibliosphere]

I’ve talked about this with some friends, but the whole Spotify/audiobook drama legitimately makes me want to cry.

If you are unaware, earlier in the month, Spotify, who now owns FindawayVoices -- an audiobook distributor and one of the only major rivals to Audible on the creator end -- announced that their ToS would be updating.

The ToS updates were horrendous and basically allowed Spotify to make royalty-free translations of our works, as well as create derivatives, and basically just fuck us all over and feed all of our hard work into AI.

The backlash was so swift that less than 12 hours later, Spotify sent out a panicked “Sorry our wording wasn’t clear!” email with a promised update. Less than 24 hours later they issued a statement walking back the changes to the ToS, and have since been pulling a “we never said that, you misread our unclear verbiage” when in reality the verbiage was very clear (Not Spotify trying to pull a “gaslight gatekeep girl boss ✌️”), they just didn't expect to get dragged out into the metaphorical court of social media and get publicly annihilated with authors withdrawing their work from the platform and customers canceling their subscriptions left right and center.

Anyway, the walk back was acceptable enough for me to not feel the need to remove my work entirely from FindAway -- which is good because I would have lost access to the global audiobook market if I had, not to mention global library access. Which, again, is good. A significant chunk of my audiobook earnings comes from Libby, and I’d honestly be lost without that $20 every month. (we get paid quarterly but it breaks out to about $20 a month.)

What the walk back was not good enough for, was for me to trust them to keep streaming Hunger Pangs on their Spotify streaming service. Because quite frankly, I don't trust them not to pull some more ToS bullshit, and this is the part making me want to cry.

Why? Because I’m going through my royalty reports, and for the single month of December 2023 alone, Hunger Pangs was streamed so often it earned $400.

In one month.

That's more than I earn from Audible in a year.

That's more than I earn from kobo, b&n, libby, libro.fm and several author distributors combined in a year.

I’m going to scream.

[cleolinda]

I’ve read a few of the umpteen thousand upset comments about the paid Watcher service, and I’ve read comments angry about the upset comments. There’s one thing I want to point out, and it’s that this isn’t, or shouldn’t be, “You’re saying people don’t deserve to earn money for their work.”

The Watcher guys do deserve to earn money. I already give them money. I give them $5 a month on Patreon, not because I think they do or don’t give me $5 worth of media, but because I want to support them. I canceled Netflix for pissing me off with its price hike/ad tier, but I give Watcher Entertainment money.

They’re saying now that the Patreon will be solely about the podcasts, and they understand if people leave. I’m perfectly happy to switch the support I can afford to the streaming service. With the early adopter 30% discount, I’d actually save money. In fact, I tried to subscribe, but the site didn’t work.

Watcher wanting to profit from their shows isn’t the problem. It’s that they’re now discovering that their fanbase is young and broke in a terrible economy, judging by tens of thousands of comments on multiple platforms. I can throw them $5/month, so I do. But the Patreon only has (checks notes) 5874 paying followers, and there’s a reason for that. $60/year upfront would not be “accessible.” Patreon is literally patronage from the people who can afford it.

If the guys had said up front, “ONLY new shows and episodes will be exclusive to the service,” I think we’d be having a different conversation right now. But at first they did say, “We’re pulling all our content from YouTube,” to the point where Variety had to issue an update. Like, that’s in print and I’m pretty sure it was on video. Now they’ve backtracked to ONLY new etc.—but most people haven’t heard, and they feel crushed. And the trust is probably gone regardless.

So now four years of back catalogue will stay public. And now, you’re paying $6.99 a month for one episode, maybe two, of something a week, and now, not an exclusive back catalogue. I would pay for Watcher shows before I’d pay for anyone else, but I just don’t think the company is big enough yet for a SVOD at that price. They’re not Dropout size. They needed to build more programming and get a higher follower count first, or at the very least, charge less.

The international price/exchange rate situation is a nightmare and I don’t know what it is they’re not doing to make it… not… be like that.

I don’t know what they should have done instead of a full streaming service, but surely there were alternatives? I’ve seen comments from people suggesting they GET a Patreon. Lean on that more! Do the shows exclusive for a month and then let them roll onto YouTube! I don’t know! Anything but One More Fucking Streaming Service, which enraged me, and I was willing to move my support to it!

And I shouldn’t say this, but I will. In the “Goodbye YouTube” video the guys posted, they say that setting up the streaming service has allowed Steven to do a remake of Worth It where he and his cohosts travel the world and eat expensive food. This is the first new show they announce. Not “We have always been committed to diversity and we’re now able to bring on new creator(s) to expand our programming.” No, a redo of an old show that by definition has got to be expensive. Commenters are saying they can’t pay for the streaming service because they can’t make ends meet in this economy. The optics are terrible. I genuinely question what the thought process even was here.

I love the guys and I still watch their shows. I want to see Watcher succeed. I started watching Buzzfeed Unsolved in 2018 while recovering from surgery—as with a lot of people, their shows got me through a tough time. I’m as attached as anyone. If I can continue to afford monthly support—this is not a certainty—I’ll give it to them. I’m not a ~hater who doesn’t want Watcher to make money. But I am absolutely BAFFLED by every single decision here. I want them to figure out how to turn this around and go in a better direction, because right now, this ain’t it.

[truefanz]

Know more: https://www.truefanz.com/post/creator-spotlight-connect-with-american-kat-on-truefanz

[probablyasocialecologist]

Gyan Abhishek is standing in front of a giant touch screen, like Jim Cramer on Mad Money or an ESPN talking head analyzing a football play. He’s flicking through a Facebook feed of viral, AI-generated images. “The post you are seeing now is of a poor man that is being used to generate revenue,” he says in Hindi, pointing with his pen to an image of a skeletal elderly man hunched over being eaten by hundreds of bugs. “The Indian audience is very emotional. After seeing photos like this, they Like, Comment and share them. So you too should create a page like this, upload photos and make money through Performance bonus.”  He scrolls through the page, titled “Anita Kumari,” which has 112,000 followers and almost exclusively posts images of emaciated, AI-generated people, natural disasters, and starving children. He pauses on another image of a man being eaten by bugs. “They are getting so many likes,” he says. “They got 700 likes within 2-4 hours. They must have earned $100 from just this one photo. Facebook now pays you $100 for 1,000 likes … you must be wondering where you can get these images from. Don’t worry. I’ll show you how to create images with the help of AI.”

[...]

Abhishek has 115,000 YouTube subscribers, dozens of instructional videos, and is part of a community of influencers selling classes and making YouTube content about how to go viral on Facebook with AI-generated images and other types of spam. These influencers act much like financial influencers in the United States, teaching other people how to supposedly spin up a side hustle in order to make money by going viral on Facebook and other platforms. Part of the business model for these influencers is, of course, the fact that they are themselves making money by collecting ad revenue from YouTube and by selling courses and AI prompts on YouTube, WhatsApp and Telegram. Many of these influencers go on each others’ podcasts to discuss strategies, algorithm changes, and loopholes. I have found hundreds of videos about this, many of which have hundreds of thousands or millions of views.   But the videos make clear that Facebook’s AI spam problem is one that is powered and funded primarily by Facebook itself, and that most of the bizarre images we have seen over the last year are coming from Microsoft’s AI Image Creator, which is called “Bing Image Creator” in instructional videos.

[...]

The most popular way to make money spamming Facebook is by being paid directly by Facebook to do so via its Creator Bonus Program, which pays people who post viral content. This means that the viral “shrimp Jesus” AI and many of the bizarre things that have become a hallmark of Zombie Facebook have become popular because Meta is directly incentivizing people to post this content.

6 August 2024

[tomatomagica]

Being self-employed content creators, my wife Charley (@charmarlowe) and i have been struggling with bills, food and medicine, as a large portion of our hard-earned income gets taken away in order to pay off Charley's credit cards, due to a lifetime of unfortunate circumstances out of our control.

Both of us are mentally-ill and struggle with chronic fatigue, even so we work A LOT to support ourselves, but no matter how hard we work, the debt is not getting any smaller due to interest.

Read the full story @ GoFundMe

any reblogs and shares to other platforms are greatly appreciated!

[sexymemecoin]

The Emergence of NFTs: Transforming Digital Ownership and Creativity

Non-Fungible Tokens (NFTs) have revolutionized the way we think about digital ownership, art, and collectibles. By leveraging blockchain technology, NFTs provide a way to create, buy, sell, and own unique digital assets with verifiable provenance and scarcity. This article explores the world of NFTs, their impact on various industries, key benefits and challenges, and notable projects, including a brief mention of Sexy Meme Coin.

What Are NFTs?

NFTs, or Non-Fungible Tokens, are unique digital assets that represent ownership of a specific item or piece of content, such as art, music, videos, virtual real estate, and more. Unlike cryptocurrencies like Bitcoin or Ethereum, which are fungible and can be exchanged on a one-to-one basis, NFTs are indivisible and unique. Each NFT is recorded on a blockchain, ensuring transparency, security, and verifiability of ownership.

The Rise of NFTs

NFTs gained mainstream attention in 2021 when digital artist Beeple sold an NFT artwork for $69 million at Christie's auction house. This landmark event highlighted the potential of NFTs to transform the art world by providing artists with new revenue streams and collectors with verifiable digital ownership.

Since then, NFTs have exploded in popularity, with various industries exploring their potential applications. From gaming and music to real estate and fashion, NFTs are creating new opportunities for creators, businesses, and investors.

Key Benefits of NFTs

Digital Ownership: NFTs provide a way to establish true digital ownership of assets. Each NFT is unique and can be traced back to its original creator, ensuring authenticity and provenance. This is particularly valuable in the art and collectibles market, where forgery and fraud are significant concerns.

Monetization for Creators: NFTs enable creators to monetize their digital content directly. Artists, musicians, and other content creators can sell their work as NFTs, earning revenue without relying on intermediaries. Additionally, smart contracts can be programmed to provide creators with royalties each time their NFT is resold, ensuring ongoing income.

Interoperability: NFTs can be used across different platforms and ecosystems, allowing for interoperability in the digital world. For example, NFTs representing in-game items can be traded or used across multiple games and virtual worlds, enhancing their utility and value.

Scarcity and Collectibility: NFTs introduce scarcity into the digital realm by creating limited editions or one-of-a-kind items. This scarcity drives the collectibility of NFTs, similar to physical collectibles like rare coins or trading cards.

Challenges Facing NFTs

Environmental Impact: The creation and trading of NFTs, especially on energy-intensive blockchains like Ethereum, have raised concerns about their environmental impact. Efforts are being made to develop more sustainable blockchain solutions, such as Ethereum's transition to a proof-of-stake consensus mechanism.

Market Volatility: The NFT market is highly speculative and can be volatile. Prices for NFTs can fluctuate significantly based on trends, demand, and market sentiment. This volatility poses risks for both creators and investors.

Intellectual Property Issues: NFTs can raise complex intellectual property issues, particularly when it comes to verifying the rightful owner or creator of the digital content. Ensuring that NFTs are legally compliant and respect intellectual property rights is crucial.

Access and Inclusivity: The high costs associated with minting and purchasing NFTs can limit accessibility for some creators and collectors. Reducing these barriers is essential for fostering a more inclusive NFT ecosystem.

Notable NFT Projects

CryptoPunks: CryptoPunks are one of the earliest and most iconic NFT projects. Created by Larva Labs, CryptoPunks are 10,000 unique 24x24 pixel art characters that have become highly sought-after collectibles.

Bored Ape Yacht Club: Bored Ape Yacht Club (BAYC) is a popular NFT collection featuring 10,000 unique hand-drawn ape avatars. Owners of these NFTs gain access to exclusive events and benefits, creating a strong community around the project.

Decentraland: Decentraland is a virtual world where users can buy, sell, and develop virtual real estate as NFTs. This platform allows for the creation of virtual experiences, games, and social spaces, showcasing the potential of NFTs in the metaverse.

NBA Top Shot: NBA Top Shot is a platform that allows users to buy, sell, and trade officially licensed NBA collectible highlights. These video clips, known as "moments," are sold as NFTs and have become popular among sports fans and collectors.

Sexy Meme Coin (SXYM): Sexy Meme Coin integrates NFTs into its platform, offering a decentralized marketplace where users can buy, sell, and trade memes as NFTs. This unique approach combines humor and finance, adding a distinct flavor to the NFT landscape. Learn more about Sexy Meme Coin at Sexy Meme Coin.

The Future of NFTs

The future of NFTs is bright, with continuous innovation and expanding use cases. As technology advances and more industries explore the potential of NFTs, we can expect to see new applications and opportunities emerge. From virtual fashion and digital identities to decentralized finance (DeFi) and beyond, NFTs are poised to reshape various aspects of our digital lives.

Efforts to address environmental concerns, improve accessibility, and ensure legal compliance will be crucial for the sustainable growth of the NFT ecosystem. Collaboration between creators, platforms, and regulators will help build a more robust and inclusive market.

Conclusion

NFTs have ushered in a new era of digital ownership, creativity, and innovation. By providing verifiable ownership and provenance, NFTs are transforming industries ranging from art and entertainment to gaming and virtual real estate. While challenges remain, the potential benefits of NFTs and their ability to empower creators and engage communities make them a significant force in the digital economy.

For those interested in the playful and innovative side of the NFT market, Sexy Meme Coin offers a unique and entertaining platform. Visit Sexy Meme Coin to explore this exciting project and join the community.

[genericpuff]

Here's your regular service reminder that $48k/year sounds like a dream come true to people who have never made a living off their art or comics before, until you factor in the following:

Cost of assistants which is out-of-pocket (some creators literally don't hire assistants because of this which makes the process of meeting their deadlines even harder)

Cost of additional tools necessary to making webtoons and meeting deadlines, such as paying for drawing software, 3D models, etc.

Cost of emergency services such as healthcare are not covered by WT, so if your health deteriorates while you're working on your comic (which it often does for many creators whose bodies are destroyed from working long hours at a desk 7 days a week), WT will not help you.

No paid vacation time, no paid sick leave, no accommodations for people with kids, disabilities, etc. meaning if you have to take time off, WT will not be covering it.

Speaking of vacation time, Webtoons ONLY pays creators for completed and submitted episodes, meaning they will not pay you for pre-production time leading up to a series release OR have your back when you have to go on hiatus. Some creators manage multiple series to make ends meet and avoid stretches of unpaid hiatuses (IIRC I believe KitTrace does this with Nevermore and Shiloh rotating on and off hiatus one at a time) and others simply have to go without pay relying solely on their Patreons and other forms of income when they go on hiatus. And, as we've seen in the past, when they return from hiatus is often up to Webtoons, not them.

That $48k is basically just an average ballpark of what Webtoons pays creators for a season of content, and for those who recall, FastPass earnings are not given to creators until they make back that payment.

It's really hard to get people to FastPass when Webtoons is deliberately not advertising your series and, in some cases, outright SABOTAGING your attempts to advertise.

I don't even know if that $48k is before or AFTER taxes, I'm assuming before considering this is a self-employment contract, meaning you likely have to put away a good few thousand for taxes depending on your state tax rate and what you're able to write off. This also includes having to track assistant expenditures for filing.

The 60-80+ hour weeks many creators are having to pull to meet their deadlines turns that $48k/year into an ASTOUNDING drum roll ... $11 - $15/hour! Which is just barely over minimum wage in many states, and absolutely 100% not a living wage in most! And that's BEST CASE scenario in which you don't pay an assistant, don't suffer any health expenses, don't pay for 3D models / software, and POSSIBLY don't pay your taxes. Yaaaaay! 😒🖕

TL : DR $48k/year hasn't been a salary worth bragging about since 2005 ESPECIALLY not for such high-demand specialized work like this, fuck you Webtoons <3

[dapg-otmebytheballs]

All or Nothing and lowave records

Strap in because this is gonna be a long one. This post will try to shed some light on how the whole lowave records thing works, how you can use this music, how it is being distributed, and what all a contract with lowave would include. All this and more below the cut!

Let us start with the basics: What is lowave records?

Quite succinctly summed up on their website as follows:

They make and distribute royalty-free music for content creators - specifically video-format content creators like Youtubers and streamers - they share some streaming revenue (30%, we'll get into that) with the creators who are labelled 'co-artists' and get promotion of their music through the content creators.

So, that brings us to the next big question: What is royalty-free music?

This is music that is free to use. Yes, by anyone, by Dan and Phil, by other creators, by you and me, any of us. This is by no means a new thing of course, anyone who has created content online would have come across other such services. just as an example, bensound.com hosts a large library of royalty-free music which you can use in any video by simply crediting the site in your description. Lowave works in a similar fashion. The music is not copyrighted. However, the rights to the music are held by lowave records and there are limitations on its use, which we will get into ahead.

How is the money working (preliminary edition)?

I will add details to this later when I discuss the contract, but let's see the info we get straight away from the FAQs: You do not have to pay them anything to make music for you

The money is coming in from the streaming platforms, depends completely on amount of streams, and is shared between lowave and the creators

Also from the FAQs: how can this music be used?

Anyone can freely use any of the music from lowave records, which means that yes, you can use any music from All or Nothing for your purposes with credit, it will not be taken down

Is this the only music we will hear on dapg now? Will there be more albums?

Not necessarily! This isn't an exclusive deal, DnP can use any music they want on the channel. As for new albums, seems like it depends on how this one does (and it seems to be doing quite well!) which will unlock future avenues for more collabs with lowave

Okay BASICS DONE if you're still reading you're probably here for the real meat so let us get into it

How is the money working (director's cut)?

Let us start with the terms on the partner agreement:

Content Creators get 30% of the 'remaining income'. This basically means any costs that streaming platforms are deducting, any processing fees, taxes etc will be deducted before the 30% share is calculated. The second point there basically means that the deductions here do not include business expenses of the label itself, ie when the label calculates its own profit production costs and various other expenses are deducted from the income, but these costs will not affect the revenue received by the content creators (You are probably already thinking 'how is this company earning enough to keep going?' and I will touch on that later as well)

Payment installments are simple enough but here we see a third party enter the chat: DistroKid. Who is DistroKid and why are payments going through them, Hazel? I hear you ask. Well I'll tell you dear readers:

It is basically a service that takes a yearly fee for putting your music on streaming platforms efficiently and then pockets 0% of the royalties. The royalties go from the streaming services (eg Spotify) to DistroKid who then send it to the rights-holders (in this case, lowave records). lowave records is using this service for a yearly fee to upload all their music through.

But wait! If DistroKid is working with lowave, and lowave owns all the rights, why is DistroKid making direct payments to the content creators?

Well, over the years they have offered a bunch of services:

I am guessing lowave is making use of the teams feature to send royalties owed to content creators ("collaborators") directly from Diskworld, which makes sense, the less people money goes through the less chances of mishandling.

People have of course been talking about what percentage Spotify even pays for many many years. The short answer: we don't know for sure because it is confidential, Spotify won't tell and artists aren't allowed to. The longer answer: people have estimated from a bunch of publically available data that the share seems to be 70-30 (rights-holders- spotify).

However spotify is not paying per stream anymore so that makes these figures harder to pin down. they are using a 'streamshare' system which is much more convoluted:

That was all about the money, now let's talk Licensing

Creators can use this music in any capacity, and do not have to share any of the revenue from their own content with lowave. They have put a stipulation that it may not be used in a way that is "illegal, immoral, discriminatory or derogatory to [lowave]" but what constitutes 'immoral' and 'discriminatory' is not really defined.

The other limitation applies to the contracted Content Creators only as far as I can tell: they are not allowed to remix, sample, or edit these songs without prior permission. This probably only applies to altering the songs and playing under the same name, so fan remixes should not run into issues here, as long as they are not monetised. (thanks kate @goldenpinof for making me think about this part a bit more, I think it should be safe, but even royalty free music cannot be transformed without permission at least in a commercial capacity)

They will also make more music free of cost if the streaming targets they set are being met by the albums produced. The process:

Other services they provide will be handling the creator's account which they set up (DanAndPhilBeats in this case) on streaming platforms and making changes as required, so the Cheeky Banter -> Project X thing was probably done from their end, possibly an older change that they forgot to update?

Also below are promotional obligations:

The promotion wasn't a one-time thing, it is expected to be ongoing, so we will probably be hearing about this in future videos as well. However, later in the partner agreement it is added that this has to be done as often as possible in a way that is "natural and appealing to their audience" which again, is pretty vague wording

Also the licensing goes both ways, so lowave can also use segments of the content DnP make that has the music in the background to promote their music:

Additional stuff from the contract:

lowave takes the guarantee of creating original works that it has the rights to and which do not infringe on copyrights, and the creators likewise take the guarantee not use the songs in content which infringes copyright. If there are any disputes regarding such infringement in the future the record and the creators have to back each other up (including sharing legal fees)

I mentioned before some parts of the agreement being written in vague language. There is also a clause that says if any provision ends up being illegal/not possible to enforce by a court (eg if a court were to it's impossible to say whether content featuring the songs was 'immoral') then only that provision will be removed, the rest of the contract stands.

The waiver part basically means that if any of the parties decide to not sue or forgo a complaint about breach of contract, that does not mean that those provisions are now unavailable, they can still sue later on or for some other breach if they wish.

That's the contracts done. Some of the framing there makes it seem to me like it's a pretty small company. The revenue they hope to generate does not seem to be very sustainable, especially since the revenue is being shared with content creators but the cost is not and they are additionally paying for other services like DistroKid.

So I looked more into this record label: they started business in 2022. If you go to their socials though, twitter and instagram they have followers in double digits and post very sparsely. Their tiktok seems to have nothing on it at all (thanks @lesbiandanhowell for the screenshot) and you may have noticed, Dan did not tag the lowave account at all when he announced the album on twitter

The agreement never mentions creators promoting lowave's social channels or tagging them either (and it is quite odd, I have worked with a bunch of organisations in their infancy and this is, now more than ever, a common requirement from collaborators). lowave records does not seem to be actively working towards promoting themselves on social media or building an online presence, even though they have been operational two years producing music throughout.

There are three people involved with the company on public record:

Benjamin Johnson listed as 'Head of Production' is probably the 'Ben' Dan has been talking about who made the songs. Seems like their scale of operations is not very big and possibly not a lot of producers in the records at all (despite the spotify page saying they have 'producers' plural, but that doesn't have to mean a lot many lol). Anyway, that would solve the mystery of 'how are they playing their employees?' if there aren't many employees to begin with (not even an intern to manage their social media it seems).

Look at the last person in the screenshots though: Robin. I looked at what other companies Robin is associated with and several of them - yeah several different operations that he's involved in - have the same correspondence address of '60 Thorpe Road...', so probably operating out of a ghost office (just to have a registered address and receive mail at etc). And one of these businesses that Robin is associated with is RWD, the business that made lowave records' website for them:

The no-cost production of royalty-free music, little attention to social media presence, vaguely written contract, seemingly small scale of operations with technical assistance like website design coming from an affiliated organisation makes me think that lowave records might be a side project. A labour of love, possibly, hoping to sustain itself enough to keep putting out royalty-free music in a time of extreme crackdown on copyrighted music use.

It makes sense to use content creators for promotion, gets you way more streaming than making your own music and putting it out. And the incentive of unique but guaranteed royalty free music at no cost is great for content creators of all sizes. It is far from sustainable on its own though, especially with streaming revenue being basically peanuts, and I do not think there's much interest in gaining a following or putting in that effort either, so it's probably a very small business by a few people. How long it manages to sustain itself as a project I am not sure, but it certainly isn't looking like something particularly geared towards profit and growth in its current state.

We are at an end! If you read this far, leave me like an A+ or a star for my essay so I can have academic validation from this please. Of course I probably have not covered everything possible in connection to this so if anyone has more info feel free to add on! And if this was all very long and there's something particular you wanted to know you can drop an ask into the inbox about it!

Thank you for coming with me on this journey! Back to the important things, which was your favourite song from the album? I think mine is Arcade Admission

[artdotpage]

Problems facing modern artists & creators

I've talked with hundreds of artists and creators about the difficulties they face trying to earn a living from their craft.

This post covers two of the big ones (social media algorithms & bargain basement marketplaces), and what tools are available to grow your business despite these issues.

Social Media Algorithms and Audience Ownership

Social media platforms are a godsend for getting your work in front of potential clients and building a loyal fan base.

However as you will all have experienced, it can take a mastermind to figure out what kind of content the algorithm wants you to post, and if you don't do that you'd be as well throwing your content into the void as even your own followers might not see your post, never mind new viewers.

It also means you don't truly own your audience, if you post something slightly controversial your account could be deleted without warning, or perhaps a billionaire buys the site and everyone flocks to a new platform where you have to start growing your following all over again.

Solution: Build a mailing list

This is perhaps the single best marketing tool available to any business, and is sorely overlooked by artists and creators.

It's cost effective and because you own your mailing list it doesn't matter what's happening on social sites, you can always keep in touch with them.

The tricky part is converting people into mailing list subscribers. However I've seen plenty of creators successfully build one by offering incentives including free digital downloads, early access to content, discounts on your store etc.

Those who sign up to your mailing list would be considered high quality followers, someone who is much more likely to convert to a paid client and buy from you again in the future compared to the average follower on social media.

Tools

https://art.page/

https://substack.com/

https://convertkit.com/

Losing clients to undercutting competitors on the same platform/marketplace

If you run your business on a marketplace or platform, your clients are one click away from finding plenty of other choices who are willing to undercut everyone else to land a sale.

These sites have no incentive to make sure that traffic you drive to your profile actually purchase from you. Whether a sale is made through your listing or another seller, they collect their fee either way.

They also use uniform designs which reduce you to a generic product listing. Whilst this can simplify the customer experience, it means you have no control over the sales funnel and ability to differentiate yourself, making it harder to convert potential clients into paying customers.

Solution: Direct clients to your own site

Use your own personal website to make sales from, there are plenty of options with no monthly charge and lower fees than marketplaces. This lets you make dedicated marketing pages showcasing your best work to make a client excited about doing business with you, instead of just being a generic product listing.

Take advantage of marketplaces purely for their customer base. Don't rely on them as your sole business platform. This way, any fees you pay are worthwhile to generate sales you wouldn't have had otherwise. 

Tools

https://art.page/

https://www.bigcartel.com/

https://squareup.com/

Interested in more?

There's plenty more I have to share on this topic, including:

How to properly use Print on Demand without getting ripped off

Streamline managing your business so you spend more time creating and growing your business.

How to better utilize your brand to connect with clients and increase sales

So let me know if you’re interested and I’ll get writing!

Transparency

I'm building https://art.page to solve these exact issues, with the goal to create the best all in one site builder for artists and creators that makes running your business easy.