@lolahess is exhausted
Big ups to Andy. If you’re not paying attention to what Kickstarter is doing, I highly recommend you do so.
Nearly $60,000 in pledges was collected and distributed to nine successful projects yesterday, making it Kickstarter’s most successful single day to date. The successful projects included four that raised over $10,000: the incredibly popular (1500% funded!) Polyvinyl warehouse project; a project from a band called Language Room that featured a ton of updates and interaction; and two projects that sent theatre troupes to the Edinburgh Fringe Festival, one from Accidental Nostalgia (one of their rewards was having John Hodgman call and sing you a song) and another for The Dawn of Quixote, which managed to pull in over 60% of its funds in the past 48 hours. Impressive stuff.
Other successful projects included a cross-country photographic road trip from three friends (this one got funded mainly via Flickr), a documentary on famed Russian director Andrei Tarkovsky, a tour from the Georgia-based singer-songwriter Gareth Asher, an iPhone game that marries the internet’s two favorite things: zombies and tower defense games, and a food blog. Quite a bit of variety there.
So what, if any, are the commonalities? There’s really only one: they told people about what they were doing. It sounds silly and it’s something we harp on quite a bit, but it’s so crucial to a project’s success that it towers over the other contributing factors. Some of these projects had great stories, some were pretty straight-forward e-commerce, some were hyper-localized interactions within a micro-network of friends, some were crowed about by Pitchfork and newspapers across the country. But all of them started within an existing network.
The best example is Help Polyvinyl Save 10,000 Records from Destruction, a clever way for the Illinois-based label (home to Of Montreal and Asobi Seksu, most famously, and also home to early Braid records (when we first fell in love with them)) to clear out remnant inventory and maximize their space. The project sought $1,000, and began with a Facebook notice. That was it. Within a day or two, they hit their goal, and things slowly and steadily grew from there, raising a little over $4,000 over the span of three weeks.
Then Pitchfork happened. On June 17, Pitchfork ran a small news item announcing the Polyvinyl sale, and from there things sky-rocketed. (We should mention that Pitchfork’s publisher is one of our investors, and that he had absolutely nothing to do with any of this.) In one day, Polyvinyl raised $8,000, and the project kept growing from there.
You could choose to take the lesson that the key to having a very successful project is to get good press. And you wouldn’t be wrong there. But without that $4,000 foundation that Polyvinyl had hustled to get by sending emails (still the most effective call to action), Twittering, Facebooking, etc., who knows if the Pitchfork story — and its subsequent pick-up by everyone — would have happened.
Same goes for the rest of these projects. It’s not anyone’s idea of fun to go out and ask for money, make yourself vulnerable to your audience and face potential failure, but without those risks, there’s no reward. We’d like to congratulate all of these creators for doing such a fantastic job, and we hope they list more projects soon. Oh, and if you are interested in creating a project, you can always reach us here.
Jackson’s fame was a simulacrum from another era – or eras, to be precise, because he managed to glide effortlessly out of the slightly musty world of 1970s soul into the bright and incandescent MTV age of the early ‘80s. But that was more than 25 years ago, before Public Enemy or Nirvana, before Eminem, Jay Z or Lil Wayne.
Madison Diaz visits and performs at Topspin’s Santa Monica office
How many drummers does it take to… oh, never mind.
4th of July aftermath
Kauai field with cows