Keys to making a living in the digital world
Digital content creator or gamer are two of the career opportunities that have arisen as a result of the emergence of the Internet. Digital strategy consultant Georgia Taglietti visits La Xarxa’s Territori 17 programme to talk about the new ways of earning money in the digital world and the future of the music industry.
Being a digital native doesn’t make you an Internet expert, just as belonging to previous generations doesn’t close the doors to consuming or even earning a living through digital platforms. This is one of the first points to bear in mind if you are considering making a living from the Internet, according to Georgia Taglietti, digital expert and director of shesaid.so, an international platform for women in music.
In recent years, being an influencer has become one of the dream professions for many young people. In this sense, Taglietti affirms that the era of the macro-influencers has given way to “the era of the ‘micro-influencers”.
The expert calls for realism if we want to make a living from the Internet: beyond the user experience provided by our electronic devices, making a living through platforms such as YouTube, Instagram, TikTok or Twitch implies “quality” and, above all, knowledge of the digital environment. In addition, Taglietti says that, although each network has its peculiarities, TikTok is currently “the best for making money”.
The music industry calls for more women
From music production for digital platforms to audio-marketing, the Internet has opened the doors to new professions in the music industry that require more women. Specifically, Taglietti, who for 25 years was director of communication and public relations at Sónar, is calling for more female producers and promoters.
These are two essential professions for the industry and have a long way to go. Proof of this is that not even the Covid-19 crisis and the havoc it has wreaked on the music sector have been able to slow down music production. Taglietti recommends abandoning “the monoculture of live music” on which the music industry had concentrated before the pandemic.
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