Indústria fonográfica e as suas transformações...

How File-Sharing Informs the Industry
The classic case for how BigChampagne (bigchamgagne.com) supports a client –
who can range from struggling new artists to the entire roster of a major – is by
analyzing whether listeners have found a hit before radio. Let's say that in a given
market, a single hasn't broken onto radio, but BigChampagne discovers that listeners
in that city are swapping it in huge volume; the label can take that information to
radio programmers and urge them to spin the song to death, turning it into an
official hit.

“The majors will embrace any formula that sells records until it stops
working. As a result, the corporate machine cannot deliver an adequate
diversity of sounds, only a homogenized, prepackaged product.”
– Michael Roberts, in Rhythm & Business (2005, Akashic Books)

How fast will the sun set on the compact disc?
Quarter-size CDs that can float among compatible music players, computers, game
devices, digital cameras and personal digital assistants are already developed.
But a massive installed base of CD players means that the traditional recording
industry markets are not going to disappear or even be impacted by digital
distribution any time soon.

in Indie Marketing Power: THE Resource Guide for Maximizing Your Music Marketing by Peter Spellman

THE MARKETING OF BLACK MUSIC

James R. Mitchell¹

Abstract

Today's black musicians are challenged not only to master their art, but also the business side of what has become a multi-million dollar consumer market. The author argues that little has changed since the days when black talent was paid with liquor and Cadillacs. Some new groups and young performers have begun to learn from the mistakes of their elders and are managing to hold on in a treacherous marketplace.

Mitchell, James R. (1980) "THE MARKETING OF BLACK MUSIC," Contributions in Black Studies: Vol. 4, Article 3.
Available at: http://scholarworks.umass.edu/cibs/vol4/iss1/3

Rock in Rio em notícias

A MediaMonitor fez o balanço da exposição mediática do Rock in Rio Lisboa 2008. Confira os números.

Cobertura Noticiosa, Marktest.com, 7 Agosto 2008

Lisboa recebeu mais uma edição do festival Rock in Rio, este ano sob a égide Por um Mundo melhor, que contou com a presença de 60 artistas divididos pelos 3 palcos da cidade do rock. O evento decorreu no Parque da Bela Vista nos dias 30 e 31 de Maio, e 1, 5 e 6 de Junho.

Desde Setembro de 2007 que o evento começou a ser comunicado e nos dez meses que separaram esta data da realização do evento foram geradas 6111 notícias/transmissões asso

ciadas ao evento. A Imprensa representou 35% das notícias geradas pelo evento, seguindo-se a Televisão com 26% de notícias. A Internet representou 26% das notícias sobre o evento e finalmente a Rádio foi responsável por 7% das notícias.

Dos patrocinadores, Millennium bcp como patrocinador principal e Vodafone, Seguro Directo, Toyota e a Sumol/7up como os outros patrocinadores, destaca-se a Vodafone como o patrocinador mais vezes referenciado nas notícias relacionadas com o evento em Televisão. Neste meio, as notícias com referências aos patrocinadores representaram 32% do total de notícias sobre o Rock in Rio, num total de 672 notícias.

Em Imprensa foi o Millennium bcp a recolher o maior número de referências das 210 notícias que incluem os patrocinadores.

Em Internet, a Vodafone registou o maior número de referências, com 35% das notícias onde os patrocinadores são citados.

Análise realizada pela MediaMonitor com base em dados retirados do MMW/Eventos.

Música e marcas

Continuo a ter alguma dificuldade em aceitar que a música tenha que se associar a marcas de produtos para sobreviver. Fica aqui uma perspectiva norte-americana da Arts Management Network:

Market Forces Powering Sponsorship and Co-Branding Arrangements

The changing global market climate is making corporate-music partnership more viable and desirable than in the past. For companies in all industries, old methods of marketing, such as traditional advertising, are working less effectively as too many messages vie for attention and ultimately drown each other out. At the same time, new technologies--the Internet, wireless systems, and more--are providing new means of communicating. These new technologies are enabling an unprecedented level of feedback from customer to marketer, and this in turn is reinventing marketing itself. To a greater degree than ever, companies can develop relationships with customers that involve finding out their needs, preferences, and habits such that products can be precisely tailored to those needs. Companies become, in effect, partners
in enabling consumers to achieve their dreams. It’s a far cry from the days of developing an untested product and foisting it on the public with misleading ads.
An accompanying effect of this company-customer partnership is that companies are seen as more benign and people-friendly than in the past. Companies and their customers are becoming communities of common interests. (Think of Apple Computer, the maker of iPods, and its quasi-cult of adherents.) Recognizing this, and wanting to extend it, companies are increasingly associating themselves with music and musicians to enhance their brand and communicate a corporate personality to customers.
Simultaneously, these companies are hungry to use every available communications tool to reach their audiences. Music, many companies have concluded, can be perfect for projecting their messaging through some of these tools.
Music also can be a tool for localizing a corporate message. A multinational company may want to tailor its offering to a specific territory. It can signal this effort by using a locally popular performer in its ads. From the musician’s perspective, the value of the corporate sponsor is fairly obvious.
A corporate sponsor may have far more clout, in both media access and pure financial muscle, than any music company. How much more clout? Consider that in 2004, retail sales for the entire worldwide music industry totaled around $32 billion. Then consider that retail sales in the same year for Proctor & Gamble--one multinational company-- totaled more than $54 billion. One company earned 40 percent more than the entire music business. No wonder that record companies are increasingly seeking commercial partners to help promote their acts.
So is born the partnership of corporation and recording artist. It’s not new, of course.
But today it has taken on greater importance as the costs of marketing music worldwide have increased, corporations have become more eager to underwrite the development af artists who can promote a company’s values, and artists have begun viewing corporate work as less stigmatizing than in the past, when it was viewed as “selling out.” (As an executive at ad agency Saatchi and Saatchi noted, “Some musicians have this distaste for ads as ‘dirty’ selling. But here’s a bulletin: record promotion is selling, too. It’s all about selling.”) Now, artists are being encouraged by their record companies to sell their music in all possible ways, including ads and corporate cobranding.
Some examples of musicians benefiting from use in ads, culled from the MIDEM 2006 magazine: Hip-hop artist Chris Classic’s track “Unleashed” was featured in ads for DaimlerChrysler’s car the Dodge Charger. Afterward, some 20,000 fans contacted the record company to buy the track. Another act had a track used on a Saatchi and Saatchi ad campaign, spawning flurries of e-mails from kids asking where to buy the song.
Those examples represent fairly traditional uses of music for selling other products.
Hit songs have been licensed by ad agencies for a long, long time. And star performers have rented themselves out to advertisers since the dawn of mass communication.
(Remember Michael Jackson’s Pepsi commercials?) But the landscape has been changing.

Trends that have begun to reshape the market for sponsorship and co-branding include the following:
● New kinds of business arrangements, including joint ventures between corporate brands and music providers
● Opportunities for corporate brands to get into exclusive content creation, ownership, and exploitation
● Brands becoming media players
● The creation of agencies devoted to matching bands with brands