5 Marketing Takeaways From Music Streaming

Marketing-Takeaways-300x200Some recent evaluation from Subsequent Big Sound is showing that streaming is far more than just receiving artists’ music to the public, but is also supplying critical social and event data, as nicely as info on interactions in between artists and fans.

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Guest Post by Bobby Owsinski on Music three.

If you appear closely, streaming is teaching us all some marketing lessons, according to analytics service Subsequent Large Sound (now owned by Pandora), a business that looks at social, streaming and occasion information as effectively as the interaction in between an artist and a fan. Whilst a lot of look at it as just a way to get their music to the public, there’s truly a lot much more to it than that. Here’s what the company found.

1. Streaming platforms supply a path to niche audiences

When you’re trying to attain a particular demographic, streaming music platforms coupled with social media channels offer the most direct path. For example, according to the report, “latin artists now account for one particular-third of the most well-liked artists on YouTube. Half of the prime 20 artists on Pandora are most popular with 25- to 34-year-old ladies.” Streaming, along with social media, enables you to particularly target the group that you are interested in reaching.

2. Underground EDM and hip-hop fans are the most engaged

Some of the largest leading 40 artists might have bigger followings, but that does not imply they’re the most engaged. Artists like Vinny Cha$ e, Marshmello, and Logic haven’t even sniffed radio or the Prime 40 but have extremely robust audiences, in some situations more loyal than the superstars.

Elderly-couple-listening-to-music-mp3-player-208555143. People still listen to older hits

Think it or not, in America individuals are is nonetheless listening to bands like Nickelback—a lot. On Pandora, legacy rock artists like Journey and the Eagles perform just as effectively as Katy Perry and Kanye West.

four. Some musical genres resonate much more with listeners

If you look to the Prime 40 as a barometer for what’s well-known, you’d come to a wrong conclusion as you’d probably get the idea that pop or nation ruled. On Pandora, 60% of the top artists are hip-hop artists, compared to just 15% on the leading 40.

5. Emerging artists can be social influencers as well

After again, it is easy to consider that Beyonce or Katy Perry rule because they seem to dominate the streaming and social networks but that is not the case. Young electro pop artist Halsey, for instance, has a follower growth on Twitter that outranks the Leading 40 artists like Iggy Azalea, Adele, Justin Timberlake, and Britney Spears.

The bottom line is that we tend to consider that the globe revolves around music’s 1 percenters, but that’s not the case at all. Possibly in radio and on the Prime 40, but not across all streaming networks, which provides hope to indie artists everywhere that are attempting to enhance their advertising .

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Inspiring Lessons from Motion pictures for the New Year

As 2016 winds down to an end, and we put the finishing touches on our New Year’s resolutions, we’re taking a moment to reflect on some inspiring lessons from cinema for the road ahead in 2017. Right here are some sensible and witty quotes from films that have a lot to say about life, enjoy, and happiness. Satisfied New Year!

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Hear Jimi Hendrix&#039s Final Interview, from September 11, 1970

On September 11, 1970, NME’s Keith Allston interviewed Jimi Hendrix in England.

The interview turned out to be Hendrix’s final he died a mere seven days later—September 18, 1970—at age 27.

You can hear the entire 30-plus-minute interview under. It’s well recognized that Hendrix was set on branching out into a new musical phase in his later years, with collaborations with Miles Davis—and even Paul McCartney, apparently—in the preparing or near-planning stages.

In the interview, Hendrix is contemplative and not completely positive exactly where he’s bound next. He’s also pretty funny, as the following exchange proves:

Do you feel personally that you have sufficient cash to reside comfortably without having necessarily making more as a sort of specialist entertainer?
Ah, I don’t think so, not the way I’d like to reside, due to the fact like I want to get up in the morning and just roll more than in my bed into an indoor swimming pool and then swim to the breakfast table, come up for air and get possibly a drink of orange juice or some thing like that. Then just flop over from the chair into the swimming pool, swim into the bathroom and go on and shave and whatever.

You don’t want to live just comfortably, you wanna live luxuriously?
No! Is that luxurious? I was considering about a tent, maybe, [laughs] overhanging … overhanging this … a mountain stream! [laughs].

Guitar World

#6: The Employed – I Come AliveThis track comes from the 2012 album…

#6: The Employed – I Come Alive

This track comes from the 2012 album Vulnerable, and let me just kick this off by talking a tiny about that album title. Yes, it is super on-the-nose, but it also gets to the heart of the band, the a single defining characteristic of their music. The Used’s lyrics never sugarcoat or hide from hard topic matter, they discuss drug issues and self harm and sex in all their gritty reality, they’re frank about their feelings in surprising methods. Vulnerable is exactly how I’d describe their music at its core, and it’s nice to see them acknowledging that here.

This album is really sturdy, and it is hard to pick just 1 track – honourable mention goes to the really catchy ‘Put Me Out’ – but I Come Alive says some thing about the band that chimes with my selections so far. We’re coming to the end of our week with each other now, and this song recalls the first a single I chose.

Maybe Memories was a song about getting alive in spite of trauma, and acknowledging that life in a defiant and celebratory way. I Come Alive is a more mature song, with the lyrics coming to the realisation that “at the edge” is when the writer (Bert/persona) is at their most alive – when issues are going wrong, when tragedy strikes, is when they are most aware of their vitality.

Like most The Utilized tracks, this is ambiguous and complex – is the singer revelling in their potential to bounce back from trauma and “come alive when [they’re] falling down”, or describing their enjoyment of self-destruction? It’s completely up to the listener, and my interpretation of it adjustments based on what I need to hear on any provided day: each sentiments ring accurate to me as a reckless person who regularly courts disaster, and there’s anything really freeing about hearing somebody else acknowledging that sensation of becoming the most yourself when everything is falling apart about you.

1 WEEK // A single BAND

It is Alright Ma, I’m Only Greeting: Dylan, Springsteen, and Greetings from Asbury Park

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At the Kennedy Center Honors in 2009, Jon Stewart in his speech about Bruce Springsteen mentioned, “Bob Dylan and James Brown had a child.” Listening to Greetings from Asbury Park, it sounds much more like Bob Dylan and Van Morrison had a child. Record firm influence co-mingled with Springsteen’s rock and roll desires to develop Greetings. That uneasy tension in between singer-songwriter fare, and quickly-paced complete band numbers makes the album fantastic. It also marks it as of a time in Springsteen’s profession when he was nonetheless browsing for his voice.

Bob Dylan’s influence on Springsteen is a topic for a later post. As is the significance of the musical tradition that Dylan represents on Springsteen. I found Bob Dylan’s music extended prior to I located Springsteen’s. In truth, I cannot accurately recall a time when I didn’t know who Bob Dylan was.  I loved the Rolling Stones’ cover of “Like a Rolling Stone” from their album Stripped — the second album I ever designated my favored soon after Bob Seger’s The Fire Inside. The very first favored film was The Final Waltz, and while Dylan’s parts were not my preferred selection (hunting at you Ronnie Hawkins/“Who Do You Love”) I knew he was present, and I knew about his involvement with The Band. I delved deep into Dylan when I was a budding political radical, angry at the Bush administration and the Iraq War. “Masters of War” went into regular rotation about that time. “Motorpsycho Nightmare” became my new anthem for no other reason than I liked the way the words all rolled with each other. I wrote songs with what I thought have been Dylan-esque titles like “Romaine Lettuce Blues.” It was a formative musical time, but one particular that did not last.

Dylan eventually receded into the background of my musical life. His songs did not continue to speak to me in new methods. They had been, and are, brilliant and special, but felt, to me, of a time and place that was by no means my own. His music was so immediately ensconced in the American song book, that even when I was discovering him, his melodies and lyrics felt sacrosanct and untouchable, almost as if they constantly had been and always would be. Plus, I was a rock and roller at heart. The folk music of the 60s was never as exciting to me as conventional Appalachian music, delta blues, Chicago blues, or early rock and roll.

I did not uncover Bruce Springsteen through Greetings from Asbury Park, but for the 1st six months that I was a Bruce fan, it was his very first three albums that I loved: Greetings The Wild, the Innocent, and the E Street Shuffle and Born to Run. I did not know much about (or, at that point, care considerably for) his later offerings. Greetings took almost everything I loved about Bob Dylan’s wild wordplay, and flipped it into a darker, stranger concoction not as wealthy in cultural import or generational angst, but thicker in concrete imagery. Springsteen’s lyrical excesses painted a image of one strange boardwalk night. A night I wanted to go to once more and once more.

Where Dylan told fantastical stories about Maggie’s Farm or a opportunity meeting in between two people at the end of the globe, Springsteen developed weird every day characters in his songs. A fast and useful comparison is Bob Dylan’s “It’s Alright Ma (I’m Only Bleeding)” and Springsteen’s “Blinded by the Light” the initial song on Greetings. Each songs have more words than an Ernest Hemingway short story, or an album by practically ANY other artist.

Dylan’s words twist about each and every other in tight rhyming circles almost also virtuosic to think. Springsteen’s spill over, exploding beyond the tight containment of the melody. Dylan builds an etherial netherworld where each utterance takes on higher which means poetry and profundity conjured out of nowhere. Springsteen paints an impressionistic picture of a wild evening on the Asbury Park boardwalk comprehensive with “new mown chaperones” “silicone sisters” and “hazards from Harvard.” Dylan aimed larger than any well-known musician prior to or considering that with his lyrical ambitions. Springsteen, inspired by that poetry, sought to lift up the everyday experiences of these he knew. Discussing the connection amongst Dylan and Springsteen, Tom Watson writing for Forbes commented, “Certainly in terms of post-war American musical voices, Bob Dylan has to sit at the head of the table – but in many ways, Bruce Springsteen is his hyperactive stadium-packing cultural son.” These two songs demonstrate that, from the earliest, Springsteen was that earthy successor to Dylan’s legacy.

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One particular WEEK // A single BAND