Category Archives: Music

Music Trends & Issues on Modern Media Mix

The Arm-Chair Festival Experience and the Success of Ultra Live

Over the past few years of growth of the festival scene and development of the festival marketplace as well, Ultra Music Festival of Miami Florida has constantly grown and shown itself to be wildly successful in both defining itself as the premiere United States electronic music festival.

The rapid and wild success of Ultra Music Festival has been largely associated with the rising festival economy. There is much more to the growing success of a festival of this scale than a simple rise in demand, as it maintains its status as the premiere electronic music festival in the United States.

Ultra has thrived, not only by connecting with fans during the festival, but also by keeping the hype for the Miami location of the festival going year-round, through a creative approach of expansion paired with successful marketing techniques.

Ultra

One of the most important elements in the success of Ultra Music Festival and Ultra Music Worldwide over the past years is the way they have maintained a strong social media presence with old and new fans on a worldwide scale.

Over the past few years Ultra has grown their live streaming and recording in Miami and at worldwide events such as Ultra Brazil and Ultra Japan. The main event of Ultra Miami itself garners a staggering 14 million unique viewers over the course of the weekend in 2016 while being streaming in an impressive 152 countries around the world.

A strong media presence has helped the continued expansion of Ultra Worldwide events, with some of the lowest undercard names such as Party Favor (seen in the video embedded here) getting entire dedicated streams early in the day as well as published later through. Big-name artists of Ultra have received some viewership over the  years.  They have become thorough in covering the entire experiences, with such low-tier artists receiving this kind of exposure with the additions of new streaming features as well.

2016 marked another year of expansion into the streaming experience that Ultra offers for a fair bit of reasons as well. With Ultra Live including interviews and exclusive content behind the scenes with the creative talents behind ultra, even those who couldn’t make it to the crowned jewel of the Ultra Miami event, there was still advertising done on a massive scale through those who streamed and enjoyed Ultra Music Festival from the comfort of their homes.

Winning the DJ Mag #1 music festival worldwide in 2016 shows much of the success of these expansive and staggering social media campaigns that Ultra Music Festival has garnered over years past. With Ultra Music Festival selling out to the maximum 165,000 sized crowd for the 4th year in a row, it’s sure that the festival streaming and immersive media experience they provide will only bolster the already monumental hype for the annual event.

Tom Randolph

Explicit Faith: The Christian Rap Industry

Christian rap

Rapper NF boldly proclaims in one of his songs, “When I die, put my ashes in a trash bag. I don’t care where they go. Don’t waste your money on my gravestone. I’m more concerned about my soul.” This is a message one could call atypical of the rap genre, but starkly characteristic of the Christian music industry.

christian rap NF
NF performing at the Sonshine Music Festival. Photo Credit: Leziga Barikor.

The rapper Nathan Feuerstein, better known for his stage name NF, had his newest album Therapy Session reach the top of the rap charts this spring. The growing integration of Christian rap into the secular music industry is an important step towards the refinement of the rap industry as a whole into a more respectable music genre.

Artists like NF who reach secular success often find themselves having to make distinctions of where their faith comes to play and where it doesn’t. The simple explanation is that these people are simply musicians who just so happen to be Christians. But this is unfortunately where they lose most of the crowd.

The paradox that Christian musicians can find themselves in is: non-Christians don’t want to listen to Christian themed music and Christians don’t want to support artists who refuse to brand themselves explicitly as “Christians.” For rap in particular, there is the added struggle of trying to find acceptance in two starkly different cultures.

“Being an outspoken Christian in the music industry means always feeling out of place,” according to Lecrae Moore in his autobiography Unashamed. He goes on to recount a visit to a mainstream radio station where he was told “we just don’t play Gospel here,” but it just got worse as he was informed that their sister station that did play Gospel music “don’t want to hear rap.” Lecrae is the biggest name in the Christian rap industry today, but even throughout his rise to fame and now, he is still faced with this challenge.

Despite the heavy culture collision, it is undeniable that artists like NF and Lecrae are breaking through to the secular divide. The truth is that the Gospel has been influencing the rap industry for a while now, most recently with Kanye West. Now having Gospel influences in music does not a Christian artist make, but rather, it is the faith the artist professes off and on stage.

A niche within a niche, the Christian rap industry is not losing ground yet. In fact, the entire Christian music industry as a whole has made huge strides since its inception amidst the Jesus Movement. For talented musicians, why should it matter if their message is founded in their faith? Besides making good trivia for gossip magazines, the motivation behind the music shouldn’t limit the acceptance.

So why does your favorite music matter to you? Does it resonate with your life story, or is the beat easy to dance to? Christian rap is one side of a broad category of Christian music that covers everything you could think of. Maybe with the growth of Christian rap, people can expect to see the growth of respect for rap itself as medium of expression. These artist are unashamed and here to stay, so there’s only one question I have left for you — what do you think about Jesus music?

Leziga Barikor

Innovation or Inevitability?: The Future of Selective Music Pricing

There aren’t many business models that would ever propose you let the consumer name their price as low or as high as they want for a product or service, yet that’s exactly what the artist Pretty Lights (Dereck Vincent Smith) has done with his label Pretty Lights Music.

In an ever-changing digital music market, the artists and music producers of today face overwhelming odds when it comes to distributing their music in a way that differentiates them and appeals to consumers, especially in a world of torrenting and mp3 conversion.

music pricing torrentDereck Smith and some of his fellow producers such as Griz and Gramatik of Grizmatik think they’ve found a solution through selective pricing, giving far more power to the consumers in the way they can freely access music.

When it comes to the consumption of music, the early 2000s marked a strange time in the Industry with the emergence and rise of illegal downloads through torrenting. Since then, it’s safe to say illegal downloads have become a regular means of obtaining music with millennials and younger generations in general. As early as 2006, Pretty Lights sought to adapt to this drastic change in consumption by adapting the way his music was priced along with two of his friends and fellow producers Griz & Gramatik.

pretty lights music pricing

“There is no escaping that reality” according to Gramatik. From artist Gramatik’s standpoint and the standpoint of many, the issue comes down to the idea that in music consumption there are two types of people; Those who will pay for the music they love no matter what to support those artists, and then there is now individuals who avoid paying for music as much as possible.

The shift in consumption has been partially because of the technology available for obtaining music, and much of the change is simply due a strong disinterest from millennials to pay for all of the music they have such easy access to.  With the rise of digital distribution and streaming services, the amount of music millennials find themselves having access to compared to older generations is staggering.

Though there have been those who have shown a fair amount of success through choosing to distribute their music through a selective pricing options , there remain many skeptical of the direction of selective pricing. Some believe selective pricing doesn’t offer a large enough portfolio for artists, putting them at a disadvantage against other artists by not providing a large enough portfolio of music at a consistent and predictable price.  But observing the success of artists like Pretty Lights, it seems hard to deny that selective pricing may become the primary distribution channel for artists to reach consumers.

Tom Randolph

NAB Show 2016 Recap

Ten students from the University of Northern Iowa had the opportunity to participate in the 3rd Annual Expedition to the NAB Show in Las Vegas this spring. They studied everything from post production editing and media distribution to the latest trends in virtual reality. Check out their videos on the UNI Digital Media Leadership YouTube channel and like our Facebook Page for more post-show updates!

NAB Show 2016 Overview

Here is an overview of the NAB Show 2016. This will give you look and the size and scope of the convention and a taste of the fun these students had.

 

Post Production Overview

Check out the latest in post production software and equipment. These students got a firsthand look at the latest products from companies like Black Magic, Adobe, and GoPro.

 

Virtual Reality

Virtual Reality was a hot topic this year at the NAB Show. Media producers are experimenting with new ways of storytelling and incorporating VR into new media work flows.

Media Distribution

The world of media distribution is constantly changing and the sources of revenue for content has shifted a lot in the last few years. See how come companies are staying ahead of the curve.

 

Special thanks to the IBA for making this trip possible! We’re looking forward to next year’s trip and planning to bring you more great content straight from the NAB Show floor.

NAB Show 2016 UNI Digital Media Leadership

Living Room Raving All the Rage

Miami Music Week draws hundreds of thousands of eager dance music enthusiasts to club, pool and yacht parties to celebrate dance music and everything it represents. And that’s just the first few days leading up to the main event, Ultra Music Festival.

Miami Music Week

Since it’s inception in 1999, Ultra Music Festival has been a dominant and influential power in the electronic music industry. Due to its unique positioning so early in the year, UMF attendees were the very first to hear the latest and greatest tunes that are sure to continue rocking festival stages and dance floors for the rest of the year. That is, until UMFtv broke onto the scene.

Beginning in 2012, the Ultra livestream has quickly boomed from a casual, under promoted fling to a full blown rave-from-your-couch event. My friends and I actually schedule parties around the livestream.

Flash forward to 2015, and Ultra Music Festival officials decided to change the streaming platform from YouTube to a platform called Twitch.tv, exclusively. Twitch has been expanding in growth and popularity recently due to the rise of eSports streaming, which is what the platform was created for in the first place.

According to an interview with BusinessWire, Adam Russakoff, Director of Business Affairs for Ultra said, “We are always pushing the envelope, working with the most innovative companies to stay ahead of the curve and offer our fans as much value as possible.” In an interview with Billboard, Colin Carrier, CSO and Head of Music at Twitch claimed “…being able to host the Ultra Music Festival on our platform with sponsorship from a brand like 7UP is testament to the power of live social video.”

Now, with the entire world glued to their preferred media streaming device, UMFtv broadcasts DJs and other tastemakers showing us the direction that they believe the “in” sound is going. Not to the surprise of anyone, they’re fairly accurate.

In order to demonstrate the magnitude of Ultra’s influence on the dance music scene, a simple search on the electronic music bazaar Beatport is all that is needed.

Considered by some to be the “Biggest Track of Ultra Music Festival 2015,” Valentino Khan’s “Deep Down Low” was officially released on March 17th, 2015 on Grammy award winner Skrillex’s record label, OWSLA. Despite wearing the impressive moniker that is OWSLA, the track initially did not see impressive sales. But when it came time for the headlining acts to take the mainstage at Ultra, “Deep Down Low” became the star of the show. As of February 2016, “Deep Down Low” was the number one most downloaded OWSLA track on Beatport.

With the electronic music industry only seeing continued growth, I don’t think we’ll see the influence of Miami Music Week diminishing anytime soon. Many critics and skeptics point at the electronic music “bubble” popping at any moment due to the amount of corporate money that has been put into the industry, but that certainly will not stop the creatives from putting their passion and energy into doing what they love most. See you all at my Ultra 2016 livestream party!

Cal Gruening

Discover Dylan Again: The Cutting Edge Bootlegs

“To live outside the law you must be honest”, Dylan sneers as he rounds out the second verse of another lyrical masterpiece. Indeed, he’s been doing just that for a career approaching the six decade mark, and “The Cutting Edge,” the newest in a long-running series of official bootlegs and unreleased material, gives an unprecedented look into the mind of America’s greatest living artist from his most eclectic period.

Bob DylanThe trilogy of “Bringing It All Back Home”, “Highway 61 Revisited”, and “Blonde on Blonde”, still stands today as the most impressive creative output by any American artist in a short timeframe. In 1964, Dylan stood alone, armed with only an acoustic guitar, harmonica, and an unbelievable ability to write songs of succinct poetic power. By the end of 1966, he’s touring with a revved up electric rock band, singing twelve minute ballads about literary cornerstones, and has completely changed the face of rock music forever.

The Cutting Edge is the behind-the-scenes look at everything that went on in the studio during that eighteen-month period of creative output.  It includes takes of classic songs that were tossed or rearranged, extra verses and alternate lyrics, and even some songs that were cut completely from the album, and were never heard from again.

We’ve all heard these songs hundreds of times. “Just Like a Woman”, “She Belongs to Me”, “Like a Rolling Stone”, these are all classic Dylan tunes. As such, the original recordings might not have the same surprise or edge to them that they might have once had. We now know every note, every harmonica break, every asthmatic sneer. Getting a new look at these songs is refreshing, and a reminder of what made us all fall in love the first time we heard these songs.

But we didn’t hear these songs by accident, as Dylan was not an underground artist at the time. Many of these songs were on the Billboard 100, if not in the Top 20, unthinkable by the pop music standards of today. As such, we know that then and now Dylan has always had the savvy marketing department of Colombia Records at his fingertips to handle every distribution deal, and every dime dealt.

They once again have done a fine job for this release. They’ve produced a promotional video voiced by Penn Jillette (above) to tell the story of this particular package. Colombia is aware there are many different levels of Dylan fans to engage with in the marketplace. There are always going to be college kids listening to the new album, and for that audience they’ve put out a twelve song “best of” CD. This solely includes the alternate tracks to the most famous songs from this era.

Bob Dylan CDsThey’ve also released a six CD Collector’s Edition for fans that engage beyond just the greatest hits. Where Colombia has really gone all out, though, is the 18-Disc Limited Collectors Edition. This includes every note that Dylan recorded in this period, along with art books, photographs and memorabilia. There are many fans who were just kids when these songs were recorded, who are in positions of relative power now. They can afford the $599 price tag on the collector’s edition and not think twice about something they consider high art. For the rest of us there’s always the distilled CD release, and the internet radio services to rely on.

Dylan has never been afraid to try something new or different. At first glance the inclusion of a karaoke-based mini game on his website to promote this new compilation might seem out of place, but once you remember just who we’re trying to promote it somehow makes perfect sense. The game requires you to hook up a microphone to your computer, and sing-along to “Like a Rolling Stone”. If you can match Dylan’s unique pitch and timbre, you unlock a bonus track to sing to. I personally got 92%, and if anyone reading this can beat me, I’ll gladly lend you my copy of the CD.

The website also includes the ability to play around with the mixes of the song, and the presentation is phenomenal. You can hear tapes winding in the background as well as Dylan’s asthmatic coughing and wheezing. There’s three different “session” types to play around with. The first is called “Jam Session”, where you can jerk around with the different instrumental tracks + Dylan’s voice to create your own arrangement of the iconic tracks. A “Listening Session” mode, where you can scroll through time and listen to the development of some of these songs. If songwriting was a sport, it’s definitely a game of inches, and that’s no more obvious than in this mode here. Thirdly is the aforementioned karaoke session. Who else is doing this kind of interactive promotional material? It’s different, engaging, and most of all fits the theme of the artist and his music perfectly.

If there’s one thing Dylan has done over the past five decades, it’s subvert expectations. From folk music to rock ’n roll, to gospel, Frank Sinatra and more, he’s never looked back to where he had been, only to the horizon. More importantly, when he does pursue something new, he never breaks away from bringing a piece of himself to the new medium. Even now at seventy-five years old, he’s releasing interesting bootlegs of older material, touring like a man in his twenties, and putting out wonderful new records. The marketing is reflective of that, and it all speaks to a man who shows no signs of slowing down or giving up just yet.

Like the song says, “He not busy being born is busy dying”.

Sam Strajack

Social Media Marketing: How Music Festivals Are Advertising FO FREE

SMO or Social Media Optimization seems to be the game changer in today’s media driven world. Social media is an extremely easy and cheap way to market any brand and is accessible to basically anyone. So it only makes sense that there is still a more efficient way of using a free and open service. The music industry is one segment of the media that has taken full advantage of social media and its marketing practices. In this article I will discuss the ways in which music festivals such as Tomorrowland, EDC, Electric Forest, and Okeechobee use social media as their primary marketing medium.

YouTube: YouTube is known for entertaining others with it’s user generated content. It also houses a lot of paid for advertising that are at the beginning of most videos. Music festivals however, have found a better way to market than just paying for ads. Instead, they create trailers, after movies, sneak peek, and production videos for their youtube channel. Tomorrowland owes a lot of their global recognition to its Aftermovie views on YouTube.

Click the photo to experience the magic of Tomorrowland.

Twitter: Twitter has become the reliable source for festival information. When I am looking for an updated lineup or tour dates, my first search is within Twitter. It has also become the number one place for a flow of communication between the consumers and businesses. With Twitter holding business accountable, customer service has been able to improve as well.

Electric Forest

Snapchat: Snapchat is used in a number of different ways. Sometimes the festivals hardly have to participate and curated user generated content advertises for itself. Recently, festivals have been creating their own Snapchat name and allowing artists to take over the account in order to advertise the event and get people interested. It’s shameless self promotion for both the artists and the festival, what a win win.

Instagram: Instagram has become the platform for different competitions, such as photo contests, scavenger hunts, or voting for new DJs to perform. Since Instagram is basically archived photos, it creates a feeling of nostalgia for those that have attended previous events. For prospective attendees, short clips and photos give an individual an idea of what the environment will be like.

Instagram

Facebook: Facebook groups are not only a way to advertise and create an event, but also a way to connect people who have similar interests. In the cases of festivals, a lot of groups are created in order to share festival information, help consumers trade tickets, and also collaborate on camping groups or car rides. It helps build a community before the event begins.

Austin Red Smith

These are just a few of the ways in which social media can be used to market. To check out more tips for social media marketing. click here.

Partnerships: In addition to utilizing social media to its fullest degree, partnerships are also a huge part of advertising for music festivals. Common partnerships are made with companies like Red Bull, Bud Light, Miller Lite, Pandora, Sirius XM, Coke, and more. These partners oftentimes hold their own ad campaigns using footage from previous events. They also host VIP lounges, where they give out samples, play games, and interact with attendees. These partnerships end up being great ways for both businesses to gain exposure. An example of some partnerships made with Okeechobee this year can be found at the bottom of their webpage.

So as we conclude, I hope that this article has not only convinced you of the magic behind social media marketing, but it has also peaked your interests in music festivals and similar events. Especially now that you know all the information is housed right there in your twitter feed.

Sam Fickett

Spotify: Who’s the Real Enemy?

Music is the most universally emotional device in the world. Whether it’s a first world country full of technology or a tribe of indigenous people with a bunch of handmade drums, music plays a role in their culture. There’s something about music that allows people to connect to emotions. Whenever I’m feeling nostalgic, I put on The Early November.

With that being said, it’s obvious that the music industry is a multibillion-dollar industry. But the question remains, how do these companies get music into the listener’s hands? Since there is so much money involved, the market is plenty saturated. The mainstream methods of my youth were CDs. One would go to their local Sam Goody, Hastings, or Best Buy and pick up the album of an up and coming artist on a Tuesday. However, that has changed drastically.

spotify streamingIn 1999, Napster was created to allow anyone to file-share music. Due to the legal infractions on copyright, it didn’t last long. Fast-forward to 2006, Spotify was founded. Rather than file sharing, Spotify allows listeners to stream music on an ad-based platform or pay up to $9.99 for an ad-free listening experience on the go with access through smartphones.

This seemed like a great outlet for artists to get exposure through digital distribution and to make a little money on the side. You can find pretty much any song from any artist on there. However, there have been mixed reviews about whether or not this is good for the music industry.

Taylor Swift pulled her music from Spotify last year. She believes that Spotify is robbing artists of money and squashing creativity. Swift told Business Insider, “I’m always up for trying something. And I tried it and I didn’t like the way it felt. I think there should be an inherent value placed on art.” She went on to explain that streaming has greatly decreased the amount of money artists can make.

Spotify DownloadDaniel Ek, CEO of Spotify feels differently about their distribution model. Ek explained in an article that “Our whole reason for existence is to help fans find music and help artists connect with fans through a platform that protects them from piracy and pays them for their amazing work.” He continued stating that the real enemy is piracy. Piracy is how listeners are stealing from artists. Spotify has paid out $2 billion dollars to artists since it’s inception. That’s compared to a whopping $0 that piracy has contributed.

Victory recordsIt’s clear that Spotify has paid out artists compared to other venues like Pirate Bay. But there is some shady stuff going on. Last week, I was feeling nostalgic again and I tried to pull up Hawthorne Heights to only find that it has been removed from Spotify. In anger and frustration, I began to blame Victory records for removing their artists from Spotify.

After a little digging, I found that Spotify is allegedly the one to blame at this point. The record label was quoted in a Rolling Stone article saying, “Victory Records’ catalog of music was pulled from Spotify last night [Monday] as a result of Spotify not properly paying publishing revenues due to Victory Records’ artists in blatant violation of US Copyright laws.” However, it came out that Victory records is not paying their artists and holding all the profit. Spotify will likely resolve this issue with Victory Records once they make some form of agreement to pay out artists properly.

The way people are receiving content whether it is movies or music is evolving into a streaming method. Ek said Spotify is not only streaming, but mainstreaming. It will affect content creators regardless, but is it wise to go against the grain? Ironically enough, the week after Taylor Swift pulled 1989 from Spotify, it was the number one downloaded album on Pirate Bay.

Peter Seifert