Archives par mot-clé : marketing

Yo Gotti on Beef With Young Dolph: ‘It Ain’t Nothing Real’ [VIDEO]

It’s no secret that Yo Gotti and Young Dolph have some sort of an issue with each other. Things came ahead last month in Los Angeles when Dolph ran into Gotti’s crew and was shot at. On Thursday (Oct. 26), Gotti dropped by The Breakfast Club to explain his side of the beef.

According to the “Rake It Up” rapper, there’s is no beef to speak of. In fact, he thinks the feud is a marketing ploy created by Dolph.

« I ain’t got no issue, » he said. « I don’t think homie had no issue. I think it’s marketing. It ain’t nothing real. »

Although Yo Gotti doesn’t mention Dolph by name, he did say that some rappers create drama just for street credibility.

« You got some artists who want street credit, » he said. « Like, they market street credit. They take certain incidents and turn it into marketing to try and boost the sales. You don’t never see me speaking on that. I’m trying to stay away from it. »

While Yo Gotti may have a point, we don’t think Young Dolph wants to get shot multiple times just to promote a mixtape. We are just saying.

However, Gotti did take out his smartphone and let Breakfast Club co-host Charlamagne Tha God read a text message he sent to Dolph in August 2012(!) where he encouraged the young rapper to stay on his grind.

Watch the full The Breakfast Club interview above and Yo Gotti’s message to Dolph below.

10 Epic Beefs in Hip-Hop History 

TV Is Dying: 83% Of M’sians Are Watching Digital Videos On A Daily Basis


TV Is Dying: 83% Of M’sians Are Watching Digital Videos On A Daily Basis

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Published on Friday, 27 October 2017 07:17

“You still watch TV? Haven’t you heard about Netflix?”

You may have heard someone telling you off as they give you the weirdest look if you happen to be among the millennial generation who still watches visual media on what our grandparents once called the idiot box.

Because let’s face it, who needs television when the entire world is at the mercy of the internet, so much so, that everyone’s lives revolves around it and no one wants to devote themselves to watching TV physically anymore even in their leisure time – especially the young viewers.

Business Insider citing a research by Nielsen US in 2015, said, the number of people using TV in the coveted 18 to 49 demographic was down 8% against the previous year, while viewing by millennial consumers (18 to 24 year olds) went down 20% in the same year.

In the UK Ofcom reports, with on-demand services becoming popular by the day, in 2010, TV viewership dropped by over a quarter among 16-24 year olds and children, and by 19% for those between 25-34 year olds and those between 35 and 44 year olds had also reduced by 17% in the last five years.

Zooming in Malaysia, a recent survey by Kantar TNS Malaysia and Google Malaysia, interestingly found Malaysians prefer watching online content daily on their mobile devices over normal broadcast TV. In fact, the average YouTube watch time of Malaysians lasts for 80 minutes, double the global average watch time of 40 minutes.

While this may seem like the start of the death of traditional broadcast media, TV still remains relevant for the older viewers, under 64 years of age. And according to the same survey, these TV viewers watch 2.2 hours of content daily, higher than online media’s average watch time at 1.8 hours.

This begs the question: As the younger viewers grow older and the older generation dies, will terrestrial TV become completely irrelevant then in this digital age?

Time For TV Stations To Adapt To The Digital Revolution

On-demand services provides consumers the freedom to watch what they want, when they want. This has challenged the relevance of television, where content is determined by the stations and not consumers.

Malaysian Digest reached out to Kantar TNS, one of the world’s leading data, insight and consultancy companies which is no stranger to market research related to the media consumption of Malaysians, to delve deeper into their statistics.

“From our latest Connected Life findings where we studied 70,000 consumers across 56 countries on their digital behaviours, 83% of Malaysians are watching digital videos on a daily basis, which is higher than the global average of 68%,” its marketing manager Christin Wong explained.

The company also found that there has been an annual increase of free and paid online content consumption among Malaysians, which has reduced the number of TV viewers in the country.

And while the global average TV viewers is at 65% of the population, only 56% of Malaysians watch TV daily through a traditional television set.

“With improved internet connectivity, affordability and the growing number of paid and free on-demand and streaming sites that offer easy access and convenience, it is not surprising that Malaysians are spending roughly 7.2 hours watching online content daily,” she revealed.

However despite these statistics, she did not deny that TV still remains relevant for certain consumer segments in Malaysia because “there is still a significant proportion of rural Malaysians who rely on traditional TV broadcasting as source of information, entertainment and news.”

Nevertheless, in adapting to the digital revolution, she noted that terrestrial television companies have slowly moved to creating their own versions of on-demand services to complement their standard broadcasts.

“They are already moving in the right direction by evolving their offerings to include the emergence of digital media, offering seamless cross-platform access to their content, such as Tonton TV by Media Prima.

Tonton is Media Prima’s answer to on-demand service. Consumers can watch Free-To-Air television via the internet, and can be accessed from multiple devices.

“This gives consumers the control and convenience they seek,” she explained, saying the services available are easily accessed by multiple devices, like the smartphone, tablet or computer.

Though to further make themselves relevant, she pointed out that terrestrial TV stations must also provide multiple formats of their broadcasts to allow viewers to access content via such mobile devices.

In addition, “From a content perspective, different formats need to be adapted to the different platforms or mediums, allowing optimal viewing experience on different screen sizes.

“They should leverage on the benefit of digital platforms, by thinking about interactivity with the viewers via commenting, live interaction with the stars of the show or voting at the ending of the show,” she suggested.

Are TV Stations Losing Their Advertising Relevance?

TV companies are experiencing less profits from advertising revenue.

When Netflix arrived in the beginning of 2016, The Star reported that Malaysian satellite television provider Astro Malaysia Holdings Berhad’s shares had come under pressure and its share price fell into a record low since October 2015.

In August, The Malaysian Reserve reported Media Prima Bhd, one of Malaysia’s largest media companies reported losses for the second quarter of 2017, as traditional revenue from commercials continue to plummet with a net loss of RM132.9 million.

So, are marketers really running away from advertising on terrestrial TV stations?

Cocombee Studio, a Kuala Lumpur-based media company that creates professional digital advertisements for its clients, declared to us that advertising on TV is no longer the prime method for businesses to promote their products.

“With the advent of social media and mobile devices, consumers are spending less time watching TV,” its spokesman told Malaysian Digest.

The studio claims that companies are struggling to grapple with the challenges of the digital age and internet services are challenging the grip of TV and media industries, forcing them to adapt to the rapid rise of digital media.

“Companies soon realise they can save a lot of money by focusing their marketing campaign on internet-based media instead of terrestrial TV, because advertising on TV is very expensive,” the spokesperson added.

While Nur Leila Khalid, the programme director of advertising for Taylor’s University does not deny the explosive growth of advertising on the internet and its dominance, she is of the opinion that marketers still benefit from advertising on terrestrial TV stations.

Nur Leila Khalid. Photo: LinkedIn“True, terrestrial TV stations are losing their viewership. However, we still have to look at the context of the urban and suburban areas.

“In some suburban areas, the internet connectivity is not as strong as that of the urban areas, and this is where advertising on traditional broadcast is still relevant,” she said.

To keep up with the changing times, Nur Leila emphasised that agencies must know the demographics and their target audience as well before opting which form of media is most suitable to market their products.

She believes the older generation have the tendency to watch traditional broadcast, while the tech-savvy millennials and the younger generation spend more time watching digital media.

“When I ask my students what kind of media they use, it’s very rare for them to say they watch TV. They do watch a lot of videos and commercials on the internet.

“Companies realise this, and if they want to target the younger age groups, they would prioritise advertising in the digital space first before moving on to marketing on terrestrial TV stations,” she opined.

As advertising steadily grows online, proven by the evident increase of commercials seen on YouTube, Nur Leila shared that students in her programme are also learning more from watching the commercials they see on the video-sharing website instead of the TV.

Despite the fact that marketers are slowly moving towards digital media, Nur Leila chooses not to undermine traditional broadcast, and deems it as an “important media”.

“Even if paid streaming services such as Netflix are on the rise, it does not mean companies can post commercials there, as the services are ad-free, making it one of the reasons why people are willing to pay for them, because they do not want to see commercials.

“While those who do not pay for streaming services are still most likely to watch content from both terrestrial TV stations and the internet for free,” she stated.

In fact, a new survey by Advertiser Perception last August, finds commercials on TV have more impact than commercials in other media. “40% of the marketer and media agency execs polled said TV ads have the most impact, compared to 23% who picked digital video ads,” Broadcasting Cable reports.

This proves the bigger budget spent on advertising on traditional broadcast is worth it, as it still has the biggest impact on viewers.

Will TV Still Be Relevant In Future? Viewers Weigh In

Many media consumers are making the jump to on-demand streaming services, after seeing how they can dictate the sort of content they want to watch, instead of being regulated by terrestrial TV stations.

For Wai Ong, he is optimistic for the future of on-demand services.

“Looking at the preferences of the current and younger generation, the traditional TV format just isn’t as convenient as on-demand streaming, especially when their time is so constrained,” he opined.

However, he thinks terrestrial TV stations will always have its place especially among the older generation, and will continue to exist as long as they are still alive.

“Unless the government continues its support for traditional broadcasting, it will be very hard for terrestrial TV stations to stay relevant,” he added.

Accessibility is also a key factor in the appeal of on-demand services and that easily beats traditional broadcast, shared urbanite, Izzani Ismail.

“People tend to go for things that they don’t have to struggle too much with. So, if you live in an area with decent connectivity and if on-demand services are affordable for you, you will definitely be using it as there are a lot of advantages,” Izzani highlights.

He also appreciates the features specific to streaming services, such as being able to watch movies without any commercials in between and having content suggestions tailored to his liking.

And in his opinion, traditional broadcast now not only has to compete against on-demand services, but against social media as well.

“A lot of my older relatives now get their news from information shares on WhatsApp and Facebook,” he told Malaysian Digest. 

However, just like Wai, he too, does not think television will be completely gone, as he made a comparison to the postal services which still exist despite the invention of telephones and text messaging.

As for the in-house content created by the broadcasting companies, Brian, a millennial who has unsubscribed from cable TV, admits that some viewers are losing their interest towards such content, subsequently impacting terrestrial TV stations to lose their viewership.

“The content created by local TV stations have to abide by strict quality control, with ratings from the government. It is for the consumption of the general public, it is very safe and repetitive,” was his two cents.

“On the internet, we have media such as YouTube and we can find alternative news sources that are not covered by mainstream TV. Even the movies and series are not required to comply with the government’s rulebook.

“You can even create your own content and upload it to video sharing websites, and it can be seen by millions of people, all without the help of broadcast television,” he detailed.

While there are many predictions for the future of TV, and with companies like Netflix working hard on personalisation technology thriving over traditional TV formats, even promising live sports in the future (one of the reasons some have found it unappealing and choose to stick with traditional TV), all we can do as viewers is stay tuned to find out what’s next.

— Malaysian Digest

‘Invest in athletes’ marketing’

Ricky Zililo, Senior Sports Reporter
SPORTS clubs that desire to sell their athletes to better leagues have been challenged to invest in video portfolios for purposes of marketing them.

Speaking about his role as a performance analyst for Castle Lager Premier Soccer League club Ngezi Platinum Stars, Kevin Mavhunga challenged institutions to invest in equipment that will help develop and market an athlete.

Mavhunga is part of 80 participants at the high-level international sports management course organised by the Sports Leaders Institute of Zimbabwe (Sliz) in partnership with the West Virginia University that started on Wednesday and ends today in Harare.

He argued that Zimbabwe football clubs and academies were failing to sell their athletes to overseas clubs because they don’t have video clips to market them.

“Video profile is key in sport. A video enables us to analyse and see areas of strength and weakness of an athlete. I urge all agencies and clubs to have video portfolios because that is what agents and clubs outside the country need to see before inviting an athlete for further assessments,” said Mavhunga.

“Our challenge is that we don’t document our athletes’ development or progression. Serious institutions should have little libraries for their athletes. Even coaches can record their games and training sessions so that they craft programmes that will address areas where they are lagging behind. Your Arsene Wengers, Jose Mourinho and company rely on video analysis for perfection,” he said.

Professor Dennis Jones from West Virginia University is conducting the programme looking at the globalisation of sport management as an academic discipline and a science based approach to managing sport.

Jones has been sharing tips on how to incorporate the scientific perspective and models most relevant to managing sport and physical activity organisations.

Topflight clubs that sent representatives to the course include PSL championship chasing FC Platinum and Ngezi, Caps United, who are represented by one of their directors Nhamo Tutisani as well as chief executive officer Cuthbert Chitima.

Former Warriors manager Sharif Mussa, ex-Zifa board member Benedict Moyo and former Sables coach Cyprian Mandenge are also attending the programme. — @ZililoR.

 

Leyard and Planar Expand Presence in the United States

PORTLAND, Ore.–(BUSINESS WIRE)–Leyard
and Planar,
global leaders in visualization products, announced they have expanded
their presence in the United States by adding the assembly,
configuration and testing of LED video wall products to their
manufacturing facility in Hillsboro, Ore.

Through Leyard’s acquisition of Planar in late 2015, the combined
company is unique in its ability to leverage core LED technology and
supply chain as the worldwide leader in fine pitch LED while designing,
engineering, manufacturing, servicing and marketing LED products in
North America to meet the needs of western markets. Leyard and Planar
are also bringing products to partners and customers across the United
States with five new
showrooms
and their second annual product roadshow, Video
Wallapalooza 2017
.

To support the assembly, configuration and testing of LED video walls at
the Hillsboro facility, the company has added new employees to their
manufacturing organization, representing a 50 percent growth over the
past 18 months. Leyard and Planar are also able to better serve
customers by adding 35 percent more headcount to their U.S. customer
service organization in the last year. Additionally, Leyard and Planar
will be expanding their manufacturing facilities in Hillsboro in 2018.

The hiring expansion comes on the heels of the Global LED Display Market
Report by Futuresource Consulting that for
the second consecutive year ranked Leyard as the global market leader in
narrow pixel pitch LED displays. The expanded teams demonstrate the
company’s commitment to maintaining their global market leader position
by providing the most innovative LED display technology.

“As the global market share leader in LED video displays, we are
continuing to expand to ensure our solutions meet the strictest
requirements for our U.S. customers,” said Adam Schmidt, executive vice
president of sales and marketing for North America at Leyard and Planar.
“By shipping Leyard LED video walls from within the U.S., we’re
shortening delivery times, lowering freight expenses and meeting the
demands of American customers—reflecting our commitment to American job
creation and products that are locally sourced.”

Product Showrooms Across the U.S.

As Leyard and Planar expand their U.S. operations, they are bringing
products to reseller partners and customers across America with the
opening of five new showrooms
in major U.S. cities. In Spring 2017, showrooms opened in New York City
and Washington, D.C. and this fall, three more showrooms opened in
Miami, Chicago and Portland, Ore.

The showrooms include demonstration areas that enable visitors to see
Leyard and Planar’s groundbreaking LED video walls, award-winning LCD
display solutions and other advanced display technology. Participants
can also attend scheduled training events, including a wide range of
Certified Technology Specialist (CTS) courses and continuing education
classes certified by the American Institute of Architects (AIA).

Second Annual Roadshow Slated for 10 American Cities

In addition to their permanent showrooms, Leyard and Planar are bringing
products and training events to 10 American cities through Video
Wallapalooza 2017
, a two-month roadshow. The second annual Video
Wallapalooza kicked off in Cincinnati on Aug. 30 and will end in Atlanta
on Nov. 9 with two-day events also scheduled in Toronto, Boston,
Philadelphia, Nashville, Seattle, San Francisco, Houston and St. Louis.

Leyard and Planar sales, marketing and product teams will be on site at
Video Wallapalooza 2017 to offer product demonstrations. Participants
also have the opportunity to take product installation courses, as well
as attend one-hour technology and product courses. For a complete list
of Video Wallapalooza 2017 events and training courses, visit www.leyard.com/Wallapalooza2017
or www.planar.com/Wallapalooza2017.

To learn more about Leyard and Planar product development in the U.S.,
please watch our USA
Proud video
or visit www.leyard.com/usaproud
or www.planar.com/usaproud.

About Leyard and Planar, A Leyard Company

Leyard is a global leader in the design, production, distribution and
service of digital displays, video walls and visualization products
worldwide. The Leyard Group of companies and brands, which includes Planar
Systems
acquired in 2015, is comprised of displays, entertainment
and lighting system solutions. Leyard is the number one market share
leader in the LED display market and fine pitch LED and offers indoor,
outdoor, fixed and creative displays (Futuresource
2017). Used in applications such as broadcast, sports arenas, stadiums,
advertisement networks, retail digital signage, control rooms,
exhibitions, large scale events and digital cultural experiences, Leyard
enjoys marquee installations globally and has over 300 patents in
display technology. Founded in 1995, the group is headquartered in
Beijing, China, and is traded on the Shenzhen Stock Exchange (stock
code: 300296). Forbes magazine (2013) named Leyard among “China’s
Top 100 Most Potential Listed Companies.” For more information, visit www.leyard.com.

How YouTube Entrepreneurs In Their 20s Are Disrupting Traditional Record Labels

MIAMI, FL – MARCH 23: Alan Walker performs at the SiriusXM Music Lounge at 1 Hotel South Beach on March 23, 2017 in Miami, Florida. Walker’s breakout single, « Fade, » was released for free in 2014 on the YouTube channel NoCopyrightSounds (NCS). (Photo by Gustavo Caballero/Getty Images for SiriusXM)

One of the most interesting label MA deals from the past few months was Warner Music Group’s acquisition of indie dance label Spinnin’ Records, for a reported price tag of more than $100 million. Major labels buy up indie labels left and right, but this particular acquisition pointed to a key disruptor that much of the music industry is still struggling to understand and accept: YouTube.

The biggest bargaining chip for Spinnin’ Records is arguably its YouTube community. Having amassed nearly 19 million subscribers over the past ten years, the label currently owns one of the 30 most-subscribed channels in the world. In a statement, Stu Bergen, Warner Music Group’s CEO of International and Global Commercial Services, explained that Spinnin’ Records’ YouTube savvy would prove invaluable for the Warner roster in an era when “the line between a local and a global hit, as well as the distinction between marketing and commerce, is blurring.”

It’s precisely because the music business still wants to separate marketing from commerce that it hasn’t exactly been comfortable partners with YouTube and other video streaming platforms. After all, the numbers paint a clear picture that YouTube not only is the most popular resource for listening to free music, but also yields a stubborn gap between consumption and revenue. The IFPI’s latest Music Consumer Insight Report claims that 1.3 billion YouTube users—or 85% of its user base—accessed free, non-monetized music over the span of a month. Public indie label data from January 2017 revealed that YouTube accounted for 21.7% of the label’s streams, but only for 3.8% of its streaming revenue.

Artists and trade bodies point to such numbers as evidence that YouTube encourages piracy while failing to return fair value back to content owners. Yet, it’s on this same platform where some of the most innovative models for artist development and distribution are taking shape, and where young, new entrants to the music industry are turning the traditional label structure on its head.

Perhaps the most standout example is Trap Nation, a channel run by 20-year-old Andre Benz that boasts over 16 million subscribers. Since its founding in 2012, Benz’s company has expanded to include other channels under the Nations network (Chill Nation, Rap Nation, House Nation, Bass Nation and RB Nation), encompassing more than 24.2 million subscribers in total, and has produced live shows at SXSW, Amsterdam Dance Event and EDC Las Vegas.

What’s more, the Nations network has become profitable despite owning nearly none of the music it posts to YouTube. Instead, an artist signs a license that issues the Nations network the right to monetize their single and retain all the ad revenue from the corresponding video, but the license is non-exclusive—meaning the artist can still promote and monetize that single on any other platform or YouTube channel of their choice.

In another case, Alan Walker, the 20-year-old Norwegian DJ on the bill for the Nobel Peace Prize Concert this December, released his first breakout track for free on NoCopyrightSounds (NCS), a YouTube-first label that allows indie creators to use and even monetize its music freely as long as they give due credit back to the content owners. Unlike the Nations network, NCS, which has over 13.1 million subscribers as of press time, is a more comprehensive label and publisher in its own right, in the sense that it only uploads YouTube releases signed directly to its roster.

Other successful YouTube music channels include Monstercat (6.5 million subscribers), MrSuicideSheep (7.4 million), Majestic Casual (3.5 million) and UKF (1.5 million), all of which go against the traditional label grain by embracing a distribution- rather than licensing-first business model.

According to industry estimates, annual revenue for a given music curation channel can reach as much as $1.5 million for every 10 million subscribers. Coupled with relatively little overhead—most channels employ only around two to five people full-time, while the Nations network is a larger outlier with 12 employees—this consistent revenue flow makes for a surprisingly sustainable business that is « digital-native » in every sense of the phrase.

Despite this opportunity, persuading artists and traditional labels about the seriousness of a YouTube-first business can sometimes be difficult. Majestic Casual’s weeklong shutdown in late 2015 due to alleged copyright violations only exacerbated the industry’s pervasive skepticism.

“Our biggest challenge is justifying our existence as a label, in an age when any artist can self-release a record really easily,” Daniel Lee, Label Manager at NCS, told me. “We try to solve that challenge by providing an amazing service to artists and proving to them that they’re not just another sausage in the industry factory, but becoming part of a much larger, more loyal community.”

Indeed, the secret to any YouTube channel’s success is similar whether its business is in music curation, unboxing videos, reaction videos or four-hour ASMR recordings: providing consistent content to a community that isn’t otherwise being fed.

Interestingly, many YouTube music channels found their community origins in gaming. Benz began curating music by uploading remix playlists to share with his fellow gamer friends; NCS founder Billy Woodfordsaw a gap in the market for free, copyright-safe music when he encountered licensing restrictions when trying to upload gaming videos of himself.

Over the long term, YouTube has proven to be a more effective space than Spotify for catering to these passionate communities, whether in gaming or beyond. Visual iconography plays a crucial role in visibility and stickiness on YouTube, adding a powerful marketing layer atop traditional methods. Video comment sections are ripe territory for engaging with fans and viewers in a two-way conversation that Spotify and Apple Music haven’t yet mastered.

The pace of music discovery is also quite different: while a Spotify-programmed playlist can add as many as 50 new tracks every week, most YouTube channels upload only one song a day, or up to five songs a week. “Our YouTube audience doesn’t necessarily follow up on Spotify,” said Lee. “We see YouTube, Spotify and SoundCloud as serving three really distinct audience segments.”

Another key reason why some curators are more loyal to YouTube is data accessibility. Spotify’s value proposition to the music industry centers around its ability to break artists through its complex system of playlists. In order to maintain that position of power, the service only gives sparse data to third-party curators.

“In a sense, we’re like Spotify’s direct competitors, because they don’t want user-grown playlists to be bigger than their own,” Benz told me. “I’ve tried to work with Spotify to help them grow their playlists via my YouTube channel, but they’re not really about that, either. I respect their approach, because it’s what any smart businessperson would do.”

In contrast, at the moment, YouTube has no ambition to become a music curator in its own right, so can afford to offer superior analytics to independent channels. “Because I get so much data from YouTube like skip rate and demographic info, I use that to my advantage when navigating Spotify and other platforms, especially when it comes to advertising,” said Benz. As a result, Spotify has become more of a secondary port of call for YouTube music curators, offering the opportunity to monetize a wider audience after building a robust community through video.

“If you’re an artist looking to make it big on Spotify, the only people who can really give you that guaranteed big break work at Spotify, » added Luke Hood, Founder and Director of UKF. « In contrast, if you’re looking make waves on YouTube, the only curators who can help you are third-party ones like us. »

In fact, Warner’s acquisition of Spinnin’ Records points to a growing trend of major labels seeking collaborations with YouTube curators, particularly around remixing songs by established artists. Typically, a major label arranges for five to six remixes of a hit single across various genres, including but not limited to Latin, dubstep and drum bass, with the intention of covering as many audiences and media outlets as possible.

In such arrangements, YouTube channels become valuable marketing tools for traditional labels, allowing them to test tracks and measure feedback and engagement in a more responsive environment. “There are also times when an NCS artist breaks on our channel and then get signed to a major, but still keep their music on NCS for the sake of staying in touch with our community,” said Lee.

Occasionally, however, major labels will misunderstand the business models behind YouTube channels, especially for those like NCS that are proper labels and publishers in their own right. “A few big labels have asked us how to get their latest signees on our channel, and our only legitimate answer is to hand over all their masters and publishing rights to us,” said Lee. “But we can look at more of a partnership where one of our artists reworks an existing track that we think has a lot of potential.”

In this vein, the biggest mistake the music industry can make—and one that the industry continues to make often—is putting all of these YouTube music channels into a single box. Digging deeper, one realizes that each channel has a distinct business model, target audience and long-term vision, refuting the claim that YouTube is “just” a lean-back streaming service or “just” a free promotional platform.

In an effort to prove the Nations’ viability as a label alternative for artists, Benz has also been busy growing his indie label imprint Lowly Palace, which is separate from the Nations business but still leverages the latter’s promotional reach. Lowly Palace encompasses a wider range of genres, including pop, RB and alternative in addition to dance, and signs exclusive single-level deals spanning 10 to 15 years, with a 50/50 split on the masters rights.

“A lot of execs will look at our model and wonder why we’re not signing away a higher percentage of the masters, given our huge promotional channels,” said Benz. “I strongly believe you don’t have to take as much of the masters away as possible in order to do something good for the artist.”

Even though a 10- to 15-year deal seems rather extensive, Benz argues that he still provides a much more flexible offering than that of traditional label contracts—especially with the single-by-single rather than artist-by-artist model that mimics a typical YouTube promotional license. “We give artists a choice: if that single ends up working well, let’s just work together again,” he said. “There are some artists who have signed more than 10 singles in a row with us already, and haven’t gone to another label yet.”

Aside from recorded music, YouTube music channels are also using live events to gain leverage over industry incumbents. Historically, the connection between streaming and live data and revenue has been spotty at best. In fact, Spotify’s recent “fake artist” controversy revealed a new class of artists nurtured by the growth of streaming, namely those who could rack up millions of streams without the ability (or desire) to sell tickets to a single show.

The most serious channels are determined not to fall into this trap, and are slowly but surely proving their ability to rally their online communities to live shows. Trap Nation just hosted its first ticketed show, Enter The Vortex, at Amsterdam Dance Event last weekend; UKF hosts one to two concerts every month in the UK under its events arm UKF Live; NCS is just starting to venture into the live space, hosting a lounge at TwitchCon showcasing NCS artists.

As with any music company, the next crucial task for these curators is mastering an increasingly wide range of viable international markets, especially given YouTube’s global reach. In general, only around 15% of YouTube music listeners are in the U.S., with India, Brazil, Mexico and Indonesia among the next top countries.

Each territory has its own musical preferences and subsequent product dynamics, which presents both a challenge and an opportunity to curators with strong roots in Western markets. “We can see from our YouTube stats that we have significant audiences in the Middle East and North Africa, but we haven’t been able to engage them properly yet due to language barriers,” said Lee.

Likewise, only 14% of Trap Nation’s audience is based in the U.S., with Germany tapped as its second-biggest market. The channel is also actively pursuing partnerships in China and Thailand, having just launched on China’s Weibo, WeChat and Youku this past February.

Amidst this global expansion and maturation into full-fledged media companies, these YouTube brands are reframing the conversation about the potential value the site brings to the music industry not as a standalone streaming service, but as a data-rich community-building tool that can generate profits if utilized smartly.

“To what extent have you actually tried speaking and engaging with your fans on YouTube, aside from just posting your content? A lot of people haven’t taken that next step,” said Hood. “You get out of the platform as much as you give.”

Honda Targets Millennials With Gold Wing Motorcycle Relaunch

  • by Tanya Gazdik
    ,

    4 hours ago

Honda Powersports is relaunching its
iconic Gold Wing motorcycle with marketing that attempts to shed its image as a “couch on wheels” in order to appeal to a new generation of riders. 

It is the
motorcycle’s first major redesign in 17 years. The global launch campaign by agency of record Dailey goes beyond features and tries to capture the emotions that come from riding. “What
Lies Beyond” is a departure from the typically product-first mindset of Honda motorcycle ads, instead leaning into the touring lifestyle’s spirit of adventure, says Lee Edmunds, manager of
Honda Powersports marketing.

“The big challenge for us was to create a bike and a campaign that appealed to our existing customer base while also attracting a customer new to
touring,” Edmunds says in a release, adding that the campaign’s videos should appeal to both customer bases.

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The Gold Wing has always had a loyal audience and the new Gold Wing,
has technological advances like Apple CarPlay, an industry first. In another first, the new Gold Wing boasts an available 7-speed automatic Dual Clutch transmission with handlebar-mounted paddle
shifters. It’s lighter by nearly 90 pounds, with more power. 

The microsite hosts five videos including a teaser video,
What Lies Beyond,” an ode to the touring lifestyle that celebrates the appeal of the open road and highlights the types
of unexpected places and people we come across. “Beyond the Standard” is a video and interactive timeline. It celebrates
the Gold Wing’s legacy and evolution from 1975 to modern day, bringing the iconic bike’s history to life. 

In “Beyond the Screen,” weary of connecting with friends only on Facebook, a couple decides to break free from their phone screens and
reconnect with far-flung friends in person, using the high-performing, comfortable Gold Wing to find the kinds of experiences you can only get in real life.  “Beyond the Gold Wing,” a product-centered piece, bridges the history and the modern day, and highlights the latest performance and
technology innovations through the new model.  A fifth and final video will launch next month.

Star Wars: The Last Jedi BTS Video Reveals New Footage

Star Wars: The Last Jedi behind-the-scenes video that reveals fresh footage from the film and a new image of Luke Skywalker standing by his Jedi history library have been released online. With under two months until the highly-anticipated sequel reaches theaters, Lucasfilm is ramping up their marketing efforts to 11 – increasing the already fervent levels of hype. This month saw the grand unveiling of the full theatrical trailer and poster, raising numerous questions about the nature of the story. Die-hard fans would prefer to not see anything else from the movie until December, but the studio is just getting started in terms of promotion.

The TV commercials have already started, showcasing new Last Jedi dialogue as people try to piece the plot together. Pretty soon, international trailers and spots will be flooding the internet, and as a primer, Lucasfilm has unveiled a new featurette that takes fans behind-the-scenes of production (watch it above), as well as another look at Luke on Ahch-To.

Released as exclusives to USA Today, there isn’t much new information to be gleaned from either, but they’re still fun to check out. The video is very reminiscent of the sizzle reel that debuted during the D23 Expo, featuring quotes from Daisy Ridley, John Boyega, and Mark Hamill about the exciting new directions to story goes in. Writer/director Rian Johnson also discusses his personal connection with the Star Wars franchise, remarking how he balanced being a fan and filmmaker on the set. This video does include some new shots, most notably a quick glimpse of Benicio del Toro’s DJ walking alongside Finn and Rose Tico in First Order disguises. Much has been made about the codebreaker’s enigmatic nature, but this makes it seem like he’s aligned with our heroes. There’s also a short look at Ridley working with Johnson in what seems to be Supreme Leader Snoke’s throne room, which could be from a scene depicted in the latest trailer.

<!–[if IE 9]![endif]–>Star Wars Last Jedi Luke Ahch To Books Star Wars: The Last Jedi BTS Video Reveals New Footage

As for the Luke photo, it’s very clearly taken from a sequence on Ahch-To, with the Jedi Master standing in front of a book shelf inside a cave. Considering Episode VIII covers “age-old mysteries of the Force and shocking revelations of the past,” it should be interesting to watch this scene play out in the movie. It’s long been presumed these publications detail the history of the Jedi and the Force, which makes sense given Luke is on a quest to find the first Temple. Skywalker is wearing his darker-colored costume that’s been prevalent in other marketing materials, so this scene could be from later on in the film. The Last Jedi picks up just moments after The Force Awakens (a first for the franchise), so in the beginning, Luke will be wearing his lighter-toned Episode VII outfit. Most likely, Rey is in the cave with Luke, learning more about her powers and (possibly) her heritage.

Going back to the video, it’s abundantly apparent Johnson had the time of his life in the galaxy far, far away, getting lumps in his throat as he boarded the Millennium Falcon and frequently stepping back to reflect on his amazing opportunity to add to the Star Wars legacy. At this point, the only thing left is to see what the critical response to The Last Jedi is, so hopefully Johnson’s enthusiasm for the material translated into an entertaining and heartfelt chapter of the saga and sets the stage for an even better Episode IX.

Source: USA Today

Amazon video aims to keep shoppers from YouTube

Amazon.com Inc. wants to prevent holiday shoppers from straying to Google’s YouTube and Facebook Inc.’s social-media sites in search of product videos, so the e-commerce giant is working with merchants to match the effort on its website.

Pet supplies, baby products, housewares and electronics are the focus of the new push for promotional and instructional videos. Amazon this year began inviting some of its 2 million merchant partners to join a test program in which the online retailer coordinates these short product videos. The plan is to post many of them to the site by mid-December, when the holiday shopping season is in full swing, according to documents reviewed by Bloomberg.

“You can move hearts and minds with video in ways you just can’t with text and standard display,” said Jason Kint, chief executive officer of Digital Content Next, a trade association formerly called the Online Publishers Association.

Amazon relies mostly on written descriptions of products, photos and reviews from shoppers to boost customers’ confidence in its wares. But the site largely lacks videos similar to television commercials or consumer reviews and how-to’s posted on YouTube and social media platforms. Amazon is offering merchants a discounted cost for 30-second video ads to encourage participation in the feature added to its Enhanced Brand Content program, the documents show.

The test is part of a broader effort to get more promotional videos on the site. Bose Corp. is one of the prominent brands that now has videos on Amazon, through a “premium” page program that costs $500,000, Advertising Age reported last week.

The Enhanced Brand Content video pilot program seeks content from smaller merchants in a wider range of categories that lack big marketing budgets. Some videos posted through the program include a demonstration of Coffee Gator’s French press coffee maker and a “how to wash your face” video posted beneath a facial cleanser.

The effort is targeted at the approaching holiday season, Amazon’s busiest time of year. Online sales are expected to increase by as much as 21 percent to $114 billion this season, according to estimates by Deloitte.

“Video is the latest feature addition to Enhanced Brand Content and we look forward to rolling it out further so more small businesses can create engaging, helpful content for Amazon customers,” Amazon said in an emailed statement.

Product videos are becoming an important feature for consumers before they make purchase decisions. More than 1 in 3 millennials, those in their 20s and 30s, find video demonstrations of products to be “very important” when shopping, according to a survey by Astound Commerce.

Alphabet Inc.’s Google has tried to turn YouTube into a prime destination for these marketing dollars. Two years ago, the search giant introduced a new feature that lets advertisers run customized ads for consumer products within relevant YouTube videos.

Amazon’s push with merchants comes as it works to build an advertising business to challenge Google and Facebook, which dominate the $83 billion online ad industry. The e-commerce giant is recognizing the value of its product search engine as an advertising platform because so many shoppers go to the site to find items and research purchases. Videos are increasingly part of that research, said Jonathan Bowen, owner of JLB Media Productions in Los Angeles, which shoots product videos for businesses.

“With electronics or a kitchen gadget, people want to see a video of what it actually does,” Bowen said. “Everyone knows what a spatula is, but for some of these products, pictures alone don’t do them justice.”

Now read: Intel and Amazon join forces on voice recognition

In a tight market, counting the pennies will pay dividends

As the market for new vehicles tightens and the economic outlook is uncertain, making sure that every pound spent on bringing customers to the forecourt should be the primary focus of every automotive retailer.

Digital advertising has boomed over the last decade thanks to a laser focus on return on investment from the previous recession. The accountability of search engine marketing and digital display advertising allowed a more direct correlation to be drawn from pound spent and vehicle sold.

Technology has moved on in the last 10 years and social media has become the primary media platform in most people’s lives. Advertising on social media allows the individual purchase journey to be tracked against the advertising pound.

According to the Internet Advertising Bureau mobile accounts for 43% of digital advertising with year-on-year growth of 38%. It now accounts for 57% of all display ad spend, 70% of video spend, and 83% of social media spend.

People love watching online video and advertisers have followed them. More money is now spent on video ads than banner ads. Video now accounts for 35% of all spend going on display advertising. Social media is at the heart of this growth with spending on social feeds doubling, accounting for £363m.

Digital ad spend rose to 13.8% to £5.56bn in the first half of 2017. The exponential growth looks set to continue as platforms like Facebook expand as media and shopping platforms.

Some recent research by us at Radar Video showed that 42% of the largest dealer groups are wasting budget on Facebook by not using the platform’s tracking capabilities.

The study shows that while most dealers have a Facebook page and advertise on the social network, only six out of ten use a Facebook Pixel, which allows companies to track individuals who click on ads and serve them bespoke offers.

Retargeting on Facebook allows brands to target buyers with tailored offers, which maximises sales and the return on marketing investment.

Dealers must engage one-to-one with social media audiences, and the dominance of video means it’s more important than ever to grab interest with impactful content. The cost of production is dropped to such a level that each dealership can personalise its content for local audiences, with real-time and highly targeted offers.

It’s estimated that by 2019, 80% of the world’s consumer internet traffic will be video, while Reuters predicts that video viewership will account for 70% of mobile network traffic, growing 14-fold within the next five years.

Is it time for a social media first advertising strategy?

Amazon and eBay report that adding a video ad increases the propensity to buy by up to 35%. And according to recent reports, Google and Facebook will account for more than 70% of all money spent on display advertising online in the UK by 2020.

Consumers of all ages live their lives on Facebook. They research their next purchase, ask friends for recommendations and watch videos of their prospective purchases. If a dealership doesn’t have a social media advertising and content engagement strategy at the heart of its marketing plan, it is missing opportunities.

Derek Blair is the founder of Radar Video

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Gallia marketing efforts take second

COLUMBUS — Gallia County Economic Development’s Aerial Marketing Video has been selected as runner-up in the “Economic Development Marketing: Small Community Category” at the Ohio Economic Development Association’s (OEDA) Annual Excellence Awards at the 2017 Annual Summit, held Oct. 18-20 at the Columbus Renaissance Downtown.

“We are very pleased the Ohio Economic Development Association recognized the efforts of our aerial video marketing project. We are continually looking for new and unique ways to market our community to prospective companies and site consultants.” said Melissa Clark, Gallia County Economic Development director.

Community Improvement Corporation of Gallia County President Josh Bodimer said,“The marketing video showcases available sites Gallia County has to offer to expanding companies. We hope this marketing approach reaches company decision makers in order to bring needed jobs to Gallia County.”

The Ohio Economic Development Association’s Annual Excellence Awards program recognizes the achievements of individuals and organizations throughout Ohio in the areas of economic and workforce development.

According to Clark, the video was produced by Neon Cloud Productions with financial assistance from a Local Economic Advancement Program grant provided by American Electric Power last year. The video makes use of drone technology and pans aerial shots of downtown Gallipolis, Dan Evans Industrial Park in Bidwell as well as video overlaid with statistics of Gallia’s area vocational and college opportunities and more.

“I had wanted to do something like this for awhile and saw a video that showed off the best parts of a Texas community on YouTube,” said Clark. “We visited around 15 sites in the county to give marketing consultants an idea of our area assets and to see what it’s like to live in Gallia.”

Clark had expressed a desire to engage in such a project when AEP awarded the development office grant funding. AEP offered suggestions to Clark in production services. Clark said, coincidentally, they found the same company which had produced the video she had watched on YouTube. The production company apparently specialized in similar videos for other small communities like Gallia in search of economic development opportunities.

Planning for the video started in the summer of last year and the development office made use of statistics from organizations such as the US Bureau of Labor and other databases to flesh out the informational needs of the video. The video was shot in little over a day and timing was essential to make use of good weather. The production team shot video over the weekend of last Labor Day. Editing video proved to be a longer process along with graphics rendering.

“We wanted to give the feel of the quality of life that Gallia can provide,” said Clark.

Clark said early story ideas aimed to exhibit a sense of “industry, education, health care and the community” to video viewers.

Clark said the production had cost upwards of several thousand dollars with much of the bill being footed by AEP’s grant.

For more information and access to the video, visit www.growgallia.com.

Staff Report