segunda-feira, fevereiro 25, 2013

Radio's progress In the digital advertising space.



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New RAB Report Says Radio Turning Corner In Digital Sales, Growing Share

  • New RAB Report Says Radio Turning Corner In Digital Sales, Growing Share

    February 25, 2013 at 8:50 AM (PT)
  • rabstudy.JPG

    Study Finds Digital Sales Rising

    Radio gained digital share in 2012, and it looks like many stations are building on that momentum in 2013, according to a report issued by BORRELL ASSOCIATES on behalf of the RAB. Moreover, there appears to be significant profit in local digital sales operations, the report concludes.

    The report, "Benchmarking: Local Radio Stations' Online Revenues," says that radio grew its online ad revenues 22% last year, outpacing the 20% overall increase in local online ad expenditures. That was enough to achieve a share increase of two-tenths of a point, to 2%.

    The report is based on BORRELL's annual industry-wide survey on more than 6,200 local online operations, including more than 2,000 radio stations in 527 clusters. This report analyzes data derived from three principal sources: media ad revenue, local business ad spending, and a special radio manager survey asking questions about digital revenue resources, sales methods, expenses and other digital operations.

    "In terms of digital advertising, radio has been in a come-from-behind position for years," said BORRELL ASSOCIATES CEO GORDON BORRELL. "But it looks like quite a few groups are breaking out and even challenging their newspaper and TV competitors for a slice of that very large digital pie. I hope the data in this report will show radio general managers and general sales managers that it is entirely possible to generate millions in digital sales, and that there's a high likelihood that these sales hold significant profit margins."

    Overall, radio sellers closed $370.7 million in local online advertising last year. BORRELL expects the number to pass $420 million this year as many radio groups double-down on digital sales efforts. Much of that growth will be fueled by stations budgeting for unusually high growth. In a survey of 1,075 radio stations administered in JANUARY as part of the report, 17% said they expect growth of 30% or more this year.

    There's more good news for radio: Stations are diverting their focus from banner advertising and branching out to sell other, more popular formats like e-mail advertising, paid search and even video ads. While banner ads were the largest single source of revenue for 32% of the stations who participated in the survey, the number dropped to 22% for 2013.

    "Digital strategy among radio stations and groups is varied," remarked RAB Pres./CEO ERICA FARBER. "Revenue opportunities continue to grow for those who are pushing the digital limits with online and mobile initiatives. As radio further defines and focuses on monetizing their digital platforms and applications, we will continue to see growth for radio in revenue and market share."

    The full study is available to RAB members on RAB.com. A free webinar featuring the study results will also be presented by the RAB and GORDON BORRELL, THURSDAY, MARCH 7th, 10a CST. To register for the webinar, click here


Indie Music Grabs 32.6% Of U.S. Album Sales In 2012

 

Indie Music Grabs 32.6% Of U.S. Album Sales In 2012

image from lawprofessors.typepad.comAccording the A2iM, The American Association For Independent Music, Billboard and SoundScan stats show that independent labels grabbed 32.6% of U.S. album sales in 2012.  As in 2011, indie labels outpaced each of the major label groups grabbing the #1 sales spot followed by Universal, Sony, Warner Music and EMI respectively. This chart breaks sales down by label group:

image from a2im.orgBillboard chart via A2IM

What Is Indie? Can An Artist Top The Charts Without Help From A Major?

 

http://www.hypebot.com/hypebot/2013/02/indie-artists-still-need-major-help-to-top-the-charts.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+typepad%2FDqMf+%28hypebot%29&utm_content=Netvibes

Macklemore-Thrift-ShopBy Kevin Erickson, Communications Associate, and Olivia Brown, Intern, at The Future Of Music Coalition.

Let’s look at some stats: Jack White’s Blunderbuss, number one debut on the Billboard 200, Third Man Records. Taylor Swift, worth $165 million, Big Machine Records. Adele, 21, more than 26 million records sold, XL Recordings. Gotye’s “Somebody That I Used To Know”, Grammy for Record of the Year, Eleven. Macklemore, a number one single on Billboard’s Hot 100 chart, no label.

With financial success stories like these, many music industry pundits have been quick to celebrate the new “reality” for independent musicians. A quick glance at some media outlets might lead you to believe that all the old gatekeepers have fallen away, or that independent musicians have the same shot at stardom as major-label backed artists. However, these narratives can be misleading.

Take, for example, the artists listed above. Jack White’s Blunderbuss was released on his own imprint… in association with XL Recordings (a large British independent label), and Columbia Records (owned by Sony Music Entertainment.) Taylor Swift has been with Big Machine Records (a Nashville-based independent label) since her debut… but Big Machine is distributed byRepublic Records under the Universal Music Group umbrella.

Both of Adele’s records were released on XL Recordings in England, but she depends on Columbia for distribution and promotion in the United States. Gotye is on Eleven, an Australian independent label, but his music is distributed in the United States by Universal Republic. And Macklemore may not have a label, but as NPR recently pointed out he and Ryan Lewis chose (as many notable indie labels do) to work with Warner-owned Alternative Distribution Alliance for physical distribution, and partnered with Warner Music Group to help promote “Thrift Shop” to radio.

The point of acknowledging these arrangements isn’t to call these artists’ integrity, authenticity or accomplishments into question.  A distribution deal or marketing partnership hardly invalidates the time, creativity and ingenuity required to succeed in today’s marketplace. Rather, the point is to acknowledge that contrary to what some pundits are saying, mainstream chart success still usually requires the resources and reach of certain industry powerhouses at some stage.

An artist may be able to build a successful career through extensive touring, online platforms or other means. But when it comes to clawing your way onto commercial radio or onto the shrinking shelves at big-box retail outlets, a major label partnership can make all the difference.

While each artist’s business model is their own, we should be realistic about what these arrangements mean in terms of the average musicians’ ability to reach audiences. Commercial radio airplay remains the number one outlet for discovery, and big-boxes account for far more music sales than dwindling record shops. Which is to say: we’re still dealing with a deck that seems stacked against smaller players; that hasn’t fundamentally changed in the digital era.

FMC’s own research backs this up to a considerable extent. Our artist revenue streams study found that significant commercial radio airplay remains out of reach for all but a tiny handful of artists.  And our earlier radio-centric researchdemonstrates that commercial playlists tend to be repetitive and narrowly focused on major-label artists. (This, incidentally, is one of the reasons why it’s important to support Low Power FM and non-commercial radio, as these formats offer indies a better shot at airplay. It’s also a reason to oppose further ownership concentration in commercial broadcasting which is likely to worsen this problem.)

Still, there are many gray areas. Where does a “spec deal” – where you remain unsigned, but the label pays for you to record a few tracks – fit in to today’s picture? And how about distribution deals, where the artist pays to record their own music, but a label handles many of the other chores, including promotion? Or distribution and manufacturing deals, where the label is *only* responsible for getting your record pressed and on shelves, but not marketed? What if an artist has no label, but has a major publishing deal? In many instances, independence is clearly not a binary phenomenon.

Hypebot’s Clyde Smith says he’s no longer going to use the term “indie” at all, for a whole host of reasons. We would argue that, at a time when marketplace concentration is becoming more pronounced, it’s good to have some differentiators, even if they are based in business approach rather than sonic aesthetic. The merger of EMI and UMG means that just three companies will control 75 percent of the domestic recorded music industry – how can anyone accurately describe unfair marketplace conditions without a blanket term to describe the  competing 25 percent of the industry (which actually translates to a much larger percentage of the overall pool of artists and releases)?

Perhaps the best way to deal with these grey areas is simply to talk about themmore, and with a little more precision. Instead of simply saying “an indie artist,” try saying “an artist on an independent label with a major distribution deal,” or “a self-released artist with a publishing deal,” as the case may be. This may be a tall order at a time when many fans still confuse “indie” with a set of aesthetics rather than a business model. That said, the more consumers understand the intricacies of the artist experience, the closer we are to creating a future where more artists have a fair shot at success, whatever path they choose to get there.

sexta-feira, fevereiro 22, 2013

Nielsen Agrees to Expand Definition of TV Viewing

 

http://www.hollywoodreporter.com/news/nielsen-agrees-expand-definition-tv-422795

 

After a meeting in New York Tuesday, the ratings company will roll out a system to measure broadband, Xbox and, in time, iPads, with more changes to come.

The Nielsen Co. is expanding its definition of television and will introduce a comprehensive plan to capture all video viewing including broadband and Xbox and iPads, several sources tell The Hollywood Reporter.

OUR EDITOR RECOMMENDS

The decision to expand beyond traditional TV ratings measurement came out of a meeting in New York on Tuesday of the What Nielsen Measures Committee, a group that has been meeting for nearly a year. The committee is composed of representatives from major TV networks, local TV stations, cable TV networks, advertising agencies and some big brand advertisers.

STORY: Nielsen and Twitter Partner for Social Media TV Ratings

The decisions made by the committee are not binding but a source at one of the big four networks was ecstatic at the prospect of expanded measurement tools. The networks for years have complained that total viewing of their shows isn't being captured by traditional ratings measurements. This is a move to correct that.

By September 2013, when the next TV season begins, Nielsen expects to have in place new hardware and software tools in the nearly 23,000 TV homes it samples. Those measurement systems will capture viewership not just from the 75 percent of homes that rely on cable, satellite and over the air broadcasts but also viewing via devices that deliver video from streaming services such as Netflix and Amazon, from so-called over-the-top services and from TV enabled game systems like the X-Box and PlayStation.

While some use of iPads and other tablets that receive broadband in the home will be included in the first phase of measurement improvements, a second phase is envisioned to include such devices in a more comprehensive fashion. The second phase is envisioned to roll out on a slower timetable, according to sources, will the overall goal to attempt to capture video viewing of any kind from any source.

Nielsen is said to have an internal goal of being able to measure video viewing on an iPad by the end of this year, a process in which the company will work closely with its clients.

STORY: TV Pilot Season 2013: By the Numbers

The shift doesn’t mean Nielsen will begin to provide ratings data for, say, Netflix. Nielsen will capture how much time is spent on that kind of viewing, but to actually provide ratings, Netflix would have to agree to encode its program signals so that Nielsen software can identify them and trace their source. The traditional TV networks do encode their signals to be compatible with Nielsen’s measurement tools.

Nielsen already captures a small amount of out-of-home viewing, such as at a few colleges. If a student comes from a Nielsen home, his or her TV viewing is tracked when the student goes off to college.

Nielsen also has a “customized” program to capture some viewing in places like college dorms, bars and restaurants. While Nielsen wants to expand its measurement out of home, that is not part of this initiative. Nielsen appears to be waiting until it acquires Arbitron, which does more such out of home measurement, before making that a priority.

A spokesperson for Nielsen declined to comment.

Email: Alex.Benblock@thr.com

Twitter: @ABBlock

quinta-feira, fevereiro 21, 2013

Online Learning Platform, edX, Goes International With The Addition Of Six New Schools

 

http://techcrunch.com/2013/02/20/online-learning-platform-edx-goes-international-with-the-addition-of-six-new-schools/

 

When it comes to online education and massive open online courses (a.k.a. “MOOCs”), Udacityand Coursera have stolen most of the attention. But they aren’t the only two choices for voracious distance learners out there; in fact, the number of options has grown considerably.

Last May, Harvard and MIT teamed up to launch edX — their own, high-profile response to Coursera, Udacity and the MOOC-y wave sweeping higher education. Backed by $60 million, the non-profit partnership made courses from both schools available to the public for free via a learning experience designed specifically for interactive study on the Web.

In addition to making the MIT and Harvard learning experience available at scale to learners around the world, edX has been built on top of the open-source MITx platform in effort to allow other institutions to take advantage of its technology and make their courses available through edX. In the big picture, the organization wants universities to be able to use its platform to research the efficacy of online learning and better understand how technology can transform education both in and out of the classroom.

To date, edX has attracted over 675,000 students and edX President Anant Agarwal says that the platform is on track to educate one million students in its first year — the first step in its ambitious goal of educating one billion over the next decade. While MOOCs have traditionally focused on providing students with a variety of online courses for free online, he says that edX’s vision is “much larger.” Through MITx, the goal is to build an open source educational platform and network of the world’s top universities to help improve education both online and on-campus.

In doing so, edX announced today that it is officially expanding its reach from North America to Europe and Asia by doubling the number of its member institutions and will be adding a handful of new courses to its roster. The platform’s international expansion adds six new institutions to the organization’s so-called “X University Consortium,” including Australian National University, Delft University of Technology in the Netherlands, Ecole Polytechnique Federale de Lausanne in Switzerland, McGill University and the University of Toronto in Canada and Rice University in the U.S.

The expansion will enable edX “to better achieve its mission of providing a world-class education for everyone, everywhere,” Agarwal said, and is a natural evolution as the organization looks to beef up support for its increasingly international student body. The institutions will each offer courses in their respective areas of expertise, as Delft University (the oldest technical institution in the Netherlands) will feature “Introduction to Aerospace Engineering” and “Water Treatment Engineering” and the University of Toronto will offer a number of engineering, biology and businesses courses, for example.

“Each of these schools was carefully selected for the distinct expertise and regional influence they bring to the platform,” the edX President said, and their courses will “provide the same rigor” students would find in their classrooms. The difference, of course, is that the classes are designed to leverage the benefits of online learning environments by offering game-ified experiences, cutting-edge laboratories and instant feedback.

The six new members of edX join Harvard and MIT, as well as a handful of other institutions that have joined its ranks since last summer, including University of California at Berkeley, the University of Texas, Wellesley College and Georgetown University.

The new members will begin offering courses on edX beginning in the fall of 2013.

For more info, find edX at home here.

NPD Group: More Music Being Listened To On Tablets And Smartphones

 

  • February 20, 2013 at 10:06 AM (PT)

     

npdgroup.JPG

Finds Music Use By Smartphone And Tablet Owners

Mobile devices including tablets and smartphones are increasingly being used as portable music players, according to the new "Audio Consumption Study" from global information company THE NPD GROUP. Forty percent of tablet owners report they use it to listen to music, while 56% of smartphone users say they use it for music listening. Among those using the smartphone for music listening, 39% said they listen to music at least once a day and half (54%) report they are using the device more for music compared with a year ago.

NPD found that in the case of smartphones, 65% of the music users reported using Internet Radio, such as PANDORA, while 30% are using on-demand services, such as SPOTIFY or RHAPSODY. However, many (60%) bring their own music to the device. Tablet owners have a similar passion for using Internet Radio, and half (49%) port their own music files to the device.

"With both local music storage and the ability to connect to any number of online music services, tablets and smartphones are actually contributing to a net increase in their owner's use of iIternet radio and personal music collections," said Dir./Industry Analysis BEN ARNOLD. "As a result, we are seeing sales growth in products that complement playback on mobile devices, particularly those that feature wireless local streaming."

Wireless streaming speaker sales more than tripled in 2012, and wireless headphones grew by 34%. Further, one in four (28%) soundbars sold in 2012 were Bluetooth enabled, up from 6% percent in 2011, according to Retail Tracking Service data from NPD.

"Products that enhance listening like streaming speakers and soundbars with Bluetooth and even premium headphones have experienced tremendous growth over the past year is evidence that consumers aren't only satisfied with music on-the-go -- they increasingly want to use these devices for a better in-home music experience," said ARNOLD.

NPD Predicts: More Popular Streaming, Less Popular 'Idol'

NPD SVP/Industry Analysis RUSS CRUPNICK delved into other NPD studies on how consumers use music -- and radio -- in the current Power Player interview. Among his predictions for 2013 is the growing use of music streaming services to the point where it might equal CD listening and the potential demise of "American Idol."

Is TV Advertising Less Effective Than Radio? The RAB Says Yes

 

Feb 21, 2013

Money Well Spent?

  • THE RADIO ADVERTISING BUREAU (RAB) has taken aim at TV in a study showing a lack of effectiveness for spots that ran during the recent SUPER BOWL. Wrote the RAB, "Despite unprecedented hype around television ads that ran during this year's Big Game, many viewers said they didn't watch them -- and even when they did, consumer recall of brands advertising during the game was uniformly low."

    The study was conducted by NIELSEN ENTERTAINMENT for the RAB.

    Although the game brings out the advertising industry's best commercials, the results of the study show the limitations of television ads in selling products and highlight the fact that sight, sound and motion can distract from advertisers’ basic messages -- in contrast to radio, where the audio message is more direct and personal and is not obscured by video or picture.

    THE RAB noted, "For example, of half the ads tested, recall of the types of products being advertised was below 10% among viewers of the game.  More importantly, when asked to name the brand of the product being advertised on an unaided basis, most viewers could not link the brand to the ad, even for the ads that had higher recall themselves.  As with recall of the product category, for most ads, brand recall was in the single digits. The ads not only generated low brand recall, but also had little impact on viewers’ perceptions of the brands."

    The study also found that only 15% of game viewers said they later looked for the ads or related content online; only 9% posted, tweeted, or shared links about the ads; and as few as 7% claimed that they actually looked for more information online about the advertised products or brands.

    Companies paid an average of $4 million for a 30-second spot during the SUPER BOWL, played SUNDAY, FEBRUARY 3rd, 2013 between the BALTIMORE RAVENS and the SAN FRANCISCO 49ers.

    THE RAB boasted, "Radio works hard to register a marketer’s message at a fraction of the cost."

terça-feira, fevereiro 05, 2013

10 Questions Artists Should Ask Themselves at the Beginning of Their Careers (To Increase their Chances of Success)

 

February 5, 2013

 

BY: SARI DELMAR | POST A COMMENT | PRINT ARTICLE

Every young artist has their reasons for working hard at their music, yet so rarely do they ever define these reasons to themselves, bandmates, and their team. Some reflective thinking and sharing could lead to a great deal of clarity when running your business (well, band).

I’ve seen success get in the way of an artist’s core values and goals too many times. Sure, goals are allowed to change and augment, as circumstances do, but too often do great goals get lost, and that bands fold on the brink of their success, and abandon everything they have worked so hard for.

Thinking about these questions and sharing the answers with your team might be hard, but it could help bring you back to what’s important OR save you from wasting your time with the wrong team, and pursuing your career aimlessly in different directions that will never connect.

I realize there is, of course, that underlying passion and urgency that we all have that tells us we MUST work in music and there’s no other choice. My point is to not question that feeling (always trust that feeling), but instead use that gut feeling and turn it in to productive aids in defining you career goals and path. The 2nd important aspect is to show you the importance of clearly communicating that with your team.

This advice is not just for musicians but could be useful for any business owners. Asking these questions will prepare you for future curveballs and ultimately protect your dream. Stay focused and you just might get everything you’ve ever wanted!

Question #1: Do I need validation in order to feel that my music is good?

What factors do I use to rate my musical output? Are these factors productive and healthy, or are they holding me back from taking risks? Who do I trust to give great feedback on my music and why? When writing do I think a lot about what different people are going to say or think? How do I think this affects my songs?

Question #2: By what terms do I measure success?

When thinking about success and my music career do I use a scale based on internal goals and surpassing them, or based on the market and my position in it? Do I have a balance between internal goals and external position? Which element is more important to me? Why does one element (internal or external) weigh more than the other to me?

Question #3: As an entrepreneur and business owner, what are some of my biggest weaknesses?

What are areas I realize I am struggling in or I fear that I will? Why do I feel this way and is it justified? How do I plan on improving my skills in this area and ensuring that this weakness does not get in the way of my career development? Are these weaknesses tied to particular insecurities I have due to past experiences? How do I ensure I don’t let these insecurities make bad business decisions for my career?

Question #4: What elements of my career bring me the most stress?

Can I handle those elements always being present? What tools do I have that can help me manage this stress? Why does this element cause so much stress?

Question #5: Do I trust and believe in my partners (band mates, team etc.)?

Do I have any doubts that they might not be on the same page? How will I address these feelings if I ever did? Do we all envision the same ideal situation for our career success? Do I trust them to represent and share the same morals and standards with me? Do I enjoy hearing their feedback and asking their help when it comes to my career? Do they challenge me in healthy ways on a regular basis? How do I communicate my needs as an artist and human being to my team? Is it a constructive work environment?

Question #6: Do I believe I can be the biggest artist/band in the world with unwavering confidence in myself and my team?

This question is hard to admit, but sometimes to achieve big scary goals you have to say things that may sound a bit crazy. I truly think that, to be the biggest band in the world, you don’t get there by believing that you’re not ever going to be there. You need to believe that you are going to get there and can.

So… Can I be the biggest band in the world? What raises doubt and gets me down? What or who can help me keep on track in these moments of doubt?

Sure one could argue that it’s healthy to have some doubts to help propel you forward but there is a difference between some small doubts and a big gloomy doom monster lurking in your gut. Ask yourself, Do I have a big gloomy doom monster lurking in my gut?

Question #7: Am I ready to really truly work and give everything to this dream?

Is there anything holding me back? Are there any side projects, other careers, or back up plans left open ended that I need to tie up? Do I care what my friends and family think of my career choice? Do I enjoy working all hours of the day and night? Am I ready to really develop a serious work ethic and push through the aspects of this career that are unenjoyable? What am I willing to sacrifice?

Question #8: Is there a point in my career where I see myself hanging my hat up?

What is that point and why? How did I arrive on this idea? If I do have a hat hanging moment, what will I do after the hat is hung?

Question #9: How do I want my writing and songs to affect people?

In detail, what do I want my listeners to think? What if they think or say the opposite? What would be the most flattering compliment someone could say about my writing?

And most importantly…

Question #10: What are the values I will consider when making hard career decisions?

What are the most important things for me when it comes to making a mark with my music? Will I always keep those at the forefront when decision making? What could potentially challenge those values down the road? In what order will I consider these values and why?

*I suggest writing this one down and reviewing it regularly!

The answers to these questions are to get you thinking, and there are certainly no right or wrong answers. Just the fact that you’re asking them and willing to try and answer them puts you ahead of the herd.

For the best results, sit down and share with your band and team. Get them to prepare their own answers as well and open up the floor. I will follow up with another post soon about band communication, but you will be surprised at what the answers to these questions could bring to light.

What do you think? Are there any other questions you ask yourself as an artist? Let us know your feedback and if you found this helpful!

Thank you for reading,
Sari

—-

Sari Delmar is President of Toronto artist and brand development firm Audio Blood Inc. The 4-year-old company boasts an impressive client roster including Paper Lions, Coalition Music, Canadian Music Week, Edgefest, M for Montreal, Beau’s All Natural Brewing Company, French Connection Canada, Jägermeister Canada, and many more. At the age of 22, Delmar manages a team of 10 and also co-manages 2 quickly rising indie artists: The Balconies and Ben Caplan. Audio Blood’s dedication to the music community and so-crazy-it-just-might-work approach to marketing has earned them the name as Canada’s go-to artist development agency. For more info: http://audioblood.com / @audiobloodmedia / @saridelmar.

sábado, fevereiro 02, 2013

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