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If you like Internet personalities and/or Internet culture, then this little (under 10min) doco will be right up your alley.
It tells the story of ReplyGirl – a rather saucy-looking (you have to say “saucy” like a crooner for it to work) entrepreneur that used her god-given gifts to make some money on/of YouTube. She also created a bit of a “hoo-ha” (you have to say “hoo-ha” like Al Pacino for it to work) on the Internet, splitting the opinions of people on it in two.
So sit back, and enjoy the show (you can say that anyway you want for it to work).
Credit to VICE for making this doco.
Once in a while you come across a catch that you just don’t want to let go off. You’ve seen it before, and you know what it is, but because what your seeing is so different to the rest of what’s out there that you can’t bring yourself to not liking it. Cut Records has one of those catches, and the catch is this – it’s a free music record label.
Right now, there is so much free music available online – more than you can poke your proverbial stick at. So doing something different definitely helps you to stand out. What Cut is doing is pretty smart – get a quality product (music) catalogue together, make sure that the sound of each individual release matches the overall label’s feel (brand), wrap-it-up in a nice stylistic package, and then make it available for the consumer to digest. But with expectations of the product being free, can one still gain a reward? I believe you can. Radiohead did. Now I know that they had a bit of a head-start because of their name, but what In Rainbows did show us was that people were (and still are) willing to pay for music, even when it’s out there for free. And as years went by, I realised that the idea of having music on a physical medium is not dead – it actually seems to be gaining feet. I’ve noticed that the latest trend in the indie/underground music industry is to release both digital and vinyl versions of each release, with some labels going as far as giving the mp3 away for free with every vinyl purchase. This strategy is catching on, as more and more consumers are willing to fork-out the extra dosh for the vinyl simply because of what the vinyl does. Someone said that people buy cars not so much for the ride, but for the perception that the car will create in peoples minds about the driver – a classic product personality association. The same is happening with vinyl – it’s the medium of choice for anyone that wants to be perceived as a music lover. Digital music is worthless; it’s just data that is sitting on a hard-drive. It can disappear as quickly as it came. A physical release on the other hand is something that is a bit more tangible – you can show it off to people, you can create a physical (turning into emotional) bond with it, and achieve pride in owning it. The fact that most of today’s vinyl comes in limited pressing ads to the aura of the product being “special”.
With this hunger for the physical growing, Cut could very well move into the physical/vinyl product sphere. Their product is great, generating very positive press. The free pricing model is certainly affordable (the “Pay with a Tweet” option is fantastic – let the consumer spread the word about the label/product to their friends), and the overall presentation/packaging of the product/brand is well executed. As more fans jump on the label’s bandwagon, offering limited edition paid vinyl/CD or other physical medium versions of the free digital music could be a profitable proposition. In the meantime though, let the music keep on coming.
Cut is definitely onto something here.
If you are a fan of underground music, then this is not new to you at all – dubstep and ‘beatacism’ is taking over the club scene. What started off as young producers and DJ’s making music that they (as opposed to the rest of the crowd) liked and playing it among themselves, quickly escalated into a musical movement that’s sweeping the globe. Embraced by the few that keep their ears to the ground, it is now slowly filtering into the mainstream. And these new genres of music have grown in popularity thanks to the one tool that the music industry has been fighting to curb for years – the internet.
The impact music has on our culture is undeniable – just think of Bob Dylan, John Lennon, et al and the effect their songs had on the peace/anti-war movement of the 60′s/70′s. Music is a contagious symptom of beliefs that can spread quicker than the flu. A musical movement is not just a bunch of catchy chords and melodies sung and danced to by a few people – it’s also a map by which they live their life by. And it’s those that latch-on to what is perceived to be the “new sound” that usually have the social power to influence those around them. And not just musically, but also in what to wear, eat, watch, read, follow, believe, how to act, and how to behave. Smart marketers/creatives/strategists know this very well, and tapping into the trend-setter can be a very lucrative proposition. It can also back-fire tremendously if done in a “distasteful to the cool peeps” way.
Here are two short documentaries that talk about the evolution of dubstep; how it started, what are its beliefs, and where it is heading. There is a an interesting talk about how the internet has helped the genre and its artists to spread their sound beyond their small city borders, and into the wider world. It also talks about the old adage of “underground vs mainstream” – they listen to this music to differentiate themselves from the crowd, but the further they push their sound, the more people pick it up, which then the mainstream latches on to it, and then the movement dies and evolves into something else; a never-ending musical life-cycle.
So, have a look and see what the ‘cool kids’ are into these days. It’s just a matter of time before every brand and medium picks these genres up, and milk them for their “cool”.
Unfortunately I am not aware of any docos about the hip-hop ‘LA’ beat scene, but have a read of the link in the first paragraph (it discusses how this genre started in the parking lot and a boom-box, and moved on to every part of the world within a matter of a few years), and this one here. And while you’re at it, make sure you listen to the music too – it really is something new.
Click here for the guide (straight from Mashable.com – one of my most-often visited sites).
This is a copy of my pitch for the “Izquerda de la Copia” Reflective Web Media Creation assignment for Web Media 507. The assignment asked to present an idea for a web medium that would illustrate an issue from the unit in a way that anyone can understand and engage with it (meaning: in layman terms).
I wanted to create a funny, yet informative, video on the current copyright and illegal file sharing debate that is doing the rounds at the moment. Inspired by the “Downfall” internet meme, I created my own “foreign language” parody; I took scenes out of the Spanish-dubbed Oceans 11 movie, added my own English subtitles, flipped over the storyline, and created a trailer for a movie about a man trying to change the current music and movie industry stance on copyrighted material.
The lecturer loved the idea. However, at the time I didn’t have the script ready (I just visualised it in my mind), so the final grade for the pitch was 78%.
The final video/project can be found here.
The following is a copy of my GMC 640 written assignment. I’ve decided to write about podcasts, and how they can be used as a marketing tool. The assignment talks about what is a podcast, the people that use (and how they use) podcasts, how they’re done (and how to do them well), and finally, how to promote podcasts. I wrote this assignment at a time when I was really excited about podcasting; I’ve discovered a lot of great music, topics and tid-bits of info from them, and I’m still a firm believer that a great podcast can really add value to the consumer and the brand – as long as it’s relevant to both.
I received a High Distinction for this assignment, with the only major criticism being that I didn’t really include an introduction – a valuable lesson learned. Mind you, since the time of writing this (circa 2009), the podcasting game has changed heaps. It’s certainly evolved into a big beast, with thousands of podcasts fighting for listeners ear-time. However, there’s still a lot of references, consumer data, etc that will add value to any podcast related project that you might be working on.