Stumbling around…

Secret(R) Teams with Recording Artists Rihanna and Nicole Scherzinger to Promote Female Self-Expression

Secret(R) Partners With Jennifer Lopez in Search of America’s ‘Hottest’ Dancer

Abba sjöng för Panasonic

Abba ad (Fernando) Australia 1976

Varför satsar ni på musik?

- Mobiltelefonerna är fortfarande vår kärnverksamhet, men åren med ursprungsversionen av Playnow har visat att musiken numera är ett viktigt innehåll i mobilerna. Det är ett bra komplement, helt enkelt.

Senare i år kommer webbplatsen att lanseras även i andra europeiska länder senare och tanken är att den ska vara global 2009.

Musik har, kort sagt, blivit en viktig konkurrensfaktor i mobiltelefonbranschen. Nedladdning av låtar är något som kunderna numera förväntar sig. Dessutom har tillväxten på mobilmarknaden planat ut.

Mobiltelefonindustrin har tagit täten med nya affärsmodeller för en krisande skivbransch.

Hip-Hop Cash Kings - Forbes.com

P&G’s TAG brand and Island Def Jam Music Group (IDJ) announced the formation of a new hip-hop record label, TAG Records. The launch of TAG Records is part of the TAG brand’s initiative to cultivate relationships with the urban community through the development of programs that provide opportunities for aspiring hip-hop talent.

Music Equity - the power of music in branding

Music Branding - What’s the Real Score

Putting the Metrics into Music

Emotional Engagement

Not Just Eyeballs, But Ears: Appraising the Role of Sound and Music in Brand Management

How music can make a brand sing

Don’t Leave Me Hanging on the Telephone

How to integrate music into branding

Sound Advice

Music branding: What’s the real score?
Consultant Ruth Simmons talks about how music is the key to connecting with consumers

Aural Branding - The Power of Music
Why is remembering song tunes, lyrics and jingles so
effortless and seemingly instinctive, while attempting to
recall the material from a text book you read 20 minutes
ago so challenging? While there may be no simple way to
explain this phenomenon it does

http://www.brightstar.co.nz/2006/events/conferences/march/B09/B09.pdf

Procter & Gamble is embarking on its biggest venture into branded content with the launch of Hugo Urban Rules, a nationwide music competition for Hugo fragrances.The company has linked with MTV, Galaxy and Kiss FM and performers such as Joe and Sway to create workshops, events and TV…

Procter & Gamble brand Pringles has tied up with Sony BMG for a pan- European digital music giveaway. Its on-pack promotion Pringles Presents is being supported by a branded digital download store created by 7 Digital.

It will profile several students in a class sponsored by VH1 Save The Music. Their online stories show how music education has improved their lives.

Grey Music

THE WORLD’S #1 HAIRCARE BRAND PUTS
MUSIC IN FRONT OF MILLIONS EVERY DAY can you write a head-turning song?
> it has to have a “loved by all” sound (main-line pop)
> make women feel strong & empowered
> be immediately branded yet never a jingle
> work as an instrumental and in various formats & lengths
> creatively interpret the brand message of “shine” & “let the best
of you shine through” (but not be a slave to those words)

can you make the playlist?
The Grey Music Director and Pantene will evaluate submissions
before MIDEM and create a Top 20 Playlist. Join Josh Rabinowitz
|at MIDEM Listening Session for presentation and evaluation.Send to
midem.greymusicnyc.com - deadline 22 january, 2008

can you go global?
submissions will be accepted on behalf of Pantene (P&G) for 2008
campaign consideration in North America and potentially beyond.

brand promise

MusicEquity

“The power of music in branding”

Strategic Branding

music consultancy

Songseekers Group, which works with Brands, their Agencies and the Music Industry.

Music is a powerful medium

help companies recognise the value of music in the context of branding.

how to evaluate music opportunities and
successfully integrate them into a wider, long-term business strategy.

Brand identity carried through music

experienced-based
marketing that focuses on communicating the emotional values of Brands is the
current trend and way forward.

multimedia platforms such as interactive mobile phones

The television commercial has historically been the initial platform where
Brands have used music to support a visual idea.

music DNA:

a formula that clicks in the consumer’s mind

The public started to talk about The GAP commercials outside of the environment of
the commercial - its reach was extended and other media started to contribute to its PR
strategy without it costing the Brand a penny.

Rather than The GAP commercials looking like a rip off from something from MTV, artists
from Brandy to Britney Spears and The Backstreet Boys copied The GAP style and looked like
a GAP ad. The company had developed it’s own aesthetic, which spilled out into music and
other advertisements.

The GAP have created a music
metaphor for consumers to feel great about their products.

A Brand is essentially a
promise.

Every time
a Brand uses music in any area of it’s marketing it will create an asset or a liability for the
Brand depending on the success of music selection and usage: the artist, the arena and the
platform.

customer touchpoint

“What does my Brand sound like?”
This is not to be confused with “Sonic Branding”

Consider the message from Microsoft when
they used The Rolling Stones copyright “Start Me Up” for the Windows 2000
launch. Almost every newspaper headlined the story with the alleged $8,000,000
paid for this track. Microsoft were forgiven for not using the original Rolling Stone
master sound recording, (a fact this was never openly communicated.) All that the
public remembered was that Microsoft paid more than ANY other company for a
song for a commercial from one of the biggest bands in the world.

MusicEquity as ‘the net commercial
value of the Brand’s relationship to music taking into account its
assets and liabilities that can be commercially leveraged and measured in other
areas of its marketing activities

The Music Industry should look to recent success stories of where music in a
commercial has directly helped their bottom line. A great example is Nike’s recent
use of an old, relatively unknown Elvis track as the soundtrack to a commercial.
The commercial gave the track huge airtime on broadcast media, something that the
radio stations would not give to an artist who had been dead for 25 years.

The hype was not about the quality of the
commercial or the cost of the shoot but the fact that the Elvis estate had been
persuaded to allow a modern remix of the track by a popular DJ, JXL and that this
was the 25th anniversary of the death of a superstar. The amount of column inches
that the partnership produced was beyond the wildest PR expectations.

It is relatively simple to see who were the principle financial beneficiaries of
the Elvis partnership. The key question is what more could have been leveraged for
Nike, had this been part of an overall Music Strategy with objectives, aspirations
and financial opportunities clearly mapped out.

collaboration between content and marketing,

(GAP, Levis, Target, Pepsi etc.)

Dirty
Vegas “Days Go By’ might have been a flop if it had never been featured in a
spot for the Mitsubishi Eclipse, but the commercial launched the previously obscure
song into the music charts and helped it receive a Grammy nomination for Best
Dance Recording.

“The most powerful proof is when a DJ comes onto the radio and
says, ‘And now, the Mitsubishi song.’ It’s hard to explain the phenomenon,” says
Pierre Gagnon, Mitsubishi Motors N.A. president and CEO. “What we’re so pleased
with is we know we’re breaking through when these songs become more popular.”

how to convert PR
attention into commercial buys.

How do you make the success of music translate
into more car sales?

“If your marketing
is intrusive, you’re going to lose them, so you have to provide entertainment that’s
an asset to their life” (Jarrod Moses CEO Grey World Alliance on behalf of P&G
Pringles latest entertainment partnership July 2002)

One of the reasons that music is currently undervalued by many organisations
is because it is difficult to directly measure its impact and influence on sales.

David Aaker uses five dimensions when measuring Brand Equity: Lifestyle,
awareness, perceived quality, associations and loyalty.

Entertainment value,

Research has shown that people relate to Brands in a very
similar way that they relate to people. They form relationships based on personality,
appearances (style and image) and trust.

“What a customer hears may make the difference
between their choosing and not choosing your Brand” (Gerald J. Gorn The Effects of
Music In Advertising on Choice Behaviour 1982).

“If a new model isn’t developed, the old one will simply collapse” (Steven J. Heyer, Coca-Cola)

In a marketplace where compelling messages, consistent delivery and emotional
experiences are at the heart of a Brand’s success, organisations need to actively
develop fully integrated and powerful multimedia music strategies.

there for the taking for the marketers.

the ways that music is used to sell products and
services

the ways in which Brands, Agencies and the
Music Industry continue to transact in music and yet miss the true currency of
their exchange.

…
songseekers

music branding

The Mary J. Blige franchise, signed in June, will launch this fall as a series of animated webisodes. The deal resulted from overwhelming fan response to an animated large screen video created by SLM - depicting Blige as a warrior against social predators and champion of the innocent - which has opened each of her sold-out summer shows. In addition to the webisodes, to be voiced by Blige, the company envisions the growth of the franchise into such areas as TV, film and print.

To attract those customers, Pizza Hut is launching a promotion with eMusic.com that gives customers 75 free downloads in exchange for buying a pizza online. The chain is hoping to boost awareness of its online ordering, up its cool factor and build its customer database.

Marketing and licensing one’s music is more important than ever,

CMJ Music Marathon

conversations with the publishing and advertising worlds

“Clearly, in the past year or two, there’s been a major change not only in regard to bands being willing to take on sponsorships, but also sponsors being the new consumers of music,”
said Robert Haber founder and CEO of CMJ Network.

 ”It’s fascinating because they’re just as enthusiastic about emerging acts as fans are.”

Wednesday morning’s panel, “Sponsorship: A Futuristic Music Industry Strategy,”

“The most important strategy is knowing who you are and communicating that philosophy to the brand,”
Maurice Bernstein, president-CEO, Giant Step,

 ”You need to make them want you. Create your own buzz through MySpace and your web page.

Using marketing lingo like “branded entertainment,” “metrics” and “ROI”

Moderator Marcie Cardwell, president, MAC Presents, cited a change in musicians’ attitudes with pop star John Mayer, who had resisted brand campaigns for years until he struck a tour sponsorship deal with Blackberry.

Ms. Cardwell played a promotional video for the deal wherein Mr. Mayer spoke about his love for the Curve device, which prompted a few attendees to murmur the familiar epithet “sell-out.” Afterward, Ms. Cardwell acknowledged the sentiment, shrugged it off briskly and moved on.

Mr. Bernstein:
 ”Brands have to understand they’re getting in bed with the rock n’ roll business.
There’s a possibility thsoe brands could get burned by behavior of people in the rock n’ roll business.
Artists also need to understand they’re getting involved with corporate America, and it’s a very tentative marriage.”

tour sponsorships

entertainment marketing

pockets of resistance from artists

advertisers are in an enviable position. Not only can they outspend labels’ marketing budgets by a wide margin for relationships that consumers seem to be responding favorably to, but they’ve also got a glut of options at their disposal.

Panelists told prospective bands to hit up music conferences to hawk their records to music supervisors and marketers, but also acknowledged that there were thousands upon thousands of bands looking for deals with just a handful of marketers.

Deconstructing Boundaries: Hip-Hop Media Co. Goes Old School - Songs For Soap - Advertising Age

“Our whole model now is to figure out how to incorporate what we’ve developed with our music and entertainment relationships and apply it to branded content to connect with the youth market,” Mr. Bittenbender says. “We want to use brands as a launching pad for our talent and vice versa.”

In the past year, agencies and record labels have gotten cozier;

in April, lifestyle marketing firm Cornerstone partnered with ad-supported digital label RCRD LBL,

in July Euro RSCG Worldwide grabbed a majority stake in The:Hours.

In April, Sony BMG (soon to be Sony Music Entertainment) performed a move similar to Decon’s (but on a much larger scale) when it formed an in-house agency, Arcade Creative Group, which has since landed general-market campaigns and utilized its parent company’s music catalog in creative executions.

Decon has been involved in commercial production for years; it’s most recent projects include

Most of Decon’s projects, explains Mr. Goldwatch — who admits he shuddered when the company introduced the word “brand” into its vocabulary — tend to begin as creative endeavors, not ad campaigns.

 ”We want to do the projects we think would be great and try to attract a brand to them,” he says. “I want to make new media weird alchemist shit, and whatever brand is savvy enough to be like ‘That’s killer,’ we’ll work with them.”

Mr. Bittenbender says Decon’s track record as a hip-hop label makes the shop more authentic than other agencies or labels when it comes to engaging younger audiences.

“Myself and others in the company are in the age demo to know what’s happening,” he says.

The record label side gives us insight and credibility into what’s happening. If you can sell records, you can touch an audience, and that’s pretty important.”

From the start, Decon has been committed to a multimedia experience of hip-hop.

At the same time, Mr. Bittenbender says, having working relationships with marketers makes his label more attractive to extraordinary musical talent.

He wouldn’t name names, but he says that artists on his roster picked Decon over major labels with bigger pockets because of the insight and diverse creative talent he can offer.

These resources allow Decon to offer what it calls “DCN360,” an approach that provides support for a musician in almost every stage of his or her career.

“DCN360 is something we can do that’s absolutely a dug-in, hands-on approach,” says Mr. Goldwatch. “Sign to our label, we do all your videos and design work, we take out ads, put together your tour, and then put you in the middle.”

And, although they’d like to remain small, Decon has expanded its staff in order to fulfill its new role as a full-service creative shop.

It’s brought in VP-Strategy Sebastian Eldridge, who hails from traditional agencies such as Kirshenbaum Bond & Partners and Translation, in order to complete a full-service slate with strategy and account services.

new creative agency, which promises to wrap together a footing in multimedia production, hip-hop record label expertise and new-media design

Jeff Greenfield, an executive vice president with 1st Approach, a Boston advertising agency, specializes in product placement in movies, television and the Internet. With media growing more diverse, Greenfield said, the advertising industry is rapidly shifting to adapt.

“Non-traditional is the way to go these days,” Greenfield. “If you go back to the days when there were only a couple of channels, it was very easy to reach the majority of the country. Now, with hundreds of channels, the Internet and video games, it’s very difficult to reach everyone.”

With the media world evolving every day, companies are forced to think creatively to get their brand in the public’s eye, he said. Greenfield described Williams’ strategy as more of a novelty, or lighthearted entertainment, than an actual trend in advertising. Still, he said, creativity is key.

Representatives for ABC’s “Good Morning America,” NBC’s “Today” and CBS’ “The Early Show,” all produced through their respective networks’ news divisions, say they allow no product integration of any kind. But they do feature the brand names and logos of the sponsors of their concert series on the stages where their musical acts perform. They also run billboards announcing the sponsors of their various news segments.

Looking Ahead
“Obviously, more and more content is being made available via mobile devices,” said Jaenicke. “Once we start watching movies on a phone, where is revenue going to come from? Not traditional 30-second spots, as it would be unacceptable for a consumer to have to pay bandwidth charges to watch a commercial.”

An offering that can combine free or low-cost advertising based television with mobile devices would be attractive and a good use of virtual product placement, Jaenicke believes.

“You can target the viewer demographically; for example, you can have three different versions of the same film or program to download and stream the most appropriate one to the viewer, based on knowledge obtained when they purchased their telephone,” he said.

Still, it may be too early to nail with certainty the strength and speed in which virtual product placement will travel in the mobile-device marketplace. “Mobile entertainment is only in its infancy stage,” said PQ Media’s Kivijarv, “and advertisers have to be convinced that it is a viable alternative to other media. The small screen makes the seamless integration of a product into a scene extremely difficult.”

Working together
Jeff Bell, the Chrysler group’s vice president of product strategy, says his company saw the script for Firewall in its early stages. Chrysler officials and the movie’s producers worked together on integrating the 300C and Pacifica in both the film and related ads.

“We suggested where we thought there would be opportunities to naturally and appropriately” include the vehicles, Bell told Automotive News.

“They already had (the) vehicles in the film. We said we can use this footage for promotional purposes. They made sure that when they were shooting it, they would do it in such a way that the vehicle looked great and the stars were present.”

Even a virtual soldier gets hungry sometimes. That’s why one new firm is helping Subway, the sandwich chain, embed advertisements for its $2.49 daily specials in the video game Counter Strike. The real ads - still in test mode - appear on signs an alert gamer encounters while patrolling a virtual city.

And they appear to deliver. The company, Engage In-Game Advertising, surveyed online players recently after they had encountered the ads and recorded 94 percent recall. That’s a “phenomenal” result compared with other media, says David Smith, vice president of business development for Engage in San Francisco. Subway’s sales numbers also spiked in the test market.

Product placement meant to foster brand affinity has been commonplace in video games for several years. The practice is widely embraced by gamers, who prize realism - a FedEx delivery truck as opposed to a generic one, for example, in a street-racing game.

But “this is more,” says Mr. Smith. “This is actually immersing traditional advertising, like billboards, into the games.” The ads are local-market specific, and can be updated by means of an Internet “patch.”

The move is the latest step in marketers’ ongoing bid to capitalize on the rising number of PC- and console-based games that include, if not require, an online component. It has some watchdogs worried that more ads will pitch to younger-than-intended gamers.

Though many games are targeted to older teens, members of the age 12-to-17 set are most likely to play, according to one 2004 study.

“In-game advertising is here to stay, and will increase as more games and platforms hook up to the Internet,” says Jeff Greenfield, executive vice president of 1st Approach, a marketing firm in Dover, N.H. “Gamers love the reality, and brands are excited about reaching their core demographic.” It’s a willing audience.

“This new generation of consumers does not consider its experiences ‘authentic’ unless advertising is involved,” says Mario Almonte, a vice president at Herman Associates, a public relations firm in New York.

In other words: “My placements aren’t clutter, but everyone else’s are.”

large branded companies making complete shows around their branded products. Product placement has been banned in most European countries … until now.

the growing influence of brands on the breaking of and continued success for new and established artists.

Martin Morales, head of Disney’s recorded music assets for Europe

whether brands would increasingly be looking to take an equity stake in the artists that they break/support

 – as we’ve seen this year with

P&G’s Tag Records
JV with Def Jam
Bacardi’s “signing” of top British dance act Groove Armada.

 any number of previously un-thought-of arrangements between brands and artists would arrive over the coming year.

Brands are increasingly looking to own some of the intellectual property that they help create, said Richard Kirstein, CEO of Leap Music: “It’s no longer taboo from either the artists or brands perspective to want to be in some sort of partnership together; each can help the other out.”

Anyhow, the SFS rock n’ roll tour hits Los Angeles next week for NARIP’s (National Association of Recording Industry Professionals) “Bands Brands & Beyond Expo,”

a keynote titled “Evolving Deals In Licensing & Branding: A Behind-the-Scenes Look”

Umut Özaydinli, global music marketing manager

Jared Rosenbergand, Janet Jackson’s co-manager,

brand-music space

DMI Music Branding

WE’RE ALL ABOUT THE MUSIC…

	We Have The Music - in our master catalog, record label, and the world’s largest independent music library.
	We’ll Get The Music - our music industry connections aligns you with top artists and exclusive music.
	Or We’ll Create The Music - our award-winning composers and musicians work in our state-of-the-art recording facilities to create the perfect sound for your brand.