What are you looking forward to most about Super Bowl XLVI? The game? The parties? The halftime show? As the most watched TV broadcast of the year, the Super Bowl brings much hype. Although the football game is the most obvious reason why people tune into the broadcast, many people tune in for other reasons, specifically the commercials.

Companies spend months strategizing, preparing, creating, and producing innovative and engaging commercials that will grab the viewer’s attention in hopes of promoting their product. In years past, the commercials were kept secret up until the moment they aired and were shown once during the live taping of the game, but last year some marketing officers went against the traditional approach and implemented a new plan of attack. As our society has become more and more engrossed into the world of social media, companies have discovered that combining their commercials with a social media overlay increases not only the awareness of their product, but also “gets the ball rolling” before the commercial airs live on TV.

We are proud to announce the launch of an awesome website for the very talented (and only 15 years old!) Scott James! Check it out here.

We implemented Topspin for Scott’s mailing list collection and e-commerce, Soundcloud for Scott’s audio content, YouTube for Scott’s video content and Facebook to feed Scott’s photos.

Marie Parie is a new client here at Oniracom! She presents a different genre than we normally work with and we are excited to start working with her. She is a Parisian pop artist that moved to the United States in 2005, providing her with a unique view of American society. Marie is fascinated by the process of dating and is motivated by the power of futuristic music. Her full length album, Alien Victory, is aimed to be released early this year. Watch her first music video, Dating, here! Follow her on MySpace and Facebook to stay tuned for the release of her album!

Peter Tanham of Amp Music Marketing writes, “When we start working with any musician, two of the most important goals we start with are:

1.) Build a strong mailing list

2.) Build a popular Facebook page

Fans are going to be more comfortable interacting with the artist through these mediums, and they are also the ones that drive the most sales.”

Highlights from this article include:

The importance of Facebook Ads

Implementing effective Facebook Ads

1.) If You Like Those Guys…  it’s called a “power play,” pick musicians that are similar to your style and pay to be played to their fans.

2.) Building A Good Landing Page: make sure your Facebook ad redirects them to a customized landing page which will encourage them to click the “like” button with some incentive to hear or get your music. Make sure it is the most similar sounding music to the artist you referred to in the “power play.”

3.) Target Your Ads… and run multiple campaigns!

4.) Ask Questions. Encourage Clicks and Likes - (reference pseudo ad image on the left).

“At the MobileBeat 2010 conference in San Francisco, Eric Tseng said that Facebook “really sees mobile as the future,” and that we can expect to see Facebook’s “Like” buttons in mobile applications soon.

Tseng used geolocation as an example to illustrate the power of the mobile Open Graph. If you were to walk near a coffee shop and get a location-aware notification that there’s a happy hour going on there, you’ll probably be even more inclined to visit it if the notification comes bundled with recommendations from your Facebook friends.”

From Paramore’s rendition of “Use Somebody” to Framing Hanley’s version of “Lollipop,” cover songs seem to be all the rage right now. Which is exactly why we love BBC Radio 1’s Live Lounge, because honestly, what is better than watching your favorite artist cover a song that we already know all the words to?

So, what is Live lounge on BBC - Radio 1, you ask? Well, Radio 1 is a station on BBC and Live Lounge is a separate segment on Radio 1. The radio show features interviews and performances with musicians spanning all genres. After the interview is conducted the interviewee will usually perform a cover song in addition to one of their original songs. Interestingly enough, the cover usually tends to be outside of the musicians typical genre, the result… pure awesome-ness.

Now that we’ve had a year to reflect on Michael Jackson’s death, I have compiled a list of MJ favorites from Oniracom’s staff.

What is your favorite Michael Jackson song/video?

 

Blip.fm is a Social network founded in 2008, but just starting to pick up some good steam. The layout is nearly identical to Twitter, in that you have your “blips” that come in from all of your “favorite DJs” just as tweets come in from whom you’re following.

As the website itself will tell you:

A blip is a combination of 1) a song and 2) a short message that accompanies it. The way you create a blip is to first search for a song that you want to hear (or a song that you want your listeners to hear), then add a short message (under 150 characters), finally you submit it. Submitting a blip is also referred to as “blipping”, so from here on out, when you read “he blipped my favorite track” it means “he submitted a blip that had my favorite song attached”.

Video after the break

“Wow” is all I could say after stumbling upon Pomplamoose (thanks Taylor).  Not only is the band’s sound appealing to my ears, but the band’s video editing works seamlessly alongside my brain’s interpretation of each layer of sound.  I’ve included three of their videos for you to check out, but of course you can see them all on the Pomplamoose YouTube Channel.

The band’s sense of marketing is spot on with today’s new media / self-promotion techniques.  They cover two popular songs but with their very unique style—Lady Gaga’s “Telephhone” and Beyonce’s “Single Ladies (Put A Ring On It)” (both embedded in this post if you click “Read More”).  Of course covers of current pop songs help an emerging (super talented) artist spread virally/quickly (anyone up for a Susan Boyle cover?). 

And for their holiday track “Always in the Season,” Pomplamoose offers a cool direct-to-fan trade at the end of the video: donate an animal to a friend through World Vision and get 2 free mp3 downloads in return.  Fans mail their proof of purchase to the band, and in turn get their download links.

Pomplamoose - “Always in the Season”

The following post was written by reknown producer and industry thinker Sjoerd (Sjoko) Koppert.  Besides working with bands such as The Who, Pink Floyd, ABBA, Janis Joplin, Frank Zappa, Beach Boys, Yes, and Lynyrd Skynrd, he also orchestrated the launch of FedEx in Europe and the Middle East in 1986 while on a personal break from the music industry.  He is well-known for being an insightful and forward thinker for the music industry, as he has constantly adapted his strategies to maintain success in an ever-changing business.

Oniracom is currently working with Sjoko on two original music series, produced in high quality to be premiered on the web before moving to television and film.  (More on that soon!)  Here’s a snippet on some of Sjoko’s thoughts for YouTube future in their fast maturing market. Enjoy:

Points for thought

After launching FedEx in Europe in ‘86 I attended my first “official” FedEx board meeting in Memphis and caused a lot of consternation. When asked my opinion about the state of the corporation my response was: “Dangerous. You are a single product company in a fast maturing market.” To say this remark caused consternation would be a severe understatement. After all, I was addressing a board that had only ever experienced and accommodated growth. But my statement was truth based on fact and before long they recognized that they had to take serious action in order to preserve their market position.

Today I see a very similar situation with YouTube. They are a single product (delivery platform) company, a market leader in a maturing market. Alternative delivery platforms are developing and growing. Just in recent weeks we have seen developments. Hulu is moving from being just another delivery platform to content development (Article). AOL is moving from content provider to include delivery platform (Article). Shifts have also been spotted from companies such as Yahoo (Article) and MSN/Bing (Article). History has shown that this market movement is to accelerate. As such, a company like YouTube will have to make strategic moves in order to preserve and built its market position.

Currently, we are awaiting YouTube’s response to a request for a more “fixed rate” schedule of advertisements for two original series. This is a move away from their Google based advertising platform. Our request to YouTube is based on our concept research, our proven capability to deliver and the interest in the shows from corporate sponsors. 

Our contact with sponsors is due to my history with marketing / advertising / sponsorships, but our core activity is content development. I am a producer first and foremost and a marketing / development person as a necessity. No question YouTube can handle sponsorship / product placement and have the people in place to do so. The latter is one of the reasons I requested for a YouTube person to be part of our “closing team” when finalizing major sponsorship deals. It helps us and comforts our corporate sponsors.

And here comes today’s key question:

YouTube is considering a strategic decision in changing their manner of advertising. Should they perhaps consider a different strategy and partner in the production of shows?

Personally I think of YouTube as a partner anyway, be it an “initial delivery partner” only. I would not have any objections to them becoming involved financially. Yes we would forego a percentage of our long-term revenue, but I do think they have much to offer to counterbalance that. I would value your opinions. 

In evaluating the above, please consider that currently our production entity owns both shows and YouTube is the initial delivery platform. After YouTube the shows will go to television and after that other alternative platforms (DVD etc.). In other words, there will be a large ongoing residual value. Naturally we would have to share the revenue with YouTube should they partner us in producing the content.

Do you think this would benefit both parties? Or do you think YouTube should stay away from production and revenue share? I welcome your opinions!

Sjoerd Koppert