DOCSLIB.ORG

The Year's Best Music Marketing Campaigns

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

DECEMBER 12 2018 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 218 thE year’s best music marketing campaigns SANDBOX 2018 SURVEY thE year’s best music marketing campaigns very year we are overwhelmed by the number and the quality of Contents 16 ... FRANZ FERDINAND 30 ... BARBORA POLÁKOVÁ Eentries for sandbox’s round up 03 ... 5 SECONDS OF SUMMER 17 ... JERRY GARCIA 31 ... RAY BLK of the best marketing campaigns. 04 ... AMAZON MUSIC 18 ... TOM GRENNAN 32 ... RED HOT CHILI PEPPERS That is not just hot air; there were a 05 ... THE BEATLES 19 ... GUNSHIP 33 ... ROBYN staggering number of submissions 06 ... TONY BENNETT & DIANA KRALL 20 ... CALVIN HARRIS 34 ... SIGALA this year, making the picking of a final 07 ... ANDREA BOCELLI 21 ... ISLAND CO. LAB 35 ... JORJA SMITH 40 an especially arduous task this 08 ... BRING ME THE HORIZON 22 ... MYLES KENNEDY 36 ... ROD STEWART time around. Here, then, are the best 09 ... BRIT AWARDS 2018 23 ... DAN MANGAN 37 ... SUPERORGANISM 40 campaigns of the year – listed in 10 ... BURY TOMORROW 24 ... KARA MARNI 38 ... TANK & THE BANGAS alphabetical order but with special 11 ... JOHN COLTRANE 25 ... METALLICA 39 ... TROJAN 50 awards for the ones that had that 12 ... DEEZER 26 ... M.O 40 ... TWENTY ONE PILOTS something extra, that something 13 ... DISNEY 27 ... NICK MULVEY 41 ... THE WOMBATS unique, that something new. It is, we 14 ... GEORGE EZRA 28 ... NINA NESBITT 42 ... YEARS & YEARS must say, a hell of a list. 15 ... FIRST AID KIT 29 ... NOW THAT’S WHAT I CALL MUSIC 2 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY 5 SECONDS OF SUMMER CAPITOL RECORDS UK Team members involved city, pop-up shops and video tour diaries. Our content objective was to always be Marla Altschuler, Hannah Maldon & Kinga reactive and timely. Nowicka – Cantine (digital agency) 3. Cocktails chats – a twist on the album Maddy Smith – head of digital, Capitol UK track-by-track where the band got drunk Becky Thomas – campaign manager, whilst explaining the album process – was Capitol UK by far our most successful content thread. Kate Sullivan & Abbie Hollebone – Each video has averaged over 350k views digital managers, Modest! Management with 3m views across all seven videos on YouTube and Instagram TV. Overview of campaign 4. Flash sales that gave fans short windows to access limited-edition The release of 5SOS’s third studio album, merchandise and digital bundles to drive Youngblood, marked a shift in direction pre-orders into album release. Social musically and aesthetically for the band. media was key to announcing these In a multi-layered campaign, we aimed drops and ensuring they all sold out to re-engage the existing fanbase whilst and eventually contributed to the band Our biggest learning was to never ask or expect from fans. They give reaching new audiences through a more securing their third US #1 album and so much already so we followed their lead and dropped tools for fans mature style and vision. making history. to propel the album themselves rather than explicitly asking them to Content was key to new discovery, 5. Global Snapchat lens for ‘Youngblood’. create assets. For example, one of the main flash sale merchandise engagement and the retention of existing The stats were overwhelming and helped items included childhood photos of the band with the Youngblood fans. At every step of the campaign a within the fanbase. The activity trended drive Shazams for the track particularly in signature branding on top. We provided fans with all the main album moment was created to excite fans and worldwide before the video had even been the US. Overall the lens had 262m plays 5SOS branding so they could create assets. Fans placed themselves drive conversation. It was imperative released and resulted in 145% increase in and 185m views over three days. within the artwork using their own childhood photos, just like the that everything came from the band average daily engagement, 335% increase band. This created huge extended visibility across digital, reaching themselves, with their own voice front in daily likes and a 628% increase in Results & key learnings outside of fans with the band interacting. and centre. Below are a few examples of average daily @ mentions. activations where these key values were 2. Content evolution. The aesthetic for • Youngblood the album went to #1 on the put into action: this album developed throughout the Billboard charts, making history with 5SOS ! campaign breakdown 1. ‘Want You Back’ video teaser. A tweet campaign. With the input of full-time being the first band to have their first three was sent from the band’s account with creator Andy Deluca, we delivered daily albums hit the top spot. CAMPAIGN BUDGET £15,001–£25,000 the video release date and a still from the photo and video pieces from the band’s • 1m album sales globally and 1.5bn album AUDIENCE DEMOGRAPHIC video. Every fan who engaged with this travels, a frequency needed to keep the streams. tweet was delivered a personal response audience engaged. These daily content • ‘Youngblood’ the single has had 1n AGE: 14–18, 19–24 from a member of the band with an posts were amplified by geotargeted streams across all DSPs. AUDIENCE GENDER (M/F): 56% / 77% unreleased gif from the video shoot. This activities such as local Snapchat filters, • ‘Youngblood’ #1 at US radio for five LOCATION: Global – primarily UK, US and Australia caused huge discussion around the video individually designed tour posters for each consecutive weeks. 3 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY AMAZON MUSIC Team members involved Carrie Underwood, twenty one pilots, Steve Boom – VP, Amazon Music Lil Wayne, Nicki Tami Hurwitz – VP of global marketing, Minaj and Imagine Amazon Music Dragons, with TV to Josh Fein – senior marketing manager, come. Additionally, Amazon Music select digital, radio, Colin Gaul – group creative director, Amazon and display ads have launched in the UK Overview of campaign and Germany. Each creative In August of this year, Amazon Music features a voice launched its largest-ever multi-media utterance to engage advertising campaign, titled A Voice Is All Amazon Music You Need, highlighting the powerful vocals on Alexa, while of iconic songs while demonstrating the highlighting the simplicity of using your voice to find the power of voice. New music you love. The multiplatform media ad creative featuring plan – inclusive of TV, radio and digital – additional artists and was developed with global independent songs will continue agency Wieden+Kennedy, to celebrate the to roll out throughout growth of Amazon Music and its lead in the rest of the year. voice innovation. Each advertisement is a striking Results & key visual interpretation of songs paired learnings: N/A with isolated vocals from notable artists, showcasing the emotional power of simply asking for a chart-topping vocal performance. The result is an ear- ! campaign breakdown grabbing, eye-catching musical rendition of legendary tracks that end with a N/A listener asking Alexa to play the featured CAMPAIGN BUDGET artist. A voice is all you need to make that campaign, with songs including: Kendrick Since its initial launch, Amazon Music AUDIENCE DEMOGRAPHIC happen. Lamar & SZA’s ‘All the Stars’; Ariana has run online creative and billboard out- AGE: N/A At launch mid-August, digital creative Grande’s ‘No Tears Left to Cry’; Kane of-home across the US in cities – including AUDIENCE GENDER: N/A featuring a variety of top artists across Brown’s ‘Lose It’; and Freddie Mercury of LA, NY and Nashville – featuring artists LOCATION: US, UK, Germany various genres began appearing in the Queen’s ‘Somebody To Love’. such as Kendrick Lamar, Ariana Grande, 4 | sandbox | ISSUE 218 | 12.12.18 SANDBOX 2018 SURVEY BEST CATALOGUE MARKETING THE BEATLES UMC / Universal Music Group Team members involved historically laid-back Katie Alley – head of digital, UMC streaming Lee Jenson – director of marketing, UMC audience. Orla Lee-Fisher – SVP global marketing The Guy Hayden – VP international marketing YouTube Jack Thomson – senior marketing manager, live stream USM has Olly Walsh – director of digital, USM amassed Doug Barasch – senior director, UMe commissioned brand new, over Tom Smith – VP marketing, UMe full-length music videos 150k streams to date and will be edited Jeff Jones – CEO, Apple Corps Ltd for ‘Glass Onion’ and ‘Back into digestible segments to be deployed Jonathan Clyde – director of production, In The USSR’ that premiered with Apple across The Beatles’ other social channels to drive traffic and Apple Corps Ltd Music and YouTube respectively. sustain viewership of the full-length asset. The campaign trailer Jeremy Neech – digital director, Lisa Salem – A core theme for this project was the has smashed 1m views and beyond The Beatles’ undeniable social digital marketing producer (both Motherlode impact and influence of the album and we fanbases, we delivered over 600k impressions to UK cinema-goers Media) eventised this discussion with a live stream in only seven days. Our content and communications plan has so far Darren Evans, Caroline Jones, Nick Barratt – from YouTube Space in London during driven more than 500k clicks to retail and streaming partners overall Able Media Sam Okell and Kevin Howlett. The first of its release week. The concept saw a panel of and is currently tracking at over 15k clicks a day. The tweet to unlock Richard Barnett – Trunk Animation kind, this truly immersive experience was current artists, broadcasters and journalists promotion garnered 15m impressions and 150,000 engagements James Swindells – Loud Beings designed to engage a mobile streaming debating with Giles Martin and host Matt around #BeatlesMarkItFab. audience and sustain listening across Everitt as to “Could The White Album Be The poster from the original packaging provided a colourful asset Overview of campaign the entire album which was delivered to Made Today?”.
Recommended publications
  • Excesss Karaoke Master by Artist

    Excesss Karaoke Master by Artist

    XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not
  • Fire Chief Takes Flight with Thunderbirds by Michael Golembesky 21St Space Wing Public Affairs Staff Writer

    Fire Chief Takes Flight with Thunderbirds by Michael Golembesky 21St Space Wing Public Affairs Staff Writer

    COMMANDER’S CORNER: TACKLING CHALLENGES - PAGE 3 Peterson Air Force Base, Colorado Thursday, May 29, 2014 Vol. 58 No. 20 Fire chief takes flight with Thunderbirds By Michael Golembesky 21st Space Wing Public Affairs staff writer PETERSON AIR FORCE BASE, Colo. — Flight physical: check. Safety brief: check. Preflight checks: complete. Next up: a 400 mph ride with the U.S. Air Force Air Demonstration Squadron, better known as the Thunderbirds. The Thunderbirds landed at Peterson May 26 in preparation for the Air Force Academy graduation ceremony May 28. As part of their community outreach program, the squadron provides selected community figures with a once-in-a-lifetime chance to ride in the backseat of one of the Thunderbirds aircraft. “I was very surprised at first when I received the phone call,” said Chief Christopher Riley, Colorado Springs Fire Department chief and selected guest Thunderbirds passenger. “I am very honored and excited about the oppor- tunity to fly with the Thunderbirds.” Riley was one of two VIPs selected to fly with the world-famous Thunderbirds. The other was local TV personality and meteo- rologist, Rachael Plath of KRDO News. “I am not nervous, these people (the Thunderbird squadron) are complete pro- fessionals and have a lot of experience with handling guests like myself,” said Riley. “I did a little research, but from watching TV, the news and movies, I have a pretty good idea about what I am getting myself into.” (U.S. Air Force photo/Michael Golembesky) The individuals selected for this unique PETERSON AIR FORCE BASE, Colo. – Chief Christopher Riley, with the Colorado Springs Fire Department, fastens his restraint harness after putting on a gravity-suit opportunity are selected from a handful of May 27, in preparation for a ride in an F-16 Fighting Falcon, the aircraft flown by the U.S.
  • Nielsen Music 2017 Year End Music Report Canada

    Nielsen Music 2017 Year End Music Report Canada

    NIELSEN MUSIC 20I7 YEAR-END MUSIC REPORT CANADA 1 INTRODUCTION The music industry in Canada has never been stronger, with record consumption, growing live music attendance and a new class of emerging artists. Nielsen Music has also had an amazing, transformative year. Technological advancements and new partnerships have allowed us to provide robust, comprehensive data in more accessible, customizable and useful ways in 2017. Over the past year, we received a record number of requests for Nielsen Music research and insight reports. Welcome to the Nielsen Music Year-End Report, which examines the trends that shaped the Paul Shaver Canadian music industry in 2017 with definitive consumption figures and charts. Vice President/ Head of Nielsen Music Canada Overall consumption of albums, songs and On-Demand Audio streaming grew 13.6% year-over- year. On-Demand Audio streaming offset decreases in track and album sales and, on December 3, for the first time in history, it surpassed the 900 million per week mark. Ed Sheeran led all artists in Canada with overall consumption and had the top-selling album of the year. Six Canadians had No. 1 albums on the Billboard Canadian Albums chart in 2017, including The Weeknd’s Starboy, Drake’s More Life, Arcade Fire’s Everything Now, Shania Twain’s Now, Pierre Lapointe’s La Science Du Coeur and Gord Downie’s Introduce Yerself. The passing of Gord Downie captured the nation’s attention. In the week following his death, The Tragically Hip’s overall consumption increased by 1,000% over the previous week. Also, six of the group’s albums re-entered the Billboard Canadian Albums chart.
  • How Do the Grateful Dead and Deadheads 'Mean'?

    How Do the Grateful Dead and Deadheads 'Mean'?

    Matthew Tift University of Wisconsin-Madison “How Do the Grateful Dead and Deadheads ‘Mean’?” 09 March 2001 What exactly is a work of music? Is it the sounds we hear? Is it the sounds we are intended to hear? Is a musical work something that can only be defined using metaphors? Must it be organized sound? Is it beyond definition? About the only acceptable answer to these ontological questions is that the nature of a musical work is not universally understood. Nevertheless, by phrasing questions of musical identity differently, some popular music scholars find answers that are more rewarding. Richard Middleton, a well-respected popular music scholar, points out, “popular music analysis has insisted . on the priority of meaning.”1 One method for discussing meaning is to foreground questions of process, thereby avoiding questions of product. Simon Frith, another doyen of popular music studies, writes, “too often attempts to relate musical forms to social processes ignore the ways in which music is itself a social process.”2 By concentrating on social processes, one can more easily address such issues as musical meaning and social significance. This variety of analysis is sometimes described as process philosophy.3 Christopher Small’s advocation of process philosophy is perhaps the most resonant. Small is concerned with questions that address how musical activities are interconnected. In his 1998 book, Musicking, Christopher Small challenges the dominant Western idea of music as a thing and explores the idea of music as an activity. In fact, he creates a new word specifically for 1 Middleton, Reading Pop, 104.
  • 'Music and Remembrance: Britain and the First World War'

    'Music and Remembrance: Britain and the First World War'

    City Research Online City, University of London Institutional Repository Citation: Grant, P. and Hanna, E. (2014). Music and Remembrance. In: Lowe, D. and Joel, T. (Eds.), Remembering the First World War. (pp. 110-126). Routledge/Taylor and Francis. ISBN 9780415856287 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16364/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] ‘Music and Remembrance: Britain and the First World War’ Dr Peter Grant (City University, UK) & Dr Emma Hanna (U. of Greenwich, UK) Introduction In his research using a Mass Observation study, John Sloboda found that the most valued outcome people place on listening to music is the remembrance of past events.1 While music has been a relatively neglected area in our understanding of the cultural history and legacy of 1914-18, a number of historians are now examining the significance of the music produced both during and after the war.2 This chapter analyses the scope and variety of musical responses to the war, from the time of the war itself to the present, with reference to both ‘high’ and ‘popular’ music in Britain’s remembrance of the Great War.
  • July 23, 2021 the Musicrow Weekly Friday, July 23, 2021

    July 23, 2021 the Musicrow Weekly Friday, July 23, 2021

    July 23, 2021 The MusicRow Weekly Friday, July 23, 2021 Taylor Swift’s Fearless (Taylor’s Version) SIGN UP HERE (FREE!) Will Not Be Submitted For Grammy, CMA Award Consideration If you were forwarded this newsletter and would like to receive it, sign up here. THIS WEEK’S HEADLINES Fearless (Taylor’s Version) Will Not Be Submitted For Grammy, CMA Awards NSAI Sets Nashville Songwriter Awards For September Big Loud Records Ups 5, Adds 2 To Promotion Team Dylan Schneider Signs With BBR Music Group Taylor Swift will not be submitting Fearless (Taylor’s Version), the re- recorded version of her 2008 studio album that released earlier this year, Dan + Shay Have Good for Grammy or CMA Awards consideration. Things In Store For August “After careful consideration, Taylor Swift will not be submitting Fearless (Taylor’s Version) in any category at this year’s upcoming Grammy and Scotty McCreery Shares CMA Awards,” says a statement provided to MusicRow from a Republic Details Of New Album Records spokesperson. “Fearless has already won four Grammys including album of the year, as well as the CMA Award for album of the Chris DeStefano Renews year in 2009/2010 and remains the most awarded country album of all With Sony Music Publishing time.” Natalie Hemby Announces The statement goes on to share that Swift’s ninth studio album, Evermore, New Album released in December of 2020, will be submitted to the Grammys for consideration in all eligible categories. Niko Moon’s Good Time Slated For August Release Evermore arrived only five months after the surprise release of Folklore, Swift’s groundbreaking eighth studio album.
  • Why Am I Doing This?

    Why Am I Doing This?

    LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS .....................................................................................................................................
  • OREGON DOT Report Template

    OREGON DOT Report Template

    CONSTRUCTION OF EFFICIENT, COST- EFFECTIVE AND SUSTAINABLE MAINTENANCE FACILITIES Final Report PROJECT 792 CONSTRUCTION OF EFFICIENT, COST-EFFECTIVE AND SUSTAINABLE MAINTENANCE FACILITIES Final Report PROJECT 792 by Dr. Jason H. Ideker Dr. Karl R. Haapala Dr. Anh Tong Dr. Chang Li for Oregon Department of Transportation Research Section 555 13th Street NE, Suite 1 Salem OR 97301 and Federal Highway Administration 400 Seventh Street, SW Washington, DC 20590-0003 October 2018 Technical Report Documentation Page 1. Report No. 2. Government Accession 3. Recipient’s Catalog FHWA-OR-RD-19-04 No. No. 4. Title and Subtitle Report Date CONSTRUCTION OF EFFICIENT, COST-EFFECTIVE AND October 2018 SUSTAINABLE MAINTENANCE FACILITIES Performing Organization Code 7. Author(s) 8. Performing Jason H. Ideker, Karl R. Haapala, Anh Tong and Chang Li Organization Report No. 9. Performing Organization Name and Address 10. Work Unit No. (trais) Oregon Department of Transportation Research Section Contract or Grant No. 555 13th Street NE, Suite 1 SPR 792 Salem, OR 97301 Sponsoring Agency Name and Address Type of Report and Period Covered Oregon Dept. of Transportation Final Report Research Section Federal Highway Admin. 555 13th Street NE, Suite 1 400 Seventh Street, SW Sponsoring Agency Code Salem, OR 97301 Washington, DC 20590-0003 Supplementary Notes Abstract: The Oregon Department of Transportation (ODOT) manages about 89 maintenance stations. Many of these are reaching or beyond their life expectancy, inefficient, or functionally obsolete (e.g., unable to accommodate large modern equipment). There is an urgent need to systematically replace these buildings to support the maintenance mission of the agency. By reviewing literature, green building standards and rating systems, and other DOT regulations, and by conducting two case studies as part of an ODOT research project (SPR 792), best practices were identified to be considered when constructing new or renovating existing stations.
  • A Stylistic Analysis of 2Pac Shakur's Rap Lyrics: in the Perpspective of Paul Grice's Theory of Implicature

    A Stylistic Analysis of 2Pac Shakur's Rap Lyrics: in the Perpspective of Paul Grice's Theory of Implicature

    California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2002 A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature Christopher Darnell Campbell Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Campbell, Christopher Darnell, "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature" (2002). Theses Digitization Project. 2130. https://scholarworks.lib.csusb.edu/etd-project/2130 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English: English Composition by Christopher Darnell Campbell September 2002 A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino by Christopher Darnell Campbell September 2002 Approved.by: 7=12 Date Bruce Golden, English ABSTRACT 2pac Shakur (a.k.a Makaveli) was a prolific rapper, poet, revolutionary, and thug. His lyrics were bold, unconventional, truthful, controversial, metaphorical and vulgar.
  • KC Lights Bio 2018

    KC Lights Bio 2018

    KC Lights In what may seem like overnight, Glasgow’s multitalented DJ/musician/producer KC Lights has broken out as one of the fastest-rising acts in the global dance music scene. Undoubtedly one of the brightest hopes to come out of Glasgow, Scotland, he’s evolved his expansive production range and uplifting DJ style in the studio and on the road, with fans touting his unique take on house music. KC Lights finished his degree in music and initially intended to write electro acoustic compositions, along with exploring his interest in jazz and classical music. After working more closely with electronic sounds, he also ventured out on holiday to Ibiza. The trip, along with the music and energy, inspired him. His new sounds incorporated layers of lush melodies with powerful piano chords, bass, and uplifting strings behind hypnotic vocals atop a framework of soulful, driving house. The official debut of KC Lights came in 2013 via the Sweet Step EP on Cheap Thrills. The EP set off a chain reaction of subsequent hit singles and releases. The 2015 single, “Lose It All,” was his first release to gain major traction within the electronic world, with house music heavyweights Rudimental, MK, and Danny Howard all singing its praises. It was his following single, “No No No,” that became KC Lights’ breakthrough track and a definitive Ibiza anthem of 2015. The song hit #3 on the BBC Radio 1 Dance Charts and reached the Top 10 on the Shazam UK Dance Chart. Influential BBC Radio 1 DJ/host Annie Mac championed the track and included it on her Annie Mac Presents 2015 compilation released through Virgin EMI Records.
  • Nick Grimshaw

    Nick Grimshaw

    Nick Grimshaw Nick Grimshaw has worked in the UK broadcast industry for over 15 years and is firmly established as one of the country's most successful radio and TV personalities. He currently hosts BBC Radio 1's Drive Time show, and in 2019 joined the cast of Channel 4’s Celebrity Gogglebox with his niece Liv. Born in Oldham in 1984 Nick took his first steps into broadcasting on student radio while studying Communications & Business Studies at the University of Liverpool. During holidays he interned at a music PR agency, and on graduation threw himself into the music industry as a radio plugger and DJ promoter. In 2006 Nick was spotted by Channel 4 and was signed up as a presenter for E4 Music and the channel’s morning show, Freshly Squeezed. With his easy charm, pop culture knowledge and confidence in front of the camera Nick quickly established himself as one of the UK's hottest young talents. Having cut his teeth in national TV, Nick was next signed up by BBC2 where he co-hosted three series of their youth music show Sound, alongside Radio 1's Annie Mac. The pair’s chemistry proved a winner and Nick soon joined Annie on Radio 1 hosting the Sunday evening Switch youth strand, which became a huge hit with listeners. This led to Nick being given his first solo BBC Radio 1 show in 2008 as host of the Weekend Breakfast Show, before moving on to present the prestigious weekday 10pm to midnight New Music slot the following year.
  • Grateful Dead Musicking” Toronto 2000: 6 November MM

    Grateful Dead Musicking” Toronto 2000: 6 November MM

    Matthew Tift University of Wisconsin-Madison “Grateful Dead Musicking” Toronto 2000: 6 November MM DO NOT QUOTE WITHOUT AUTHOR’S PERMISSION @All rights reserved by author Although the Grateful Dead are found in the Guinness Book of World Records under the category “most rock concerts performed,”1 they never repeated a setlist. In fact, they played more than 2,000 shows from 1965 to 1995 – the year the Jerry Gracia died and the Dead disbanded - and every one of them was a unique process. The Grateful Dead are known for their extended jams, unpredictability, eclectic influences, and their propensity to entice the “hippie subculture,” a.k.a. “Deadheads.” However, few analysts have the tools to describe the remarkable musical relationship between the Grateful Dead and Deadheads. In fact, only a limited number of scholars consider the endlessly fascinating musical practices of the Grateful Dead. My broad aim is to show one way of “connecting” the Grateful Dead and Deadheads. My point of departure is Christopher Small’s 1998 book, Musicking, in which he challenges the dominant Western idea of music as a thing and explores the idea of music as an activity. “To music,” according to Small, “is to take part in any capacity, in a musical performance, whether by performing, by listening, by rehearsing or practicing, by providing material for performance . or by dancing.”2 Drawing from Small’s theory of musicking, I suggest a theory of one “style of musicking,” (M, p. 136) “Grateful Dead musicking,” or “GDM.”3 I posit a metaphorical arrangement of activities in one space: activities that can be described both collectively and individually as Grateful Dead musicking.