Grown Up Thinking

This article appeared as part of MediaPost’s Engage:Teens Publications. To read the original post, click here.

So here is my report not from the sidelines, but from the mud pits of Bonnaroo Music & Arts Festival in Manchester, Tenn. I was only there for 36 hours of it, but had enough time to party with festival children, see some killer bands perform, participate in the festival revelry and witness some brands in action.

In my eyes, event sponsorship is all about heightening the consumer’s experience. I hope for the sake of our industry, that corporate culture has graduated from thinking signage and logo placement equates to consumer retention and interest.

The true play for a brand in the event activation space is to elevate the event goers’ experience by ultimately conveying that the brand understands what the consumer is going through. Once a brand understands and connections to the consumer’s emotional event experience, they can effectively add real value as a sponsor.

Additionally, event producers don’t have the time to offer every amenity, every perk, every nice-to-have since they are focused on the entertainment and general production needs. I’m sure every festival producer says, “That’s a great idea; maybe we’ll get to it next year.” Four years later, it’s still a great idea but hasn’t been executed. This leaves a huge opportunity for brands to elevate their activations.

A quick snapshot of Bonnaroo to properly set the stage: four days of music and mayhem on a 700-acre farm in the middle of nowhere. There is no escaping the festival grounds. The average teen I spoke with drove 8+ hours and stayed in a basic camp tent with minimal amenities. Most didn’t have a basic fan in their tent and it was insanely hot. Bonnaroo isn’t an event; it’s a cultural movement comprised of loyal adventure seekers, with approximately half of 100,000 attendees being teens and college-aged.

Click here to read more of Doug’s experience at Bonnaroo 2010, and how some brands got it right.

An hour-long high school dramedy series that’s a musical? Let’s face it: Glee initially had everything going against it. Time will ultimately tell, but skeptics be damned. This year’s Golden Globe winner for Best Comedy Series turned out to be a runaway hit that has yet to lose steam as it heads into the second part of its freshman season. Above all, the show’s writing is top notch by melding a perfect blend of edgy dark humor and a lot of heart. The talent of the young cast is undeniable. And Jane Lynch turns anything into comic gold. But producers were faced with some tough challenges right from the start. How to get people to actually tune in? Enter social media and a relatively risky gamble on an aggressive interactive marketing campaign.

First of all, Fox chose to debut the pilot episode months before its actual season debut in order to capitalize on its 20+ million captive audience from American Idol. They then utilized the down time to really gain traction online by engaging with their most passionate fans (or ‘Gleeks’). Currently, @gleeks has a nearly 50,000 person following on Twitter and almost 2 million fans on Facebook. Mix that with its very own YouTube channel with exclusive content, PR-worthy appearances (Oprah!) and even nationwide mall performances. Yep, everyone’s all abuzz over the little show that could.

Blurring the line between fan and fiction even further, Glee has since launched a national casting campaign for new characters to appear on the series. Fox also recently released an interactive “hypertrailer” allowing viewers to click and “fan” the show’s cast members on Facebook, who also participate live on-air in weekly re-run episodes (or “Tweetpeats”) much like the cast commentary on today’s DVD and Blu-ray discs.

So what’s so significant about Glee’s marketing strategy, anyway? At its core, it is truly a niche show. But a very enthusiastic niche crowd at that. And Glee is giving that very core audience exactly what they want: access and interaction. At a time when studios are shuttering unauthorized playback of content and guarding creative copyrights like a fortress, this show is practically shooting it across America through a t-shirt cannon. Whether it be the show’s music content (consistently charting week after week on iTunes) or capturing that “underdog” spirit in everyone, Glee has succeeded in truly crossing all media types, including a forthcoming iPhone/iPad app. That makes it one of the very first scripted shows to actually achieve results in reaching out to a young, digital audience with significant viral success. That’s definitely a social media coup to be gleeful about. I, for one, am proud to be a Gleek. Who’s with me?

Glee resumes its season on Tuesday,  April 13 on Fox.

We all know that product placement is nothing new. It’s a multi-billion dollar market that spans across television, movies, music, sports and more. Whether it’s the Coca Cola cups on the American Idol judging table or the food on top of Joey and Chandler’s fridge in Friends, product placement is everywhere all the time. Sometimes it’s subtle and plays in to the storyline of a movie or TV show; other times it’s more obvious. In Lady Gaga’s case, it’s on the screen and in your face, and she doesn’t care if you like it or not.

She’s known for her eccentric outfits and imaginative performances. In fact, being over-the-top is what made Lady Gaga so famous. Now the artist is starting to be noticed for the blatant product placement in her music videos. And with over 50% of brands using branded content for awareness-based marketing, she is a marketer’s dream come true. In fact, Lady Gaga is the only recording artist to reach 1 billion video views across all online video platforms – perhaps making her blatant product placements the most valuable in entertainment history! According to Neilsen AIG, product integration is more likely to drive brand recall than other forms of advertising, so if all goes according to plan, I’ll never make a sandwich without thinking of Lady Gaga, and I’ll never see Lady Gaga without wanting a sandwich.

Maybe when I finish eating I’ll take a picture with my Poloroid camera, upload it on to my Beats laptop, listen to some tunes on my Hearbeats headphones and call my friend on my Virgin Mobile phone. Why? Because Lady Gaga made me do it.

The BEST bait and switch ever. Thank you, Heineken…

And the second best bait and switch. Thank you, Hot Chip.

Kickball, the alternative first Foursquare client for iPhone. (Our prediction= bigger than Tweetdeck).

My Famebook: another example of bringing the online world off. Personalize your own journal with 320 of your Facebook statuses (far cooler than that “Year in Status” update hogwash, we think).

On stealing and borrowing: two sides of the homage coin, from Creative Review and Ad Age respectively.

Unhappy Hipsters: a fun time waster (even for those of us *ahem* who live in Brooklyn).

CMYK Cocktail Contest: Droog & Tasteologie team up to celebrate design and mixology to raise funds for Food Bank of NYC. Tasting color for a great cause? Yum.

The new Vampire Weekend album, Contra, came out a few weeks ago. As a fan, I did what I always do… I downloaded it illegally. I didn’t even think twice.

Then a curious thing happened. One of my coworkers rushed to the record store to buy the very same album.  Huh? He enthusiastically explained the beauty of having something tangible, described pouring over the inset, the liner notes, the bonus poster that came in the sleeve. Having the album ensures that you listen to the tracks in the order the artist intended, he said, the time and energy involved in tracking down the record made it that much better. It all sounded very transcendental – something Penny Lane would wax poetic about in Almost Famous.

I can’t relate. At 22, I don’t think I’ve ever purchased an album. I got onboard the Napster train early on and haven’t looked back since.

All legal issues aside, is it possible that I’m missing something fundamental by skipping the pomp and fanfare of the record store? By downloading an artist’s tracks individually online, am I reducing the integrity of the music to a 99 cent commodity?

PS. Vampire Weekend, it you’re reading this – I’m very sorry. I owe you 12 dollars.

In a time where brands A, B and C are dipping their pen in the social media ink well, innovation is quickly becoming the key to online success for those who are willing to pave the way. Case-in-point: a new in-stream sales channel for Facebook that allows consumers to purchase their favorite products directly from their main feed. Dubbed “Off The Wall“, this new service brings products out of the catalog and lands them directly on Facebook- for all to see, share, comment, “Like”, and hopefully purchase. This also presents a new opportunity for companies to drive more traffic to their Facebook Fan Page by offering special promotions and discounts through Facebook as well as custom content for consumers.

This new service comes as no surprise, however, as Facebook continues its efforts to expand e-commerce on the site. “Off The Wall” satisfies consumers who are looking to brands and social networking sites to integrate their overall shopping experience. In addition to the existing ability to purchase Facebook Gifts, consumers will soon be able to use an online currency to buy and share music and other virtual products through Facebook.

One big step for social media, one giant plus for all of us.

With a single evolutionary change to its search engine, Google has facilitated a major shift in user experience for finding, exploring, and purchasing music online.

The search giant has tapped leading social music platforms Pandora, iMeem, Lala, Rhapsody, and the recent MySpace acquisition, iLike, to provide intelligent music-related search results and legal downloads through the Google Music Search.

Search Google for an artist, album, song, or string of lyrics and you’ll be greeted with full-length previews of the music streamed from Lala.com or MySpace Music.

Google search results for "david bowie"

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Drop the Tough

Thanks to the death of the retail music experience, the advent of totally self-published works by major artists, and the all pervasive presence of iTunes, it’s no surprise that bands have been challenged to rethink the way they release albums. But brand sponsorship? This is a new beast altogether.

Big beat Brits Groove Armada have teamed up with Bacardi Live to release an EP completely funded by the brand (and 100% free). What do you think- solution or sell out?

Thanks to Creative Review for inspiration. 

EDIT: Drummer Josh Freese takes freemium to eleven, baby. My favorite purchase perk? For $500, 15 lucky fans will float with Freese in a sensory-deprivation tank and get dinner at Sizzler along with the album.