Tidal ‘puts the power back in the artists hands’ is what the star-studded owners told us at the launch.
They are ‘taking back control’. Giving people ‘a higher level of product’. They are ‘educating the audience on what good should sound like’. They are offering ‘unique experiences and content (the only bit that’s perhaps feasible and worth any premium). They are ‘The Avengers of Music’, who together oversaw an ill thought through launch.
If you don’t feel like watching the whole thing, skip to around 16:30 and watch their laughable combined attempt to ‘sell’ Tidal.
At today’s prices, Tidal is twice as expensive as Spotify in the USA. Whilst I appreciate the need for artistic control, let’s not pretend that’s what this is really about. It’s about cold hard cash (which as we all know thanks to Madonna, is always Mr. Right). The artists get less revenue from streaming. The radio landscape continues to evolve. Sales for most artists aren’t what they use to be (which places even more pressure on them to tour to bring in the big money).
It’s well documented most of the multi-millionaire Tidal crew aren’t happy about streaming. But is this really the answer in 2015? Whoever helped them craft their well polished boo hoo lines missed a trick. They should have majored on doing this for the future. The starving artists struggling to get by. The ones the record companies / streaming leave behind. The talent who won’t benefit from the financial breaks they had. The talent they want to nurture and support. The talent you can support. The talent we all can all support by choosing Tidal.
Had they chosen to position this around helping artists, it might have stood a chance. But as it stands, it’s made them all look like a horribly out of touch wealthy elite. A bit like another gaggle of SW1 inhabitants that will keep bothering us till May 7th…
Iain G. Morrison is a senior marketer in the third sector. And will be sticking with Spotify for the forseeable…
The BBC are having something of an annus horriblus. The mishandling of the Saville story. A hostile relationship with the ConDem administration (who seem increasingly keen on clipping their wings). I could go on. But the much covered Clarkson ‘fracas’? Well, they say a principle isn’t a principle until it costs you money. And boy, is this one costing…
Pulling two filmedTopGear episodes from global schedules (and cancelling the final episode of the season before it went production), in my view, was a huge mistake. This helped tip the media scales in Clarkson’s favour fuelling his UKIP style, me vs. them namby pamby rhetoric. It added to the growing view that the BBC is run by legions of faceless managers. The only thing missing was Ian Fletcher a la W1A popping out and giving a rambling statement on the importance of ‘values’…
Despite taking the right action in suspending him for the alleged physical abuse, they seem to be losing the media battle. Were I advising Auntie’s finest, I’d have recommended:
- Suspending Clarkson until the ‘fracas’ could be investigated and the appropriate action taken
- Broadcasting the two filmed episodes at home and away (most of the projected revenue losses lie in the international division and may run into tens of millions)
- Keep that British stiff upper lip and ensure ‘the show must go on’. Film the final episode in the series with either:
- A celebrity guest host from the world of racing (guest hosts didn’t do HIGNFY any harm after Angus Deayton’s prostitute / drug scandal back in the day)
- Recall a former Top Gear presenter off of the 80’s. Everyone loves a little retro and it could’ve been a televisual giggle
- Bring back a popular star in the reasonably priced car to hold the fort
- Let the Stig step in, and give him a computerised voice (with clear distinction from a Mr. S. Hawking)
- If he’s not off filming, let Gambon himself take the helm. His stature could carry any sinking ship. And he does have a corner in his name, after all.
Whichever presenter option they went with (and this is where they really missed a trick), milk it for all it’s worth. Given the heightened interest / hugely engaged fan base, it was a golden opportunity to feed their PR, CRM and social programmes with content as quick as they ruddy well could. With such an engaged following, irrespective of Clarkson’s perceived popularity, they could’ve used this to their advantage, regained lost ground and acted to bolster their reputation AND boost viewing figures.
Instead, they’ve let Clarkson, a petition and a hostile press continue to give them a kicking. Rather than look strong in the face of the ‘fracas’, they seem week, outmaneuvered and outgunned by the mouth almighty himself. Clarkson. That said, whilst future contract negotiations for Top Gear presenters are on hold, Clarkson would do well to remember than not all talent that leaves the Beeb’s hallowed halls do as well over on ITV, Sky or Five. At least for now, no single star is bigger than the Beeb. And on that bombshell, I’m off for a gin…
Iain G. Morrison is a senior marketer in the third sector. And thinks Snickers totally nailed it…
Channel four use to be edgy. Today, it’s trying too hard to be like channel 5. Programming is dumbing down. But this little beautiful dig at Putin’s lurch back to the Stone Age? Well. It’s rather kick ass…
Iain G. Morrison wishes everyone luck at the Winter Olympics…
Been a while since I did brand of the week. And after the halftime show at the NFL Superbowl, this weeks brand of the week goes to the very spritely at 53, Madonna.
The press (miming aside), have been almost universal in their praise. Upshot? Queen of Pop comes back to reclaim crown. Gaga who?
Much whipping of excitement, just before an album launch. My, how convenient. But of course it is. Madonna has always been a master manipulator. Even more Machiavellian than the Dark Lord Cowell himself.
So what was so genius about the performance?
If you ask me, not much. The sheer spectacle and staging were impressive. But her marketing masterstroke? A youthful shot in the arm for her tired, fading brand / star (delete as applicable), courtesy of the young guns.
LMFAO. Nicki Minaj. MIA. Cee Lo Green. And the bouncy internet superstar gymnast. Quite the supporting cast list.
By appearing on stage and paying their dues to pop’s Queen, they send word to their legion of fans. This old-lady star is worthy. They extend to her their own credibility. Their cool. The sneaky and subversive message to their younger fan base.
Look at me performing with Madonna. This is a woman I love. And you should too.
It’s one of the commodities she craves the most. That and an Oscar for film. But let’s be honest. That’s never going to happen. So, for my money, here are marks out of ten for the performance.
- Likelihood the album will go straight in to number 1 in many countries: 10/10
- Jay Leno ad: 7/10, for being relatively amusing
- The guest stars: 9.5/10, very well cast. All played their supporting roles exceptionally well (short of getting on their knees and chanting ‘we’re not worthy).
- The miming: 2/10, because after all the practise, she should be a hell of a lot better at it than that
- The dancing: 5/10, as she’s starting to look like she needs cod liver injections into all moving joints that haven’t been filled.
- The surgery: 4.5/10, because it’s starting to get more than a little creepy
- Likelihood Gaga will do something massively outrageous to try and reclaim headlines: A very tiresome 10/10
- The macrobioticness: 0/10. S’just too try hard…
Iain G. Morrison remembers the scene from In bed with Madonna where they all joked about Madonna still writhing about to Like a Virgin at 50. Oh how they all laughed….
I spent last Friday mentoring at the School of Communication Arts 2.0 and it was one of the best Friday afternoon’s I’ve had in some time (bear in mind my office shuts at lunchtime Friday’s), and for that, I give the school this weeks Brand of the week.
For those that haven’t heard of them (and shame on you!), the School partnered with the University of Arts London Awarding Body to create a new Diploma in Communication Arts, which is written by the advertising industry. Here’s hoping that stops them moaning about the standards of young talent coming through. The curriculum is wiki based, constantly updated & improved by the school’s network of industry mentors. And exceptionally talented students.
If you’re a student, forget sticking your head in a book for three years with no access to industry big wigs. If you’re thinking about trying to break into the industry (and it can be a real slog, particularly in the current climate), students are given the opportunity to work on live (and portfolio) briefs in a real life agency environment. Veritable book making gold. You’re not too late, applications are open for the next intake…
Although it costs more than most other advertising schools, there are several tangible benefits. A guaranteed internship at the end of the course. Structured learning. Real on the job experience. And of course, rubbing shoulders with adlands finest week in week out, chance after chance to wow them with your thinking…
The standard of the work was exceptionally high. More over, the students literally hang on every nuance of every word of feedback you give them. Some of the thinking (both strategically and creatively), was client ready. There were also a couple of campaigns I saw that wouldn’t have been out-of-place at awards ceremonies. Don’t believe me? Go in and spend some time mentoring yourself!
I managed to review a few of the students portfolios. The piece I am sharing with you this fine day appealed to my rather warped sense of humour. The student in question got quite the introduction.
‘Meet Nathan. He draws lots of cocks’.
Poor Nathan tried to explain where he garnered his appendage loving reputation. After a few minutes floundering, he finally relented and showed me his response to the Toblerone portfolio brief.
The chocolate loving Iain G. Morrison would recommend you find a morning, afternoon or full day to mentor at the School of Communication Arts 2.0