In April of this year, AEG launched their in-house branded content division, AEG Studios. It was a logical next-step for the global promoter who for years, has been connecting some of the biggest brands in the world with some of the biggest live music, sporting events, and musical acts.
Also logical, was placing Raymond Roker -- an entertainment industry veteran, having founded URB Magazine/URB.com and led numerous festival sponsorship activations as Content Creative Director for Coachella/Goldenvoice -- in the captain’s chair as Head of the studio.
This week in Streaming Buzz, Hulu announces plans to launch Live TV, Comcast says no to delivering a cable-less live streaming TV service, Twitter announces #WhatsNext for their core business, and Facebook takes targeted ads to OTT.
There's more, so read on...
Live Streaming TV Competition Heats Up as Hulu Joins the Fray
Last week it was DirecTV Now. This past week it was Hulu joining the growing number of SVOD content providers getting into the live streaming “skinny bundle” game, keeping the momentum going from their first "Live TV on Hulu" announcement back in May.
In case you missed it, last week's streaming news included Pandora pumping up user engagement with new video streaming features, Twitter securing more live streaming partners, and HBO seeking a bigger piece of the monetary pie, being as frustrated with cable companies' greed as Pay-TV customers.
And there’s more, so read on…
Tune into Twitter and BuzzFeed on Election Night
After Twitter broke records during the second presidential debate, it’s on track to live stream the real-time happenings on election night, partnering with BuzzFeed. Metrics from that debate revealed that of the 3.2 million unique visitors, an estimated 70 percent were younger than 35, according to Huffington Post.
Snapchat success continues to steam ahead in the month of June. First Twitter got spanked again when Snapchat pulled ahead in daily user number with 150 million to Twitter’s 140 million. Then the 10-second video champs creept their way into Instagram’s territory.
This past weekend wrapped the 2016 Governors Ball, and although Day 3 of the festival was canceled due to weather predictions of lightning and flooding, Days 1 and 2 packed a punch. For those of us not physically at the festival, we were still able to enjoy daytime sets from Eliot Sumner, London Soul, Holly Miranda, Catfish and the Bottlemen, and Kristine and the Queens via the Gov Ball webcast on Live Nation TV’s YouTube channel. In the evening, VICELAND’s Noisy cable channel aired live performances as well (albeit, with idiotic banter by Noisey hosts in between acts).
Part 1 of The Connected Music Series, “Music Sponsorships: The Golden Ticket for Brands That Get It,” covered the benefits, data, and examples of sponsored live events done well by brands, as discussed in the SXSW Music session, "Does Social Media Make Concerts Better?"
The session featured findings from the report, “We Know Music Fans,” by AEG and Momentum, plus insights from panelists Hugh McIntyre, Music Writer, Forbes; Glenn Minerley, VP Group Director, Music & Entertainment, Momentum Worldwide; Scott Carlis, VP Digital Social Media & Marketing, AEG Global Partnerships; Craig Goodfriend, Industry Manager, Facebook; and Jean-Philip Grobler, St. Lucia.
Photo: Business Wire, Samsung
This is Part 1 in this Connected Music Series, which features conversations, conference sessions, use cases, reports and data showcasing the digital and technological impact and influence on live music events.
The traditional advertising model in all its forms seems well on its way to Disarray Town. Networks are trying to cram full-length television ads into streaming content viewing models with square-peg-round-hole finesse. Publishers are trying to force-feed their bread and butter ad placements by restricting access until readers turn off their Adblocker (and of course, someone figured out a workaround). Meanwhile, those that haven’t cut the cable television cord (yet) use their DVRs to gleefully fast forward through commercials.
SXSW has been rockin’ and rollin’ for over two decades, and for a few years the main interest that pulled people to Austin was focused mainly on music. But, as independent film gained ground and technology played a larger roll in the business and distribution of music and film, the SXSW format expanded into three areas of focus - Interactive, Film AND Music.
As the number of music fans and bands coming in from all over the world has increased significantly in the past six or seven years, causing one to proactively plan as to not be shut out from a show, the same has happened with Interactive. Before, you could stroll in, find a seat, and that that was it. But as I walked into my first panel, “User Generated Content,” ten minutes before it started I found myself sitting on the only seat left. The floor.