DOORBRAAK NIELS AALBERTS PDF

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The solution is, like the research topic of this thesis, two-fold. This section of the thesis is thus split up into two main parts.

The first part is about building a strong ecosystem, the second part is about maintaining that ecosystem, which is where most marketing opportunities lie.

The definition of this ecosystem will be discussed in part one, along with the rules and theories of a healthy ecosystem. Initially I tried organising the information for the solution in the same 4 Ps model used in the problem definition. While a good tool for exploring and analysing a problem, I found it to be impractical to apply here. In the problem section, a lot of the trends were already overflowing, from place, to price, to product and promotion, but in the solution these are so linked and merged that that way of organizing information was impossible.

Instead, I organized it in a step by step way, so that the steps 2AM must take are listed more or less chronologically even though the solution is actually cyclical. However, I do refer back to the concepts of the marketing mix 4 Ps throughout this section. The solution is based on a model revealed in a conversation I had with Niels Aalberts EHPO , a successful music manager in The Netherlands, who is behind the success of the popular hip-hop artist Kyteman.

In his first 1. The concept of the ecosystem puts all of the theory into place. It was not the first time I had heard about the concept of the 'ecosystem' in relation to the music industry. Tech blogs, such as TechCrunch, use the word all the time, but are usually referring to the developer or business-to-business side.

I realized as a concept, the ecosystem can also be applied to business-to-consumer. The concept of the ecosystem is not set in stone and it's just a label I've used to define the process. Why I've used this label, instead of another, will become clear further on, especially through the case-studies. My conversation with Niels Aalberts, which revealed the model for categorizing the information in the solution section, basically came down to the following:.

Moreover, it's important not to try to force 'complicated messages' into your ecosystem. An example of a band with a lot of teenage fans was mentioned in the conversation with Niels Aalberts. This band was trying to sell physical copies of albums to their fans, but the message of paying 12 euros for a plastic disc with 10 tracks, that they have to put into a CD-player they never use is a very complicated one for teenagers.

Instead, Niels Aalberts suggested that they sell their album via SMS, because that's the language these teenagers speak and it's a message they understand. Sure, you will only make 2 euros per sale, instead of 12, but when nobody buys your plastic-disceuro album, that point no longer makes economic sense. With a strong ecosystem, one also doesn't need to worry about gatekeepers that one traditionally would need, such as the people who decide what to play on MTV.

Now gatekeepers are more likely to follow the trends instead of determining them. Besides that, the ecosystem should be like the cool party happening down the street; it just makes you want to go up to join in and if it's fun enough, you will call your friends to abandon whatever party they are attending and to come to this one. Soon enough, the party will be attracting people from all over the area, perhaps stopping by a shop to buy some drinks for their friends and making sure the party stays fun; the fun of the party depends on its own existence and therefore the party protects its continued existence.

Now imagine that party without geographical limitations. That's the power of an ecosystem in a digital world. This section shows how to build up that power. The very first step of building your ecosystem is by generating attention and getting discovered. In terms of the marketing mix, this is mostly about promotion.

Actually, the first step is making very good music that differentiates itself from other music, but since that's not necessarily my area of expertise, nor the topic of my studies, I will leave that one up to the producers. It's important to remember Gerd Leonhard's concept of Music Like Water and further discussed in the problem conclusion, Leonhard claims that music should be seen as a service instead of a product.

In an interview I've conducted with Gerd Leonhard for this thesis, he noted the following about getting discovered:. Because the biggest problem for the artists is [ The biggest problem is that nobody pays any attention to them. Right, so the payment [ So basically anything that gets your attention on the web, that's what you should be doing. Seth Godin , a marketing guru and popular author, seems to agree with this.

In his book Purple Cow he advocates doing the remarkable, whether that's for products, services or ideas. Marketing has been very much about pushing a product to the people and music has been no different. However this is changing and the pull approach offered in Purple Cow might be a solution for the music industry. Create something that's remarkable enough and let word of mouth word of mouse do the work.

If your content is good, then people run across you when you publish it a lot and they'll tell others and sooner or later you have a following. And when you have a following, that's when you start monetizing.

Word of mouse is a promotion-reality created by the developments in the marketing mix's place. Two great recent examples of this word of mouse at work are Die Antwoord and The Ugly Dance both discussed next.

South African rap act Die Antwoord is a perfect example of a group that absolutely mastered this first step of getting discovered. On February 4, I noted on my blog:. Why is that? It is very simple. Die Antwoord is unique. They offer something fresh, in a remarkable way? In thm digital age, where we can share all the music we want, being remarkable is THE most important characteristic for a band, group, musician, producer, etc.

You have to be worth talking about. To put it in the words of Seth Godin, Die Antwoord is a purple cow. To put it in the words of Niels Aalberts; Die Antwoord is a good story , although Aalberts specifically noted that one does not need to be as extreme as Die Antwood in order for this to work. Not much. They created a unique concept or maybe this is just an extension of their personalities , uploaded their songs to YouTube , do a lot of performing and try to get people to spread the word.

Perhaps the funniest way I found in which one band is getting their music discovered, is The Ugly Dance. The idea of The Ugly Dance is very simple. You go to the site, upload your picture, your face is placed on an animated body and you can choose all kinds of maniacal ways of dancing. It's a project by Swedish band Fulkultur and is definitely getting their music heard discovered by a lot of people. This type of thing spreads —and not just because it has a big 'share on Facebook' button.

I got in touch with the band and, in half a year, TheUglyDance. This excludes the visitors they got to the Swedish version prior to and after the launch of the international version. Quite a reasonable thing to ask, but we'll delve into the selling proposals and products later. There are even a bunch of tribute videos and remixes out there yes, every one of those words links to a unique video, have fun.

This is an example of the ecosystem at work; you lead, they follow. Not for you, but for themselves, because they're having fun. The empirical research conducted for this thesis supports the concept of a story worth telling. It tests the validity of the expert opinions and adds further depth. In the section about the problem definition, the empirical research pertaining to the problem was already discussed.

Some research looked into the group of 20 to 24 year olds , as it's a target demographic for 2AM. As can be seen in the chart below, radio also plays an important role, but television seems quite unimportant. This is the same for pirates, except with them radio and TV play an even smaller role and the internet and friends a slightly bigger role.

The same goes for the social networkers see below , however there are some differences between them:. Respondents that claimed they were discovering new music via the internet were then asked how they do that exactly.

They could check between one and three answers. People gave rather varied answers see above and it appears there is not one general way in which people discover music online, perhaps that's why people like Gerd Leonhard say that artists should publish as much as possible, in as many different places as possible.

Getting music via friends, like in social networks or via email, seems the most popular way to discover new music, followed by YouTube and blogs. The most important outtake is that people have different desires and different ways of discovery. The internet is here to stay, but trends on the web will come and go this includes specific social networks; since I started research on this topic, MySpace went from 'in decline' but still a major player, to a dying network.

The most important thing for getting discovered is thus being everywhere easy to come across and being easy to share. This is, again, about convenience , which was found to be one of the key desires for consumers in the problem definition. While getting the attention , one also needs to work on retention. There are a lot of ways artists can retain the attention they get and the easiest is via social networks.

This is about communication and connecting with fans. Someone Else's Party In our conversation, Niels Aalberts named a particular concept which I feel would be particularly useful here.

The concept is called "Someone Else's Party" and basically means that a following should be fun to join. The reason why I feel this is useful is based on my experience in running a political campaign for a new party, but also my experience of being a blogger, promoting my own recorded DJ sets, and having been a part of many online communities. When starting the political party, which really depended on grassroots activism, it was very important to get the ecosystem fired up as soon as possible, so that 'fans' would be able to attract, entertain and retain each other.

If you only go for one-way communication, the party will always be depending on your presence. If you're not there, nobody's having fun. We've all been at a house party where everyone was kind of standing around, waiting for the host to come talk to them. This quote makes it almost sound like having to build your sub-culture, like Insane Clown Posse or the Grateful Dead did for instance, but that's not necessary. Even the Ugly Dance is a movement and Sivers' comments apply almost literally.

As Niels Aalberts indicated when talking about having to differentiate yourself, it's not necessarily about extremities.

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The event was both intended as lecture on how to promote your band and also a launch event for his book Doorbraak. I got quite few good ideas from it and if anything it was entertaining at least to hear all the people struggling with similar problem. One central question: how do you get your band to make a breakthrough? The biggest obvious, but also best answer: hard work. Do it.

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The solution is, like the research topic of this thesis, two-fold. This section of the thesis is thus split up into two main parts. The first part is about building a strong ecosystem, the second part is about maintaining that ecosystem, which is where most marketing opportunities lie. The definition of this ecosystem will be discussed in part one, along with the rules and theories of a healthy ecosystem. Initially I tried organising the information for the solution in the same 4 Ps model used in the problem definition. While a good tool for exploring and analysing a problem, I found it to be impractical to apply here. In the problem section, a lot of the trends were already overflowing, from place, to price, to product and promotion, but in the solution these are so linked and merged that that way of organizing information was impossible.

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