The Insane Clown Posse, a Detroit gangsta rap group who literally dress like clowns, have leveraged a rabidly devoted fan base to become the best selling indie band of all time (for REAL). They've accomplished this without radio airplay, major label endorsement, or any mainstream media exposure. In addition to selling millions of albums for decades, they make millions in merchandising every year. The group's brand is so far reaching that millions of people who have no interest violent clown rap have watched their viral videos.
We'll look at what the band did historically to garner such a devoted fanbase and how you can do the same for your brand. If these clowns can make 7 figures a year, so can you!
by Ken Parks
As digital music consumption continues to increase, artists and consumers are finding new ways to engage within the digital landscape. Spotify, the leading digital music service, is helping to driving this digital conversation by providing a music discovery and sharing platform which caters to the modern, social consumer, supporting the artist as a engagement tool, and driving increasing revenues back into the music industry. In a fireside chat, Ken Parks, Spotify's Chief Content Officer & U.S. Managing Director and David Draiman, lead singer of Disturbed, will address the future of the music industry and where Spotify and the artist fit into this conversation.
Radio has long been the principal pipeline connecting fans to artists. Even today it still accounts for 80% of the time Americans spend listening to music. But this medium is now undergoing a profound transformation driven by the arrival of ubiquitous internet connectivity. And this transformation has dramatic implications for musicians. Tim Westergren, founder and chief strategy officer of Pandora, will discuss his perspective on what it means for artists and the larger industry.
by Scott Snibbe
For twenty years, Scott Snibbe has advocated for a new form of interactive entertainment that moves beyond video games to treat interactivity as a full medium in its own right. He argues that interactivity has the same potential for emotional impact and engagement as cinema and music. In this talk, Snibbe will present two of his companies’ most powerful interactive experiences from last year, which point to the growing maturity of this medium: Björk’s Biophilia App, the world’s first App Album; and The James Cameron Avatar Experience, a fully immersive gestural interactive exhibition.
Scott Snibbe will discuss these two ends of the interactive spectrum, and the space between: from intimate apps beneath our fingertips, to fully immersive, social exhibitions spanning thousands of square feet. He will situate this work among selections of twenty years of his companies’ interactive exhibits, interactive art, and interactive music, as well as key examples from the last 30 years’ history of interactivity, and make a bold claim for the rise of this medium to rival movies. Snibbe will also discuss the educational, societal, and industry benefits of interactivity; and the joys, challenges, and research involved in the creation and distribution of these new forms of interactive media.
9th–13th March 2012