MTSU RIM Class Advanced Cyber PR Dove Awards Case Study

 

In the Fall 2011 semester, Professor Charlie B. Dahan of the Recording Industry department (RIM) at Middle Tennessee State University partnered with Ariel Hyatt (Ariel Publicity) and created a course entitled Cyber PR®.  The Cyber PR® process marks the intersection of social media with engaged behavior, PR, direct to fan strategies and online marketing.  The students us ‘Music Success in Nine Weeks’ by Ariel Hyatt and ‘Musicians Roadmap to Facebook and Twitter’ by Ariel Hyatt, Carla Lynne Hall and Stefan Malliet as their textbooks.

Upon completion of the course, the student may sit for the two hour Cyber PR® Certification (CPRC) exam.  The certification alerts potential future employers that these students possess experience and solid fundamental understanding of Cyber PR®.

The course’s popularity led RIM to add a second Cyber PR® section and an Advanced  Cyber PR® class (RIM 4820) for the Spring and Fall 2012 semesters.

The advanced course contained five students from the inaugural class and seven students with social media and PR experience.  The students were tasked with designing, analyzing and implementing the Cyber PR® for The Gospel Music Association’s Dove Awards on April 19, 2012.  Next Big Sound and Topspin Media donated free PRO accounts to aid in their marketing and analysis.

The following is a link to the 48 page Case Study detailing the analysis, marketing and promotion of the 2012 Dove Awards.

Complete Dove Awards Cyber PR Case Study PDF

My Bonnaroo, Day 1 (Friday, June 14, 2013)

Of Monsters and Men

DIIV

Amadou & Mariam
(videos from 2009, though)

Grizzly Bear

Wilco

Paul McCartney

ZZ Top

The xx

Protected: Curb Records: By Angel Baggett

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Big Machine Taking Big Strides into the Future of the Music Industry by Nicole Boon

Big Machine Records is unlike any other independent label, and they like it that way. Founded in 2005 by the brilliant Scott Borchetta, Big Machine Records has always liked to be out of the box thinkers and innovators in the industry. They have also created two labels within BMLG such as Valory Music and Republic Nashville.

Naxos Records: by Eric Lakanen

Since 1987, Naxos Records, an independent label specializing in classical music, has redefined how this genre is both marketed and presented. Utilizing Innovative strategies to record exciting new repertoire with exceptional talent has made it possible for Naxos to develop one of the largest and fastest growing catalogues of unduplicated repertoire available. Currently having over 2500 titles with state-of-the-art sound and consumer-friendly prices, Naxos, now a household name to all classical record buyers, has impressed collectors by its quality, variety of repertoire and reasonable price; greatly contributed to Naxos becoming the world’s largest classical music label.

INFINITY CAT RECORDINGS by: Chris Boatright

Imagine walking into a dark East Nashville basement to loud music, sweaty people, a flannel explosion, and enough PBR to kill a pack of elephants. Once you’ve decided to not turn around and run, you will most likely be hearing the music from one of the Infinity Cat Recordings artist.

Touch and Go Records by Jake U.

         

                Innovation is often paved on unconventional ideas. Unconventional ideas are usually shunned upon and told will not and cannot work. Touch and Go Records takes concepts that would only work in a perfect world and profit from them, making them one of the most pivotal independent labels to emrge in alternative music.

Touch and Go was started in 1979 by Tesco Vee and Dave Stimson and was originally a magazine focused on hardcore punk. In 1980 the band Necros was funded by Vee and Stimson to release a 7” split record with The Fix. When the album was released in 1981, Touch and Go cemented itself as a record label. Corey Rusk, the bassist for Necros, soon ran operations for Touch and Go.

Gotee Records by Emily Alcorn

There are several indie labels in the industry today; each is individual and very unique, with their own story to tell. I chose to write about Gotee Records because 1. The name in-and-of-itself gets your attention, 2. They have a roster of amazing Artist’s, both past and present, Relient K being one of them, and 3. They have an inspirational background story, and believe in the future of the music business.

Gotee Records was started in 1994 by Joey Elwood, Todd Collins, and Toby McKeehan, aka tobyMac; all three great friends, who still run their label with the “Unconventional decisions” that first started Gotee 15 years ago.
They started as a production company, working with a young R&B trio called Out of Eden. They went in search of a label for the R&B trio, and when that proved unsuccessful the three friends decided to start their own. The name came about back in 1992 in Nashville, TN. They were three guys who shared a love of music, and although they had diverse tastes, they sported the same cropped beards and hung out enough together that people started calling them the “goatee brothers,” and in ’94 Gotee Records was born. Elwood states that they “didn’t want to be known as the ‘facial hair guys’,” which is the reason for the intentional misspelling of the name.

Punk Rock Songs: A Brief History and Analysis of Epitaph Records by Michael Aurand

“A Logo and a P.O. Box”

In 1981, 19-year-old recording student Brett Gurewitz, guitarist for the So-Cal hardcore band Bad Religion, borrowed $1000 from his father in order to press and self-release his band’s first EP. Gurewitz named the label after the King Crimson song of the same name. Although initially intended to be an outlet for Bad Religion’s records, the band members were shocked when their first self-financed and self-released EP sold over 10,000 copies, and interest in the band, as well as their affiliated label, began to increase at a rapid pace. Eventually, what once consisted of nothing more than “a logo and a P.O. box,” would go on sell millions and millions of units with acts like The Offspring, Weezer, Social Distortion, NOFX, Dropkick Murphys, Rancid, Alkaline Trio, L7, Tricky, and many more.

Glassnote Records by Amber Leone

“We don’t want to be big, but we want to be great.”- Daniel Glass, Glassnote Records.

It had been a long week. Last October’s CMJ conference was crammed with meetings, label presentations, and artist showcases scattered about every corner of New York City. I was tired and still buzzing from the Odd Future show at Terminal 5 the night before.

And then he said it.

“We don’t want to be big, but we want to be great.”

I immediately perked up. In one simple sentence, Mr. Glass had defined “indie” in a way that I’d never understood before. I couldn’t believe it. A label didn’t have to be big to be successful?