Uncut media pack
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The document summarizes information about Uncut magazine, its readers, and advertising opportunities. Uncut targets music and movie enthusiasts with a focus on indie, rock, and Americana genres. Its readers, who are mostly middle-aged men, spend significant amounts of money annually on music, movies, and concerts. They are highly engaged with digital music and spend over an hour daily on music websites. The document provides advertising rates and specifications for Uncut magazine.
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The document provides information about the readership of Uncut magazine. It summarizes that the average reader is a 37-year-old married man with an income of £29,263 who spends over twice the national average on music each year. It notes that readers rely on the magazine for music and film reviews and insights to help choose purchases. Finally, it provides advertising rate information and production specs for placing ads in the magazine.
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The document analyzes different music streaming services based on their positioning in the market. It segments the market into categories of "Artist Driven" services like SoundCloud that promote underground artists, "Carefree Listening" services like Pandora for passive background music, "Discounted Listening" services like Apple Music that offer family plans, and "Music Discovery" leaders like Spotify for exploring new music. Through associations and positioning statements, it evaluates the brand personalities of each service. A perceptual map shows how services are perceived along dimensions of new music discovery and carefree listening. It concludes with a quote advocating for a service that promotes full album experiences and music discovery through human interaction rather than algorithms.
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Anghami offers various advertising solution that allow brands to make the best out of mobile technology. As a 98% mobile platform, Anghami Ads are 100% viewable and go beyond the screen.
10 ways to engage with youth consuming premium music content:
1- Design your campaign be it audio, display, or video ads, sponsoring content, getting customized solution or even producing content. Anghami will help you design the best solution for your campaign and brief.
2- Target users beyond demographics by looking at mood and activity data , genre play and behavioral data.
3- Become a story teller with dynamic and sequential targeting
4- 98% mobile means 100% viewable display and video ads, 100% audible ads on and of the screen.
5- Create music content be it a song or a an unplugged jamming session.
6- Sponsor trending content, from a top artist releases to highly followed playlists and more.
7- Build an audience by creating your own music channel, or use Anghami's consumer opt in forms to enrich your CRM database.
8- Taking rich media to the next level means creating rich engagement linked to music consumption journey within Anghami. why build something separate when you can build your story in the home of music audience.
9- Image recognition, Facial recognition, Video Expressions, Alarm, Sleep timer are examples of features that are available on Anghami readily available to activate and bring your brand to life.
10- Mix and Mach solutions, engage with over 50million users playing 1 billion streams month and spending 52minutes a day on Anghami
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This document discusses branding and the customer journey. It outlines 6 key objectives for understanding customers: 1) Know your customer, 2) Know your product, 3) Know your competitors, 4) Know your target market, 5) Know your media channels, and 6) Measure your branding efforts. Each objective provides tips, such as developing a customer persona, positioning your product, conducting competitor analysis, evaluating creative marketing campaigns, and tracking brand awareness over time. The overall message is that strong branding captures customers' hearts to gain their commitment.
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Uncut media pack
The document provides information about the readership of Uncut magazine. It summarizes that the average reader is a 37-year-old married man with an income of £29,263 who spends over twice the national average on music each year. It notes that readers rely on the magazine for music and film reviews and insights to help choose purchases. Finally, it provides advertising rate information and production specs for placing ads in the magazine.
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The document provides information about the readership of Uncut magazine. It summarizes that the average reader is a 37-year-old married man with an income of £29,263 who spends over twice the national average on music each year. It notes that readers rely on the magazine for music and film reviews and insights to help choose purchases. Finally, it provides advertising rate information and production specs for placing ads in the magazine.
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The fly-media-pack-2012
The Fly is the UK's largest music magazine, with a readership of over 500,000 and circulation of 108,827. It is a monthly guide for music lovers, featuring original content like reviews, news, and a gig guide. The typical reader is male, aged 18-35, employed or a student. They spend on average £20-50 per month on music and under £25 on clothing. The document provides advertising rates and specifications.
Similar to Uncut media pack (10)
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What the boys said
The article discusses a lack of gender balance and representation of women in music magazines like The Wire. It notes that between 2006 and 2009, The Wire only featured 7 female artists on its covers compared to 41 male artists. It also discusses how magazines aimed at musicians like guitarists and bassists rarely featured women on their covers. While some magazines have made efforts to increase representation of women, overall there remains an imbalance and an acceptance that underrepresentation of women in music media "is just how it is." The lack of representation can discourage women from entering music fields like performing and music writing.
The guardian gender
The document discusses the exclusion of female rock artists from the mainstream rock canon and their celebration in isolation rather than as part of the larger rock tradition. It argues that while pioneering black and female musicians helped establish rock music's roots, the genre has been portrayed as the domain of white male bands. Recent innovative female artists like EMA, St Vincent, and Anna Calvi have been praised for their work but denied connection to their major male influences and seen as flashes of brilliance separate from the larger rock scene. By separating female musicians into a distinct "women in rock" category rather than integrating them as part of rock history alongside influential male artists, the music press maintains a divided view of rock that excludes women from its core tradition.
The f word women and the uk music press
The document discusses how the UK music press is largely marketed to and created by men, despite many successful female artists. It analyzes media packs and content from magazines like Kerrang!, NME, Mojo, and Classic Rock to show they portray their target readers and many artists as predominantly male. While some publications are making efforts to be more inclusive, coverage of women is still often through a stereotypical lens, and the canon of artists covered skews heavily male. The economics of the industry may also be pushing coverage in a more conservative, risk-averse direction.
Teaching music press teacher guidance
This document provides an overview and teaching guide for using the book "Teaching the Music Press" in the classroom. It outlines a possible scheme of work with two main sections. Section 1 contains case studies of specific music publications to analyze codes and conventions. Section 2 places these case studies in the context of key issues like genre, representation, institutions, audiences, and the online music press. The guide suggests starting with familiar publications in Section 1 before exploring broader concepts in Section 2. It identifies several key areas covered, including historical perspectives, textual analysis, target audiences, and more. Student activities and resources are also provided to facilitate learning and assessment.
Source media kit
The document outlines marketing opportunities and events for 2011 with The Source magazine, including issue release parties celebrating cover artists and themes, concerts, showcases, and partnerships with sports and music events like the NBA All-Star Weekend and SXSW to promote brands and artists. It also provides details on the magazine's audience demographics, reporting a readership of 1.5 million people who are mostly 18-44 years old and interested in hip hop music and culture. The Source is positioning itself as the top brand in hip hop media across both print and digital platforms.
Q media pack-2011
Q magazine is the UK's largest music magazine with a circulation of over 88,000. It has a young, affluent readership that it influences with its trusted opinions on music. The magazine and its brand have a wide reach through additional platforms like a website, radio show, and live music events. Advertisers are attracted to Q because of its influential readership and ability to associate their brands with Q's credible voice in the music industry.
Q music magazine print deconstruction
The document summarizes the front cover design of Q Music Magazine. It begins with a large, bold, white letter "Q" occupying 15% of the top left corner of the cover, departing from the typical masthead across the top. The unconventional masthead placement and single letter name was intended to look original and stand out on newsstands. The white letter signifies simplicity while the red background hints at danger, reflecting the founders' view that the music press was ignoring older, male music buyers. Beneath the letter is the tagline "A DIFFERENT TAKE ON MUSIC" to signal the magazine's independent perspective to audiences.
Prelim task
Magic Sound Ltd owns several popular music publications in the UK and is giving 20 students the opportunity to work on a new teen music publication and website. To be considered, students must submit their ideas by December 10th and demonstrate their knowledge of music publications and websites, clearly understand their target audience, refer to media language concepts, and use industry terminology in their planning.
Nme music magazine print deconstruction
NME has been one of the longest running weekly music magazines in history since its founding in 1952. It originally competed with magazines like Sounds and Melody Maker in a broadsheet newspaper format. Throughout the 1970s and 1980s, NME championed punk rock and independent music while promoting anti-establishment, socialist views through writers like Danny Baker and Tony Parsons. In 1998, NME switched to a color magazine format and tabloid size as it is now owned by an international publishing group, though it still supports independent artists.
Music press history
The history of music press began in the late 19th century with publications like Billboard magazine that reported on music industry news and charts. In the 1950s-60s, magazines like Melody Maker and New Musical Express became popular weekly publications in the UK covering new releases and concerts. The 1960s saw the rise of music fanzines and Rolling Stone magazine addressing youth culture. Major changes in the 1970s included more political coverage and the rise of glossier magazines like Smash Hits catering to younger audiences. Independent music labels produced more fanzines in the 1980s, while new magazines explored genres and styles. Digital technologies in the 1990s-2000s disrupted the music press industry, leading to more specialized niche publications and declining
Music press exam prep
This document provides an overview and guidelines for analyzing music press publications like magazines and websites. It introduces the CLAIR framework for examining codes and conventions, language, audience, institutions, and representation. It discusses exploring features, genres, design elements, portrayed audiences, funding sources, regulations, and how artists and other groups are depicted. The exam will ask students to analyze what appeals to audiences, create their own music publication for a specific demographic, and design/evaluate an element to appeal to that audience.
Mojo media pack-2011
Mojo is a UK-based music magazine known for its in-depth coverage of music across genres and decades. It aims to provide an authentic connection to music for passionate fans through long-form journalism, photography, and curated playlists. With a circulation of nearly 95,000 and a readership of over 200,000, Mojo's audience is predominantly affluent and highly influential music enthusiasts. The magazine seeks to celebrate both classic and cutting-edge artists through a hand-crafted experience.
Mm mediapack 2013
This document provides information about Mixmag, a magazine and media company focused on dance music and club culture. It details Mixmag's print magazine, digital platforms and mobile apps which reach over 350,000 unique users and 800,000 impressions per month. The document also profiles Mixmag's readers, outlines advertising options and rates across print, online and events, and provides production details.
Mastheads titles
The document provides guidance on analyzing magazine mastheads and covers. It prompts the reader to consider things like facial expressions, clothing, interactions, props, framing, camera angle, title meaning, title associations, typography descriptions, masthead size, color, font connotations, and changes to mastheads over time. It uses the examples of the mastheads of magazines called "New Musical Express" and "XXL" to illustrate aspects to analyze regarding the visual design and meaning of a magazine's branding.
Kerrang! media pack-2011
Kerrang! is the UK's largest music magazine with over 42,000 circulation and 400,000 readership. It has a median reader age of 22 and 52% of readers fall within the ABC1 socioeconomic group. Kerrang! readers are heavily engaged with music, purchasing on average over 6 albums per month and are 5.5 times more likely to attend rock concerts than the national average. The magazine is a multi-platform brand including the print publication, website, radio station, awards shows, and festival partnerships.
How the fanzine refused to die
Fanzines are making a resurgence despite the dominance of blogs and digital media. Some writers and readers prefer the tangible, handmade nature of fanzines which foster a sense of community. A new generation of fanzine writers value limited print runs and handcrafted aesthetics. While blogs allow easy, constant updates to large audiences, fanzines encourage deeper engagement with niche underground music scenes through their focused long-form coverage and distribution to dedicated readers. The resurgence shows that some seek analog experiences and curated communities in a digital world that feels impersonal and out of individual control.
Guardian why are we so hard on our music press
The document discusses the state of the British music press and magazines. It notes that while publications frequently argue over which was better in the past, the current market features many competing magazines, websites, and short attention spans. Mainstream publications now also cover music. The document discusses prominent weekly and monthly magazines that take different approaches to music coverage and notes specialist magazines focused on genres like rock, dance, and hip-hop. It acknowledges magazines with independent origins and short lifespans in the industry before concluding the UK has the best music press thanks to its free-spirited and passionate writing.
Clash media kit
This document provides information about Clash Music Ltd, a leading UK media brand representing music, fashion, and film. It operates platforms in print (Clash Magazine), digital (ClashMusic.com), outdoor advertising, live events, and creative projects. Clash Magazine has a circulation of over 47,000 and is known for its in-depth features, interviews, and reviews across various music and culture genres. ClashMusic.com attracts over 320,000 unique users and complements the magazine with daily online content. The document outlines Clash's offerings across its various platforms and provides statistics and contact information.
Appendix 4 music magazine industry
Music magazines are publications dedicated to music and music culture. They typically include music news, interviews, photo shoots, essays, and record reviews. The two largest conglomerate companies dominating the UK magazine market are Bauer and IPC Media. Most mainstream music magazines are produced by these large conglomerate companies, while some independent magazines produced by smaller companies focus on local music scenes or niche genres. Music magazines aim to advertise bands and music to readers while also selling advertising space to appeal to their target demographics, most often readers aged 16-34 interested in various music genres.
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Uncut media pack
- 1. THE UK’S FAVOURITE MUSIC AND MOVIES MAGAZINE UNCUT IS: • NME’s cooler, older brother • Modern Indie, Rock, Classic Indie and Americana are our readers favourite music genres. UNCUT READERS RELY ON THE MAG FOR: • Essential album and film reviews helping them choose what to buy • Insightful features on brands/music and movies • Information about classic music, new artists and new bands UNCUT READERS SPEND (PER YEAR): • £792 on music • £300 on DVD’s (compared to £107 Empire and £66 Total Film readers) • £312 on concerts/live events tickets TECHNOLOGY • They spend over an hour a day on music based websites • 86% of Uncut readers download music every week compared to the national average (32%) • 68% of Uncut readers own a mp3 player • 37% of Uncut readers own an IPOD • 6% of Uncut readers have HDTV • 18% of Uncut readers have Sky+ • 46% use a digital radio Male readership: 86% Average age: 37 Married/living with partner: 60% Working full time: 77% Average income: £29,263 Circulation: 62,361 For all advertising enquires in Uncut or Uncut.co.uk please contact: Neil McSteen Tel: 020 3148 6707 Email: neil_mcsteen@ipcmedia.com www.uncut.co.uk www.ipcadvertising.com Source: ABC Jul-Dec 12, Uncut reader survey, Play Panel Wave 6
- 2. 4 COLOUR Double page spread £7,290 Page £4,190 Half page £2,480 Quarter page box £1,530 SPECIAL POSITIONS Reviews £4,400 Front Half Guaranteed £4,400 Front half RH Guaranteed £4,609 1st 25% Guarenteed £4,693 Fourth RH Page £4,810 1st 25% RH Guarenteed £4,818 Third RH Page £4,970 Second RH page £5,130 First LH Page £5,130 Inside Back Cover £5,360 First RH Page £5,380 Inside Front Cover Page £5,575 Outside Back Cover £5,640 Second DPS £8,610 First DPS £9,110 Inside Front Cover DPS £10,030 Rates MONO Double page spread £5,640 Page £3,020 Half page £1,820 Quarter page box £1,080 ALL OTHER POSITIONS CARRY A 10% LOADING WHEN AVAILABLE Spot Colour +20% (magenta, yellow or cyan) Classified 020 3148 2510 DPS Bleed 303x426 DPS Trim 297x420 DPS Type 283x406 Page Bleed 303x216 Page Trim 297x210 Page Type 283x196 Half Page Horizontal Bleed 152x216 Half Page Horizontal Trim 146x210 Half Page Horizontal Type 132x196 Half Page Vertical Bleed 303x109 Half Page Vertical Trim 297x103 Half Page Vertical Type 283x89 Quarter Page 132x89 UNCUT is perfect bound and it is advisable to supply a DPS as two separate pages allowing 3mm overlap to both inside edges. Column width: 44mm Number of columns per page: 4 Printed throughout by web offset litho. Ads to be supplied as Hi-Res PDF. For PDF specifications visit www.pass4press.com where the spec can be downloaded. Ads can be emailed (MAX 12MB) or sent on disk to the copy address opposite. Alec Short, NME ads Room 177 4th floor, The Blue Fin Building, 100 Southwark Street, London. SE1 0SU Tel: 0203 148 6736 Email: alec_short@ipcmedia.com www.uncut.co.uk www.ipcadvertising.com Terms and conditions available on request