A look at the psychographic dynamism in black culture and what it means for brands trying to engage 21st century African Americans and, potentially, the greater African diaspora.
The deck also highlight audience research done in conjunction with Bold As Love Magazine in 2010: "Black Rock Music and the Evolving Urban Mindset" http://www.scribd.com/doc/37785234/Black-Rock-Music-and-the-Evolving-Urban-Mindset
4. A new audience segment has emerged
• Culturally omnivorous
• Globally-minded
• Tech-savvy
• Entrepreneurial
• Determined to make their
own voices heard
4
5. 70% of the nearly 60,000 who showed up for
the 2013 Afropunk Festival were part of it
5
18. 1980s
In 1985, Living Colour guitarist Vernon Reid, along
with two other arts activists, forms this
progressive arts organization dedicated to
supporting convention-defying black musicians
18
19. 1980s
In 1989, author & screenwriter Trey Ellis publishes
“The New Black Aesthetic” about a then new
generation of artists who were global cultural
polyglots and who made “art that shakes you up”.
http://kintespace.com/kp_trey_ellis0.html
Ellis identified an initial group of
artists that included comedian
Chris Rock, filmmaker Spike
Lee, Living Colour’s Vernon
Reid, downtown luminary Fab
Five Freddy, director George
Wolfe, rappers Run-DMC, and
writer Lisa Jones, among
others.
19
23. The film “Afro-Punk” strikes a nerve
2003
James Spooner’s raw and poignant
documentary about blacks in the
American punk rock scene serves as
a rallying cry for those who feel like
they’re too black for the white
community, but too white for the black
community. Turns out there are a lot
of them.
A movement is born.
23
24. 2004
“Thrivals” enter the scene
Futurist Dr. Nat Irvin II, currently an
endowed chair at the University of
Louisville School of Business, introduces
the concept of “thrivals”. He defines them
as “the first generation of blacks who
will aggressively compete in the battle
to shape the images, ideas and the
future of global culture” across every
area of endeavor.
http://business.wfu.edu/apps/files/thrivals.pdf
24
27. The film “Electric Purgatory” debuts
2005
Raymond Gayle’s film highlighted the
music industry’s lack of receptivity to
black musicians who want to do
anything outside of hip hop or R&B.
Despite the odds, the bands persevere.
27
28. 2007
“But 40 years after black
musicians laid down the
foundations of rock. . .some
blacks are again looking to
reconnect with the rock
scene. . . It is not the first time
there has been a black
presence in modern rock. But
some fans and musicians say
they feel that a multiethnic
rock scene is gathering
momentum.”
--Jessica Pressler, “Truly Indie
Fans,” January 28, 2007
The New York Times notices. . .
28
29. 2008
. . . and takes home a
Tony Award.
Black rock heads to Broadway. . .
29
30. The Daily News highlights the trend. . .
2008
“So why are such stunning changes
happening now?
Observers cite the same factor that
has had the greatest impact on
culture in general: the Internet. With
digital downloads ‘people hear music
before they see it,’ [Earl] Douglass
[executive director of the Black Rock
Coalition] says. ‘They’re not
necessarily putting a face to it. All
that matters is if it’s a good song.’
And this download mad shop-a-thon
has changed the very notion of
what’s marketable.”
--Jim Farber, “Rock is the new black,”
May 23, 2008
30
33. 2009
Maybe “rock” is no longer that
bad four-letter word in the
black community. . .?
. . .and it ripples into unlikely spaces
33
34. It was time to learn
more about the audience
34
35. Initial research
• Online survey via Bold
As Love Magazine
(boldaslove.us)
• Fielded November
2009 - January 2010
• N = 316 full completes
35
36. Audience Topline
Multigenerational, primarily 26-44
Multicultural, but skews African American
Even male/female split
Socially conscious
Tech-savvy
Actively seeks progressive arts and music culture
36
37. Audience Datapoints
62%
Percentage who have
undergrad or post-graduate
degrees
55%
&
40%
Percentage with HHI over
$46,000
Percentage with HHI over
$60,000
37
38. Audience Datapoints
69%
Percentage who said that
black alt, black rock or
Afropunk music had become
a bigger part of their regular
listening
74%
Percentage who said their
feelings about hip hop had
become indifferent or more
negative
38
39. Audience Datapoints
~90%
Percentage who said they
often seek out black artists
who defy convention. Over
half said they consistently do
50+%
Percentage who said their
feelings about black rock/
Afropunk/black alt music had
become more positive over
the previous two years
39
40. Audience Datapoints
46% Percentage who said the
amount of world music they
listen to has increased
70%
Percentage who said it’s
important/very important to
stay “in the know” about
cutting edge music & culture
40
41. Audience Datapoints
63%
Percentage who said
expressing their individuality
takes precedence over
allegiance to group identity
32%
Percentage who said they
equally feel a need to express
their own identity, while
maintaining a connection to
the larger group (race,
ethnicity, gender, etc.)
41
42. Follow-up Research
• Fielding quantitative survey in late 3Q13
• Deeper exploration into audience’s evolution
• Focus on psychographics, needs, lifestyle and
interests
42
43. The bottom line?
the #NewBlackImagination
at work across all areas of
creative expression
You can find
43
48. Music
k
r
r Mykki Blanco
Flying Lotus
P.O.S.
Boston Fielder Jean Grae Mykki Blanco
Saul Williams
The Brother Moves On
Bad Rabbits
The Skins
Tamar-Kali
48
50. In 2011, we launched an entire TED-inspired festival
to showcase the #NewBlackImagination
visual artists
cultural critics
architects
designers
poets
social innovators
shit disturbers
music icons
entrepreneurs
filmmakers
technologists
writers
futurists
remixers
Watch a quick video
50
53. First, there’s WAY more to choose from
It’s time to think more broadly about the
cultural palette you can work with to
engage the #NewBlackImagination
Hip hop
no longer defines the limits
of black authenticity
53
54. Discovery Amplification
• Space & resources
to help the creators
create
• A “lab” situation
Incubation
• Helping consumers
find out about new
voices across
disciplines
• Brand as guide
• Focus on the “about-
to-break” creators
• The brand helps
them make that leap
Second, think curation
Brand engagement will be a result of
the commitment to this audience and
the creators & curators they support.
54
55. By dealing with emerging culture, your
brand won’t have to spend $50- or $20
million like a certain soft drink or
electronics company did. . .
Just sayin’. . .
Third, it’s still a ground floor opportunity
55
56. • support the next round of research?
Contact Rob Fields
robfields.com | @robfields
• get smarter about capturing the #NewBlackImagination?
Want to. . .
Rob is an award-winning cultural strategist, who focuses on the intersection
of marketing, business and contemporary culture.
56