Career Planning: Future of the Australian Music Industry (Episode 3)

In this final episode of my digital artefact, I want to take a look at the exciting new technology and trends arising in the Australian music industry.

Byron Bay Bluesfest in 2019. Credit: Bluesfest/NME.

COVID-19 has had an undeniable and severe impact on the industry with a recorded loss of 345 million. Hip-hop, in particular, was on an impressive trajectory to reach new mainstream horizons, and although COVID-19 stunted this growth, Hip-hop in Australia has significantly developed during the pandemic.

To be the best creative I can be in the Australian music industry, it’s important for me to understand the development of future technologies and trends within the field. Here are a handful of the developments that are closely related to my future career plan and the subject materials of BCM325:

Virtual Reality

While virtual reality music videos aren’t necessarily ‘new’, its popularity could see a significant increase in the future of the music industry. The entrancing and immersive nature of VR could have endless possibilities for the future of not only music videos, but live performances as well. One of my favourite quotes from William Gibson’s novel Neuromancer describes cyberspace as “a consensual hallucination experienced daily by billions of legitimate operators, in every nation.” COVID-19 forced live performances to a halt and has encouraged events managers and artists alike to opt towards online performances. To ideate this to the extreme, the long range future of music festivals could be entirely virtual where even maybe one day, the technology reaches such an immersive point that we’re able to touch and feel things within the virtual reality, similar to what we’ve seen during the BCM325 screening of Ready Player One.

Journalism & Marketing

Journalism and marketing in the future of the music industry is already beginning to change in its format and execution. Speaking from my own experience, COVID-19 made Zoom a more popular tool for interviewing artists and working from home. Although, face to face interviews are still preferred and make it easier for interviewers to create a stronger relationship with their interviewees, Zoom has expanded the possibilities for myself and my peers at AUD’$. In regards to marketing, COVID-19 forced the world to become more dependable on the internet. Apps like TikTok has become a great avenue for artists to market their music through and for publications to broaden their audience. The pandemic has actually inspired me with the ideal approach to my career where I could work from home when needed and still achieve a similar result. Once restrictions are lifted further, I’ll be able to have a mix of online and in person work experiences. The future of music journalism and marketing is something I’m passionate to keep a close eye on to stay ahead of the competition and be able to quickly adapt to new trends.

AI Composers

Artificial Intelligence can be described as “how close or how well a computer can imitate or go beyond, when compared to human being.” AI technology is slowly starting to become utilised in music production with companies like Amper able to allow users to generate original compositions by setting limitations on genre, track length and instruments. Though I do believe AI will play a role in the future of music production, I find it unlikely that AI technology will be able to create music on its own, at least in the medium range future. Even if possible, I think the emotional drive of musicians and producers make it for AI to ever replicate.

Frank Tremain.


Continuing to Plan

My digital artefact is for BCM325 consists of a series of blogs and videos detailing my career plan in the next 5 years, with implications to both the short and long range future.

In the beta of my BCM325 digital artefact, I analyse the ways I can improve my feedback loops and audience to help me craft a concise and well-researched 5 year career plan with implications to the short and long range future.

Paying close to the responsibilities of futurists and trends in the future of the Australian music industry, I’m planning to focus on building a large DA audience so that I can create more public feedback loops.

With one episode left, I intend to investigate the changing nature of the music industry and digital journalism to help me understand what role I can play.

Frank Tremain.

Career Planning: Moriboys (Episode 2)

Streetwear fashion has been embedded in my life since a young age, and exists in the music I listen to, the movies I watch and even the sports I enjoy. Relying on elements greater than just clothing, the streetwear scene continues to be greatly influenced by the Hip-hop scene. From the evolution of NBA style to rappers and their designer collaborations, Hip-hop culture has evolved streetwear fashion from a fringe subculture to one of the most dominant force in popular culture.

Despite being in the early days in my career as a creative within Hip-hop in Australia, I feel an undeniable urge to further extend Hip-hop’s influence on Australian streetwear fashion. So in November of 2020, I conceived the idea of my clothing brand, Moriboys. Moriboys is dedicated to providing luxury quality, streetwear merchandise and aims to celebrate the culture and creatives within Australia’s Hip-hop scene. This clothing brand is grounded in the inevitability of death and the empowering nature of our own mortality, inspired by the Latin phrase ‘Memento Mori’ meaning ‘remember you must die.’

From learning about Future Studies in week three of BCM325, I’m able to better understand the practice of predicting the future and the ways in which I can contribute. As Hip-hop began in the United States, we can attribute its history as our own crystal ball or oracle. By learning the history of Hip-hop and its globalisation across continents and evolution in popular culture, we’re able to make predictions about Hip-hop’s own development within Australia. I am hesitant to suggest that Australia’s scene will follow the same path as Hip-hop in the U.S, however, if we treat it more as a possible future, we’re able to start planning for a more preferable future.

In this week’s video episode, I explore the history of Hip-hop in Australia in relation to streetwear fashion and culture. I focus on some of my favourite Australian brands and their contributions to the scene to help me shape my own future plan for Moriboys and the role I hope this brand plays.

Below, I have planned out brief Moriboys plans for the short, medium and long range future. These include:

Short Range:

  • Bulk order tees and contact local screen printers.
  • Finalise logo.
  • Enhance social media presence with more activity.

Medium Range:

  • Organise shipping and website logistics.
  • Release Collection 1.
  • Release collaborative collection.

Long Range:

  • Sponsor artists and events.
  • Build a team of graphic designers.
  • Release regular drops of an assortment of items including tees, hoodies, shorts etc.

Moriboys is still in an early development stage and these plans will continue to evolve as my brand grows, however, it’s a convincing start to the overall impact that I hope to have on Hip-hop culture in Australia. If you’d like to support my brand, you can find us on Instagram and Facebook!

Frank Tremain.

Career Planning: AUD’$ (Episode 1)

For the first episode of my career planning series, I utilised the SMART method of goal setting to map out the medium future of my career in the Australian music industry. In particular, I focused on my role at AUD’$ and the progress I wish to make in the next five years.

Though never directly mentioned, many scholars credit Peter Drucker’s The Practice of Management (1954) as instrumental to the development of the SMART acronym. In a study during the 1960s, Dr. Edwin Locke examined the relationship between motivation and goal setting and determined that specific and challenging goals are more motivational than vague and easy ones (Lawlor, 2012).

In Wendell Bell’s Making People Responsible (1998), he divides the our perception of the future in three categories including the possible, probable and preferable. Bell states “Futurists not only study images of the future held by various people in an effort to understand and explain their behaviour, they also investigate the process of image making itself, encourage people to rigorously explore alternative images of the future, and construct images of the future themselves. In so doing, futurists aim to help people become more competent, effective, and responsible actors, both in their personal lives and in their organisational and societal roles(Bell, 1998).

As BCM325 encourages us to be active futurists, this is the way I approached my career plan with elements of possible, probable and preferred futures. Beginning with the possible, there’s a possibility to move to Melbourne to immerse deeper in the scene which would assist me in building a stronger network. Additionally, venturing into PR and events managing is probably the biggest possibility. Although this is something that I am interested in, I would first like to establish myself as a journalist to leverage myself into these roles. That being said, if this doesn’t come to fruition in my medium range future, it is probable that it will occur in the long term.

Next, I included probable elements of my future in the career plan such as maintaining a strong relationship with AUD’$ and being able to interview artists in a longer form that what traditional Australian music media is accustomed to. These probable elements will lay the foundational work for the possibilities in my long range future in playing a key role to the Australian Hip-hop music industry.

Lastly, the preferred outcome of this career plan future would be to exceed the goals in a short period of time and begin examining more long-term, challenging goals. In Baudrilard’s Ecstasy of Communication, he argues “the shift from the world of the object, of the mirror and the scene, to the laboratory of miniaturisation has transformed the pleasure of the gaze into an ecstasy of promiscuity. For Baudrilard, the obscenity of the all-too-visible signals the end of the secret and its representation and the beginning of the era of hyper-reality, the absolute space of simulation. This ultimate call to a disappearing reality permeates popular perceptions of the power of technology and technological images(Baudrilard, 2012).

With this in mind, I’d work towards crafting content in the short-term that will create new opportunities for myself and build an audience in the medium ranged future. I’d then be able to start creating a long range future for myself and the Australian Hip-hop media where the bridge between artists’ talent and coverage is narrowed with more diverse and quality content. By doing so, we’ll be able to create a hyper-realistic niche of Hip-hop in Australia where fans can become more immersed in my own content as well as the artist. Keeping a balance of intimate and loosely structured interviews with high level production value and accessibility looks to be my next best move in achieving this goal in the medium ranged future.

Although setting these goals for myself gave me a more refined vision of my potential future, it also raised some important questions into its practicality. While striving towards my end goal, these types of questions are beneficial in forcing me to continually push myself and update my SMART plan. In my BCM325 pitch, I outlined a different blog sequence than what I carried out so next week will instead look at my clothing brand, Moriboys, and the role I hope to see this brand have within Hip-hop in Australia, and my own future career.

Frank Tremain.

Future Career Planning

“People are coming to realise that they must take responsibility for the future, both for their own individual futures and collectively, for the shared future of all humankind” (Bell, 1997).

In my final year of university, I feel a responsibility to begin planning my future career path. Though I have started in the field I am passionate about, I feel a strong responsibility to continue this in a more well-researched manner to help the Australian Hip-hop scene reach an international level.

My BCM325 digital artefact will consist of a five-year career plan that will also investigate the future of music journalism and Hip-hop in Australia. Through analysing the history of Hip-hop and researching academic sources regarding career planning, I will be able to make future predictions and shape my career plan around this.

Frank Tremain.