Milwaukee’s IshDARR jumps on the remix.
Apple dropping Imagination is a warning to iPhone suppliers everywhere
You know when your significant other begs and pleads for you not to break up with them? Maybe even going so far as to threaten to wreck your stuff—or worse? That's what Imagination sounds like in its press release, which revealed Apple just dumped the …
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Is there room in the trap for the Dog?
At a strong 46, DMX thinks he got what it takes to thrive in today’s rap scene. He took to Twitter to ask for some trap productions to be sent to his e-mail in a now deleted tweet.
Although his interest in the Southern-bred genre seems unusual, X is actually King of uncontrolled aggression and persistent ad-libs which are common characteristics of the music genre. But Twitter isn’t having it. Many fans ripped him to shreds in some hilarious tweets below:
@DMX why the fuck would you want trap beats. Man, “Do You”
— Everythings Oh-Kay (@OhkayPaints) April 3, 2017
— Fee 187 (@glenn_beauty187) April 3, 2017
— Cuca’s Son. (@HOA_Bossman) April 3, 2017
However some optimists chimed in on the matter:
— Jay Anderson (@jayserius) April 3, 2017
— TMAC_9127 (@TMAC_9127) April 3, 2017
From the looks of this Instagram post, DMX plans to “take over” 2017. Perhaps he can take over the trap?:
Top Boy is a crime-drama that was about to get canned before Drake bought its rights. Now, a major role was created for The Boy who is set to star in the upcoming third season of the British series.
The Mirror caught up with Ashley Walters who stars as drug dealer named Dushane on Top Boy, and he explained the significant role the producers of the show are creating for the Canadian star:
We met up to start talking about the show and we are working out a role for him. He loves acting, of course he wanted a part. “He’s going to be really hands on and is getting stuck into it.
Although Drizzy is more famously known for his music, his career started on the Canadian TV Show Degrassi: The Next Generation. So it’s no surprise that he’s really into this project. Walters continued to talk about his meeting with Drake and said it was nothing like he expected:
He is such a down to earth, nice guy. He’s so famous you would expect him to be this crazy character but he’s actually quite boring, in a good way. I had a meeting with him and I brought all of my kids along. My eldest was chatting away in his ear for ages and he was just cool.
Drizzy’s frequent collaborator Skepta, is also set to star in the next season of Top Boy, which is slate to release on Netflix in 2018.
In her first interview about June 2nd’s hopeless fountain kingdom, she goes in-depth on the creation of the album, its elaborate concept and the real-life heartbreak behind the song. She also talks with host Brian Hiatt about the making of her smash-hit Chainsmokers collaboration “Closer,” her reaction to newfound fame and more.
Following the release of the cinematic music video for his platinum record “Goosebumps” featuring Kendrick Lamar, Travis Scott previewed a Quavo-assisted track when he visited Zane Lowe on Beats 1 Radio.
After teasing a joint project with the Migos comrade on his very own Beats 1 Radio Show, .WAV, in December, he teased snippets of his upcoming track featuring the “T-Shirt” rapper. Although the audio has low quality, it sounds like they’re cooking up something worth the wait.
La Flame explained during the interview that he and Quavo shared a joint wave of creativity after sharing a recording space and the rest was history. When asked how much music does the duo have, he simply responded, “we got a lot bro”.
AOL and Yahoo are merging into 'Oath,' one giant ball of sadness
AOL and Yahoo, two failed internet companies that now mostly serve to leak your data, are hurtling towards a merger. Verizon already owns AOL, and provided its long-running acquisition of Yahoo's core businesses goes through, it will be the dubiously …
Yahoo and AOL will form new company called … Oath
Marissa Mayer will not be part of the new AOL-Yahoo combined company called Oath
Yahoo + AOL = Oath, for some reason
The Recording Industry Association of America (RIAA) has announced that Mitch Glazier will helm the major label trade association after current Chairman and CEO Cary Sherman retires in January 2019. Glazier, currently SVP at the RIAA, has been named President of the organization in the interim.
Before joining the RIAA, Glazier was Chief Counsel for intellectual property to the Judiciary Committee of the U.S. House of Representatives.
Sherman, who has been with the RIAA for 20 years, exits at a time of both upheaval and renewed success for the music industry. Copyright reform and radio performance royalties are just two of the major issues likely to be addressed by the Republican controlled Congress.
Fans are eager to invest in tickets to festivals with star-studded lineups, but as more and more of this events crop up, competition is getting stiff. Here we take a look at the factors which potential festival attendees take into account when deciding where to go.
Guest post by Rachel Grate of Eventbrite
As we dive headfirst into music festival season, lineups are being announced left and right: Chicago’s Pitchfork Music Festival just revealed their alternative-rich roster for early July. Classic East and Classic West, a new bi-coastal summer series, broadcast their lineup of the rock greats for late July. And Boston Calling, happening in late May, is now selling tickets for its star-studded lineup.
Fans love the “all you-can-eat music buffet” experience of festivals, and they’re willing to throw down big bucks for multi-date tickets so they don’t miss a thing. But the wild popularity of festivals means new live music events are popping up every year. And with increased market saturation comes ferocious competition.
So how do fans make their choices about which festivals to attend? Read on to find the answers uncovered in a recent survey of music festival fans.
Music festivals are about much more than just music. The culture, the crowd, and the overall experience are all factors in what makes a music festival memorable. But a third of music fans still say that headlining artists are the number one factor they consider when deciding which festivals to attend. To stay ahead of the competition in the festival space, one tactic clearly stands out: You have to have a great lineup and stellar headliners.
The Supporting Cast
More than half of fans would rather see a favorite artist headline a festival than play a standalone show, and the same amount consider supporting artists when making ticket-buying decisions. In fact, 10% of music fans we surveyed seek to discover great new music through supporting artist lineups at festivals. So play up your entire roster — not just your big names. Tease your supporting artists via social media and video clips in the months leading up to your festival. Consider spotlighting one or two “up-and-coming artists” fans might not get a chance to see elsewhere.
Of course, there are so many music niches these days it can be hard to differentiate Americana from Alternative Country. At the end of the day, music fans particularly love artists who perform in the mainstream categories: Alternative and Modern Rock (55%), Classic Rock and Pop (49%), and Top 40 (40%). So when zeroing in on who to choose for your roster, exploring lesser-known genres is great — but consider anchoring your lineup with some classically popular choices as well.
The VIP Options
A healthy 45% of festival fans are willing to pay 50% more to upgrade from general admission to VIP status. Back up your elite ticket option with substance: perks like VIP-only access to artist lounge areas (for which 30% of fans are willing to pay double) and VIP-only viewing areas (29% would pay double). You can also lure VIPers with premium restroom facilities and faster or private entry.
The Hardcore Festies
Your superfans are the ones driving the bulk of your revenue. They’re VIP-ticket buyers, repeat attendees, and vocal social media advocates for your event. They attend an average of five to six festivals a year and comprise about 20% of all the fans at each festival. Pay extra attention to these big spending fans. Which acts are they most enthusiastic about? Where are they spending their time onsite? (Hint: beacons can help you hone in on this.)
Tapping into the enthusiasm of your hardcore festies is key to influencing the rest of your fans: The majority of fans surveyed make choices based on where their friends are going, even if they are unfamiliar with the artists.
In a crowded festival market, creating better experiences with the right headliners, a great supporting cast, and sweet VIP options will give you the advantage. And paying attention to the hardcore festies in the mixwill help you gauge what’s working best.
For more on how to entice the right kind of fans in big numbers, check out the eBook Attract the Most Valuable Fans with Your Music Festival Marketing.
Cary Sherman, RIAA Chairman and CEO, analyzes their new report showing how much the music business grew and advanced in 2016. But is also highlights how far it has to go; with streaming paying too little to artists and a music business operating at half the size it once was.
Guest post by Cary Sherman, Chairman & CEO, RIAA
2016 was a year of significant progress for the American music business. Powered by 22 million subscriptions, streaming overtook all other formats, generating the majority of industry revenues for the first time. Overall retail revenues grew 11.4%.
My colleague Josh Friedlander walks through all the data in more detail here.
Our story is one of innovation, investment in great artists, hard work, and a relentless commitment to music. Look (and listen) around you — like never before, music surrounds us, it uplifts us, it narrates our big games and life’s major moments, it is who we follow on leading social media platforms. That does not happen by accident. It is partly the result of a tireless community of label entrepreneurs who approach each and every day with passion and conviction, both about music’s importance and the great artists who bring it to life. The music business, more than any other creative industry, is leading the digital transition.
As excited as we are about our growth in 2016, our recovery is fragile and fraught with risk. The marketplace is still evolving, and we’ve experienced unexpected turns too many times before. Moreover, two of the three pillars of the business — CDs and downloads — are declining rapidly. It remains to be seen whether growth of the remaining pillar will be sufficient to offset the losses from the other two. Much rides on a streaming market that must fairly recognize the enormous value of music.
The unfortunate reality is that we have achieved this modest success in spite of our current music licensing and copyright laws, not because of them. That’s not the way it should be. For example, it makes no sense that it takes a thousand on-demand streams of a song for creators to earn $1 on YouTube, while services like Apple and Spotify pay creators $7 or more for those same streams. Why does this happen? Because a platform like YouTube wrongly exploits legal loopholes to pay creators at rates well below the true value of music while other digital services — including many new and small innovators — cannot. It may be the same song requested by the user, on the same device, but the payouts differ enormously because of an unfair and out-of-date legal regime.
The analysis and research documenting a distorted marketplace continues to stack up. There’s this from MusicWatch’s Russ Crupnick a few months ago: “Thanks YouTube, But There’s Still A Value Gap.” Or just this week, the economic think tank Phoenix Center issued a new report finding that laws like the Digital Millennium Copyright Act (DMCA) cause music creators to lose anywhere between “$650 million to over one billion dollars a year” due to “distortions in licensing negotiations.”
The outrage over the outdated status quo continues to be shared by the entire music community. Sixteen music organizations (A2IM, AFM, AMA, CMPA, CMTA, GMR, Living Legends Foundation, MMF-US, NMPA, NSAI, Recording Academy, R&B Foundation, RIAA, SAG-AFTRA, SESAC, SoundExchange) representing artists, songwriters, record labels, publishers and more today launched www.ValueTheMusic.com, a new website to inform policymakers and fans throughout the world about laws enacted in the dial-up era that undermine the modern Internet music marketplace.
As we’ve long shown, music fuels the Internet. That’s why music is usually among the first content that any major technology firm’s consumer platform uses. Yet frequently we’re told that these corporate titans can do nothing more to better value and monetize music or reduce piracy. Surely these companies, with their brilliant engineers, can do better. The same goes for policymakers across the world. Government leaders can’t be satisfied with a dysfunctional and unsustainable status quo that devalues music.
Collectively, it feels like a rigged system that:
- leaves artists, songwriters and labels with little control over the monetization of their work;
- results in royalty rates that are tiny fractions of a penny per stream;
- threatens to undermine the potential for further growth from subscription services, which is what is powering the positive news about the business;
- imperils the $4.5 billion that record labels spend globally on discovering, investing in and promoting artists;
- jeopardizes the digital innovation and entrepreneurialism that’s revolutionizing music for consumers; and
- takes money directly out of the paychecks of thousands of artists and songwriters.
Only the powerful entrenched platforms win under these distorted rules and government loopholes that strangle the potential for more choice, more services and more experimentation.
A year of growth in the U.S. music business is welcome news. It suggests that years of patiently nurturing a nascent streaming marketplace has begun to pay off. But it does not erase 15 years of declines, or continuing uncertainty about the future.
Nor does it absolve the urgent need for policymakers to right a host of wrongs, or to ensure that music’s outsized contribution is fairly valued. On that front, there’s still a lot of work that needs to be done.