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Tag: Money

Digital Music Industry Update End 2018

Here’s your monthly dose of what we at Bombay Hott Radio are finding interesting this month. Hope these articles help you improve your music industry life and your life in the world as a whole.

Allow the awesomeness to wash over you and grow like the Grinch’s heart… too soon for a holiday reference?

Please forward this to one or two people you know who could benefit from Bombay Hott Radio that boost our collective knowledge of the music industry.

2017 Streaming Price Bible! Spotify per Stream Rates Drop 9%, Apple Music Gains Market-share of Both Plays and Overall Revenue This data set is isolated to the calendar year 2017 and represents a mid-sized indie label with an approximately 200+ album catalogue now generating over 200m+ streams annually. That’s a pretty good sample size. All rates are gross before distribution fees. Spotify was paying .00521 back in 2014, two years later the aggregate net average per play rate dropped to .00437 in 2016, a reduction of 16%. If the music business could set a per stream rate that allowed revenue growth, proportionate to consumption growth that would be a much better model.

Spotify to Musicians: Let Us Be Your Label “Via” Mia Coleman was singing on American Idol at age 17, backing up rapper Anderson .Paak a few years later, and, at 28, still looking for her big break. When she released her first single, Lie, under the name Viaa in the summer of 2017—the extra “a” meant to help her stand out—Coleman had a tough time cutting through the noise. Liehas garnered about 60,000 listens on Spotify, earning her enough to, say, buy a couple of meals and a toy for her black pug, Rex. Luckily for her, she says, one of those listeners was Spotify Technology SA executive Angie Romero, who liked what she heard. h

One Reason Why Spotify’s Deals With The Major Labels Are Balanced On A Knife-Edge Do you know how much equity the major labels still own in Spotify today? According to MBW’s estimates, it’s approximately 6.35% – divided between Universal (3.5%) and Sony Music Entertainment (2.85%). Before we discuss the significance of that figure, let’s quickly remind ourselves how we got here. Thanks to early licensing negotiations which took place in 2008, the three major labels, plus Merlin received an 18% cumulative stake in Spotify.
Oldies But Goodies: Streaming Makes Catalogue Records New Again Since 2014, digital music streaming put on its big boy pants and buoyed the recorded music business into its third year of rising global revenue. As if that weren’t good enough news already, fans found out that their old music- or what industry executives call “catalogue”- mattered again. In the recorded music business, “frontline” has traditionally been considered any track less than 18 months old. “Catalogue” was any music older than that 18 month period. This distinction- while mostly arbitrary to everyday fans- meant a lot to how money was allocated to a recording artist’s career.

Who’s Telling the Truth: YouTube or the Music Industry? On July 4th this year, Sir Paul McCartney took the fight to YouTube. The Beatle issued an open letter that backed European legal proposals designed to force Alphabet/Google’s video service to pay artists and record labels more money. In a clear broadside aimed at YouTube, McCartney wrote, “Today, some user-upload content platforms refuse to compensate artists and all music creators fairly for their work, while they exploit it for their own profit.” Two months later, during the promotional frenzy that propelled his latest solo album, Egypt Station, to Number One in the U.S. — his first solo Billboard chart-topper in more than 36 years — McCartney announced a one-off stream of a live show in New York. It attracted more than 4 million views . . . exclusively on, and in partnership with, YouTube. YouTube says that Article 13, a controversial clause in a new European law, will destroy its platform. The music industry says this is a smokescreen. Who’s right?

How Millennials Are Changing The Music Industry Millennials love music. We listen to 75 percent more music than Baby Boomers. What does the constant stream of music into millennial brains tell us about this generation’s relationship with the music industry When it comes down to it, millennials are completely altering the industry as we know it because of the quantity of music we consume and the technology we use to consume it. Millennials are consciously changing the industry as insiders, and we’re intentionally and unintentionally changing it as consumers.

5 Music Copyright Cases Every Songwriter Should Know About  After the watershed “Blurred Lines” case in 2016, there has been an influx of music copyright infringement cases bringing songwriters, performers, and publishers to court. More than ever, it is crucial for any modern musician to have a basic knowledge of music copyright law, and at least a grasp of the legal avenues that exist when using another artist’s material. whether by covering or sampling. But “Blurred Lines” was hardly the first copyright case to rattle Lady Justice’s scale. Here are five important music copyright infringement cases that every songwriter should know about.

Are Pop Lyrics Getting More Repetitive? In 1977, the great computer scientist Donald Knuth published a paper called The Complexity of Songs, which is basically one long joke about the repetitive lyrics of newfangled music (example quote: “the advent of modern drugs has led to demands for still less memory, and the ultimate improvement of Theorem 1 has consequently just been announced”). I’m going to try to test this hypothesis with data. I’ll be analyzing the repetitiveness of a dataset of 15,000 songs that charted on the Billboard Hot 100 between 1958 and 2017.

Label Group IFPI Says It Can’t Account for Half of YouTube’s Claimed $1.8 Billion In Royalty Payments  Google recently published an anti-piracy report claiming that YouTube has paid more than $1.8 billion in ad revenue to the music industry in 2017. However, the IFPI is challenging Google’s claim, saying that it can’t verify the information provided in that report. The International Federation of the Phonographic Industry represents the interests of record labels across the world.  And CEO Frances Moore is flatly stating that Google’s claims are dodgy. “The figures in Google’s anti-piracy paper don’t match our own.” Instead of booming billions, Moore notes that the IFPI’s own data suggests a much starker picture.  Revenue returning to the recording industry through video streaming services (including but not limited to YouTube) with 1.3 billion users amounted to $856 million in 2017. That’s less than half of Google’s claim and less than $1 per user per year.

Radio in the Streaming Era: Chartmetric’s RadioWave Top 300 Data If you’ve been in the music business for decades, you’ve seen it firsthand: household radio DJ voices giving way to nameless playlist curators. The leisurely FM frequency scan turning into direct, on-demand track selection. Radio promotion teams being turned into playlist pitching ones that more negotiate with mysterious computer algorithms than actual human beings. News continues to herald the inevitable: iHeartMedia (800+ stations, owner of Mediabase) filed for bankruptcy in March 2018, only months after US radio’s #2 owner/operator Cumulus Media (400+ stations) filed the same in November 2017; US radio continues to draw ire from the global radio community for its practice of paying zero recorded music royalties (also known as “neighboring rights”) to copyright owners, despite making billions in advertising revenue over decades ($15.9B in 2017 alone for traditional US radio ads). The only other non-Rome Convention countries to act similarly: Rwanda, North Korea, Iran, China. Most recently in September 2018, Sirius XM agreed to purchase Pandora Media to the tune of $3.5B USD, saying something about radio’s reluctant agreement that digital streaming is indeed the future.

4 Ways Savvy Music Marketers Keep Over 90% of Teens Glued to Their Ads on Snapchat It’s not just about going to where your audience is.  It’s about deeply understanding that platform, and what its users want to see. The following comes from Fanbytes, who partnered with DMN to deliver this marketing intelligence on Generation Z and Snapchat. The cost of advertising on Facebook and other popular music marketing platforms is rising.  Those labels, agencies, and independent artists who are afraid of trialing lesser-known sources of attention risk losing out on some of the most cost-effective music marketing on the web.

Chart of the Week: Will Millennials Save SoundCloud? SoundCloud has had a rough year: last summer, it staved off bankruptcy via an eleventh-hour $170 million investment led by Raine and Temasek and the injection of a new CEO, Kerry Trainor. Last week, Trainor (formerly of Vimeo) revealed the music streaming platform’s latest strategy for generating revenue: attracting advertiser dollars based on SoundCloud’s lucrative, young user base. But compared to other leading music streaming services, does SoundCloud have a distinct advantage when it comes to touting (and monetizing) its audience?

 

Is Your Song Being Played on the Radio? In all its modern forms, remains a huge platform for playing music throughout the world.

G-Eazy – Endless Summer Freestyle (Audio) ft. YG

G-Eazy has just dropped a new track called “Endless Summer Freestyle” featuring Compton great, YG.

To start, G-Eazy jumps on the track with his signature flashy raps about his clothes, cars, jewelry, and beautiful women. Then, YG comes in with his signature edgy raps about his lifestyle. “I got a lot on my platter, this shit so scattered/Bitches gettin’ fucked, Black lives matter/Fuck the chitter chatter, I put my dick behind what I say/Every check I get, it’s a real nigga holiday, he spits.

Check out the “Endless Summer Freestyle” below. What do you think of the track?

CARDI B AND BRUNO MARS SHARE 24K MAGIC WORLD TOUR DATES

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Cardi B is hitting the road for her first major world tour later this year, and now we know when we can expect to see her at an arena near us. The “Bodak Yellow” rapper officially joins Bruno Mars for his 24K Magic World Tour, and the two are sharing the dates for the forthcoming journey.

The two superstars, who recently performed together at the 2018 Grammy Awards, will be hitting 23 dates in cities across North America. Cardi and Bruno are kicking things off in Denver, Co. for the first two dates on Sept. 7 and Sept. 8 before hitting up major cities such as Detroit, Boston, Toronto, Brooklyn, Austin, Philadelphia and more before wrapping things up with a four-night finale in Los Angeles, Calif. from Oct. 23 to Oct. 27.

Mars previously started his 24K Magic Tour back in March 2017, visiting cities all over the U.S., as well as the rest of the globe.

The Bronx native was recruited earlier this year to hop on “Uptown Funk” singer’s “Finesse (Remix),” which has made major waves on the radio following the release of its nostalgic music video.

Check out all of the dates for Bruno and Cardi’s 24K Magic World Tour below to see when they’ll be hitting your city.

Bruno Mars and Cardi B’s 24K Magic World Tour Dates

Sept. 7 – Denver, Co. – Pepsi Center
Sept. 8 – Denver, Co. – Pepsi Center
Sept. 11 – St. Paul, Minn. – Xcel Energy Center
Sept. 15 – Detroit, Mich. – Little Caesars Arena
Sept. 19 – Philadelphia, Pa. – Wells Fargo Center
Sept. 20 – Philadelphia, Pa. – Wells Fargo Center
Sept. 22 – Toronto, O.N. – Air Canada Centre
Sept. 23 – Toronto, O.N. – Air Canada Centre
Sept. 27 – Boston, Mass. – TD Garden
Sept. 28 – Boston, Mass. – TD Garden
Oct. 1 – Newark, N.J. – Prudential Center
Oct. 2 – Newark, N.J. – Prudential Center
Oct. 4 – Brooklyn, N.Y. – Barclays Center
Oct. 5 – Brooklyn, N.Y. – Barclays Center
Oct. 7 – Nashville, Tenn. – Bridgestone Arena
Oct. 11 – Tulsa, Okla. – BOK Center
Oct. 14 – Dallas, Texas – American Airlines Center
Oct. 15 – Dallas, Texas – American Airlines Center
Oct. 20 – Austin, Texas – Circuit of the Americas
Oct. 23 – Los Angeles, Calif. – STAPLES Center
Oct. 24 – Los Angeles, Calif. – STAPLES Center
Oct. 26 – Los Angeles, Calif. – STAPLES Center
Oct. 27 – Los Angeles, Calif. – STAPLES Center

Artist Spotlight – King Sosa – Every day in the streets – NoLimitForeverEastEurope

benny blanco from the ukKing Sosa, an artist from London, UK, recently signed a deal with No Limit Forever East Europe and we are expecting the release of EP soon. King Sosa has also appeared on many US media sources and site like Thisis50.com, Kiss FM104.7 USA, ThisisKushDVD, Paperchaserdotcom, and many more.

FIRST SINGLE FROM EP – KING SOSA – EVERYDAY ON THE STREETS –

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Music Video Swissivory ft. DMX, Tariah, C-TRU “Dog In Me”

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“THE DOG IN ME” by Swissivory ft DMX, Tariah, C-Tru
Produced by Swissivory
Video Directed by Justin Riley
Creative Director – Alyse Kano
2nd Cam OP – Mak Toriano
Gaffer – Bailey Clark
Key Grip – Bevis Tran
Models Jackie Luna flower / Kae Blake
Dog – Lucan
BTS – Kevin Cu
Additional BTS – EtcPix
Styling by Thania Tran
Hair & Makeup by Precious Williams
Clothing provided by Bright Urban Fashion / Vlado Footwear / Diamond Supply Co.
Lamborghini- Carbon Exotic
Aircraft – Rotor FX

SNOOP DOGG – BADBADNOTGOOD MUSIC VIDEO

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BADBADNOTGOOD – Lavender ft. Kaytranada & Snoop Dogg (Nightfall Remix)
http://smarturl.it/lavender_remix
Out on Innovative Leisure

Directed by: Jesse Wellens and James DeFina
Director Of Photography: James DeFina

Executive Producer: Snoop Dogg
Executive Producer: Jesse Wellens for Rose Ave. LLC

Producer: Lee Levin
Producer: Daniel Reizes
Producer: Drew Kramer

Starring:

Himself: Snoop Dogg
Mr. Clown: Michael Rapaport


Special Thanks:
Doggy Style Records Staff
(Frank Vasquez, Ron Alvarez, Keith Moore)
Innovative Leisure
(Scotty Coats)

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