Now Playing!!!

Loading ...

Tag: New York

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?

MEET & GREET WITH ACTRESS / PRODUCER – MICHELLE DIBERNARDO @ Tri-State Meltdown at Infuse Marlton NJ 28th July 2018

bec2ce_ec84e5021dc64a66906d61de807062ef_mv2_d_2848_4288_s_4_2

Michelle DiBernardo will be at the Tri State Meltdown on 28th July 2018 in Marlton in New Jersey to meet and greet and party with us at Infuse.

Michelle DiBernardo is a lifestyle model, actress, portrait photographer, co-producer, director, director of photography, post production, certified makeup artist and a director of education for a well known acting/modeling school. She previously was a lead theatre advisor. Michelle has been acting and modeling since 12 years old. She currently holds her NYS teaching license for Acting/Modeling. She is represented by multiple agents across the US. She has played background in countless television shows such as: Blacklist, Blue Bloods, Hostages, I Just Want My Pants Back, The Leftovers, Smash, Unforgettable, etc. Michelle has also appeared on local print ads, billboards and commercials for Americu Credit Union. She has experience in voiceovers, commercials, runway, short films, feature films, music videos, theatre, promotional modeling and print.

Some of her most recent accomplishments are Co-Producing alongside of her business partner Tamara Reese, Directing, Director Of Photographer and Post Production for CJack Run Networks: Visionary Minds- Inspirational Woman Of Syracuse, Inspirational Men Of Color In Syracuse, Survivors & Broadway Comes To Syracuse: Disney Presents The Lion King, Visionary Minds Presents: Syracuse’ Stage’s Wizard of Oz. Lillith in “Lillith” for Mad Angel Films, Patrice in “Manners Matter”, Lisa in “Look Mom & Dad” all 3 were short films.  Nurse Joanee in “12 Days Of God”, Mina in “De Ja Vu” for Mad Angel Films, a Publicist and Behind The Scenes Photographer for “Priest-The Lost Son’s ” trailer, Sharon in Syracuse University’s short film “Dessert”, Makeup Artist for “Still Life With Family”, the Duchess in  Sage Cat Media’s “A.K.A. Alice”, Background in the Feature Film “Wolves”, Background in the Ron Pearlman’s Feature Film “Asher”,  Background in “Mountain” starring Jeff Goldblum, a Detective in “Da Citi” Feature Film, a Corporate Video for Otto Media, Supporting in Peppino’s commercial, Principal in Mooradian’s Furniture Commercial, Background in Fountainscape Commercial and Principal in “ I Love NY app” Commercial.

Michelle had trained with Robert Russell in 1 on 1 sessions for over a year. Currently she is on her 8th Screenwriting class with Jeremy Garelick. DiBernardo has taken an online Theatre and Globalization class. Other recent training she has recently taken are with Dennis “LA” White, Tom Logan and Ryan Glorioso.

Event Page for MEET & GREET WITH ACTRESS / PRODUCER – MICHELLE DIBERNARDO @ at 28th July 2018 >  https://www.facebook.com/events/190675181636092/ <<<

TRISTATE-intro-strip-JULY-2

MEET & GREET WITH ACTRESS / PRODUCER FROM Super Trill & BET – Nicole Simone Backusat @ Tri-State Meltdown at Infuse Marlton NJ 28th July 2018

0420181710_Film1(1) (1)
Nicole will be at the Tri State Meltdown on 28th July 2018 in Marlton in New Jersey to meet and greet and party with us at Infuse.
Nicole Simone Backus is an actress, writer, producer and director who recently starred in a feature called Saving you, Saving Me. Nicole is also in a B.E.T produced trailer for Preist The Lost Son where she plays January the mom of Corey who’s harassed by the police, which is still in production.
 Nicole has filmed several shorts and has been in the play the Usher Board Stage Play by Janet Baxter. Nicole is multi-talented as she has worked as a casting director and Executive Produced Off Point Comedy an upcoming series. Nicole continues to work behind the scenes for Saving You, Saving Me as media supervisor.
 Recently she wrote and directed her first short film, A Friendship That Binds which has been entered in several film festivals. Nicole Simone Backus is presently working with celebrity stylist Nikole Butler on her talk show “Shop Talk” ( in production) as director and content creator.
Just last month Nicole birthed her company Sunmoonrising Films LLC. Sunmoonrising Films assist in providing casting, content creation, production and MUA. Nicole is a sure talent to look out for.

Event Page for MEET & GREET @  at   28th July 2018 >  https://www.facebook.com/events/190675181636092/ <<<

TRISTATE-intro-strip-JULY-2

Event P Square Live in Abu Dhabi UAE 6th April 2018 – Tickets Out Now

PSQUARE-AD

#PSquare Live in #AbuDhabi #UAE – 6th April 2018 by #TheProject & #MackieEntertainment with official Radio Partners #BombayHottRadio – Get Your Tickets now!

International artist Mr. P of (P-Square- The Official Page) is coming to the capital for the very first time on the 6th of April 2018!

P-Square’s music is uplifting and incredibly hard not to dance to! Some of his best hits include “Personally”, “Alingo”, “Cool It Down”, “Shekini”, and much more!

So bring your dance moves to the BIGGEST beach party in town!

✮ Friday, April 6th 2018
✮ 8pm – 3am
✮ Hiltonia Beach Club, Fitness & Spa

Dress Code?
Whatever makes you comfortable 😉

Get your early bird tickets (until March 11th) now from Platinumlist.net http://bit.ly/2FX9mXS

Facebook Event Page – https://www.facebook.com/events/778379025689119/ >

Table packages available upon request.

Keep an eye on the event page as we reveal more exciting details and giveaways!

Information & Reservations: +97156 948 4958

STREAM NIPSEY HUSSLE’S DEBUT ALBUM ‘VICTORY LAP’

nipsey-hussle-victory-lap

Today Atlantic Records and All Money In recording artist Nipsey Hussle celebrates the release of his long awaited studio debut album, “VICTORY LAP.”

“VICTORY LAP” includes an array of electrifying new tracks, including “Last Time That I Checc’d (Feat. YG),” “Rap N*****s,”and “Dedication (Feat. Kendrick Lamar)” available now at all DSPs and streaming services. His first two singles off the album are joined by provocative companion visuals; “Rap N*****s” has earned over 7 million individual views at YouTube, while “Last Time That I Checc’d (Feat. YG)” has now logged over 4.5 individual plays.

In addition, “VICTORY LAP” sees Hussle teaming up with a stunning assortment of featured guests, including Kendrick Lamar, Puff Daddy, The-Dream, Ceelo Green, and more (track listing attached).

Hussle has spent much of this past week taking a pre-release “VICTORY LAP” with a series of high profile hometown events, highlighted by the sold out “All Star Weekend – Los Angeles” concert, last night at the world famous Hollywood Palladium. Fans lucky enough to attend “All Star Weekend – Los Angeles” were among the first to hear tracks from “VICTORY LAP” performed live.

In addition, Hussle will celebrate the release with a private album release party at an undisclosed location this evening. Saturday February 17th he will participate in fellow Los Angeles native, YG’s first annual “The Boogie” basketball tournament as a celebrity coach. Later in the evening he will continue celebrating the release with his fans at the famous World On Wheels roller skating rink located in Los Angeles, CA.<

Perhaps more significantly, Hussle cut the ribbon and celebrated the grand opening of his new STEM (Science, Technology, Engineering, Math) initiative with the official opening of the “Too Big To Fail” center in the South Los Angeles area yesterday February 15th. Created in partnership with Vector90 and Dave Gross, STEM encourages design thinking and innovation in local youth, centered around impact hubs where neighborhood youth can feed off of each other’s talent, creativity, and support. Additional STEM academies are schedule to open throughout the year. For more information, please seewww.toobigtofail.org.

Additional releases have preceded “VICTORY LAP,” including the non-LP track, “Been Down (Feat. Swizz Beatz),” available now at all DSPs and streaming services. What’s more, “10 Rings,” an exclusive mini-documentary detailing Hussle’s extraordinary 10 year journey from independent rapper to major label superstar, premiered last month and can be viewed now exclusive at Tidal.

Bombay Hott Radio © 2016 Frontier Theme
Skip to toolbar