diymusician.cdbaby.com – How independent artists can work with (or around) World Release Day

The International Federation of Phonographic Industry (IFPI) has announced that starting this summer, “new albums and singles will be released at 00:01 local time on Fridays.”

In the US, we’re used to new releases coming out on Tuesdays, but the IFPI is making Friday the international standard for a couple reasons: 1) they hope that releasing new music on payday will equal more music sales, and 2) since everyone is online these days, staggered release dates don’t make a whole lot of sense anymore.

According to Benji Rogers (president of PledgeMusic), in a recent interview he gave on the subject of World Release Day:

… the shift will work well for the major labels that have been lobbying for such a move, since they will continue to receive the lion’s share of attention…

Attention on social media will likely cater to the ones putting significant ad dollars behind it, creating a funnel effect where everyone vies for attention at the same time.

The obvious outcome is that it’s going to unfortunately become too easy for some artists to get lost in the process…

In this way, it’s important for artists to begin to think outside the box when it comes to approaching their releases.

What does Benji mean when he says “outside the box?”

Basically he advises that because all social media, press, and advertising on Thursdays and Fridays will be focused on new releases from major artists and buzz bands, you might want to launch YOUR next single, album, or artist experience at a different time on a different day — preferably a time when your fans are highly engaged online that doesn’t fall on a Thursday or Friday.

“This is an industry-wide decision, but personally I have to question the logic of everyone doing something at the same time,” says Benji. “The Internet just isn’t about that.”

Read more at diymusician.cdbaby.com – 

billboard.com – 7digital is following consumers and clients into streaming. The digital music service company’s earnings release on Tuesday was its first since merging with UBC Media Group in May, and the first since being listed on the London Stock Exchange. In both numbers and written word, the release was an argument for making its catalog of 32 million tracks available to a growing number of subscription and digital radio services.

Where else could 7digital go? Download sales revenue declined 8.7% in the U.S. last year, according to RIAA figures released last week.

Read more at billboard.com 

billboard.com – Chuck Hodes/FOX

The first season of Lee Daniels and Danny Strong’s Fox hip-hop drama Empire featured seemingly every soap opera trope under the sun. There were breakups and affairs, cat fights and cutting words, mistaken paternity and murder. But it wasn’t just the core cast of the hip-hop musical who were able to play out some of the juiciest storylines: Guest stars and musical collaborators fleshed out the world and added even more decadence — and drama.

As Strong told The Hollywood Reporter, the writing staff on Empire’s first season was open to a number of different power players coming in to perform alongside the likes of Terrence Howard, Taraji P. Henson, Jussie Smollett, Trai Byers, Bryshere Y. Gray and the rest of the Empire cast. And it was a good thing they had that attitude, as the show had everyone sitting up and taking notice.

“Jennifer Hudson wanted to be on the show before we had even aired! We wrote [Michelle] for her because we heard she wanted to be on it, and we were all so excited because she’s so talented and such an amazing singer. It was like, ‘Sign us up!'” Strong says.

That kind of open-minded approach is something the red-hot series will carry into its previously announced second season. With that in mind, THR caught up with the cast of Empire to see who they wanted to see on the show in season two.

Smollett was the first to bring up Oprah Winfrey. When THR talked with him for Jamal’s coming-out episode (“The Lyon’s Roar”), he half-joked that Jamal should be sitting down with Winfrey for an interview. But of course, he’s not the only one who would want Winfrey to appear on the show — in any capacity. Kaitlin Doubleday (Rhonda) said she didn’t care who Winfrey played, she just wants “to learn about life” from her on set. And Daniels himself has admitted to courting her, noting he is “wearing her down.”

Another name that came up often was Denzel Washington. He and Byers worked together on Antwone Fisher, and Byers wanted nothing more than for Washington to somehow be a part of Andre’s storyline. “Maybe he could play a doctor — a doctor trying to help Andre. He knew me well when I was younger, and he would be trying to help Andre now.”

Grace Gealey (Anika) also picked Washington as her dream guest star, though she didn’t specify that she had to be in a story with him if it ever came to pass. “I just want the genius that is Denzel; I don’t care who he plays!” she laughed.

For the most part, though, the cast kept coming up with names of those who could double as dream musical collaborators for various characters. Smollett rattled off Mariah Carey, Janet Jackson, Kanye West and Brandy Norwood in quick succession, giving an excited “Hell yeah!” when asked if he wanted to sing with any of them.

“Did you think I wanted them to just come on and cameo and walk around in the background? No, we have to do a song! Father Lee needs to pick up his damn contacts on his phone!” he said with a laugh, adding that Jamal still has to release his album and will need collaborators on the record.

Doubleday seconded Smollett’s choice of Jackson but added Missy Elliott and Justin Timberlake to her wish list, keeping it all in the Timbaland family. “I grew up on music like Timberlake,” she says.

Gealey thinks Beyonce could add some flair and give diva Cookie a run for her money, and Byers agrees. Byers also wants to see Beyonce’s boy Jay Z come with her, as well as the great Aretha Franklin. “How amazing would that be?!”

Although Gray showed love for Queen Latifah, Keke Palmer and Black Thought in the dream guest star/collaborator capacity, he was quick to note that he was open to anyone. “Just talent,” he said when asked what he was looking for in a dream guest star. “Just talented actors and talented performers who will continue to make the show great.”

Who is on your wish list for season two? Share your thoughts in the comments below.

This article originally appeared in THR.com.

musicweek.com – With more than 300 nominations from the wider industry this year, Music Week can today reveal its annual 30 Under 30 list for 2015.

The young executives named below have all achieved great things during their time working in the music business, and look set for even brighter futures.

Our special feature, sponsored by recruitment specialists The Music Market, is aimed at celebrating the industry leaders of tomorrow.

You’ll find the full feature in the new Music Week magazine, released digitally today and in print tomorrow – including a number of deserving names that just missed out on this year’s final shortlist.

musicthinktank.com

Tweet BY: Jason Ventura

Maybe Rob Wells doesn’t really get the idea of cannibalism. I don’t agree with him on this, because streaming has hurt the one-track sales and the buying habits of the consumer. We see that in a reflection of the dropping sales in the iTunes marketplace and other content providers that have dwindling sales. In the November 2013 MIT Sloan Management Review, Wells explains that he does a lot through charts to get people on his side and a lot of the senior staff at the label seem to be less tech savvy, so it is hard to convince and persuade the senior level staff.

Well used the example that he had to introduce senior level executives to Snapchat and Vine. He could tell if they were interested if they were engaged in the conversation, if not they would ignore him all together. This seems very frustrating, time consuming, and ineffective.

Wells needed to educate the workforce at UMG about digital strategies and tools. The former CEO at UMG, Doug Morris, believed in the traditional ways of the classic music industry and was reluctant to implement digital strategies. It seems as though the music industry is hesitant to make a move on implementing new ideas and platforms that are made up in house, yet Wells states in the interview that UMG has never turned down any deals from outside parties, however they have a “how about this” approach. Wells made it seem like he was always fighting to get his point across and make things happen on the digital side, however when second parties came along the label never said no, for example, the Nokia deal. Nokia brought and pitched their idea to UMG, to this day that platform is alive and well in China.

Wells said when dealing with the music industry you have to get people on board slowly. You have to prove the value of the deal, when you prove what and how it can change the industry on a day-to-day basis. Wells stated that charts are the best way to do things in the music industry, they show factual information and there is no questioning that. The challenge is presenting a new concept or service to senior management. He states that the risk is the fear of buying the machine, going to the service, and dragging down more of the value then we paid. Wells explained the unlimited music service becomes the bell curve that the consumer tries to download as much as they can at the beginning stages of the subscription, while at the half way point they seem to get bored and the downloads die down. At the very end stage of the consumer’s music subscription they download as much as possible, because the subscription service is about to end.

They made it seem like he was dated and could not bring anything else to the table. If you look closer, it seems as though he was frustrated, because he was trying to get people to see is point of view everyday.

At the present state, streaming isn’t sustainable and has not been profitable. The major labels that exist have deals that have been lopsided and are in favor of the larger artists and not the independent. The Black Keys were the latest to leave Spotify, because of the so-called “cannibalism.” The labels have more to gain from Spotify than the artists. UMG has a stake in Spotify and receive upfront licensing fees. Patrick Carney of the Black Keys stated, “There’s a lot of stuff about some of these services that people don’t really know, it’s set up to be little more fair for the labels than it is for the artists, and that’s why we made that decision.”

The only way that streaming will not be in the lines of cannibalism, is when the business model is changed with content limitations, release limitations, and when higher streaming payouts for artists are implemented. Then streaming may have a true chance at sustainability and making a profit. Until then, it’s a rough road for all parties involved. A UMG insider said, “It’s time to figure out how to drive up the value of our content.” Instead of getting pennies to the dollar, UMG needs to look at media perspectives in a broader view and within a platform. The music industry must be more innovative and creative to find alternative distribution platforms in a way that appeals to consumers wants and needs in a more convenient fashion. After looking at the big picture, Lucian Grainge explained that ad supported subscriptions weren’t working for anyone, but streaming services and music fans. This would make perfect sense that Rob Wells was fired for supporting Spotify and their freemium models. Well’s believed the freemium models would help, he stated, “The argument that streaming harms records sales is absolutely bogus.“ He didn’t leave out of frustration; he was fired because he was a firm believer in streaming, which hasn’t had a sustainable and profitable model to date. Even though he was fired for his thoughts and misconceptions, Well’s interview at the 2013 MIT Sloan Management Review is still proof that the music industry is very hesitant and resistant to adapt and innovate new technologies, digital platforms, and strategies. I guess Grainge agrees with my views on streaming services and freemium is dead in 2015, just as I predicted in my beginning of the year predictions.
 

pix11.com – NEW YORK (PIX11) – Robin Thicke and Pharrell Williams crossed legal lines, according to a California jury, which found their song “Blurred Lines” ripped of the Marvin Gaye Classic, “Got to Give it Up.”

Williams and Thicke were ordered to pay $7.4 million to Gaye’s estate. But the chart topper “Blurred Lines” follows in a tradition of hit songs that seem to be heavily inspired by past musicians.

Many said Sam Smith’s “Stay with Me,” sounded eerily similar to Tom Petty’s “I Won’t Back Down.” Vanilla Ice’s “Ice, Ice, Baby,” reminded listeners of Queen and David Bowie’s “Under Pressure,” and Mark Ronson’s current single, “Uptown Funk,” has drawn comparisons the style of Prince.

PIX11 News recently visited the famous Quad Studios in Manhattan to ask music industry insider Alaska Gedeon if the “Blurred Lines” ruling would ruin the music industry, or if the next hit song might be stifled because an artist is afraid of a potential lawsuit.

The comparisons between “Blurred Lines” and “Got to Give it Up” were appropriate, Gedeon believes. “The first time I heard the record, I was kind of like, yo, that’s Marvin Gaye,” he said.

Gedeon believes artists often draw inspiration from classics, especially once they get focused in the recording studio. Typically, then record labels step in before music is released to make sure no copyrights are infringed upon. Gedeon says the producers of “Blurred Lines” may have been excited and let the song slip through the cracks, “it was a great record, everybody was just feeling it.”

“Once you hit play you forget everything when you have a great record.”

For future artists, Gedeon believes “Blurred Lines” will be a $7.4 million wakeup call, “at the end of the day you have to know where the music comes from,” he said.

Read more at pix11.com – NEW YORK (PIX11)

billboard.com –

A renewed focus on the value of music comes as a transition point for the record business. Rob Wells, Universal Music Group’s president of digital who brokered deals with “freemium” services like Spotify, left the company in late February. Now the company is rethinking the value of unlimited free streaming, according to a label source. At the same time, Apple’s upcoming subscription service, slated for a June launch according to an industry source and media reports, will forego the freemium model for a paid-only approach. It’s an approach Beats Music co-founder Jimmy Iovine, an executive at Apple since the acquisition of Beats Electronics, has consistently favored.

Negotiatons for Apple’s upcoming subscription service are evidence labels are standing firm on pricing. Industry sources say Apple has backed down from its effort to lower monthly pricing for its subscription service to $7.99 from $9.99. Apple would have to absorb the loss if it sets a price lower than the standard $9.99.

Few specifics about Apple’s subscription service are known at this time. It is widely believed that Apple will replace the Beats Music name with the iTunes brand. Label insiders say Apple has not revealed features or given demos. There is no indication if Apple will integrate iTunes Radio with a subscription service. But these insiders believe Apple is confident it can create a service that stands out from competitors and delivers enough value that consumers will pay the full price.

Apple is said to be talking to labels and artists about exclusives for its upcoming subscription service. An industry source dismisses rumors that Apple will be able to outmaneuver and outbid its competitors on exclusives for most key releases. “Apple is one of the biggest companies in the world. If they want exclusive content, they’re going to have to get out the checkbook.”

The music industry eagerly awaits Apple’s reboot of Beats Music, and the timing couldn’t be more perfect. The showdown between Apple’s pay-only business model and Spotify’s freemium model could change how people think about using free music to get paid music.

Industry sentiment about free music is years in the making. The previous decade was marked by brutal declines in revenue that reshaped companies — and the entire structure of the music business. iTunes provided a helpful transition to digital formats. Fives years later, services like Spotify won labels’ over, with a pitch to both generate revenue and reduce piracy. Now there are dozens of other streaming services with licensed content.

There has been a frenzy of licensing activity as labels became more flexible in their terms with digital services. “The last two or three years has been about stopping the [sales] decline and creating as many platforms and as many services and opportunities to capture money,” Universal Music Group chief Lucian Grainge said last year at a Wall Street Journal conference.

Now the smoke is clearing and different attitudes are forming. Some labels feel Spotify should have more than 15 million subscribers, sources tell Billboard. Apple’s pay-only service could be a turning point. If Apple is successful in attracting large numbers of subscribers without unlimited, or at least significant, free listening, Spotify’s business model could fall under more scrutiny. “Spotify is good at giving it away for free, but it’s bad at getting people to pay for it,” says an industry source.

The complaints from artists have grown louder. Artists have been vocal about streaming services’ royalties and the lack of transparency in the licensing terms. The freemium model itself has come under fire. Taylor Swift and Bjork have recently expressed their unwillingness to make music available to a subscription service’s ad-supported tier. “This streaming thing just does not feel right. I don’t know why, but it just seems insane,” Bjork told Fast Company last month.

Prompted by the public sparring between Taylor Swift and Spotify, Warner Music Group CEO Stephen Cooper brought up the topic in an earnings call in December. He voiced support for ad-supported streaming but warned that services with a “freemium” model — the object of Swift’s scorn — must clearly differentiate the benefits of the paid and ad-supported tiers.

Spotify has long taken the positioon it ad-supported tier is an effective way to acquire customers. Four in five subscribers comes from the ad-supported service, says Jonathan Prince, Spotify’s global head of communications and public policy.

Indeed, Spotify’s freemium approach has allowed the company to scale far better than its competitors. Second place Deezer’s 6 million subscribers and 16 million monthly listeners are well behind Spotify’s 15 million and 60 million, respectively. Rhapsody, which has a paid-only model, reached 2.5 million subscriber last month.

Prince also argues Spotify brings in consumers who hadn’t previously paid for music. As for the worry that Spotify is eating into download sales, Prince says Spotify’s internal research shows only 12% of former iTunes users use Spotify. “We’re on the same page as the labels in wanting to rebuild the music industry,” he says.

One option is to implement listening caps. Spotify had listening caps in place in Europe until January 2014 and had various restrictions in place in various countries. (For example, until March 2013 free users in the U.K. could play an individual song up to 5 times.) Sources say labels believe listening caps would help differentiate between free and paid services.

But labels are also realistic about the need to provide a free service. “People don’t think you can just turn it off,” says a label source. As Cooper said in December, a free tier can be an effective conduit to subscriptions. And free streaming has undoubtedly helped reduce the number of people that turn to illegal channels. There is ample research — some by Spotify — that shows music piracy has declined in many countries.

There’s also an element of geopolitics at play. A weakened Spotify could help create a more powerful Apple subscription service. That would remove the comfortable, valuable counterweight to Apple that labels don’t have in the digital download space. There’s even some doubt that Apple is out to beat Spotify rather than grow the music subscription marketplace. “If they’re out to kill Spotify, it’s news to us,” says an industry source. “And it’s the last thing we want. We want Spotify to be a strong competitor.”

Read more at billboard.com –