The two official YouTube versions of the song drew 217 million views worldwide over the same period. For the record company, the value of the music video is largely promotional, much like traditional radio. Although YouTube doesn’t sell music, it can expose a song to its 1 billion monthly users. If the song is a hit, some portion of the viewers will spring for a download from iTunes , Amazon.com or a similar service. And even if they don’t buy the song, YouTube and the record company share in the revenue from ads that accompany the video. The idea for the collaboration was hatched at a dinner last March attended by executives of Warner Music and YouTube, a unit of Google Inc., who were attending the South by Southwest music and media conference in Austin, Texas. Warner Music executives were looking for ways to reach consumers known as Generation C a term Google uses to describe people ages 18 to 34 who watch online video, visit social networks and blogs and use tablets and smartphones. ON LOCATION: Where the cameras roll “We were trying to figure out this new concept of how to reach Generation C, how we connect with fans on a much deeper level,” said Jeremy M. Holley, Warner Music Nashville’s senior vice president of consumer marketing. Working in partnership with YouTube, Warner Music embarked on a rare musical joint venture between its recording artists and the musicians who have cultivated their fan bases on the site. Warner contacted seven YouTube creators whose musical styles were compatible with those of Warner Music Nashville/Atlantic Records singer-songwriter Hayes and Atlantic Records artist Mraz.
Telefonica tunes in Rhapsody’s Napster for streaming music
The list of those included stretches back as far as jazz innovator Louis Armstrong and journeys from jazz (Billie Holiday, Ella Fitzgerald) to Great American Songbook pop (Frank Sinatra, Nat King Cole), primal rock (Presley, Chuck Berry, Little Richard) to R&B and soul (Ray Charles, James Brown, Curtis Mayfield) to country (Williams, Johnny Cash , Patsy Cline) to classic rock (Dylan, Carole King) and reggae (Bob Marley). PHOTOS: Unexpected musical collaborations The connective thread, beyond the essential quality of the chosen recordings, was focusing on music created by those Robertson refers to as the original risk takers, extremely unique, and tremendously influential to future generations. The 128-page books descriptions of the artists, while short and to the point, is colorfully revealing. Ray Charles, for instance, redefined rhythm and blues with his personal brand of high-energy ultra-groove, a comment complemented by a quote from Frank Sinatra saying Ray Charles is the only real genius in the business. Of Joni Mitchell, whom Robertson famously backed on her recording of Raised on Robbery, the book states, Rather than focusing on political and social issues like traditional folk artists such as Woody Guthrie, Joni wanted to tell stories that spoke to personal, human truths and her songs revealed quite a bit about her life. Her romances, her neighbors, and the daughter she had to give up for adoption all found their way into her songs. The tracks selected for each artist, not surprisingly, are kid-friendly choices including the Beatles Here Comes the Sun, Cashs Get Rhythm, Mitchells The Circle Game, Billie Holidays Lets Call the Whole Thing Off and Marleys Rebel Music. The illustrations were created by 15 different artists. All four authors will appear at 7 p.m. Wednesday, Oct. 16, at the Barnes & Noble store at the Grove, 189 The Grove Drive, Los Angeles. Robertson also will be a guest on Tavis Smiley’s show Wednesday, Oct. 16. Update at 12:05 p.m. Oct.
(That U2 tour had a wardrobe manager.) After covering expenses like recording, publicity, and all the other machinery of a successful act (Agents, lawyers, tour managers, the merch girl, the venues take a merch cut; Ticketmaster takes their cut; the manager gets a percentage; publishers get a percentage), Grizzly Bears members bring home well, theyd rather not get into it. I just think its inappropriate, says Edward Droste of Grizzly Bear. Obviously were surviving. Some of us have health insurance, some of us dont, we basically all live in the same places, no ones renting private jets. Come to your own conclusions. Before we hop into the analysis, I also want to acknowledge that musicians getting hosed by records labels et al. isnt exactly a new phenomenon (read:Motown). Its just different people taking a cut of the pie this time around. New album sales One of the more interesting statistics is regarding new album sales. While I could probably have guessed that record sales were down, the recentness and sharpness of the decline was interesting. As you can see below, since 2008 new record sales have dropped by almost 50%. I am sure that number is even greater if you go back to, say, 1999, when it was cool to have CD books and stacks of albums. Year $100,000 for placement in a cell-phone commercial 1 $100,000 One of the more interesting data points that stands out is the minuscule amount of money that these bands earn from the streaming services that have become so prevalent in the world today. If Pandora (see IB Research reports ) or Spotify are somewhat responsible for taking album dollars out of the pockets of artists, they should at least be making up a decent amount of that lost income.
Music album economics and industry evolution
Telefonica had 317.3 million customers as of June, across 24 territories. Its main commercial brands are O2 in northern Europe, Movistar in Spain and Latin America, and Vivo in Brazil. Telefonica can earn a minority stake in Rhapsody International as part of the partnership, but the companies wouldn’t specify how large it could be or other financial terms. Related stories Is Spotify unfair to musicians? After Rhapsody bought Napster in 2011, it kept quiet on the former peer-to-peer service that switched to above-board streaming service, until it announced plans to expand into 14 European countries from the UK and Germany in June. Telefonica noted the Napster would help it connect with customers amid rapid growth in smartphones in Latin America, where the devices reach only about 20 percent of the market and are still growing at a quick clip. That compares to a percentage in the high 60s in Europe and the US, and growth is slowing. In addition, the beginning rollout of 4G mobile networks in Latin America means, for Telefonica, the region which can support services such as music streaming. The idea is that as more and more people in the region adopt smartphones, the music streaming service could be a top factor in deciding which carrier to choose. Paul Springer, Rhapsody’s senior vice resident and global head of product, said that in Latin America, about 70 percent of customers named music as one of the top features they require on a phone, versus about 40 percent or 50 percent in the US. “Our understanding is that the Sonora base will place us at the top of all the services on a pure subscriber count, and that does not include other carrier deals we hope to have this year,” he said. The carrier partnership model of expansion has worked for some music streaming services before, including Rhapsody. In 2011, Rhapsody was bundled into the premier data plans of MetroPCS Communications, and it had deals with Verizon Wireless and AT&T that let users sign up and pay for their service via their mobile phone bill before that. But Spotify may provide the clearest example of growing through telecom deals.
CBGB Music and Film Festival 2013 A Rousing Success
Markets open in 6 hrs 2 mins CBGB Music and Film Festival 2013 A Rousing Success Hundreds of Thousands of People Rock Times Square 9 hours ago View Photo James Murphy of DFA/LCD Soundsystem — For a photoset from the Festival, click here.Click here for high-resolution version NEW YORK, NY–(Marketwired – October 16, 2013) – Hundreds of thousands of people filled Times Square on a picture perfect fall day to experience the 2nd Annual CBGB Music and Film Festival’s largest event: a concert featuring My Morning Jacket, Grizzly Bear, Divine Fits, The Wallflowers, Lisa Loeb, a DJ set by James Murphy of DFA/LCD Soundsystem and dozens of other bands performing on multiple outdoor stages. My Morning Jacket’s set featured guests Alabama Shakes’ Brittany Howard, TuNeYaRds’ Merrill Garbus and Antibalas’ horn section.Jakob Dylan joined the band for a rousing performance of “Don’t Do It”, echoing The Band’s performance encore from the seminal film The Last Waltz. Jim James of My Morning Jacket described his experience of performing on the CBGB Festival Stage in Times Square as “incredibly surreal and beautiful, like playing Red Rocks if Red Rocks was made of computers and light.The crowd had a great spirit!God Bless NYC!” The annual outdoor festival each Columbus Day Weekend will surely soon be one of the largest music events in North America. The stages and festival grounds started on Broadway at 46th Street and stretched north towards Central Park for as far as the eye could see.Massive digital billboards and additional festival activities also extended south to 42nd Street giving the show an unmistakable feeling of New Year’s Eve in Times Square but with better weather, better music and better food. The CBGB Festival filled the streets with much more than music. Fans enjoyed extreme sports demos and booths with carefully curated music, clothing and crafts.This was a day that offered something for everyone — including, in true punk spirit, a “smashing pumpkins” booth where kids could do just that. The live music portion of the festival ended well past midnight on Saturday with an incredibly powerful performance by Ice T in the East Village. His show left the capacity crowd in awe as he displayed his unmatched ability to ignite excitement and passion in people. Other festival highlights were the keynote addresses by Duff McKagan(Guns n’ Roses/Velvet Revolver) andVan Toffler(President of Viacom’s Music and Logo Group). As an integral part of some of the most successful rock bands in history, Duff McKagan delivered the CBGBMusic Festival Keynote. Leading the charge of rock music for three decades, McKagan continues to be a potent and venerable noisemaker in the industry.In his address, he laid out his advice for artists clearly: “New bands should be true and honest.F*** commerce.What you’re doing should be in your heart.Money will come and you can deal with that all later.” Van Tofflerdelivered the overallConference Keynote Speechon the state of the music industry in 2013.Toffler, who oversees a collection of the most successful and vibrant brands in music and entertainment as President of Viacom’s Music and Logo Group, delivered a clear-eyed compelling assessment of the hierarchy of artists and media in the current environment. In reviewing MTV’s key role as a platform for the most creative artists, Toffler traced a line from Madonna to Nirvana to Kanye to Miley saying, “Speaking for MTV, we’ve been used, abused, and trampled upon by the best.Madonna played MTV like a mandolinand we also never know what to expect when Kanye comes through the door, but we know enough to stand back and let him do his thing.” Summing up the festival, CBGB co-owner and festival executive producer, Tim Hayes said. “We want to make every Columbus Day weekend a time when the whole world can celebrate Hilly Kristal’s dream of presenting live music to the largest audience possible.There is no better spot than the crossroads of the world, Times Square.” The CBGB Music and Film Festival aims to transform Columbus Day Weekend into a six-day, annual celebration that will include the largest outdoor concert in North America along with hundreds of other music themed events, “firsts” and special moments across New York City. This week’s CBGB Music & Film Festival featured 525 bands in over 175 venues.The festival also hosted more than 125 speakers and 60 new music based films and documentaries including Green Day’s “Broadway Idiot.” James Murphy of DFA/LCD Soundsystem Photo: Getty Images for CBGB. For a photoset from the Festival click here The following files are available for download: