Tuesday, October 22, 2019

How You Listen To Music-SiriusXM This Week | Lefsetz Letter


Earbduds, headphones, stereo, bluetooth, wired, Sonos, separates…

Tune in today, Tuesday October 22nd, to Volume 106, 7 PM East, 4 PM West.

Phone #: 844-6-VOLUME, 844-686-5863

Twitter: @lefsetz or @siriusxmvolume/#lefsetzlive

Hear the episode live on SiriusXM VOLUME: HearLefsetzLive

If you miss the episode, you can hear it on demand on the SiriusXM app: LefsetzLive

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IFPI and WIN reveal cross-industry collaboration on centralized recording industry data exchange service | Music Business Worldwide

IFPI, the global trade body for the recorded music industry and The Worldwide Independent Network (WIN) have announced a cross-industry collaboration to create the Repertoire Data Exchange (RDx), a centralized industry data exchange service.

RDx will enable record companies and music licensing companies (MLCs), which collectively manage recording rights, to submit and access authoritative recording data via a single point.

Record companies have historically used a variety of data delivery processes to supply content to individual MLCs around the world, presenting challenges in the supply of recording data.

RDx is the result of a collaboration between a broad group of industry stakeholders led jointly by IFPI and WIN.

The launch phase of RDx will receive technical support from a group of record companies (Beggars Group, PIAS, Sony Music Entertainment, Universal Music Group, Warner Music Group, and The state51 Music Group/CI) and MLCs (PPL, Re:Sound, SENA and Gramex Finland).

The roll-out of RDx to all rightsholders and MLCs is expected to start in 2020.

RDx will offer recording rightsholders of all sizes, from all countries, a single registration point to supply their repertoire data in a standardised format (DDEX MLC) that can be quickly and easily accessed by all MLCs, leading to improvements in data quality.

This will help to improve the timeliness, accuracy and efficiency of MLCs’ revenue distributions to right holders worldwide.

Following a rigorous selection process, IFPI and WIN have selected PPL, the UK music industry’s collective management organisation, to deliver and operate RDx.

“Record companies continue to invest in and enhance the accuracy and management of music data in many different areas of the industry. RDx is a key example of an initiative that will benefit all parties involved.”

Frances Moore, IFPI

Frances Moore, chief executive of IFPI, said: “Record companies continue to invest in and enhance the accuracy and management of music data in many different areas of the industry.

“RDx is a key example of an initiative that will benefit all parties involved. It will improve operational efficiencies and lower costs for right holders whilst allowing MLCs to retrieve authoritative repertoire data from a single point – enabling more accurate and timely distribution of revenues.

“We are very grateful to all our MLC and record company partners who are working closely with us on this project. We look forward to bringing on board more MLCs and right holders as we roll out the service.”

“We are delighted that the industry has worked together to create a service for the benefit of all labels and producers. We look forward to working on a joint basis with IFPI as RDx gathers momentum.”

Charlie Phillips, WIN

Charlie Phillips, Chief Operating Officer of WIN, added: “Performance rights make up an increasingly important part of independent labels’ revenues. With music being globally accessible, our association members’ repertoire travels the globe and sees revenues generated internationally.

“Historically, supplying complex data into the international network of MLCs has not been straightforward for independent producers and right holders. The international independent sector has, through WIN, supported the development of RDx over several years since its inception.

“We are delighted that the industry has worked together to create a service for the benefit of all labels and producers. We look forward to working on a joint basis with IFPI as RDx gathers momentum.”

“This is a significant step forward in global data management and we are proud to be powering such an innovative solution on behalf of IFPI and WIN.”

Peter Leathem, PPL

Peter Leathem, Chief Executive of PPL, said: “In recent years, we at PPL have invested significantly in our technology and data capabilities; as such, our leading role in the development of RDx is complementary to our existing operations.

“We are well placed to support IFPI and WIN to address the challenges of big data, drawing on our in-house experience in using DDEX, our relationships with music licensing companies around the world, and our expertise gained from managing huge volumes of recording data every week.

“This is a significant step forward in global data management and we are proud to be powering such an innovative solution on behalf of IFPI and WIN.”

 Music Business Worldwide

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Just 4 Days Left To Submit To Showcase At SXSW | hypebot

Sxsw-2019Time is running out if you want to perform at an official SXSW 2020 showcase. The deadline to submit to showcase at SXSW Music is this Friday, October 26th.

"SXSW Showcasing Artists benefit from career-changing exposure and publicity provided by the amazing mix of influential participants who attend SXSW every year."

SXSW 2020 will be held March 16 – 22, 2020 in Austin, Texas. Get more details and you can apply to showcase here

image from www.sxsw.com

First SXSW 2020 Showcase Artists Announced

The first list of showcasing artists at SXSW 2020 has been announced, and per usual many of the earliest invitations go to artists who have the farthest to travel. Additional announcements will be made in the coming weeks.

2020 SXSW Showcasing Artists (so far)

Accü (Carmarthen UK-WALES)
ACTORS (Vancouver CANADA)
Adam French (Congleton UK-ENGLAND)
Aiming For Enrike (Oslo NORWAY)
AKA (Cape Town SOUTH AFRICA)
Alex the Astronaut (Sydney AUSTRALIA)
Ali Barter (Melbourne AUSTRALIA)
Alien Tango (Murcia SPAIN)
Altre di B (Bologna ITALY)
Amanda Black (Mthatha SOUTH AFRICA)
ANAVITÓRIA (São Paulo BRAZIL)
Andrea Cruz (Puerto Rico PUERTO RICO)
Angelica Garcia (El Monte CA)
Antti Paalanen (Kokkola FINLAND)
Approachable Members Of Your Local Community (Melbourne AUSTRALIA)
Arre! Arre! (Malmö SWEDEN)
Art d’Ecco (Victoria CANADA)
Automelodi (Montreal CANADA)
Bad Waitress (Toronto CANADA)
Baker Boy (Melbourne AUSTRALIA)
Bakers Eddy (Melbourne AUSTRALIA)
Banditos (Birmingham AL)
Bang Bang Romeo (Doncaster UK-ENGLAND)
Barbara Nesbitt (Austin TX)
Barbi Recanati (Buenos Aires ARGENTINA)
Baseball Gregg (Bologna ITALY)
Beabadoobee (London UK-ENGLAND)
Beachtape (Brighton UK-ENGLAND)
Ben&Ben (Manila PHILIPPINES)
Bethlehem Steel (Brooklyn NY)
Better Person (Berlin GERMANY)
Bill and the Belles (Johnson City TN)
Birthday Club (Houston TX)
Black Country, New Road (Cambridge UK-ENGLAND)
Blushh (Los Angeles CA)
BLXPLTN (Austin TX)
Bootblacks (New York NY)
Borealis Rex (New Orleans LA)
Bourgeois Mystics (Austin TX)
Buzzard Buzzard Buzzard (Cardiff UK-WALES)
Cadence Weapon (Toronto CANADA)
Campfire Social (Wrexham UK-WALES)
Candeleros (Madrid SPAIN)
Cape Weather (Los Angeles CA)
Capyac (Austin TX)
Caracoles (Canary Islands SPAIN)
Carla Geneve (Perth AUSTRALIA)
Casey Neill & The Norway Rats (Portland OR)
Cassper Nyovest (Mafikeng SOUTH AFRICA)
Ceci Juno (Guayaquil ECUADOR)
The Chairs (Taiwan TAIWAN)
Charlie Faye & The Fayettes (Austin TX)
Chestnut (Los Angeles CA)
ChihiroYamazaki+ROUTE14band (Tokyo JAPAN)
Clean Cut Kid (Liverpool UK-ENGLAND)
Cloud Rat (Mount Pleasant MI)
Colin Gilmore & Nicolette Good: Ladder To The Moon (Austin TX)
Common Holly (Montreal CANADA)
Como Las Movies (Austin TX)
Con Brio (San Francisco CA)
Corridor (Montreal CANADA)
Cousin Tony’s Brand New Firebird (Melbourne AUSTRALIA)
Cromosapiens (Monterrey MEXICO)
Cruz Cafuné (Tacoronte SPAIN)
Dan García (Mexico City MEXICO)
Daniel Casimir & Tess Hirst (London UK-ENGLAND)
Dawn Avenue (Tres Marias MEXICO)
Declan J Donovan (Essex UK-ENGLAND)
Deeper (Chicago IL)
Devarrow (Halifax CANADA)
Devours (Vancouver CANADA)
Donna Blue (Amsterdam NETHERLANDS)
Do Nothing (Nottingham UK-ENGLAND)
Drinking Boys and Girls Choir (Daegu SOUTH KOREA)
Dry Cleaning (London UK-ENGLAND)
DTSQ (Seoul SOUTH KOREA)
The Dunts (Glasgow UK-SCOTLAND)
Early James (Birmingham AL)
Easy Wanderlings (Pune INDIA)
eldanidonoso (Santiago CHILE)
El Dorado (Mexico City MEXICO)
Elephant Stone (Montreal CANADA)
Ellis (Hamilton CANADA)
Emma Jean Thackray (London UK-ENGLAND)
Enno Cheng (Taiwan TAIWAN)
Eoin Smith (Dublin IRELAND)
eX-Girl (Kichijoji JAPAN)
Family Jools (Bristol UK-ENGLAND)
Fanclub (Austin TX)
Far Caspian (Leeds UK-ENGLAND)
FEET (Coventry UK-ENGLAND)
Ferris & Sylvester (London UK-ENGLAND)
The fin. (Kobe JAPAN)
Fire EX. (Taiwan TAIWAN)
Flyying Colours (Melbourne AUSTRALIA)
The Foreign Resort (Copenhagen DENMARK)
FRANKIIE (Vancouver CANADA)
The Frights (San Diego CA)
fuvk (Austin TX)
Gena Rose Bruce (Melbourne AUSTRALIA)
Gewalt (Berlin GERMANY)
Ghetto Kumbé (Bogotá COLOMBIA)
Glue Trip (João Pessoa BRAZIL)
Good Morning (Melbourne AUSTRALIA)
Goon (Los Angeles CA)
GRIP (Atlanta GA)
Grrrl Gang (Yogyakarta INDONESIA)
Hachiku (Melbourne AUSTRALIA)
Hala (Detroit MI)
Hardwicke Circus (Carlisle UK-ENGLAND)
Hater (Malmö SWEDEN)
Hedonutopia (Istanbul TURKEY)
Henry Brun & The Latin Playerz (San Antonio TX)
High Heavens (Austin TX)
Hiperson (Chengdu CHINA)
HMLTD (London UK-ENGLAND)
Horse Jumper of Love (Boston MA)
Housecall (Dallas TX)
HTRK (Melbourne AUSTRALIA)
ings (Seattle WA)
Islet (Cardiff UK-WALES)
Jadu Heart (London UK-ENGLAND)
Jane Weaver (Manchester UK-ENGLAND)
Jan Verstraeten (Sint-Niklaas BELGIUM)
Jason Hawk Harris (Los Angeles CA)
Jeannel (Berlin GERMANY)
Jekyll (Blackpool UK-ENGLAND)
Jeremie Albino (Toronto CANADA)
The Jones Family Singers (Houston TX)
Jordan Mackampa (London UK-ENGLAND)
Just Mustard (Dundalk IRELAND)
Kae Astra (Austin TX)
Kælan Mikla (Reykjavik ICELAND)
KAINA (Chicago IL)
Kate Bollinger (Charlotesville VA)
Kate Clover (Los Angeles CA)
KAZKA (Kyiv UKRAINE)
Kiki Valera (Seattle WA)
Kings of the Beach (Vigo SPAIN)
Kiwi Jr. (Toronto CANADA)
Knife Wife (Washington DC)
Kokoroko (London UK-ENGLAND)
Kristin Hersh (Providence RI)
Lady Donli (Abuja NIGERIA)
La Garfield (Guadalajara MEXICO)
Laveda (Albany NY)
Leif Vollebekk (Montreal CANADA)
Leon Of Athens (Athens GREECE)
LET’S MARS (Tel Aviv ISRAEL)
Lido Pimienta (Toronto CANADA)
Lilla Vargen (Belfast UK-N. IRELAND)
Lorine Chia (Los Angeles CA)
Los Moustros del Espacio Exterior (Culiacán MEXICO)
LOS WILDS (Madrid SPAIN)
Louis Prince (Orange County CA)
Lower Tar (Los Angeles CA)
Luna Luna (Dallas TX)
Magnolian (Ulaanbaatar MONGOLIA)
Malin Pettersen (Oslo NORWAY)
Manifest Destiny’s Child (Denton TX)
Mapache (Los Angeles CA)
Margaret Glaspy (New York NY)
Maria y Jose (Tijuana MEXICO)
Martha Wash (New York NY)
The Mastersons (Los Angeles CA)
Mauskovic Dance Band (Amsterdam NETHERLANDS)
Max Chinasky (Cancún MEXICO)
me&you (Sacramento CA)
Merk (Auckland NEW ZEALAND)
MICHELLE (New York NY)
Michigander (Kalamazoo MI)
Mikie Rivera (San Juan PUERTO RICO)
Mirella Cesa (Guayaquil ECUADOR)
Mir Fontane (Camden NJ)
Mobley (Austin TX)
Model/Actriz (Boston MA)
Mojo Juju (Melbourne AUSTRALIA)
Moonchild Sanelly (Port Elizabeth SOUTH AFRICA)
Moon Kissed (New York NY)
Moon Panda (Copenhagen DENMARK)
Morena Leraba (Mafeteng LESOTHO)
The Murder Capital (Dublin IRELAND)
Myylo (Los Angeles CA)
Nadia Nakai (Johannesburg SOUTH AFRICA)
Nanpa Básico (Medellín COLOMBIA)
Natalie McCool (Liverpool UK-ENGLAND)
Native Sun (Brooklyn NY)
Necking (Vancouver CANADA)
Neck of the Woods (Vancouver CANADA)
Negative Gemini (Los Angeles CA)
NekoJam (Taipei City TAIWAN)
Neoma (Cuenca ECUADOR)
Neuza (Fogo CABO VERDE)
New Fame (Da Nang VIETNAM)
Nico LaOnda (New York NY)
Nicolás Molina (Castillos URUGUAY)
Night Dreamer (Los Angeles CA)
Nobody’s Girl (Austin TX)
Nonso Amadi (Toronto CANADA)
Noya Rao (Leeds UK-ENGLAND)
Olivier Cong (Hong Kong HONG KONG)
Orchards (Brighton UK-ENGLAND)
The Orielles (Manchester UK-ENGLAND)
Otha (Oslo NORWAY)
Ötzi (Oakland CA)
Pachará (Mexico City MEXICO)
Partner (Windsor CANADA)
Pearla (Brooklyn NY)
Pearl & the Oysters (Gainesville FL)
Perfect Son (Warsaw POLAND)
Petrol Girls (Graz AUSTRIA)
P.H.F (Auckland NEW ZEALAND)
Pictish Trail (Isle Of Eigg UK-SCOTLAND)
Pigs Pigs Pigs Pigs Pigs Pigs Pigs (Newcastle upon Tyne UK-ENGLAND)
Pizzagirl (Liverpool UK-ENGLAND)
Pom Poko (Oslo NORWAY)
Porridge Radio (Brighton UK-ENGLAND)
Purple Pilgrims (Coromandel NEW ZEALAND)
Qlowski (London UK-ENGLAND)
Quinn Christopherson (Anchorage AK)
Richard Spaven (London UK-ENGLAND)
Riders Against the Storm (Austin TX)
Roan Yellowthorn (Camden ME)
Rosehip Teahouse (Cardiff UK-WALES)
Ruby Boots (Perth AUSTRALIA)
Ruth Koleva (Sofia BULGARIA)
RVG (Melbourne AUSTRALIA)
Samba De La Muerte (Caen FRANCE)
Sammy Brue (Ogden NY)
Samthing Soweto (Johannesburg SOUTH AFRICA)
San Cha (Los Angeles CA)
San Mei (Gold Coast AUSTRALIA)
San Saba County (Austin TX)
Sarah Klang (Gothenburg SWEDEN)
Sarah Shook & The Disarmers (Chapel Hill NC)
Savannah Sgro (Nashville TN)
Sen Morimoto (Chicago IL)
Shady Nasty (Sydney AUSTRALIA)
Shah (Toronto CANADA)
Shana Falana (Kingston NY)
Shell of a Shell (Nashville TN)
SHIJIN (Schwarz-Bart/Galland/Braff/David) (Paris FRANCE)
Simi (Lagos NIGERIA)
Sleeping Brain (Taipei TAIWAN)
$NOT (Lake Worth FL)
Sofia Macchi (Mexico City MEXICO)
Sofia Portanet (Berlin GERMANY)
Sonoda (Los Angeles CA)
Spirit Was (Queens NY)
Spooky Mansion (Los Angeles CA)
Stealing Sheep (Liverpool UK-ENGLAND)
Stella Sommer (Berlin GERMANY)
Strange Ranger (Philadelphia PA)
SUMIN (Seoul SOUTH KOREA)
Taimane (Honolulu HI)
Tallies (Toronto CANADA)
Tamtam (Riyadh SAUDI ARABIA)
TC Superstar (Austin TX)
Theon Cross (London UK-ENGLAND)
There (Tel Aviv ISRAEL)
Thornetta Davis (Detroit MI)
TisaKorean (Houston TX)
Tolliver (Los Angeles CA)
Tomar and the FCs (Austin TX)
The Tomboys (Kobe JAPAN)
Tony True and the Tijuana Tres (Monterrey MEXICO)
Topographies (San Francisco CA)
Totemo (Tel Aviv ISRAEL)
Tufan Derince (Diyarbakir TURKEY)
UCHIKUBIGOKUMON-DOUKOUKAI (Tokyo JAPAN)
The Underground Youth (Berlin GERMANY)
Vandoliers (Fort Worth TX)
Vanishing Twin (London UK-ENGLAND)
Video Age (New Orleans LA)
Virginia Wing (Manchester UK-ENGLAND)
Waco Brothers (Chicago IL)
The Wandering Hearts (London UK-ENGLAND)
We Are The Grand (Santiago CHILE)
Weird Milk (London UK-ENGLAND)
Western Youth (Austin TX)
When Chai Met Toast (Cochin INDIA)
Why Bonnie (Austin TX)
WILD (Los Angeles CA)
XCELENCIA (Caguas PUERTO RICO)
The Yawpers (Denver CO)
YAYOI DAIMON (Tokyo JAPAN)
Young Deji (Houston TX)
Young Georgian Lolitaz (Tbilisi GEORGIA)

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Spotify is hiring for a Global Head of Podcast Business Affairs who has closed deals ‘with commitments of $20m or more’ | Music Business Worldwide


Spotify is moving its podcast expansion plans up a gear – and it’s looking for an experienced senior executive to help ‘achieve its vision of becoming the world’s top audio network’.

A job post spotted by MBW is advertising for a Global Head of Podcast Business Affairs to join the company’s content Licensing team in either Los Angeles (preferred) or New York.

The new Global Head of Podcast Business Affairs will work directly with Spotify’s Chief Content Officer Dawn Ostrof the Content leadership team.

According to the ad, this person’s ‘work will significantly impact the podcast content strategy and Spotify’s efforts to grow audience and monetization’.

This individual will be tasked with securing a global slate of original and exclusively licensed podcasts.

In order to do this, they will need to be a ‘skilled negotiator willing and able to close deals, having closed multiple agreements with commitments of $20 million or more’.

The successful candidate for this role will need to have at least 20 years’ work experience in entertainment, with at least 15 years’ working on the licensing of video, audio and/or podcast content.

They will also need to have an exceptional network of contacts in the entertainment industry, including relationships with talent agents, producers and senior industry executives.

Continues the ad: ‘You have an in-depth understanding of the roles played across the media company value chain (production companies, technology companies, talent agencies, record labels), as well as the current and emerging cross-media platforms.’

The past 12 months have seen the world’s leading music streaming platform invest millions in podcast companies, plus original podcast content, and executives.

Spotify spent $375 million in cash on buying podcast companies Gimlet Media, Anchor and Parcast – across three deals with a total value of $404m.

The company has also been on an original content talent recruitment drive since at least October 2018.

Last month Spotify hired former CBS News President David Rhodes as an original news content consultant, and former Facebook exec Amy Hudson as Sports Lead, Podcasts.Music Business Worldwide

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Toto-Africa Live at The Met in Philly (10-20-19) | Lefsetz Letter


Toto-Africa Live at The Met in Philly (10-20-19)

This is why you go to the show. For the joy of the performance, for the joy of being there as music enters your soul and transfixes and transforms you.

If you talk to Steve Lukather, and I do, you believe Toto is the most hated band in the world. I’m not sure that’s true, as a matter of fact I know that’s not true. Their crime was knowing how to play their instruments and having a mega-successful album that was played everywhere, “Toto IV.” Mega-success will put a dent in your future career, cause a backlash, can you say Christopher Cross, can you say Alanis Morissette, even Peter Frampton? Even if you can follow up your huge hit work, people have moved on, there’s always a new big thing, and a bunch of people who are over the last big thing and want nothing to do with it, and if your first track from your follow-up album doesn’t immediately become monstrous, the only people who still care are your fans, who will keep you alive if you let them.

Now I’ll be honest, I was not a huge fan of “Hold The Line,” of the first album, maybe it was too generic, too in the mold of what had come before. Then again, I knew the players’ histories, I’d seen Luke’s name in the credits on so many albums.

But “Hydra”… I still listen to that album today. I heard “99” on an airplane, remember when we used to put on those headphones with their plastic yokes and listen to the programming as it repeated itself over and over again? I loved “99,” after hearing it two or three times, I had to purchase the LP, Toto’s second, “Hydra.” Unlike “Hold The Line,” “99” was not like anything else, the band now had its own sound, at least in my eyes.

And I became enamored of the two previous tracks on the LP, the opening “Hydra” and then “St. George and the Dragon.”

Can you tell me where I might find the Hydra
Is he wearing a familiar face
Does he still live below 7th Avenue
With the princess dripped in lace

You know how lines repeat in your head, at odd moments, when you’re not thinking of them? I’m constantly singing “Can you tell me where I might find the Hydra” whenever I think of Toto, and sometimes when I don’t.

The third Toto LP was a commercial disappointment, and I didn’t buy it, as for Toto IV,” I didn’t have to, it was all over the airwaves, especially “Rosanna,” whose inspiration was an up and coming actress, constantly in the news, part of the scuttlebutt. Then again, it was not uncommon for rock stars to date actresses.

But the Toto album I like best is “Fahrenheit,” which I found in a promo bin and played over and over again. Actually, the best song on the LP, my favorite song on the LP, the first side closer, is “I’ll Be Over You,” which Luke co-wrote with Randy Goodrum.

As soon as my heart stops breakin’
Anticipating
As soon as forever is through
I’ll be over you

I didn’t think Luke was that sensitive, but even if Goodrum helped, he is. And this song encapsulates the heartbreak of disconnecting, and the hope they’ll come back, better than almost all of the vaunted hit cuts in this vein, it’s here where Toto’s chops really shine.

Now Luke and I bonded after I wrote about “Make Believe,” which was on the fourth album, the one I didn’t buy. I criticized the lyrics, but positively marveled at the sound and the feel, as out of date as so much from that era, yet so right. You might call it yacht rock, but the truth is the acts in that genre could sing, play and write, what’s the problem? Is this like politics, where we let our uneducated and unskilled rule?

So Luke is scratching it out, the only continuous member of Toto, he’s keeping the act alive. And then he and the band get a gift, Weezer’s cover of “Africa.”

This is their “Don’t Stop Believin'” moment. You forget that Journey was chastised just like Toto in their heyday. But then the aforementioned song is used in the finale of “The Sopranos” and suddenly Journey is America’s band, to the point where over a decade later, they can play stadiums (albeit co-headlining with Def Leppard).

Now it wasn’t Rivers Cuomo who picked out “Africa,” it was a fan who implored the band to do it over and over again to where, almost as a joke, Weezer covered it.

And it blew up.

Can I say why? Not definitively. Except to say all these years later, like the Carpenters, like so many chided bands of their era, people looked back and said the music Toto made was great.

And now “Africa” is not quite “Don’t Stop Believin’,” but it’s close.

So, band members have died, come and gone, but Luke soldiers on, especially overseas, where Toto’s career never waned, and…

He now wants a break from the act. Oh, don’t get him wrong, Luke’s got a huge number of projects, he’s always working, but it’s time to give Toto a bit of a rest.

I knew all this.

But I did not know David Paich would come out and sing at the final date, in Philly no less. I mean in L.A…

So I read about this surprise and I pull up the video and…

I can’t turn it off.

Now usually you get a few seconds of the link and you move on, but on this one…

The groove was set, the band was movin’ and then they locked into the riff and it was…AFRICA!

Not that it was my favorite cut back then, but if you were alive in the eighties, you know it, it’s in your DNA, whether you like it or not.

And David Paich…that’s the sound! And sure, all these years later, it’s not perfect, but very little is, one thing’s for sure, it’s alive, it’s present and so are you!

And when everybody steps up to the mic for the chorus, you feel the joy. And then the audience sings along at the top of their lungs and you just wish you were there.

And then the tinkly keyboard solo you know so well. But this take has more energy, it’s more upbeat, it’s a celebration!

And then, just when the song is fading, when you think it should be over, there’s a percussion solo? I’m on another webpage at this point, I click back to the video and learn this is a twelve minute version! But instead of turning it off, I’m still in the arc of the groove, it’s still there, underneath it all, after all, like classic Toto, Lenny Castro is a virtuoso, the kind who used to play sessions all day, who was too busy to go on the road back in the day.

And after about four minutes, Joseph Williams picks up the mic, goes into call and response with the audience, and Paich is dancing in his top hat like he’s 25 instead of 65, and then the audience sings the groove and everybody’s having a peak experience, no one cares what the critics have to say, this is the essence, this is it!

And then it all comes to a close and you’re clapping as loudly as you can, in tribute to the band and yourself, and when it all goes quiet, you’re completely drained and…

Can’t wait until you can do it again.

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Twitter Refuses To License Music, Pay Royalties [Op-Ed] | hypebot

1Attorney and artist advocate Chris Castle responds to a recent Pitchfork article by Eric Harvey which describes how intertwined Twitter is with music business, and how valuable a star-making tool it can be for artists. Castle counters that, while that may be the case, the company has done little to show that it values the musicians or music on its platform.

__________________________________

Guest post by Chris Castle of Artist Rights Watch

Eric Harvey has a great must-read article in Pitchfork about what he describes as “Music Twitter” (“How Twitter Changed Music“).  Mr. Harvey makes that case that Twitter was designed with both music and the music business in mind.  That is certainly true.  Twitter couldn’t be a more perfect way for pop and rap stars to connect with their fans and introduce new music.  If willing to put in the time (aka free labor for Twitter), artists from any genre can find it useful.  Unbelievable numbers of recordings are promoted, linked, streamed and talked about on Twitter.

Mr. Harvey makes a point that many of us probably didn’t know:

When Twitter was dreamed up, in fact, it was with music in mind. “This is why we built this thing! For concerts and music shows!” Noah Glass told fellow co-founder Jack Dorsey in 2006, according to Nick Bilton’s book, Hatching Twitter. At that point, when the site had only a handful of users, Glass and Dorsey road-tested Twitter at Coachella and attempted a partnership with the 2007 VMAs. As the site grew in popularity, Bilton recounts, pop stars made pilgrimages to the company’s modest San Francisco headquarters, like when a couple of Twitter engineers “found a member of the band blink-182, half-asleep and half-drunk, pouring a small bottle of gin into a bowl of Fruity Pebbles cereal, then chowing down on breakfast.”

4But after you read the post, I think you may realize that there’s a dog that didn’t bark–despite the fact that some of Jack Dorsey’s best friends may be musicians, Twitter has consistently refused to even accept the premise that the site needs licenses and should pay royalties.  However “intertwined” Twitter may be with the music business, the company steadfastly refuses to acknowledge that value by respecting business of the artists, songwriters, producers, musicians and vocalists who drive what Mr. Harvey shows pretty conclusively is a big chunk of Twitter’s value.

Mr. Harvey dives into the many connections between the company’s founders who designed their product to free ride on the artists they claim to admire.  It is clear that Twitter owes a lot of its success to the star making machinery behind the popular song:

Judging by the numbers alone, Twitter is more deeply intertwined with music than any other industry. Four of the top five—and half of the top 20—most-followed Twitter accounts are solo musicians. More than movie stars or major athletes, whose work is more obviously collaborative and done according to others’ scripts, the pop star/fan relationship maximizes what Twitter does best, fostering emotional connections rooted in the personal authenticity of a single, spectacular figure. This has led to an environment where millions of Twitter users are there purely to serve as foot soldiers in their idol’s digital army, and where the tantalizing (or mortifying) possibility of direct contact is always present.

Maybe it’s time that Twitter did the right thing and stopped abusing the absurdly outdated DMCA safe harbor game of whack a mole.  Please let’s not be told that Twitter’s value is exposure or that data is worth having your rights ignored.  Data may be the new exposure, but you do have to ask how do people like Jack Dorsey sleep at night.

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10 Stats That Prove You Need To Be on TikTok | hypebot

Tiktok_logoTikTok played a pivotal role in the rise of the record-breaking hit “Old Town Road” by Lil Nas X, Blanco Brown’s “The Git Up” and Sueco the Child, whose track “Fast” garnered 17 million Spotify plays after he seeded a clip from the song on the video app. But just how big is TikTok, who uses it and how often?

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image from 1s7efb3dokct1y2e4q31coij-wpengine.netdna-ssl.com

1. Tik Tok Has an Average of 500 Million Monthly Users

2. 5 Million Monthly Users Are from the United States

3. 66% of Users Are Younger Than 30-Years-Old

4. 29% of Monthly Users Open Tik Tok Every Day

5. 660 Million Downloads Were Generated on Tik Tok in 2018

6. There Are More Than 5 Million #InMyFeelings Challenge Videos on Tik Tok Compared to 1.7 Million on Instagram

7. Roughly 43% of Users Are in India

8. Users Spend an Average of 52 Minutes per Day on the Tik Tok App

9. In-App Purchases Increased by 275% Year-over-Year

10. Tik Tok Is Currently More Popular on Android Than It Is on iOS

via No Reach

MORE: How the Music Industry Can Incorporate TikTok Into Its Artist Marketing Strategies

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