Wednesday, July 24, 2019

How An Old Game Amplified A 2019 Streaming Hit | AWAL

We recommend playing Billy Meets World for at least 30 seconds before continuing. Godspeed.

May 24, 2013: The day the internet changed forever. 

Vietnamese developer Dong Nguyen didn’t expect much when he published Flappy Bird to Apple’s App Store. The mobile game tasked users with a simple mission — keep a winged, pixelated blob in the air — and caught fire because it was (1) free (2) adorable (3) so difficult it pissed people off. It was the kind of difficult that forced you to make your friends give it a shot after you failed to reach Level 3.

Within seven months, Flappy Bird had 50 million downloads; within eight, the game had disappeared, removed by its own disgruntled creator. Fortunately (or not!), what’s born online may never die. Since the OG Flappy went dark, its 0s and 1s have formed the skeletal backbone of several reinterpretations. Fall Out Boy released their own take on the game in 2014.

Screen Shot 2019-07-24 at 12.08.20 AM

July 10, 2019: The day Flappy Bird rose from the ashes once again, doggy style. 

Two weeks ago, AWAL artist marketers Kelsey Miller and Justin Macchio published a web-based video game in conjunction with “Drugs & The Internet,” Lauv’s latest streaming hit. It stars a frolicking pup, Billy (designed after Lauv’s real four-legged friend) bouncing his way across purple skies and 2030 metropolises, navigating neon pipes in search of endless adventure. It’s called “Billy Meets World,” and it’s (1) free (2) adorable (3) so difficult it pissed people off encourages players to make their friends give it a shot after they fail to last more than a minute. 

If this sounds like Flappy Bird incarnate to you, you’re half-right. Billy Meets World doubles as an audience-building machine that fuels direct growth across Lauv’s Spotify following, socials, and merch sales. The team applied the “follow to download” fan acquisition model with some important updates, prioritizing one-click (or one-tap) Spotify logins that seamlessly grant users access to the game while providing Lauv with new followers on Spotify. The question — “How might we creatively support ‘Drugs & The Internet’ and grow Lauv’s Release Radar pool to support whatever comes next?” — had its answer. Step inside the campaign for relevant lessons.

LV1: Re(mix), re(combine), recycle — especially if nostalgia is ingrained in the campaign’s core. 

Kelsey: “The imaging behind ‘Drugs & The Internet’ has this Windows 98, 8-bit feel, so we wanted to magnify that and make his fans even more excited about the song. The original idea was to make something in the style of Super Mario Bros, where you go down one of those tunnels and unlock something exclusive. That was the start. We landed on the Flappy Bird idea on a walk to Sweetgreen.” 

Justin: “We wanted to think of global marketing ideas that weren’t tied to radio or DSP editorial, explore other places fans live online, and focus on driving more people to follow Lauv on Spotify to create a bigger pool for Release Radar. All of the visual complements to the song were very nostalgic, very Old Internet, and Flappy Bird was peak that. The original developer actually took it down because he felt it was too addictive, and people were selling iPhones with the game preloaded on it for 1000s of dollars on eBay.”

Kelsey: “There’s an open API for the Flappy Bird game, the fundamental mechanics of it, so we worked with a development team in London to build Lauv’s version on top of that foundation.”

Justin: “Lots of early morning phone calls from LA to the UK. Lots of late-night feedback sessions.” 

LV2: Value fans’ time (and know something’s working when ‘time spent’ is sky-high). 

Justin: “When we first circulated the game internally, AWAL and Kobalt staff were averaging 15 minutes per visit. We may have temporarily killed productivity a bit, but it was all in the name of moving the artist campaign forward. Fans are still averaging four to five minutes per visit, which is much longer than someone might spend on an artist’s website or a press article.”

Kelsey: “Or the 30 seconds of an Instagram ad. That’s such valuable time as we continue to build this campaign’s story.”

LV2.5: Turn your call-to-action into an embedded soft sell. 

Justin: “A lot of fans don’t really want to be told what to do. If Lauv tweeted, ‘Follow me on Spotify!’ that’d be a little too direct for them. But having a game, and following Lauv in the process of playing the game, and hearing the song as they move through the levels, it soundtracks an experience, it’s not an on-the-nose ask.”

LV3: Put yourself in the shoes of viewers/listeners/players to make their experience frictionless.

Kelsey: “It was an intentional decision to build this for an HTML format rather than an app, making it responsive for mobile and web-based, because you don’t need to send people to another place to download something — the app store is another chance to lose people in that journey. It’s two clicks from seeing it on Instagram to playing the game. We wanted it to be as universally accessible as possible.”

Justin: “Not everyone has Spotify, but just about everyone in Lauv’s audience has Facebook, so we created an additional login layer with Facebook’s API. The first day the game went live, Lauv gained double the number of Spotify followers he had been averaging per day for the previous month.”

LV4: Treat the stuff you make now as foundations for the stuff you’ll need tomorrow. 

Justin: “We’re going to continue building additional levels throughout Lauv’s campaign. It creates this environment we can mold on an evolving basis to whatever’s top priority, whether it’s incorporating the creative of something new or an album preorder shifting the call-to-action focus to a mailing list signup.”

LV5: Don’t be afraid to make people work for something worthwhile. 

Kelsey: “We wanted to honor how addictive the original Flappy Bird was, so it came down to the distance between the pipes in the game, or the gravity the dog has while flying through the gaps — the physics of it all. We knew the original was frustrating, but we also knew that’s what made it something you had to try. We tried to find the difficulty sweet spot there. Not getting to 100 on your first try is what keeps people on the page and gives the music more visibility too.”

Justin: “People played an average 27 times per session.”

Kelsey: “I haven’t gotten past 8 and I helped build it.” 

Justin: “I got to 30 once. I have the highest score within the company. The overall high score is like 170. We verified that the account wasn’t a bot, no cheating. Shoutout that person. Your Spotify username is what shows up in the leaderboard.” 

Kelsey: “You receive a video from Lauv after hitting a certain level. At the end of it, you can get up to 15% off merch on his store, which is really advantageous to the artist — it will drive incremental merch sales for him, and we don’t take any money from that.”

LV6: Think of release days/weeks as the start of a gradual build, not just the end of anticipation.

Kelsey: “Traditional song marketing plans tend to have everything happening at once, beginning with a bang, whereas games often require the opposite approach. The first phase is the launch, which we did with press within and beyond the music space. The second phase includes online advertising focusing on Lauv fans, fans of similar artists, fans of games like Candy Crush and other cult classics on mobile. And then the third phase will bring gaming influencers and Twitch livestreams into the picture.”

Early Stats

  • 200% Increase in Lauv’s per-day follower count on Spotify
  • 4 minutes / 31 plays The average time spent on Billy Meets World per fan
  • 1,500 The number of players who have unlocked rewards
  • 90,000 The number of games played to date

 

 

Keep up with industry news and dive deep into artist stories with AWAL Weekly, our Tuesday newsletter. 

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Tuesday, July 23, 2019

A Look At The Future Of Music Licensing | hypebot

2If you're looking to use someone's music that you don't have the rights to, you'll need to get some form of official license from the copyright holder. These types of licenses are pervasive in every aspect of the music industry, but the ways in which music licensing works is changing across the board. Here we look at how.

___________________________________

By Camran Ferrier from the Berklee College of Music Music Business Journal

When you need to use a piece of music that you do not own the rights to, it usually means that you require a license from the copyright holder. This can take the form of a mechanical license, which covers the reproduction and distribution of a work, or a sync license, which is required when one utilizes another’s work in a visual piece such as a movie. Licenses exist in almost all areas of an artist’s life, and whether they are represented by a label, publisher, or even as an independent, it is crucial to be aware of how this part of the industry is changing.

Where Are We Now?

            Late last year, Nielsen Music conducted thorough research in multiple markets in North America and Europe and found that the industry is missing out on a staggering $2.65 billion from small businesses that use songs without the correct licenses in place. They found that eighty-three percent of these small businesses use personal streaming accounts, either free or subscription versions, for background music, instead of getting a blanket license which allows them to “publicly perform” the musical works of others. While eighty-six percent of those interviewed said that they would be happy to pay for the music they use, Nielsen found that the majority of es in all countries studied will incorrectly assume that paying for a personal account on these streaming services allows them to use it as background music in their respective institutions. 

            Although performing rights organizations such as ASCAP and BMI offer blanket licenses to companies, there is a general misunderstanding about how one is allowed to utilize music and who is meant to be compensated for it. Andreas Liffgarden, Chairman of Soundtrack Your Brand (the company that commissioned the former report) puts this down to a lack of innovation from streaming services driving small businesses towards easier solutions for their musical needs, and suggests that a “business-to-business (B2B)” streaming service targeted at these companies would mitigate the monetary woes of artists; however, there have been some efforts to combat this in the US. Earlier this year, for example, ASCAP filed thirteen copyright infringement actions against bars and restaurants across the nation in February for unauthorized public performances of musical works. Although this may be a deterrent to other companies, this method is extremely inefficient as a way to ensure that every single small business has the correct licenses in place for playing music in their store.

Setting a Precident

            Taking out lawsuits against small restaurants, however, is pocket change when compared to licensing disputes between big industry players. Spotify, for instance, has been sued several times for not paying artists their dues as a result of poor licensing, and although the case is usually settled, plaintiffs can be seeking billions of dollars in damages. More recently, exercise equipment company Peloton had a lawsuit brought against them by music publishers seeking $150 million in damages for not acquiring sync licenses for over 1,000 songs that they paired with their workout videos . The publishers claim that it was a knowing and willing infringement because Peloton entered into some licensing agreements with copyright holders while neglecting to do so with others, which shows the resilience of publishers when it comes to representing their artists, but it begs the question: how do we improve the current ecosystem for distributing music? Willing or not, if the deterrent of lawsuits that size and the damages that it potentially has on the brand are not enough to stop companies infringing on copyright law, then it is perhaps better to ensure that the information and infrastructure for finding rights holders is set up to encourage this kind of economy.

A Proposed Solution

            5Some companies may be unknowledgeable of how to get licenses for the music they use or even be aware that a license is required, but with big companies like Peloton and Spotify getting sued for their licenses (or lack thereof), it may reinforce the need for a centralized database of rights holders like the Mechanical Licensing Collective (MLC), which is currently being built as a result of the recently-passed Music Modernization Act. The MLC is a quasi-governmental body responsible for the collection and distribution of streaming mechanical licenses , and its intended purpose is to eliminate any confusion about identifying the correct rights-holders by consolidating that information into a database. However, there are currently two competing bids from organizations that wish to administer the licenses for the MLC: the National Music Publishers Association (NMPA) along with a consortium of other major publishers, and the American Mechanical Licensing Collective (AMLC). The head of the NMPA, David Israelite, argues that his group had the highest participation and contribution in passing the MMA and should, therefore, be in charge of operating the MLC. The group is backed by the Nashville Songwriters Association International (NSAI) and the Songwriters of North America (SONA), who claim that the majority of rights holders, labels and performing rights organizations are backing their submission and say that the Copyright Office should not be deliberating between competing bids at all.

            However, the AMLC disagree and say that competition is necessary to ensure that the MLC will best reflect the needs of songwriters. In a guest Op-Ed for Billboard Magazine, they spoke about how big publishers that plan to run the MLC will have conflicting interests due to their direct licensing deals with the digital streaming services. Furthermore, they challenge the assumption that the NMPA and affiliated publishers represent the consensus of copyright owners, saying that about ninety percent of music copyright creators control their own copyrights, and the majority of works being written, recorded and distributed are overwhelmingly from independent, DIY artists. It is for these reasons that the AMLC is competing to become the MLC, as it believes it serves all copyright owners, from independent writers and publishers to the major ones. They also claim to be able to get it up and running for a fraction of the cost, with a start-up budget of seven million, annual operating costs approaching nine million. and a promise to not use artist royalties to cover their operating costs. Comparing this to the NMPA’s estimated twenty-five to fifty million in annual operating costs, the AMLC has a competitive bid against the incumbents, and when the US Register of Copyrights decides which bid gets to form and run the MLC in July, we will hopefully see that this level of competition will translate into the best terms for copyright holders.

Conclusion

            Overall, the information pertaining to copyright holders is scattered around and difficult to find if one does not know what to search for. Most music copyright holders are not signed to a label or publisher, and so it can be a challenge to locate their information, therefore preventing correct licensing. Without the correct infrastructure in place to provide that information clearly, the industry is incentivizing music users to consume without a license. Companies and individuals will always try to cheat the system, for financial reasons or otherwise, but in order to make sure the industry continues to grow, it is imperative that we have a centralized database of information that works for all.

Endnotes

1.  Nielsen.com. (2018). The hidden value in music for business. [online] Available at: https://ift.tt/2LE6ogQ [Accessed 23 Mar. 2015].

2. Ibid

3. Oyer, Kalyn. 2019. Charleston-area venue sued by copyright organization over music licensing fees. February 27.Accessed April 3, 2019. https://ift.tt/2SBBLZZ.

4. Cerullo, Megan. 2019. Peloton sued for allegedly stealing artists’ music. March 1. Accessed April 4, 2019. https://ift.tt/2CvtkbX.

5. Resnikoff, Paul. 2019. The NMPA Submits Their Mechanical Licensing Committee (MLC) Proposal — And Calls forA No-Bid Contract. February 4. Accessed April 2, 2019. https://ift.tt/2Szrqh3.

6.Ibid

7. American Music Licensing Collective. 2019. American Music Licensing Collective Says ‘Competition Is Needed’ In Forming Music Modernization Act’s MLC (Guest Op-Ed). February 20. Accessed April 4, 2019. https://ift.tt/2LBMx1F.

8. Resnikoff, Paul. 2019. The NMPA Submits Their Mechanical Licensing Committee (MLC) Proposal — And Calls for a No-Bid Contract. February 4. Accessed April 2, 2019. https://ift.tt/2SC9qTd.

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Popular Stream-Ripper Voluntarily Disables YouTube Conversion | TorrentFreak

Britney Davis promoted to VP of Artist Relations, Marketing & Special Projects at Capitol Music Group | Music Business Worldwide


Britney Davis (pictured) has been promoted to the position of Vice President of Artist Relations, Marketing & Special Projects for Capitol Music Group (CMG).

The news was announced today by Motown Records General Manager Marc Byers and CMG Senior Vice President of Global Marketing Gabriela Schwartz, to whom Davis reports.

In her elevated role, Davis will lead marketing, development and artist relations efforts on a broad array of CMG artists, particularly those associated with Motown Records and Quality Control Music.

She has previously worked with artists such as Lil Baby, City Girls, Queen Naija, QCs Control the 4th Quarter and emerging talent from Motown.

Davis is based in Hollywood in the company’s iconic Capitol Tower.

“I’m excited to be taking on a forward thinking role within CMG, working with the team to help continue to develop music’s next superstars.”

Britney Davis

Prior to joining CMG as Senior Director of Marketing & Operations in 2018, Davis spent seven years at Phase Too Inc.

During her tenure there, she provided management, marketing and A&R duties for the company’s roster.

Davis worked as day-to-day management for Grammy-award winner Chris Brown, while working alongside him & Phase Too founder Tina Davis to develop CBE Records, overseeing the songwriting and artist development for Sevyn Streeter, Kevin McCall & Joelle James.

She began her career in 2008 as an intern at Creative Artists Agency (CAA) and later an assistant at The Agency Group, both in Los Angeles.

“Britney epitomizes the new generation of music and entertainment executives, and we are incredibly excited about her well-deserved ascension to Vice President.”

Marc Byers and Gabriela Schwartz, Capitol Music Group

Byers and Schwartz said: “Britney’s broad experience provides her with an important perspective on artist development that will continue to be of great value to the CMG, Motown and Quality Control artists under her purview.

“Britney epitomizes the new generation of music and entertainment executives, and we are incredibly excited about her well-deserved ascension to Vice President.”

Davis added: “I’m excited to be taking on a forward thinking role within CMG, working with the team to help continue to develop music’s next superstars.

“I thank Marc, Gabriela, Ethiopia Habtemariam and the entire leadership team for recognizing my unique skill set and reimagining the scope of the modern executive.

“I look forward to the continued success of our team – on the charts and within the culture!”

 

 Music Business Worldwide

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MTV Names VMA 2019 Nominees - The Complete List | hypebot

VMA_SebastianManiscalco_MTV has unveiled the nominations for the 2019 VMAs. Ariana Grande and Taylor Swift lead with 10 nods each in categories including, “Video of the Year,” “Song of the Year” and “Best Pop.” Billie Eilish and Lil Nas X led the “Best New Artist” nominees.

This year’s show will introduce two new categories, “Best K-Pop” and “Video for Good.” 

MTV revealed nominations today via the “VMA chatbot,” giving fans a sneak peek at the nominees by sending a DM (direct message) to @VMAs on Facebook Messenger and Twitter.

The “VMAs,” which will be hosted by comedian, actor and best-selling author Sebastian Maniscalco, will air live from Prudential Center in Newark, N.J. on Monday, August 26 at 8:00 p.m. ET/PT, and across MTV’s global network of channels in more than 180 countries, reaching more than half a billion households.

Bruce Gillmer and Den of Thieves co-founder Jesse Ignjatovic are Executive Producers for the 2019 “VMAs.” Barb Bialkowski is Co-Executive Producer. Jackie Barba, Joe Buoye and Alicia Portugal serve as Executive in Charge of Production. Amani Duncan is Executive in Charge of Music.  Wendy Plaut is Executive in Charge of Celebrity Talent.

Official sponsors of the 2019 “MTV Video Music Awards” include EXTRA™ Refreshers, PEPSI®, Taco Bell®, and the 2020 Toyota Corolla.

Fan Voting & The VMA Power Hour 

Beginning today, fans can vote for their favorites across 14 gender-neutral VMA categories, including “Video of the Year,” “Artist of the Year,” “Best Collaboration” and more by visiting vma.mtv.com until Thursday, August 15. Voting for the “Best New Artist” award will remain active until the VMA broadcast.

Fans on Twitter and Facebook Messenger can also slide into VMAs’ DMs to cast an additional vote for “Video of the Year,” “Song of the Year,” and more. Also launching this week, fans will be able to ask Alexa to “vote for the VMAs” for “Artist of the Year” within the MTV skill on Alexa-enabled devices. 

New rhis year,  MTV is rewarding fans for voting through VMA Power Hour on vma.mtv.com, where their votes are doubled from 1-2pm ET daily. Superfans can come back each day within this voting window beginning tomorrow to show double the love for their favorite artists.

VMA-LOGO_White-01[2]

COMPLETE LIST OF VMA 2019 NOMINEES

VIDEO OF THE YEAR

21 Savage ft. J. Cole –  “a lot” – Epic Records

Billie Eilish – “Bad Guy” – Darkroom/Interscope Records

Ariana Grande – “thank u, next” – Republic Records

Jonas Brothers – “Sucker” – Republic Records

Lil Nas X ft. Billy Ray Cyrus – “Old Town Road (Remix)” – Columbia Records

Taylor Swift – “You Need to Calm Down” – Republic Records

 

ARTIST OF THE YEAR

Cardi B – Atlantic Records

Billie Eilish – Darkroom/Interscope Records

Ariana Grande – Republic Records

Halsey – Astralwerks/Capitol Records

Jonas Brothers – Republic Records

Shawn Mendes– Island Records

 

SONG OF THE YEAR

Drake – “In My Feelings” – Young Money/Cash Money/Republic Records

Ariana Grande – “thank u, next” – Republic Records

Jonas Brothers – “Sucker” – Republic Records

Lady Gaga & Bradley Cooper – “Shallow” – Interscope Records

Lil Nas X ft. Billy Ray Cyrus – “Old Town Road (Remix)” – Columbia Records

Taylor Swift – “You Need to Calm Down” – Republic Records

 

BEST NEW ARTIST, presented by Taco Bell®

Ava Max – Atlantic Records

Billie Eilish – Darkroom/Interscope Records

H.E.R. – MBK/RCA Records

Lil Nas X – Columbia Records

Lizzo – Atlantic Records

ROSALÍA – Columbia Records

 

BEST COLLABORATION

Lil Nas X ft. Billy Ray Cyrus – “Old Town Road (Remix)” – Columbia Records

Lady Gaga & Bradley Cooper – “Shallow” – Interscope Records

Shawn Mendes & Camila Cabello – “Señorita” – Island Records

Taylor Swift ft. Brendon Urie of Panic! At The Disco – “ME!” – Republic Records

Ed Sheeran & Justin Bieber – “I Don’t Care” – Atlantic Records

BTS ft. Halsey – “Boy With Luv” – Columbia Records

 

PUSH ARTIST OF THE YEAR

Bazzi – Atlantic Records

CNCO – RCA Records

Billie Eilish – Darkroom/Interscope Records

H.E.R. – MBK/RCA Records

Lauv – LAUV/AWAL

Lizzo – Atlantic Records

 

BEST POP

5 Seconds of Summer – “Easier” – Interscope Records

Cardi B & Bruno Mars – “Please Me” – Atlantic Records

Billie Eilish – “Bad Guy” – Darkroom/Interscope Records

Ariana Grande – “thank u, next” – Republic Records

Jonas Brothers – “Sucker” – Republic Records

Taylor Swift – “You Need to Calm Down” – Republic Records

 

BEST HIP HOP

2 Chainz ft. Ariana Grande – “Rule the World” – 2 Chainz Ps/Def Jam

21 Savage ft. J. Cole –  “a lot” – Epic Records

Cardi B – “Money” – Atlantic Records

DJ Khaled ft. Nipsey Hussle & John Legend – “Higher” – We The Best/Epic Records

Lil Nas X ft. Billy Ray Cyrus – “Old Town Road (Remix)” – Columbia Records

Travis Scott ft. Drake – “SICKO MODE” – Epic Records/Grand Hustle/Cactus Jack

 

BEST R&B

Anderson .Paak ft. Smokey Robinson – “Make It Better” – Aftermath Ent/12 Tone Music

Childish Gambino – “Feels Like Summer” – RCA Records

H.E.R. ft. Bryson Tiller – “Could’ve Been” – MBK/RCA Records

Alicia Keys – “Raise A Man” – RCA Records

Ella Mai – “Trip” – 10 Summers/Interscope Records

Normani ft. 6lack – “Waves” – Keep Cool/RCA Records

 

BEST K-POP

BTS ft. Halsey – “Boy With Luv” – Columbia Records

BLACKPINK – “Kill This Love” – YG Entertainment/Interscope Records

Monsta X ft. French Montana – “Who Do You Love” – Epic Records

TOMORROW X TOGETHER – “Cat & Dog” – Republic Records

NCT 127 – “Regular” – SM Entertainment

EXO – “Tempo” – SM Entertainment

 

BEST LATIN

Anuel AA, Karol G – “Secreto” – Universal Music Latino

Bad Bunny ft. Drake – “MIA” – OVO Sound/Warner Bros. Records

benny blanco, Tainy, Selena Gomez, J Balvin – “I Can’t Get Enough” – NEON16/Friends Keep Secrets/Interscope Records

Daddy Yankee ft. Snow – “Con Calma” – Universal Music Latin Entertainment

Maluma – “Mala Mía” – Sony Music US Latin

ROSALÍA & J Balvin ft. El Guincho – “Con Altura” – Columbia Records

 

BEST DANCE

The Chainsmokers ft. Bebe Rexha – “Call You Mine” – Disruptor/Columbia Records

Clean Bandit ft. Demi Lovato – “Solo” – Big Beat/Atlantic Records

DJ Snake ft. Selena Gomez, Ozuna & Cardi B – “Taki Taki” – DJ Snake Music Productions Ltd/Geffen

David Guetta, Bebe Rexha & J Balvin – “Say My Name” – Big Beat/Atlantic Records

Marshmello & Bastille – “Happier” – Capitol Records

Silk City & Dua Lipa – “Electricity” – Columbia Records

 

BEST ROCK

The 1975 – “Love It If We Made It” – Dirty Hit/Interscope Records

Fall Out Boy – “Bishops Knife Trick” – Island Records

Imagine Dragons – “Natural” – KIDinaKORNER/Interscope Records

Lenny Kravitz – “Low” – BMG Rights Management (UK) Ltd.

Panic! At The Disco – “High Hopes” – Elektra Music Group

twenty one pilots – “My Blood” – Elektra Music Group

 

VIDEO FOR GOOD 

Halsey – “Nightmare” – Astralwerks/Capitol Records

The Killers – “Land of the Free” – Island

Jamie N Commons, Skylar Grey ft. Gallant – “Runaway Train” – Interscope Records

John Legend – “Preach” – Columbia Records

Lil Dicky – “Earth” – Dirty Burd, Inc./Commission/BMG

Taylor Swift – “You Need to Calm Down” – Republic Records

 

BEST DIRECTION

Billie Eilish – “Bad Guy” – Darkroom/Interscope Records – Directed by Dave Meyers

FKA twigs – “Cellophane” – Young Turks – Directed by Andrew Thomas Huang

Ariana Grande – “thank you, next” – Republic Records – Directed by Hannah Lux Davis

Lil Nas X ft. Billy Ray Cyrus – “Old Town Road (Remix)” – Columbia Records – Directed by Calmatic

LSD ft. Labrinth, Sia, Diplo – “No New Friends” – Columbia Records – Directed by Dano Cerny

Taylor Swift – “You Need to Calm Down” – Republic Records – Directed by Drew Kirsch & Taylor Swift

 

BEST VISUAL EFFECTS

Billie Eilish – “when the party’s over” – Darkroom/Interscope Records – Visual Effects by Ryan Ross, Andres Jaramillo

FKA twigs – “Cellophane” – Young Turks – Visual Effects by Matt Chandler, Fabio Zaveti for Analog

Ariana Grande – “God is a Woman” – Republic Records – Visual Effects by Fabrice Lagayette, Kristina Prilukova & Rebecca Rice for Mathematic

DJ Khaled ft. SZA – “Just Us” – We The Best/Epic Records – Visual Effects by Sergii Mashevskyi

LSD ft. Labrinth, Sia, Diplo – “No New Friends” – Columbia Records – Visual Effects by Ethan Chancer

Taylor Swift ft. Brendon Urie of Panic! At The Disco – “ME!” – Republic Records – Visual Effects by Loris Paillier & Lucas Salton for BUF VFX

 

BEST EDITING

Anderson .Paak ft. Kendrick Lamar – “Tints” – Aftermath Ent/12 Tone Music – Editing by Elias Talbot

Lil Nas X ft. Billy Ray Cyrus – “Old Town Road (Remix)” – Columbia Record – Editing by Calmatic

Billie Eilish – “Bad Guy” – Darkroom/Interscope Records – Editing by Billie Eilish

Ariana Grande – “7 Rings” – Republic Records – Editing by Hannah Lux Davis & Taylor Walsh

Solange – “Almeda” – Columbia Records – Editing by Solange Knowles, Vinnie Hobbs, Jonathon Proctor

Taylor Swift – “You Need to Calm Down” – Republic Records – Editing by Jarrett Fijal

 

BEST ART DIRECTION

BTS ft. Halsey – “Boy With Luv” – Columbia Records – Art Direction by JinSil Park, BoNa Kim (MU:E)

Ariana Grande – “7 Rings” – Republic Records – Art Direction by John Richoux

Lil Nas X ft. Billy Ray Cyrus – “Old Town Road (Remix)” – Columbia Records – Art Direction by Itaru Dela Vegas

Shawn Mendes & Camila Cabello – “Señorita” – Island Records – Art Direction by Tatiana Van Sauter

Taylor Swift – “You Need to Calm Down” – Republic Records – Art Direction by Brittany Porter

Kanye West and Lil’ Pump ft. Adele Givens – “I Love It” – Warner Records & Def Jam Music Group – Art Direction by Tino Schaedler

 

BEST CHOREOGRAPHY

FKA twigs – “Cellophane” – Young Turks – Choreography by Kelly Yvonne

ROSALÍA & J Balvin ft. El Guincho – “Con Altura” – Columbia Records – Choreography by Charm La’Donna

LSD ft. Labrinth, Sia, Diplo – “No New Friends” – Columbia Records – Choreography by Ryan Heffington

Shawn Mendes & Camila Cabello – “Señorita” – Island Records – Choreography by Calvit Hodge, Sara Biv

Solange – “Almeda” – Columbia Records – Choreography by Maya Taylor, Solange Knowles

BTS ft. Halsey – “Boy With Luv” – Columbia Records – Choreography by Rie Hata

 

BEST CINEMATOGRAPHY

Anderson .Paak ft. Kendrick Lamar – “Tints” – Aftermath Ent/12 Tone Music – Cinematography by Elias Talbot

Billie Eilish – “hostage” – Darkroom/Interscope Records – Cinematography by Pau Castejon

Ariana Grande – “thank you, next” – Republic Records – Cinematography by Christopher Probst

Shawn Mendes & Camila Cabello – “Señorita” – Island Records – Cinematography by Scott Cunningham

Solange – “Almeda” – Columbia Records – Cinematography by Chayse Irvin, Ryan Marie Helfant, Justin Hamilton

Taylor Swift ft. Brendon Urie of Panic! At The Disco – “ME!” – Republic Records – Cinematography by Starr Whitesides

 

Ariana Grande – 10 Nominations

Video of the Year

Artist of the Year

Song of the Year

Best Pop

Best Hip-Hop

Best Direction

Best Visual Effects

Best Editing

Best Art Direction

Best Cinematography

 

Taylor Swift – 10 Nominations

Video of the Year

Song of the Year

Best Collaboration

Best Pop

Best Direction 

Best Visual Effects 

Best Editing

Best Art Direction

Best Cinematography

Video For Good

 

Billie Eilish – 9 Nominations

Video of the Year

Artist of the Year

Best New Artist, presented by Taco Bell®

Best Pop

Best Direction 

Best Visual Effects

Push Artist of the Year

Best Editing

Best Cinematography

 

Lil Nas X – 8 Nominations

Video of the Year

Song of the Year

Best New Artist, presented by Taco Bell®

Best Collaboration

Best Hip-Hop

Best Direction

Best Editing

Best Art Direction

 

Halsey – 6 Nominations

Artist of the Year

Best Collaboration

Video For Good

Best Art Direction

Best Choreography

Best K-POP

 

Shawn Mendes – 5 Nominations

Artist of the Year

Best Collaboration

Best Art Direction

Best Choreography 

Best Cinematography

 

Camila Cabello – 4 Nominations

Best Collaboration

Best Art Direction

Best Choreography 

Best Cinematography

 

Cardi B – 4 Nominations

Artist of the Year

Best Pop

Best Hip-Hop

Best Dance

 

J Balvin – 4 Nominations

Best Latin 

Best Latin

Best Dance

Best Choreography

 

Jonas Brothers – 4 Nominations

Video of the Year

Artist of the Year

Song of the Year

Best Pop

 

BTS – 4 Nominations

Best Collaboration

Best Art Direction

Best Choreography

Best K-POP

 

Anderson .Paak – 3 Nominations

Best R&B

Best Editing

Best Cinematography

 

Drake – 3 Nominations

Song of the Year

Best Hip-Hop

Best Latin

 

FKA twigs – 3 Nominations

Best Direction

Best Visual Effects

Best Choreography

 

H.E.R. – 3 Nominations

Best New Artist

Best R&B

Push Artist of the Year

 

LSD – 3 Nominations

Best Direction

Best Visual Effects

Best Choreography

 

ROSALÍA – 3 Nominations

Best New Artist, presented by Taco Bell®

Best Latin

Best Choreography

 

Solange – 3 Nominations

Best Editing

Best Choreography 

Best Cinematography

 

 

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Here is What Every Major Label, Subsidiary Earned In 2018, according to Billboard | hypebot

How To Strategically Set Up Your Next Music Release [Music Biz Weekly Podcast] | hypebot

Amber Horsburgh 1-24 screenshotAmber Horsburgh joins Jay Gilbert on the Music Biz Weekly Podcast to talk about strategically setting up a release by reviewing tactics from two amazing resources that she's created. Amber is an LA-based strategist who helps artists and brands connect with their audience through campaigns that are both insight-driven and rooted in culture.

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