Industry News Courtesy Of Hypbot                   

This One Chart Shows Why Spotify Added Video 

spotify videoLast week, Spotify added audio and video content from a wide variety of major media companies including NPR, MTV, Vice and The Nerdist.  While seen as a preemptive move prior to next month's Apple/Beats music relaunch, there was also another reason that the music streamer added video.

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 Spotify users love video online.

According to data from GlobalWebIndex and crunched by Business Insider, 87% of Spotify users regularly watch video online. More than 60% streamed a full-length show last month and 1/3 of Spotify currently pay for Netflix or a similar video streaming service each month.

This chart explains why Spotify added video   Business Insider India

Jolin Tsai's Same-Sex Marriage Music Video Is Not Banned Here [WATCH] 

Jolin TsaiCensorship of music, almost unthinkable in the U.S. and Europe, still exists in other parts of the world. Taiwanese singer Jolin Tsai's "We're All Different, Yet The Same" song and music video featuring same-sex relationships has been banned on TV and radio in Singapore by the government agency responsible for censorship.

Watch this very tame depiction of same-sex relationships with English subtitles added:

  

Announcing The Hypebot Sessions @ New Music Seminar 2015  

image from musicconsultant.comWe've always been selective about partnerships, but this one is a perfect fit. We're teaming up with the New  Music Seminar to produce The Hypebot Sessions as the kickoff to NMS 2015. We're planning an exciting array of actionable sessions .aimed directly at the indie and D.I.Y. music community.

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New Music Seminar and Hypebot team up to kick off NMS’s annual conference, June 21-23, 2015 at the Wyndham New Yorker Hotel in New York City. Three days and nights dedicated in exploring new ways to support artists, exchanging business ideas, and seeing the next generation of stars during the New Music Nights Festival featuring the NMS Artist on the Verge Project.

Sunday, June 21st, the New Music Seminar kicks off the Hypebot Sessions with the Movements: DIY: The New Class, The Four Agreements for Music Warriors, and Touring for Road Warriors. These sessions will guide you through what it takes to succeed as a DIY artist, understanding the types of agreements you will make in your career, negotiation points, how to prepare for the challenges of hitting the road, and how to land that coveted festival slot.

The day will close out with a wind-down session for artists, then head downtown to Webster Hall for the Opening Night Red Carpet Party.

In addition to the Hypebot Sessions, NMS covers all aspects of the music business dedicated to the topics of creation, exposure, and monetization. Managers, Songwriters, Producers, Streaming, Video, Distribution, International Opportunities, A&R, and the “What if” live-action Movement – where nobody will know what the topic is until the envelop is opened and the Players will react to the situation.

MORE INFO: 

 

How To Tame The Wild West Of Music Supervision 

Blogbanner_ebook_0Music supervision has roots dating back to silent films, when composers provided background music in the theaters during the showing. Now, the craft has evolved into a multifaceted profession with responsibilities that range from licensing, curation, and even producing.

                                                                                                            

Guest Post by Zach Miller of Music Dealers

Music executives have found themselves pioneering through a Wild West of music supervision these past several years. Finally, a new sheriff has sallied forth into the Wild: The Guild of Music Supervisors.

For our new eBook, The Marketing Power of Music: Music + Television, we spoke with two senior members of the Guild, John Houlihan and Jonathan McHugh, as well as renowned music executive Russell Ziecker, EVP of Television Music at Lionsgate Entertainment.

Here’s a portion of our conversation, which explores the wide range of responsibilities of the modern music supervisor in today’s evolving Wild West of Music + Television.

with John Houlihan, President of the Guild, and Jonathan McHugh, Secretary of the Guild

Comment-bubbles-on-blackboardMusic Dealers: So, can you walk us through the function of the Guild of Music Supervisors?

John Houlihan: The purpose of the guild is to uplift and uphold the quality of the craft, and we make sure that all of our members are experienced, ethical, and would be members that will help us all form an experienced collective to help uplift the true craft of music supervision.

Jonathan McHugh: A lot of times, if you look at the budget of a film, the only thing lower on line item budget than music and music supervisor is the contingency. And you can't mess with the contingency. So music and music supervisors’ line items are the ones that get hit first.

It's like our craft is in danger, and we need to support it. 

MD: The more advanced the supervisor is, the bigger role that they play in the production. At what stage are you starting to get involved? When does the process start for a music supervisor, and when does it end? And what are the steps taken from beginning to end?

JH: That's a great question, because ideally it starts in pre-production with the script. You have to plan how all of the on-camera music issues are going to be handled during the shoot, so often we start in pre-production with the script phase and then we go all the way through the final mix of the film. We're one of the first ones in and one of the last ones to go, because the music issues are still vast and complicated. It's really a journey from beginning to end. Having said that, sometimes people get in trouble with their music because they haven't hired a Music Supervisor at the beginning, so we get brought in at post-production, and a lot of those jobs are cleaning up a mess and getting the project out of problems that they can't get themselves out of before they hired a Music Supervisor.

JM: It’s always best to start at the beginning. I also have a record company and I've produced probably fifty soundtracks in my life, so I'll sometimes also put the music together into a compilation and put it out. So then I'm attached to it forever, in a way, because you're obviously trying to help the marketing of that movie all down the road.

MD: What is some of the rhetoric you each use to promote music supervision, because it is as much of an art as a profession, and I was wondering how you attach objective value to a craft that isn't so easily monetized?

JM: Relationships are our stock and trade. Knowing all of the licensing people, all of the managers, is super important. It’s having someone on the team that can a) get to artists, b) find brand new stuff that's going to blow up, and c) get the best possible prices on songs. We're one of the few pieces of the business that touches everything, from publishing to labels to marketing to A&R. We deal with everybody, and our job is to know as many people as possible to help make the music in the film great.

JH: Our typical challenge is to deliver a million-and-a-half dollars’ worth of market value music licenses to a film for $500,000 film music licensing budget, so how do we do that? We do that with skilled negotiation, with using our powerful contacts, with creative solutions, and we use it with our experience of working with a set of filmmakers and the studio.

with Russell Ziecker, EVP of Television Music, Lionsgate Entertainment

Music Dealers: Can you briefly talk to us about your role at Lionsgate?

Russell Ziecker: So I’m Executive Vice President of Television Music at Lionsgate, which just really means I oversee the music department and all of the facets of it, including licensing, the staffing up for individual shows, and all of our television productions, documentaries, and mini-series.

MD: Could you walk us through step-by-step a really successful single from one of Nashville’s episodes, from how it was written to the decision to use it in that manner?

RZ: One is a song called “Black Roses”, which was one of the first songs written for our show. It was written by Lucy Schwartz who, if you haven’t heard of her, is out here in LA. I instigated the phone call with her, had Frankie Pine on, our music supervisor, and we talked about the upcoming storyline and where some of the characters were headed.

Lucy delivered three songs. She thought the first one was definitely the one to use, - she had a character in mind. And same with the second one. For the third one, she said, ‘You know, this reminded me of Nashville, and you can have it; but, if you don’t use it, I’m just going to use it on my record.’ And it was a song called “Black Roses”, which worked really well for our character Scarlett, whose mother had come back into the picture or was introduced to the television audience for the first time. Very dysfunctional relationship. Her mom was kind of a fallen star and she was trying to live out her unrequited dreams through her daughter’s eyes and through her character, Scarlett. So there was a lot of tension between the two characters, and this was the perfect song lyrically and just told that storyline better than anything else we’d found.

Lucy later came out and was part of the ‘On the Record’ show we did, where the whole cast performed at the Ryman Theatre. I think the night the episode aired, we downloaded 80,000 singles for free. The song, and the way it was used in the episode, really had an emotional impact I think on the viewers, because the people instantly downloaded it. It was great.

MD: Can you talk with us a bit about your other responsibilities as EVP of Television Music, such as working with the networks?

RZ: We had this show Weeds for example, an original to Showtime. It helped to brand their network as they relaunched it as a place for original material. And we put ourselves in the same position when we did the show Mad Men for AMC. And we produced the second originally-produced show for Netflix for example, the second show for WGN when they rebranded as a place for original content. So we’ve had a lot of experience where we’re branding a new show content with an existing brand, but they’re redeveloping themselves and relaunching or rebranding their network.

MD: And how does music into play in that rebranding process?

RZ: My responsibilities lie in the flavoring of the show, more than mnemonics. There was a specific sound in the show Weeds that we developed in the pilot, and we were able to carry that through its multiple variations of evolution and change. We help brand the shows and kind of find their initial voice, before they go to air.

MD: What is the primary objective of a network focusing on music or thinking about music?

RZ: Well, the number one thing, from a production studio perspective, is to support the content that you’re creating. Number two is, I would say, having all your licenses addressed in such a way that you don’t have to go back and swap out all the music you’ve licensed. Since I’ve been here, I have developed a policy where we obtain TV broad rights in which we don’t have to go back for options outside of soundtracks. Everything is worldwide, in perpetuity, - all of our licensing is done that way. So it’s a pretty tight ship. And I’d say number three is not getting sued for anything falling through the cracks. That’s what makes a functional studio music department.

Get your copy now!

The Marketing Power Of Music: Music + Television is now available:

Via Smashwords (Free)
Via Amazon ($2.99)

or download a free version directly from Music Dealers: mobi / epub



Indie Artist Zoe Keating Releases New Spotify Payment Stats 

ZoeIndependent musician and artist advocate Zoe Keating has released another detailed spreadsheet that shows her payments from Spotify. Zeating, who has chosen to have only some of her music available on Spotify, has had her music streamed almost 1.5 million times there.

Spotify logoThe total payout?  Under $1500. 

"Don't worry about me, my stool has many legs ;-)," Keating tweeted after releasing the numbers. "I'm just showing you what the actual numbers are." 

See the full updated spreadsheet here.

Your Summer Music Festival Survival Guide  

ImagesSummertime is here and that means it is time to break out all of the gear to hit the festival circuit right. But do you really have EVERYTHING you need? Check out today's article to see if you have all of the essentials on your festival checklist

                                                                                         

With today being Memorial Day, summer is unofficially here. Summer is a magical time for the music industry. Outdoor music festivals, in particular, are what music buffs wait many months for. But what if it is your first time hitting the festival circuit? Maybe its not your first festival, but you want to brush up on the basics. Have no fear! Cherie Nelson shares in this article the basic items you need to survive the summer fesitival haziness. 

In the process of planning any trip, you think about many things. You think about how much the cost of the transportation, food, clothing and other fun things. But sometimes in the midst of planning we forget the basics. Did you remember to bring a water bottle that can be refilled in the festival? Did you remember to pack extra sunscreen for those long hours out in the sun? There are just some of the things Cherie Nelson tells us to bring in her latest article. Check out more of her tips on MusicThinkTank.com. 

"Summer music festival season is an opportunity to bask in the sunshine while you dance with the energized masses to the exalted jams of your favorite bands. While music festivals are filled with booming beer gardens, great dance parties, and delicious festival foods, there are also many frequently overlooked elements you must remember to take into consideration. Long lines, extreme heat, vast crowds, and unexpected emergencies could put a damper on your festival experience, if you’re not prepared."

[Continue Reading]

 

Fonder Buys $774 Million SFX Stock, Takes EDM Giant Private 

image from s3.amazonaws.comAnyone old enough to remember the early days of Live Nation (then known as SFX), know that founder Bob Sillerman has more financial tricks up his sleeve than a day trader on crack. Today, Sillerman, played his latest hand, taking EDM giant SFX private again.

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SFX Entertainment (SFXE) has signed an agreement that will take the publicly traded EDM music and tech company private again.

sillerman sfxIn a deal announced this morning, Robert F.X. Sillerman, the Company’s Chairman and Chief Executive Officer, of SFX Entertainment, will acquire all the outstanding common stock of SFX that he does not already own. He currently controls about 37.4 percent of the outstanding stock of SFX.

Under the terms of the agreement, SFX stockholders will receive $5.25 in cash for each share of SFX common stock, in a transaction valued at approximately $774 million.

Stockholders will also be able to elect to retain stock in the Company in lieu of cash. The price represents a premium of 42% over SFX’s closing share price of $3.70 on February 24, 2015, the last trading day before announcement of the going-private transaction, and a premium of approximately 49% over the volume weighted average closing share price during the previous 30 trading days ending February 24, 2015.

What Is SFX ?

image from s3.amazonaws.comSFX Entertainment  (NASDAQ: SFXE) is the largest global producer of live events and digital entertainment content focused exclusively on electronic music culture (EMC).

SFX owned festivals incuse Tomorrowland, TomorrowWorld, Mysteryland, Sensation, Stereosonic, Electric Zoo, Disco Donnie Presents, Life in Color, Rock in Rio, Nature One, Mayday, Decibel, Q-Dance, Awakenings, and React Presents, as well as the innovative ticketing services Flavorus and Paylogic.

SFX also owns and operates Beatport.

 

Picking The PPM Ponies: The Race For Radio's Summer Winner Is On 

ImagesWith the second leg of the Triple Crown set to get underway this weekend in Baltimore, horse racing is once again enjoying its annual moment in the spotlight. Over on the radio dial, it’s also a big time of year for jockeying; that is, tracking the fortunes of major radio formats with summer right around the corner. 

                                                                                                     

Guest Post from Nielson

In March, we saw Pop Contemporary Hit Radio (CHR) and Classic Rock bolt out of the gate strong, and with the release of Nielsen’s April portable people meter (PPM) results, Hot Adult Contemporary (AC) and Country are also looking to show in the race for summertime success on the airwaves.

Historically, the crown of ‘format of the summer’ is awarded to the major format that sees the most audience growth during June, July and August compared to the first five calendar months of the year. There’s still a ways go around the yearly track, but as we head towards the first turn, let’s examine the pole positions for some of radio’s most popular formats.

After a spike last month among all listeners aged 6 and over, Pop CHR dipped slightly in April (going from 8.7% to 8.5%) but is still ahead of its pace looking back over the past four years. The format held steady with 18 to 34 year olds since March ( 12.8%), and in the 25-54 demographic, the format trended down just a tenth of a share-point (9.5% to 9.4%). Looking at the chart below, Pop CHR is out of the starting gate strong this year compared to past years.

POP CHR APRIL LISTENING TRENDS

Pop CHR Apr-12 Apr-13 Apr-14 Apr-15
Persons 6+ 8.1% 8.2% 8.2% 8.5%
Persons 18-34 12.2% 12.5% 12.1% 12.8%
Persons 25-54 8.2% 8.7% 9.0% 9.4%
CHR—Contemporary Hit Radio.
Source: Nielsen

Radio21However, the real headline story this month is the record-setting pace that Classic Rock continues to set. For the third straight month, the format went out and set new records for audience share among all three of the major audience groups we examine. Here are the growth trends from February to April: 5.1%-5.2%-5.3% among listeners 6+, 4.4%-4.6%-4.8% with audiences 18-34 and 5.6%-5.7%-6.0% in the 25-54 demographic. In racing terms, these have been some historic splits for Classic Rock. If the format keeps up this pace, it could be celebrating in the winner’s circle once summer concludes.

CLASSIC ROCK APRIL LISTENING TRENDS

Classic Rock Apr-12 Apr-13 Apr-14 Apr-15
Persons 6+ 3.7% 4.1% 4.7% 5.3%*
Persons 18-34 3.2% 3.4% 3.9% 4.8%*
Persons 25-54 4.4% 4.6% 5.1% 6.0%*
*New record
Source: Nielsen

Speaking of a record-setting pace, Hot AC isn’t far behind Classic Rock this month. While we haven’t mentioned the format recently, it has been quietly having another great year and breaking records along the way. In April, Hot AC set new records for its best share under PPM measurement for both listeners 6 and older (6.7%, topping the 6.6% mark set in the holiday book and repeated in both February and March) and 25-54 (7.3% , breaking the 7.2% mark it achieved in each of the last two months). Hot AC had a huge summer back in 2011 and is poised to do well again this year as we head into barbeque and flip-flop season.

HOT AC APRIL LISTENING TRENDS

Hot AC Apr-12 Apr-13 Apr-14 Apr-15
Persons 6+ 5.4% 5.4% 6.2% 6.7%*
Persons 18-34 6.0% 5.9% 7.1% 7.5%
Persons 25-54 6.2% 6.0% 6.9% 7.3%*
*New record
AC—Adult Contemporary.
Source: Nielsen

It doesn’t seem appropriate to call Country a “dark horse” in this race since it wears the crown of being radio’s number one national format. But after a significant cooling-off period following several years of explosive growth, the format is once again on the fast track.

Overall, April was a good month for Country, which saw positive share growth across all three age groups, posting its best month since last November. The format moved from 7.6% to7.8% among listeners 6+, from 8.5% to 9.0% with 18- 34 year olds, and from 7.4% to 7.6% with those 25-54. What stands out is the increase of half a share-point with 18-34 listeners; Country hasn’t seen this kind of growth in its 18-34 audience share in a single month in more than four years.

And this could be the start of several strong months for the format. The last two summers have been very good to Country; 2013 was the format’s best in terms of percentage of audience growth, while 2014 was its all-time PPM peak. Comparing this April’s results to years past, Country has now positioned itself to make a run at those successes again, though it will take some significant gains in the next few months to match or approach 2014’s record highs.

COUNTRY APRIL LISTENING TRENDS

Country Apr-12 Apr-13 Apr-14 Apr-15
Persons 6+ 7.2% 7.7% 8.1% 7.8%
Persons 18-34 8.2% 9.0% 9.9% 9.0%
Persons 25-54 7.0% 7.4% 7.9% 7.6%
Source: Nielsen

One final notable result this month is that Urban Contemporary continues to rise. Expanding on March’s then-record 6.4% with listeners aged 18-34, in April the format upped the bar again by posting a 6.5% share with the same demographic. After never breaking the 6-share ceiling in the history of PPM in the 18-34 group, Urban Contemporary has now done it in six of the last seven months.

What’s more, Urban Contemporary’s growth is in many ways happening separate from the upstart popularity of the classic hip-hop trend, which kicked off last fall. This is because, of the dozen or so new stations that have gone to classic hip-hop, only two of them are currently classified as an Urban Contemporary station. The others are a mixture of Rhythmic AC, Urban AC and Rhythmic CHR, meaning they aren’t contributing to the growth of Urban Contemporary formats in our monthly trends.  

APRIL 2015 PPM MARKETS TOP 5 FORMATS BY AVERAGE QUARTER HOUR SHARE (FULL WEEK DAYPART)

Persons 6+ Adults 18-34 Adults 25-54
News/Talk (8.8%) Pop CHR (12.8%) Pop CHR (9.4%)
Pop CHR (8.5%) Country (9.0%) Country (7.6%)
Country (7.8%) Hot AC (7.5%) AC (7.3%)
AC (7.5%) Urban Contemporary (6.5%) Hot AC (7.3%)
Hot AC (6.7%) AC (6.2%) News/Talk (6.2%)
PPM—Portable people meter. CHR—Contemporary Hit Radio. AC—Adult Contemporary.
Source: Nielsen

Note: Nielsen Audio officially has 48 measured PPM markets, but three of them (Nassau-Suffolk, Middlesex-Somerset-Union, and San Jose) are included in the larger New York and San Francisco metro areas. Therefore, the listening data from those markets are included in these results even though we did not break them out separately.

Data used in this report is inclusive of multicultural audiences. Hispanic consumer audiences are composed of both English and Spanish speaking representative populations.

How To Get A Record Deal - 2015 Edition 

Maf-its-worth-reading-by-postingdiva-200I recently had the pleasure of pitching a very talented, well produced artist to major labels. Years ago I was a VP of a major label and have been in the business for decades. We all know that record sales have been taken over by streaming. Very few people are buying records anymore. So it’s tough these days to be a record label.

                                                                                      

Guest Post by Stephen Wrench on Musik and Film

The artist I was pitching spent several hundred thousand dollars with the best producers and studios. The production is fabulous. The songs are great and so are the performances. With that, one would think that obtaining a major label would not be an issue.

After pitching the album to about every major label, I started making calls to my contacts at the labels. Naturally my first question was “How did you like the music”? I was shocked at the answers I received. “Well I took a look at their social media numbers and they weren’t very good”. But how did you like the music? They never listened to it because their social media numbers were not good enough?

ContractSo this is what music has come to a social media contest? Where would the greats be today if they were dependent upon social media numbers? Would we have ever heard Jimi Hendrix, Led Zepplin, The Rolling Stones or Michael Jackson?

Music is supposed to evoke emotion and not be just a number. Does a million you tube hits evoke emotion? Record labels’ sales may be in the toilet but maybe that is because they are concentrating on the wrong thing instead of the music. After all, it is all about the music and if the music is great and evokes emotion to make you laugh or cry, it is memorable and that’s what creates a great album, one that people actually buy.. Let’s get back to concentrating on making great music and the labels might sell some records again.

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