In this Story Behind The Song from PledgeMusic News, They Might Be Giants bassist Danny Weinkauf takes us through the creation and success of his recent children's song "Only One You" as well the the accompanying video. _____________________________ Guest Post from PledgeMusic News As the bassist for They Might Be Giants, Danny Weinkauf knows a thing or two about having a lot of fun with his music. With his Red Pants Band, Danny makes music for children and families when he’s not busy with TMBG, and today’s Story Behind The Song shows how he’s inviting others to into the creative fun as well. Check out the animated feature and Danny’s exciting, inclusive story below. Writing kids’ songs is fun. The story behind the song “Only One You” is fun for me to tell, mostly because it involves several other people without whom I could not have produced it. As the bassist for They Might Be Giants, I spend a lot of time in hotel rooms. To make the best use of all that downtime, I bring a portable recording set-up with me. One day in a hotel in (insert favorite city name here), I was thinking about my other band: the “Red Pants Band”. (We perform music for families under the name Danny Weinkauf and his Red Pants Band which includes amazing drummer Steve Plesnarski). Anybody who has ever seen us play can tell you that our bassist Tina Kenny Jones is not only a seriously gifted musician, but also gives off an incredible positive energy when she plays. I decided to write a song with her vocal abilities and personality in mind, and the result is “Only One You”. The simple general message of the song is that it’s cool to be whatever kind of person you want to be. I sketched out the music in the hotel and, when I got back to town, I recorded all the music and sent Tina a version of the song with me singing the lead vocals in a “not-for-public-listening” version of falsetto (some things can’t be unheard – haha). My wife Michelle and I sang the backing vocals, and Tina then came to my studio and sang the lead vocals and cool bridge “ooh” section. Then, just because she can, Tina played trumpet and French horn as well. My buddy Jeff Thall then mixed the track and got it sounding great. Since I was busy working with TMBG at the time, I thought it would be nice to release the song as a single. I did so and it was immediately picked up by Mindy and the rest of the team at SiriusXM Kids Place Live. The song wound up getting multiple spins a day for 3-4 months. With that type of reception, I knew I’d want to include the song on this next album and also thought a video would be great to help promote the song and album. This next bit is my favorite part of this story. The best part of an organization like PledgeMusic is that it enables fans and supporters to really get involved in the production process. (They did not ask me or direct me to say this I swear!) Through the TMBG fans word of mouth, word got out that I would be offering a pre-order of “Red Pants Band” thru PM. So a fan stepped up and offered not only to pledge for the new album but to help create a lyric video. Tim Labonte teaches animation and video at a school in Rhode Island and said he had a 15-year-old student who was very talented and would love to get the experience of making a music video. Well, she’s talented for sure, but she’s also generous and professional. Check out the video for “Only One You” created by Madison Durand and sung by Tina Kenny Jones and decide for yourselves! Related articles Sunday Is Make Music Day 2015 - Pick Up Your Instrument And Get Involved Make Music Day 2015 Announces Lineup Does The Reddit Revolt Foretell A Similar Uprising For The Music Industry?
Industry News Courtesy Of Hypbot
The life of an independent artist comes with plenty of physical and emotional challenges to overcome, and staying positive can, at times, be incredibly difficult. In this piece, we look at seven practices that can keep you from getting to down in the dumps and jeopardizing your career. _____________________________ Guest Post by Jhoni Jackson on the Sonicbids Blog The spectrum of potential difficulties and hardships you'll face as an independent musician are vast, from physically grueling tours to financial struggles to the ever-looming fear that your career's going nowhere. And let's not forget that all your feels are on display to either be loved or ripped apart by an audience every time you play (or anytime they listen to your recordings). All things considered, how do you manage to stay positive? Happiness, in a way, is made of good habits. You can guide yourself toward contentment: Avoid certain negative behaviors that contribute to chronic unhappiness, and adopt those that promote positive feelings. If you're looking for a change in your outlook, here are seven ways to help you get started. 1. Take care of yourself You know this already: you'll feel better overall if you eat well, exercise, get good sleep, and don't binge on alcohol or drugs. You don't have to go fully health-obsessed to reap rewards, though. It can be difficult to be mindful of all this on the road, but even a little extra attention to your physical well-being can be beneficial to your overall happiness. 2. Avoid comparing yourself to others Someone else's achievements are just that – theirs and theirs alone. You don't need to feel weakened by someone else's strength. Let them inspire you, sure, but don't forget that their path is a completely different one than your own. You shape your own life. [3 Reasons Why Comparisons Hurt Your Music Career (And How to Stop)] 3. Embrace your style Not only should you avoid comparing yourself to others, but also know that wholly embracing your own style can be a huge confidence (read: happiness) booster. It's not always easy, especially at first, but learning to trust your own point of view – your voice – is ultimately more fulfilling than constantly trying to match the standards or expectations of other people. 4. Reframe your thinking about responsibilities Instead of saying, "I have to do this today," tell yourself you get to do it. When it comes to your obligations as a musician – booking tours, doing promo, playing a late-night show – that shouldn't be too hard, even if you're in the middle of a lengthy tour. After all, the life you love is making music with your friends, right? [3 Strategies to Avoid Music Career Burnout and Be a Happier Musician] 5. Avoid internalizing mistakes You're gonna screw up from time to time. Just accept it. Everyone makes mistakes. Instead of wallowing, focus on learning from your mistake. Let that knowledge make you feel wiser and more confident as you move forward. 6. Don't let others drag you down You're going to encounter a lot of negativity as a musician. That's the nature of an industry where artists put their creativity on display for public consumption (and judgment). Sometimes situations feel inescapable, like a musician in your scene who's always trying to one-up you or a local writer who perpetually pans your albums. In these cases, remember that you control your own happiness; nobody can take that control away without you relinquishing it. [How to Live a More Creative, Positive Life] 7. Be kind to others Generosity towards your fellow musicians and folks in your local scene can make you feel happier, and being generally nice can make you feel better overall. You believe that already, right? In case you don't, rest assured, there are studies that prove it. Jhoni Jackson is an Atlanta-bred music journalist currently based in San Juan, Puerto Rico, where she juggles owning a venue called Club 77, freelance writing and, of course, going to the beach as often as possible. Related articles REWIND: The New Music Industry's Week In Review The Musician's Guide To Setting And Achieving Goals For 2015 [Arial Hyatt] 8 Experts Make A Case For Why "Physical" Recorded Music Still Matters TuneCore partners with The Great Escape for DIY Day
The nature of music festivals these days is such that it can be hard to make your show stand out and pull in a good audience. Below we offer several suggestions for how to make the most out of your next festival tour date. __________________________________ Guest Post by Allison Ullrich of The Orchard on The Daily Rind Summer Music Festival Season is almost upon us and you know what that means: music, sunburns, bad festival attire, good food, and most importantly, more music! As festivals are becoming more than just a music experience though, it can be easy to get lost in the chaos, especially if you have a not-so-ideal time slot at the start of the day. If you fall into this category, below are a few simple steps you can take to ensure you’re making the most of your festival date and driving as many fans and soon-to-be fans to your set. Note: some of these steps might seem like no-brainers to you, but a handy list never hurts when you’re on-the-go. 1. Post, tweet, share Ok, this one’s obvious: once you know you’re playing a festival (or multiple), start promoting it on your socials (but don’t flood your followers with tour-only posts). Be sure to use the festival’s hashtag and tag the festival’s social account. Even share/re-post/re-tweet if the festival itself has posted on their socials about your performance. Once your set-time and the stage you’re playing on has been announced, post that on each of your socials. Turn it up a notch and create a graphic for fans to share. 2. Create a Facebook Event with your time slot If the festival you’re playing has an app, they should have a section where fans can add your set-time and receive a push notification before your show. Having a Facebook event created by your account, though, will allow people to share the event. People who have alerts activated on their phone will receive reminders to events they’ve RSVP’d to, so this little extra bit of promotion can’t hurt. Also — you can now stream a live performance within a Facebook event so those that have RSVP’d can see it, share it, and react to it (keep reading for more details below). 3. Create a Spotify playlist Have some bands you want to see at the festival, or listen to particular “road trip” music while on tour? Create a customized playlist for your festival and share it with your fans. 4. Make good use of video marketing Videos are a great way to create and share unique content. Post short videos the day of your performance to remind fans what time you play and at what stage or show them what you’re eating backstage to fuel yourself for the show. The key here is to get people excited about your show — or at least to get your name in front of a larger audience that you weren’t expecting to reach. 5. Take advantage of live-streaming your performance You can, and should, do this! Go Live on Facebook, Periscope and even Snapchat. If you have even one person from your team in the audience, this will be easy to do. By live-streaming your performance, you can engage with people in other cities that just might want to catch you on tour after watching your video. 6. Physically promote your set time Sometimes, it’s worth going the old school route. If there’s budget for it, create small fliers and leave them around the festival grounds. You could go bigger and create stickers or other physical promo to entice people to come to the show as well. Promotional fans are great useful tools for those sweltering summer days. 7. Create targeted ads Last but not least, if you have a room in the budget, create targeted Facebook & Instagram ads to promote your performance. The more people see your name, the more likely they are to show up to your show because “hey, I’ve heard about this band from somewhere…” You can get extremely targeted in your Facebook and Instagram ads these days, so use that to your benefit! Good luck, have fun, and most importantly: give a killer performance so your band is what people are talking about at the end of the festival!
Shamrock Capital Advisors Close $250 Million Fund To Invest In Music Publishing, Record Masters, Other Intellectual Property
Content is still king. Or at least it is to Shamrock Capital Advisors and the investors who joined their new $250 million fund to invest in music publishing rights, recorded music masters and other intellectual property. _______________________________________________ Shamrock Capital Advisors today announced the final closing of Entertainment IP Fund (EIP), a $250 million fund focused on acquiring or financing entertainment intellectual property rights including music publishing, recorded music masters, tv, film video games and other entertainment content. This marks the first fund of its type for Shamrock. EIP’s limited partners include a mix of existing and new investors to Shamrock from funds, endowments and foundations, family offices and financial institutions. EIP is managed by Shamrock from an office in Los Angeles, California with approximately $1.8 billion of assets under management. The new fund will be led by Patrick Russo (formerly a co-founder of Salter Group), who joined Shamrock as a Partner in late 2014 to pursue this new strategy for the firm. Shamrock also hired Jason Sklar (former Executive Director with JP Morgan’s Entertainment Industries Group) as a Managing Director, Andrew Landenberger (formerly with MGM) as a Vice President and Zoltan Kraus (formerly with Legendary Entertainment) as a Senior Associate. Related articles Sony Music Defeats "Iron Man" Composer's Lawsuit (For Now) Prince Has A Lawsuit On His Hands After Giving Away Someone Else's Artistic Efforts Guilty As Charged? Pakistan And The Special 301 Reports Music Publishing News 6.19.15: Apple Music â˘ Unified Licensing â˘ Spotify's ...
Beholden to faceless bureaucrats at Google, YouTube has become extremely difficult to do business with, says Chris Castle, provoking the ire of many in the music industry; and while its dominant position in online video allows YouTube to call the shots for now, it may not always be this way. ___________________________ Guest Post by Chris Castle on Music Tech Solutions Like any large organization, Google has competing bureaucracies and therefore it’s wholly-owned subsidiary YouTube does as well. YouTube’s organizational independence is additionally blurred because it is the #2 producer of revenue inside Google relative to search and advertising sales. There seems to be a three-legged stool of competing interests in dealing with YouTube which we can describe with generalized labels–the “engineers”, the “policy people” (essentially Fred Von Lohmann) who are mostly lobbyists and lawyers, and the “business people” starting with Robert Kyncl at least at the moment. It’s unclear who has the upper hand in this triumvirate, but it’s pretty clear that the business people do not control their destiny. That leaves jump ball for control of YouTube’s deals between the engineers and the policy people who seem to compete with coming up with the solution that is the worst for anyone with a passing acquaintance with private property rights in general, and artist rights in particular. I say artist rights because it’s not just copyright that is the problem with YouTube–it’s also right of publicity, control over derivative works, translations, moral rights, misappropriation, and other consent rights one would expect any artist would have. Plus copyright. Artists certainly do get some of these rights pretty much for the asking from the big bad record companies in the form of marketing restrictions, for example. Hence, “artist rights.” YouTube’s ineffective negotiating power with Big Google is particularly confusing because YouTube is both a search engine and an advertising publisher. It’s the largest video search engine in the world. Once the European Commission gets through fining Google for predatory business practices with Google search, and finishes up the Commission’s separate prosecution of Google for predatory business practices with Android, the Commission may then have the appetite to bring a case against Google for some of the same predatory practices as applied to YouTube. I’m going to guess that Google’s dominance of video search is likely equal to or in excess of its dominant position in organic search and mobile meaning the EC’s scrutiny will be quite enhanced and (by that time) educated in Big Google’s ways. Why it is that YouTube has such little clout internally is anyone’s guess. My bet is that if YouTube didn’t have to check with a host of bureaucrats at Big Google, it would be much, much easier to do business with YouTube. What’s obvious is that the engineers and policy people do not understand a fundamental point about dealing with the creative community. They are every bit as much of ambassadors to the creative community–the entire creative community, not just the YouTubers who essentially are entirely dependent on YouTube for their success–as are the creative people or marketing folk at YouTube. To state the obvious, unlike the YouTube lottery winners, professional artists who are not dependent on YouTube are not dependent on YouTube. If pushed, there very well may come a day that they move on. En masse. That may happen sooner than you might think, despite YouTube’s monopoly on video search. YouTube is currently taking a beating from artists and songwriters. Note that the beating is administered to YouTube–not to the engineers and the policy people at Big Google. Or not yet, anyway. Most professional creators don’t know these bureaucrats exist. Those bureaucrats at Big Google are largely faceless (with the exception of Fred Von Lohmann) and take no heat when YouTube gets roasted alive by key opinion makers in the music business (such as Irving Azoff). To see where this goes, we need only look to Pandora’s experiences with this kind of response to the Internet Radio Fairness Act of 2012. Pandora is still digging out of that hole some four years later. Four years later. I seriously doubt that the day to day business people at Pandora wanted to go through this misstep, and the stockholders definitely did not. IRFA sprang from the intellectual loins of Pandora’s “policy people” by all accounts, and the business people apparently didn’t really have much to say about it. So how could we repair the problems with YouTube? I think that it’s going to be a heavy lift, but it would start with Big Google telling their engineers and policy types to back off. (Let’s call the larger Google “Big Google”.) Then we’d at least have an idea of whether YouTube can ever be a good partner. I suspect we could have at least much better relations with an independent YouTube. Google may be willing to bet that they can outspend and out lobby the creative community. I don’t know as I’d take that bet. While the government has had their boot on the throat of creators in the form of compulsory licenses, consent decrees, and the very unpopular DMCA safe harbors, they can’t make creators happy about it. YouTube should try to shake off the control of their internal masters at Google. Then at least we’d know who we are dealing with. Related articles You Tube Battle Escalates, Indies Turn To European Commission For "Emergency Assistance" Google to Face a Record $3.4 Billion AntiTrust Fine in Europe Judgments in the Cement Case: Requirement for Greater Clarity, Specificity, and Justification of Information Requests from the Commission Antitrust Lawfare Breaks Out: Google, Spotify vs. Apple Getting It Done: The Week In D.I.Y. & Indie Music
[UPDATED] First it was Apple Music and now Spotify. Dubset is bringing its MixBANK platform that identifies and pays revenue to both DJs and the artists sampled to the worlds largest streaming music service. ________________________________________________ Dubset Media announced today that it has reached an agreement with Spotify to use its MixBANK distribution platform. The deal makes it possible for DJs to upload and legally stream their mixes and single track remixes. In addition, the new agreement is expected to enable Spotify listeners to stream radio shows and other user generated mixes that have not been previously legally available to music fans. The announcement was made today at the International Music Summit in Ibiza, Spain. "Our number one job at Spotify is to deliver great music to fans whenever and wherever they want to listen to it," said Stefan Blom, Chief Strategy Officer and Chief Content Officer at Spotify. "This deal with Dubset enables us to serve fans of dance music with the mixes they crave while ensuring that artists, labels and publishers get paid fairly." The first mixes under the new pact are expected to be available later this year on Spotify. DJs and content remixers who are interested in delivering remixes to Spotify should visit www.dubset.com for more information. Related articles YouTube Releases Video Tips for Electronic Music Electronic Music Industry Report Reveals Intertwined Importance Of Live Events and Social Media REWIND: The New Music Industry's Week In Review This Week in Music Commentary Last Week In Music Commentary: Streaming Music Matures - Who Pays When Spotify Discounts - Rdio Finds Music's Middle Spotify revenues topped $2bn last year as losses hit $194m $SPTF - musicbusinessworldwide.com Spotify Payments To Music Industry Up 85% To $1.8B Last Year Spotify's revenue hits €2bn, but when will it make money?
UMG is smartly grabbing the long tail of classical and jazz. These divisions are like step children at major labels. But while the big boys thrive on hits, they survive on catalog, particularly as ongoing payments from streaming becomes recorded music's biggest revenue source. ___________________________________________ Universal Music Group has named Graham Parker as President of its classical music labels, part of the Verve Label Group. In this new role, Parker will oversee UMG's U.S. classical music labels including Deutsche Grammophon, Decca Records, Decca Classics, Mercury Classics, and distributed label ECM. Parker will be based in New York and report jointly to Dickon Stainer, President and CEO of Global Classics for Universal Music Group, and Danny Bennett, recently appointed President & CEO of Verve Label Group. Parker is no stranger to the world of classical music and most recently served as , General Manager of WQXR, the most-listened to classical music radio station in the U.S. and won a Peabody Award this year for the station's Q2Music podcast. "I've devoted my life to classical music and bringing this incredible genre to as wide an audience as possible," said Parker. "The opportunity to not only join the legendary catalog of Deutsche Grammophon and Decca, but to also be on the forefront of identifying the classical superstars of tomorrow, was too incredible to pass up. I'm humbled by this opportunity and I'm looking forward to working with Danny, Dickon, Michele Anthony and the entire UMG team." Related articles Digital Music Streaming Report Card 2014 Music Tech Accelerator Project Music Names First 8 Startups Top Classical Music Apps WQXR/New York's Graham Parker Named President Of Universal Music Group U.S. Classical Labels Universal picks radio man as head of US classics
Spotify's Discover Weekly Is A Hit: 40M Listeners, 5B Tracks Streamed, Artists Adding Millions Of New Fans
With fanboy like zeal, I'll admit that Spotify's Discover Weekly is one of my favorite features on any streaming service. (Though, I'm also excited about Slacker's new programming.) Stats from Spotify show that millions of others have also experienced the eerie accuracy with which Discover Weekly unearths great music that fits their specific tastes. ________________________________________ 40 million listeners have streamed nearly 5 billion tracks on their Spotify Discover Weekly playlists since its launch in June of 2015. Updated every Monday morning, Discover Weekly gives users music recommendations, tailored specifically to them and delivered as a playlist. Discover Weekly Proving To Be Good For Artists Discover Weekly is also proving good for artists. 8,000+ artists has added more than half of their listeners in the last month from Discover Weekly alone. Several, like BØRNS and Halsey have been discovered by over a million new listeners through Discover Weekly. And others like Transviolet, TastyTreat, and Safakash - all of whom have over half their monthly listeners coming from Discover Weekly - have used that bump to meaningfully grow their fanbase, says Spotify. Discover Weekly Stats More than half of all Discover Weekly listeners come back the following week. More than half of all Discover Weekly listeners stream at least 10 tracks from it each week. More than half of Discover Weekly listeners go on to save at least one song to their own playlist. Discover Weekly is most popular with the 25-34 age group, closely followed by the 55+ age group. The top three genres streamed from Discover Weekly since its launch are 1) pop 2) indietronica 2) indie pop. Sweden, Switzerland and Germany are the countries most engaged with Discover Weekly. The peak streaming on Mondays occurs at 8:00-9:00 am local time in the U.K. Global Top Discover Weekly Tracks LANY – ILYSB Parson James – Stole the Show Lucy Rose – Shiver The Apache Relay – Katie Queen Of Tennessee Sam Smith – Lay Me Down – Flume Remix Jaymes Young – We Won’t On An On – Drifting Gabrielle Aplin – Panic Cord – Hucci Remix Travis Mills – Young & Stupid Madilyn Bailey – Wildest Dreams Global Top Discover Weekly Artists LANY BØRNS Zedd Sam Smith Halsey Banks Imagine Dragons ODESZA Seafret Tori Kelly Related articles Wiz Khalifa Breaks Spotify Single Day, Weekly Streaming Records Spotify Uses Data To Predict Grammy Winners Bop.fm Finally Adds An App [VIDEO] Topsify To Begin Delivery Of Personalized Playlists Via Drone Spotify's Year in Music 2014 8tracks Launches Music Library To Help Share Independent Music How to Get the Most Out of Spotify Spotify Revenues Reach £1.5bn But Loss Widens Sonos gains Amazon Prime Music streaming in Europe
More than simply a vehicle for music sales an artist's website can (and should) act as a funnel for fan connections. Here we look at how this can be done in such a way that you're engaging fans at all different levels. _____________________________ In this new post to MusicThinkTank, Dave Kusek looks at how artist can set up their website in such a way as to attract all levels of fans, all the while moving them towards superfandom. "Alright, now that we have your content figured out, let’s quickly go through each step of your website funnel so you can see how fans travel through your site’s content and move up the ladder towards superfans. Social is at the top. This is where you gather your community around your music and start linking them to your website. Think of your social interactions the start of a conversation - you start the relationship, you get them interested, and you link to your website or your blog to find out more." [Continue Reading] Related articles How iHeartRadio, Spotify, TIDAL Performed On Social Last Month Is The Music Industry Sleepwalking Into Disaster? Next Big Sound Expands Free Analytics For Musicians, Adds New Metrics Marketing tips for tradies
Music, particularly country music, does not need another televised award show. But the industry is welcoming the CBS deal to broadcast the ACM Honors which celebrate the special honorees and off-camera category winners from the Academy of Country Music Awards.
The Academy of Country Music announced ten-time ACM Award-winning group, Lady Antebellum will host the 10TH Annual ACM Honors, an evening dedicated to celebrating the special honorees and off-camera category winners from the 51st Academy of Country Music Awards.
For the first time ever, ACM Honors will be produced for television by dick clark productions and broadcast at a later date on the CBS Television Network. The 10th Annual ACM Honors will be held on Tuesday, August 30, 2016 at the historic Ryman Auditorium in Nashville, TN. ACM Honors performers and airdate for the primetime special will be announced in the coming weeks.
Honorees include Special Awards recipients Glen Campbell, Crystal Gayle, Eddie Rabbitt (awarded posthumously), Tanya Tucker, Carrie Underwood, Keith Urban, Jeff Walker (awarded posthumously), Jimmy Webb, Little Big Town and The Statler Brothers. Studio Recording Awards recipients include Jim ‘Moose’ Brown, Dave Cobb, Shannon Forrest, Paul Franklin, Justin Niebank, Danny Rader, Michael Rhodes and Derek Wells. In addition, Ross Copperman will be honored as Songwriter of the Year.