Vevo E Warner Music Formam Parceria

Vevo, Warner Music Strike 'Milestone' Partnership

Vevo and Warner Music Group have confirmed a long-rumored partnership that will finally see premium video content from the major music company’s artists distributed across Vevo's internal platforms. 

The licensing deal, negotiated off and on for more than a year, has been declared a “milestone” which concludes Warner's long holdout against the video platform, owned by Universal Music Group, Sony Music Entertainment, Abu Dhabi Media and Google. Warner Music was the last major label operating outside of Vevo. The agreement excludes YouTube, on which Vevo maintains accounts for artists signed to UMG and Sony, with Warner artists retaining their own YT channels. It also is not an equity deal, as Universal's and Sony's are, giving WMG flexibility in terms of releases.

Warner Music Group Nearing Deal With Vevo

“Today marks an important milestone for Vevo as we forge a new relationship with Warner Music Group based on a shared vision of putting artists first and creating a platform that does justice to the music,” comments Vevo CEO Erik Huggers in a statement announcing the deal. “We’re excited to partner with Warner Music and bring their artists’ content to life through our new mobile and web experiences and across a range of our programming.” 

According to both parties, “select” WMG videos will begin to appear “imminently” across Vevo owned and controlled properties, including Vevo.com and its mobile app.
 
The news of negotiations between Vevo and Warner first emerged last August, and come after a year of redesigns and changes at the video service propelled by Huggers, who took over for Rio Caraeff -- the company's top exec since its December 2009 launch -- in April 2015. 

Divided into three distinct categories, Vevo last month announced a "reboot" that will impact three distinct areas: brand; creative content and programming; and product. The new features will include a redesigned Vevo logo and interfaces, new user profiles with social components and a personalized video player offering recommendation. Its ambitions weren't lost on Warner Music. 

Vevo Unveils Major Redesign, Content Strategy; Taps Drewski, Lizzy Plapinger, YesJulz as Hosts

“Erik and his team continue to evolve their service and bring to life a new vision for Vevo,” comments Steve Cooper, CEO, Warner Music Group. “We're pleased to have built a flexible and mutually beneficial relationship that will bring additional creative and commercial possibilities to our artists and songwriters.” The partnership, he adds, “is the latest in a recent series of deals that are helping us explore ways to unlock the true value of music videos in attracting and engaging vast audiences."

In July 2016, Vevo claimed 18 billion monthly views, a number which should spike with the inclusion of Warner's video content. As previously reported, the new arrangement is not understood to involve equity (as Universal's and Sony Music’s are), which gives WMG some flexibility in terms of releases.

Somente 1% Dos Canais Do Youtube Tem 93% Das Visualizações

1 Percent Of YouTube Channels Get 93 Percent Of The Views

First of all thanks to my friend BOBBY OWSINSKI  for this article.

The numbers in total are staggering. To date, there are roughly 2 billion total videos on YouTube that have been watched a total of 39 trillion times, totaling 196 trillion minutes (or 400 million years) of time spent, according to Bernstein Research. What might be most interesting is that out of billions of videos, viewership tends to be intensely concentrated on the top 1% of YouTube channels, and they’ve accounted for 93% of all the platform’s views since its inception.

That means that nearly 3 trillion views went to everyone else, and that’s still a huge number, just in case you’re worrying about getting run over by top creators. Remember that a trillion is 1,000 billion, and a billion is 1,000 millions, which puts that figure a little more into perspective. In other words, there are still plenty of views to go around when it comes to artists and bands.

While Facebook looks like it’s threatening YouTube for the video crown, most analysts are still betting on the later to come out on top. The reason? It’s all about the advertising, and YouTube is far superior in how it handles the pre-roll ads, giving advertisers more bang for their buck, especially when it comes to the top 1% creators.

And don’t forget, although it may be small, YouTube does pay at least a small royalty, and since the company is under fire from a variety of music-related associations and labels, it’s more than likely that revenue is going to rise in the future.

That said, you probably won’t ever get rich on YouTube alone unless you manage to crack that top 1%, but if you keep the purpose of being on the platform in perspective (it’s all about distribution and exposure of your music and your brand), then the money becomes a secondary issue. While you can’t take your eyes off the money and expect to stay in business, the music, and the passion for it, always comes first.

Bobby McFerrin - Demonstra o Poder Da Escala Pentatônico - Assista ao Vídeo

Bobby McFerrin Demonstrates the Power of the Pentatonic Scale

What Bobby McFerrin does is not an act; it’s spontaneous invention. He peers over the edge of the cliff, acknowledges the void below, and dives head first, buoyed by the element of surprise. Bobby uses dense rhythms, extraordinary scales, and complicated intervals that accomplished musicians and educators have studied and dissected.

Is our response to music hard-wired or culturally determined? Is the reaction to rhythm and melody universal or influenced by environment? Join host John Schaefer, scientist Daniel Levitin and musical artist Bobby McFerrin for live performances and cross cultural demonstrations to illustrate music’s note-worthy interaction with the brain and our emotions.

7 Músicas, Que Talvez Você Não Saiba, São Covers

 7 Songs You Might Not Know Were Covers

1. “GIRLS JUST WANT TO HAVE FUN” — CYNDI LAUPER (1983) // ROBERT HAZARD (1979)

The Cover	The Original

Cyndi Lauper’s first hit single as a solo artist, “Girls Just Want To Have Fun,” reached the No. 2 spot on the Billboard Hot 100 in 1983. Lauper was nominated for two Grammys for the song, including Record of the Year and Best Female Pop Performance. Self-proclaimed Country-Western fan Robert Hazard originally wrote and recorded “Girls Just Want To Have Fun” as a demo for his band Robert Hazard and the Heroes in 1979. (Hazard never released his version, though.)

2. “I LOVE ROCK 'N' ROLL” — JOAN JETT AND THE BLACKHEARTS (1981) // ARROWS (1975)

The Cover	The Original

Alan Merrill and Jake Hooker—the frontmen of the British rock band Arrows—wrote and recorded the anthem “I Love Rock ‘n’ Roll” in 1975. The song got the band a TV appearance on the show 45, which eventually led to the band getting its own TV show based on their performance of the song. In 1976, while she was on tour in England with her band The Runaways, Joan Jett watched Arrows perform the song on their show.

Then, in 1981, Joan Jett recorded a version of “I Love Rock ‘n’ Roll” with her new band The Blackhearts. It became a No. 1 hit single in the United States for seven weeks and was certified platinum when it sold over one million units.

3. “HEY JOE” — THE JIMI HENDRIX EXPERIENCE (1966) // THE LEAVES (1965)

The Cover	The Original

While the authorship of the song “Hey Joe” is ambiguous and unclear, the earliest recording of the song dates to 1965, by the California-based garage band The Leaves.

“Hey Joe” was a modest hit for The Leaves, but it was The Jimi Hendrix Experience's first hit single overseas in 1966. It peaked at No. 6 on the U.K. Singles Chart in 1967, but it failed to gain any recognition in the United States. Over the years, the song became iconic; Rolling Stone placed it at #201 on their list of the 500 Greatest Songs of All Time.

4. “HOUND DOG” — ELVIS PRESLEY (1956) // WILLIE MAE "BIG MAMA" THORNTON (1953)

The Cover	The Original

Songwriting duo Jerry Leiber and Mike Stoller wrote “Hound Dog” for Willie Mae “Big Mama” Thornton in 1953. While Thornton’s original version was a No. 1 hit on the R&B charts for seven weeks, Elvis Presley’s iteration immediately became the most popular after its 1956 release. Presley’s version was a crossover success that spent 11 weeks on the top of country, pop, and R&B charts simultaneously. “Hound Dog” was inducted into the Rock and Roll Hall of Fame as one of the “500 Songs That Shaped Rock and Roll.”

5. “CUM ON FEEL THE NOIZE" — QUIET RIOT (1983) // SLADE (1973)

The Cover	The Original

In 1973, British glam rock band Slade released “Cum On Feel The Noize," which went straight to the top of the charts in the United Kingdom and Ireland and was a top 10 single throughout parts of Europe. Ten years later, American heavy metal band Quiet Riot recorded and popularized song in the United States. The single reached the No. 5 spot on the Billboard Hot 100.

6. “WHEN THE LEVEE BREAKS" — LED ZEPPELIN (1971) // KANSAS JOE MCCOY AND MEMPHIS MINNIE (1929)

The Cover	The Original

In 1971, British rock band Led Zeppelin re-arranged and popularized the song “When the Levee Breaks” for their fourth album, which is referred to as Led Zeppelin IV. Husband and wife singer-songwriters Kansas Joe McCoy & Memphis Minnie originally recorded “When the Levee Breaks” as a blues song in 1929 about the Great Mississippi Flood that took place a few years earlier. But Led Zeppelin’s arena rock anthem became an iconic piece of music from the '70s, and the song would go on to be highly influential among rock bands and hip-hop artists since its release.

7. “THE TIDE IS HIGH” — BLONDIE (1980) // THE PARAGONS (1967)

The Cover	The Original

The Paragons were a Jamaican ska/rockstead band whose vocal harmonies were influenced by American soul and R&B groups. In 1967, they released a single called “The Tide is High,” written by band member John Holt. Thirteen years later, Blondie guitarist Chris Stein discovered the track on a reggae compilation album he’d bought in England. Blondie recorded it for their Autoamerican album, adding strings and a horn section (borrowed from Johnny Carson’s Tonight Show band). “The Tide is High” went on to become Blondie’s second No. 1 single.

Um Estudo Científico Confirma O Óbvio: Freddie Mercury Tinha Uma Voz Incomparável

New scientific study confirms the obvious: Freddie Mercury had an unparalleled singing voice

A group of Austrian, Czech, and Swedish researchers sought out to examine the Queen singer's incredible vocals

Regardless of what they might think personally about Queen, most rock critics and music fans alike recognize the immense vocal talent that was the great Freddie Mercury. Still, in case there was ever any doubt, new analysis of both Mercury’s singing and speaking voices has shed fresh light on just how special his pipes really were.

A group of Austrian, Czech, and Swedish researchers conducted the research, the results of which were published on Friday in Logopedics Phoniatrics Vocology (via AlphaGalileo). While they couldn’t confirm the long-held belief that Mercury’s range spanned four full octaves, they did discover some interesting tidbits about the expanse of his voice. For one, despite being known largely as a tenor, he was more likely a baritone. They based this assumption off analysis of six interviews that revealed a median speaking fundamental frequency of 117.3 Hz. That, coupled with anecdotal evidence that Mercury once turned down an opera duet because he was afraid fans wouldn’t recognize his baritone voice, led the conclusion that the singer was talented enough to jump out of his base range.

It’s true that without a living test subject, the researchers’ conclusions are largely unconformable. To get closer to the truth, however, the team brought in professional rock singer Daniel Zangger-Borch to imitate Mercury’s voice. They filmed his larynx at 4,000 frames per second in order to look at exactly how the Queen frontman created those iconic rough growls and jaw-dropping vibratos. What they discovered was that he likely employed subharmonics, a singing style where the ventricular folds vibrate along with the vocal folds. Most humans never speak or sing with their ventricular folds unless they’re Tuvan throat singers, so the fact that this popular rock vocalist was probably dealing with subharmonics is pretty incredible.

What’s more, Mercury’s vocal cords just moved faster than other people’s. While a typical vibrato will fluctuate between 5.4 Hz and 6.9 Hz, Mercury’s was 7.04 Hz. To look at that in a more scientific way, a perfect sine wave for vibrato assumes the value of 1, which is pretty close to where famous opera singer Luciano Pavarotti sat. Mercury, on the other hand, averaged a value of 0.57, meaning he was vibrating something in his throat even Pavarotti couldn’t move.

There’s a lot of scientific and analytical music terminology in the full study (which can be read here), but the conclusion was clear from the beginning: Freddie Mercury had a voice unlike anyone else in rock ‘n’ roll, and that led to one of the most unique singers and stage performers of all time.

As they say, the proof is in the pudding:

Escute 10 Vocais Isolados De Músicas Bem Populares

Listen to the Isolated Vocal Tracks of 10 Popular Songs

If you’ve ever wondered what your favorite singer’s voice sounds like in its purest form, the musical sub-genre of  isolated vocal tracks can offer a clue. Here are 12 videos of popular songs stripped of everything but the vocals—some of them strange, others eerily beautiful.

1. “HELLO” // ADELE

2. “SMELLS LIKE TEEN SPIRIT” // NIRVANA

3. “BEAT IT” // MICHAEL JACKSON

4. “FELL IN LOVE WITH A GIRL” // THE WHITE STRIPES

5. “BEAUTIFUL” // CHRISTINA AGUILERA

6. “BLACK HOLE SUN” // SOUNDGARDEN

7.  “LOSE YOURSELF” // EMINEM

8. “NO ONE” // ALICIA KEYS

9. “WE ARE THE CHAMPIONS” // QUEEN

10. “BOHEMIAN RHAPSODY” // QUEEN

Um Papo Com A "Rockstar" Bozoma Saint John - Executiva De Marketing Da Apple Music

A Conversation With Apple's Rockstar Executive Bozoma Saint John

Apple Music’s Marketing Executive Bozoma Saint John.Photograph by Kendrick Brinson for Fortune Magazine

Meet the company’s pop music guru.

Bozoma Saint John’s ascension into the realm of internet sensation began when she walked onstage at Apple’s Worldwide Developers Conference June, wearing in a bright-pink dress, to talk about the company’s new music services. It was complete by the time she asked the audience to sing along to the classic, “Rapper’s Delight.” Outlets from the Business Insider to Der Spiegel gushed about the “badass” (Wired) “true star of the event” (New York Magazine) with headlines like “Bozoma Saint John is my Hero” (The Verge). A auctioned charity lunch with her is now going for more than $2,000 dollars.

But while the internet may have just discovered her, Saint John has been making waves in the entertainment and tech worlds for a long time.

She moved nearly 7,000 miles from Ghana to Colorado Springs at age 13. In her new city, she quickly found that the only way she could make friends with her fellow high school classmates was to bond over pop culture—in 1990, it was Bon Jovi, Madonna, and Michael Jackson who helped her break the ice with students at Liberty High School.

What was a teenage survival method quickly became a passion, and then career, for the now 39-year-old St. John, who is known as “Boz,” and currently heads global marketing for Apple’s streaming music service, AppleMusic, and iTunes.

The work is important, Saint John says, just like it was at Liberty High. “Pop culture and entertainment can be dismissed as surface but it’s not,” Saint John said in an interview with Fortune. “It’s the language we all speak and it’s the connection point between people all over the world.”

Music is the thread that ties together her nearly 20-year career in marketing and brand management. She credits her success with landing a temp job as an New York-based assistant for Spike Lee’s ad agency, SpikeDDB, out of college. As the firm’s fourth hire, she worked with several of the agency’s celebrity clients, including Janet Jackson and Beyonce’s first commercial with Pepsi in 2002, directed by Lee himself.

Saint John was then plucked by PepsiCo’s  PEP 0.08% marketing machine, where she ultimately became head of music and entertainment marketing. While at Pepsi, St. John helped ink five separate marketing deals with Beyonce, culminating in a $50 million deal with Pepsi sponsoring the artist’s 2012 tour and 2013 Super Bowl halftime performance.

After that career high, though, came personal tragedy. In late 2013, her husband passed away from cancer. Soon after, she left Pepsi for Beats, then a startup headed by Dr. Dre and Jimmy Iovine, who had been impressed by Saint John’s successes with Beyonce at Pepsi. Saint John took the job to start a new life, moving herself and her young daughter to Los Angeles to head marketing for the startup.

She started her career at Apple almost unwittingly. Four months after St. John joined, Apple acquired Beats for $3 billion in cash and stock in May of 2014. From there, she climbed the ranks to become global marketing for all things Apple Music, charged with how to sell the $531 billion company’s latest streaming service, Apple Music, to the world. It’s no easy feat, considering the competitive space filled with companies with a head start, including Silicon Valley darling Spotify.

To help, she’s enlisted some of the world’s hottest stars. Last fall, Saint John’s vision came to life with a commercial that aired during the Emmy Awards, depicting actresses Kerry Washington and Taraji P. Henson, and music artist Mary J. Blige jamming to mixtapes created by Apple Music in Blige’s home. Earlier this year, St. John was able to turn megastar and streaming music critic Taylor Swift into a believer, debuting a number of ads with the star listening to Apple Music on her phone.

The power of pop is real, Saint John says, if you can harness it. “I love pop culture, I know where Angelina’s third child was born,” Saint John says. “And the fact that I get to use it in my work—I love it.” Not all work, after all, has to feel like it. “Passion should meet your professional life, and I’m a living, breathing testament to that.”

A version of this article appears in the August 1, 2016 issue of Fortune.