Angel Olsen, Radiohead, Jagjaguwar Estão Entre Os Vencedores Do Sixth Annual Libera Awards

Angel Olsen, Radiohead, Jagjaguwar Among Winners at Sixth Annual Libera Awards

The independent music business last night celebrated, fed and feted its own at the sixth annual Libera Awards, an event organized by the American Association of the Independent Music recognizing achievement in the independent music community. The event capped off the trade organization’s 12th annual Indie Week (June  5-8) which saw a broad swath of the independent music industry descend upon the Clemente Soto Vélez Cultural and Educational Center on NYC’s Lower East Side for four days of meetings, panels, discussions, keynotes, performances, shmoozing and more.

This year’s big winners included Angel Olsen whose album My Woman(Jagjaguar) took Album of the Year honors; Radiohead (XL Recordings) who won two Libera statuettes for Best Live Act and Video of the Year (Fan Vote) for “Daydreaming;” and the Jagjaguar which won Label of the Year (More Than Five Employees).

Other winners included Bandcamp, a digital platform spotlighting primarily indie music and which won the Independent Champion Award,;Triple Crown Records which received best label with less than five employee, and the beloved and late-Sharon Jones (Daptone Records) who won Best Syc Usage for a Lincoln MKZ spot (full winners list below).

"Holy Shit," were the first words out of Triple Crown Records' president/founder Fred Feldman's mouth upon winning. "I was shocked" he told Billboard. "I really didn't think we'd win." The label's recent releases include Sorority Noise (a number one the Billboard Heat Seekers Chart), Caspian, Boxing and Tiny Moving Parts. Feldman attributed the win to his label's success to "consistently over the course of 20 years in the music business, luck and serving our audience really well and being really true to what we do." 

Ani DiFranco, who started her own independent label, Righteous Babe Records, at the tender age of 18 and has recorded some 21 studio albums over the course of her career, won A2IM’s Lifetime Achievement Award. “If you started an indie label, we have something in common,” DiFranco said in her acceptance speech. “You’re the kind of person who gets an idea in your head and you don’t let it go. If your label still exists, your tenacity is bona fide,” she said alluding the may difficulties indie labels face today with the rise of free music and a vastly changing landscape.   

DiFranco sang two songs including her classic “32 Flavors” from her album Not a Pretty Girl with musician Dar Williams, who introduced the icon and sang exquisite back-up harmony. “A Network,” DiFranco said, "is so much stronger than an individual."

Veteran British musician, “pub rocker” and producer Nick Lowe won the Independent Icon Award presented by Michael Huppe of SoundExchnage, the digital performance rights organization and one of A2IM Indie Week's title sponsors. Huppe noted that Lowe had released 14 albums, 23 singles, six compilations, three EPs and one live recording in addition to running seminal punk indie Stiff Records as well as producing the Damned's first album and eight Elvis Costello albums among others.

Lowe  was exceedingly modest describing himself as just “another aging gent from across the sea” who  “along the way managed to make one or two good records and hundreds of terrible records that no one remembers—which is why I’m  here today.”  His short set of course included his smash “Cruel To Be Kind” which seemed to enliven the relatively well-heeled audience.

While the night also included performances by Twin Peaks, Nick Hakim and Talib Kweli, the ceremony ran like clockwork with master of ceremonies and indie artist Ted Leo keeping the night train moving on time. Leo himself said he is in the process of releasing his own album and is just starting to realize that I“it’s a ton of f**king work. Something not lost on this crowd.

Partially under new A2IM CEO Richard Burgess’ direction, who began last year, A2IM’s membership has doubled in size over the last two years and the Libera Awards itself have had a similar trajectory. This year’s ceremony at the PlayStation Theater in Times Square nearly doubled the number of attendees at last year's ceremony  “It gets bigger and better every year,” noted board member and the evening's award presenter Portia Sabin of the Kill Rock Stars label.

The not-for-profit trade organization;s membership includes more than 450 Independently-owned American music labels whose interests A2IM advocates for in the market, the media and on Capitol Hill and beyond.

In 2016, Billboard put the Independent music label sector as 35.1 percent of the music industry's U.S. recorded music sales market in 2016 based on copyright ownership, according to Nielsen Soundscan data.

A2IM’s  board of directors consists of the following: ATO Vice President Stephanie Alexa, Razor & Tie COO Craig Balsam, Redeye Co-Owner Glenn Dicker, INgrooves EVP & General Manager Amy Dietz, Epitaph/Anti General Manager Dave Hansen, Big Machine COO Andrew Kautz, Beggars Group Founder/CEO Martin Mills, Hopeless Records Owner Louis Posen, Dualtone CEO/Co-Founder Scott Robinson, Tommy Boy Owner & CEO Thomas Silverman, and Secretly Label Group Co-Owner Darius Van Arman. A2IM’s Advisory Committee includes: Randy Chin, Alisa Coleman Amit Nerurkar

Vencedor Do Midemlab - Soundcharts - Todos Os Dados Das Plataformas Em Um Só Lugar

Midemlab Winner Soundcharts: Data From All Digital Platforms In a Single Dashboard

Having artist data from every social media site, streaming platform and digital store in a single dashboard, in real time is a practical, useful solution to a real need.

 Soundcharts does that, for an affordable monthly fee. The at-your-finger-tips convenience, plus need and functionality, made it one of the four winning star-ups at this year’s Midemlab pitching competition, in addition to being voted the people’s choice winner in a twitter poll by conference attendees on Wednesday (June 7).

Billboard spoke with co founder/CEO David Weiszfeld, who runs the company with his Chief Technological Officer and co-founder, heading a team of 12 engineers and three business developers. 

What it does: 

“We track all of the data we can get on all of the artist we an get – anyone who has ever released commercially -- and we make it available. We’re like a financial dashboard for music.  We track worldwide data and are purely digital.”

Why we like it:

Instead of going individually to Spotify, or Mediabase or Itunes, you go to one place for all your information. “If you’re an A&R you can use us to look for new talent or you can use us to track your campaign.” 

Past life:

“I started at 19 years old in Universal France doing A&R for their jazz department, but spent most of my ten years there doing international marketing. For the past two years I’ve had two lives: One was building Soundcharts, one was an independent manager. And I built Soundcharts because I realized that as a manager you even have less access [to data] than as a Universal employee. We were dedicated to building a tool that really helps people in the music business. 

Business Model:

Subscription. “We have three pricing tiers: One for a manager or artist of one Euro per day; a mid size for up to 10 artists, of 149 Euros per month; and a business subscription, which costs 299 Euros a month and up. 

Clients:

More than 200 companies with over 300 people. These include major and indie labels (including Universal Music France). 

Results:

Since launching last September, “We’re not profitable yet because we’re hiring a lot of people. But we’ve generate over $300,000 in revenue since our launch. And because we’re solving a real problem, we have a 98% retention rate. We change the way people work and we save people time and money.” 

Goals:

“We want to be the workflow platform for the industry. We’re fully independent and we want be a worldwide actor: Whether you’re French, Belgian or Brazilian, you should be able to use the same platform.” 

Midem’s pitching competition for music-related startups -- whose alumni famously includes Soundcloud -- celebrated its 10th edition this year, selected winners from among 20 finalists in four categories. The competition received a total of 136 submissions representing 32 countries.

Warner Music Cria Nova Divisão - Arts Music

Warner Music Creates Arts Music Division, Launches Joint Venture With Sh-K-Boom Records

Kevin Gore, formerly of Rhino Records, joins as president of new division focusing on classical, musical theatre, jazz and more non-pop genres. 

Warner Music has doubled down on music outside the pop mainstream with the creation of a new repertoire division called Arts Music. Announced on Tuesday, the new umbrella will focus on signing, developing and marketing releases across the genres of classical, musical theatre, jazz, children's music and film scores, with the Warner Classics family of labels serving as the new division's foundation.

Heading up the new division is industry veteran Kevin Gore, the former president and CEO of Rhino Entertainment, WMG's reissue-happy catalog division. Gore joins as president of Arts Music and will be based in NYC and report to Eliah Seton, president of WMG indie label services arm, ADA.

As part of the new structure, Arts Music will be the home of Warner Classics, as well as the revived Erato label. Both were greatly enriched when EMI Classics and its catalog, including the Virgin Classics label, were sold in 2013 to WMG's WEA, the company's artist and label services arm. Warner Classics & Erato president Alain Lanceron will now report to Gore and continue to be based in Paris.

WMG is also welcoming a new member of the family through a joint venture with Sh-K-Boom/Ghostlight Records, the New York City-based label specializing in musical theatre releases, such as the cast recordings for Tony Award-winning hits including The Book of Mormon and In the Heights (Lin-Manuel Miranda's pre-Hamilton hit). As part of the venture, Sh-K-Boom co-founder Kurt Deutsch will continue to serve as president of the imprint but report to Gore. This new role for Deutsch is on top of his recent appointment as senior vp of theatrical and catalog development for Warner/Chappell Music, WMG's publishing arm. 

Beginning Aug. 1, Sh-K-Boom/Ghostlight release will be distributed by ADA.

Gore rejoins WMG after a three-year stint as president/COO of DMI Music & Media, a boutique agency with a Greek diner-sized menu of services, including digital music activations, live event production, retail music curation, custom music production and other marketing services. Before his lengthy stretch with Rhino (2002-2014), Gore was president of Universal Classics US.

“The diverse genres encompassed under Arts Music all share passionate and devoted fan bases that have been largely underserved in the current marketplace," Gore said in a statement. "What’s particularly exciting is that since these fans have favored physical and download formats, there is an enormous promise for growth as they migrate to streaming services and curated experiences. The timeless appeal of so much of this music, combined with rapidly evolving opportunities in the live music and partnership marketing arenas, opens up a wealth of possibilities for both established and emerging artists across a vast creative spectrum."

O Local Do Woodstock Agora É Patrimônio Histórico

Woodstock Site Gets National Historic Recognition

The site of the 1969 Woodstock music festival is now officially recognized for its place in history.

Democratic Gov. Andrew Cuomo announced on Tuesday that Bethel Woods Center for the Arts in the Hudson Valley town of Bethel has been placed on the National Register of Historic Places.

Cuomo says the festival that drew nearly half a million people to Max Yasgur's dairy farm was a "pivotal moment in both New York and American history," and the recognition will preserve the landmark for future generations.

Bethel Woods Center CEO Darlene Fedun says the recognition furthers educational and cultural initiatives at the museum and surrounding grounds that embody the "spirit of the '60s."

The 800-acre (323-hectare) Bethel Woods campus is 90 miles (144 kilometers) north of New York City.

7 Mitos Sobre Ter Suas Músicas Em Filmes E Na TV

7 myths about getting your songs in film and TV

[This article was written by songwriter Cathy Heller.]

Did you know you can make six figures a year licensing your songs to TV, film, and ads as an indie artist? This is a real thing. Artists all over the world are creating an amazing living doing what they love through sync. And yet, so many artists still don’t get what it means.


Here are the 7 Myths about Music Licensing and how you can get in gear and start making a living doing what you love:


1. In order to license my songs I need to be famous and have a huge following already. I would need to have plenty of fans, albums sold and hundreds of thousands of Facebook followers. False!

Not only do you not need all those things to license your songs but in some instances the fact that you’re an indie artist could help you. For starters, music supervisors love being a part of finding something new and hip that hasn’t really been heard before and being among the first to break a new indie song gives them an edge. It helps them relate more to the hipster, millennial market which is often their target. Also, since it is extremely expensive to license a well known song, it’s often very appealing to utilize an indie song, which can fit the project just as well, but for much less money.

So even if you have sold only a small amount of records or haven’t even put the record out yet, or if you barely have a social media following and only 15 or 20 likes on Facebook, don’t sweat it. If you have a great song and it works perfectly for an ad or TV show or film, it’s just as possible your song will get used regardless of all those other factors. Having a following is a great thing to continue to nurture, but there is strength in being completely unknown as well. It all comes down to the right song and if you have it, you can license it!

The kinds of songs that ads license sound like jingles and if I write something like that I will be selling out on my integrity and creating music I’m not proud of. False!

Songs featured in ads today have become not only some of the coolest songs around, but have become a barometer for where labels should focus their attention in terms of signing new talent. Some of the coolest bands and most innovative indie bands are enjoying the success of licensing their songs to ads.

Jingles are long gone and in today’s world record labels are often listening to hear what brands like Apple, Target, Nike and Carl’s Jr. are using in their campaigns to get a sense of which bands they should be signing. The music heard in ads today is some of the most interesting, groundbreaking and well produced music out there. Having a song in an ad is the biggest slam dunk for any artist and will be something that not only makes you proud to share, but could break your career in the best ways.

Licensing my music means I give away the rights to my song. False!

Most licenses are nonexclusive and the ones that are exclusive are only for a short term while the campaign, show, or trailer is running. For instance, if an ad will run for McDonald’s for 3 months, you may be able to license that song anywhere, except to another fast food eatery during the course of the term. Licensing your songs does not mean you will lose the rights to being able to license that song again.

There are work-for-hire opportunities for artists to write music that a brand or TV show WILL own, but that is different than a license and in my own personal career something I have seen far less of. Most of the time I license my music and I can license the same songs again and again and again. It is awesome!

I sent my first record or EP around to licensing agents and no one was interested in pitching it, so I guess I won’t have a licensing career. False!

First of all, there are certain kinds of songs that work better for licensing than others. Often artists write about relationships i.e break ups, the ups and downs of being in love. These kinds of songs are everywhere so it’s in less demand, but more to the point, there are other themes that music supervisors are looking for when needing a song for an ad or a scene in a TV show or film. When you write with these kinds of lyrics in mind you may find many more opportunities for your music to get licensed. The kinds of lyrics that are sought after a lot deal with: “Togetherness,” “Home,” “On our Way,” “Breaking the Rules,” “Making a change,” and “Having the Time of Your Life.”

Writing with these themes in mind may help a ton when trying to get your music licensed. It’s always great to look for ways to fit your work into the storyline of whatever project you’re pitching to, rather than hoping someone will fit their project to your song.

Music licensing can only be done if I sign a publishing deal. I won’t be able to license my music unless I give away my publishing share and have a publisher pitching my songs. False!

There are plenty of incredible licensing agents who can pitch your music and you don’t have to have a publishing deal to do it. It is also possible that you can learn to pitch your own music. It can often be a plus for you if you don’t have a publisher because it makes the song even easier to clear. If the song is One Stop (which means you control all the rights) you will find it easier to license your songs because there will be less headache involved for music supervisors to clear your song. With or without a publisher there are ample opportunities for you to license your music.

If I have good music it should get licensed. False!

There are plenty of beautiful, artistic, interesting songs out there. The question to ask is are these songs right for the project you’re pitching for? When you’re licensing your music to an ad, tv show or film ,your song needs to support the vision of the project, so it’s important that the production, lyrics and overall vibe be a fit and add to telling the story of the picture your song is featured in. Having a good song is a great place to start but making sure the song fits the picture is just as important and with some basic research you can figure out how to apply certain dynamics to a song to make it fit the project you’re pitching for.

I won’t be able to license my music because I don’t have the money to spend on a great producer. False!

The key to being successful isn’t about having the most resources; it’s about being the most resourceful. There are plenty of great producers today, more than ever before and there are strategies you can take to get the most music made without spending money you don’t have and going into debt. If you’re focused and clear about your goals, you can approach a producer and offer to make a deal with them that entails you giving them some money upfront and the rest on the back end (when the song makes money through licensing etc). In this scenario you could cut your production expenses in half or even 75% and offer to split the master fee with the producer when you get the songs licensed.

I have been so fortunate to have dozens and dozens of my songs featured in ads, TV shows, films and trailers. I don’t think for one moment that I achieved this because I have some level of talent no one else has. I believe that by being resourceful, focused, persistent and approaching my music business like a business, I was able to create music that was both something I really enjoy creating and performing, as well as songs that were perfect for licensing. I know that every artist reading this is capable of implementing these ideas and I hope that you will.

‘The Mummy’ - Trilha Sonora

‘The Mummy’ Soundtrack Details

he details of the soundtrack album for the action adventure The Mummy have been revealed. The album features the film’s original music composed by Brian Tyler (Fast & Furious series, Iron Man 3, Avengers: Age of Ultron, Now You See Me, Thor: The Dark World). The soundtrack will be released digitally on June 9, 2017 by Back Lot Music. A CD version is also in the works. The Mummy is directed by Alex Kurtzman and stars Tom Cruise, Sofia Boutella, Annabelle Wallis, Jake Johnson, Courtney B. Vance and Russell Crowe. The film centers around an ancient princess who is awakened from her crypt beneath the desert, bringing with her malevolence grown over millennia, and terrors that defy human comprehension. The inaugural movie in Universal Pictures’ Dark Universe series will be released nationwide on June 9. Visit the official movie website for more information.

Here’s the track list of the digital deluxe edition album:

1. The Mummy (4:29)
2. The Secret of the Mummy (4:41)
3. Nick’s Theme (2:04)
4. Prodigium (2:51)
5. Egypt’s Next Great Queen (3:23)
6. Sandstorm (1:12)
7. The Call of the Ancients (3:34)
8. A Sense of Adventure (2:40)
9. Haram (4:25)
10. A Warning of Monsters (6:07)
11. The Lost Tomb of Ahmanet (2:35)
12. Providence (1:59)
13. The Sand of Wrath (2:43)
14. Enchantments (1:06)
15. Concourse of the Undead (5:00)
16. World of Monsters (2:33)
17. She is Risen (4:04)
18. Chaos, Mayhem, Destruction (4:43)
19. Sanction of the Gods (3:07)
20. Unstoppable (4:15)
21. Beyond Evil (2:14)
22. Power and Temptation (1:29)
23. Inquest (1:36)
24. Forward Momentum (3:46)
25. Set (3:25)
25. Pathogen of Evil (2:04)
27. Liberators of Precious Antiquities (1:48)
28. Dawn of Evil (4:02)
29. Sepulcher (4:43)
30. Iniquity (2:12)
31. The Calling (2:35)
32. Possession of the Knight’s Tomb (2:43)
3. Destiny (8:22)
34. Sentience (3:19)
35. Between Life and Death (2:23)
36. The Mummy End Title Suite (10:13)

Beatles' 'Sgt. Pepper' - É O Album Mais Vendido Na Inglaterra

The Beatles' 'Sgt. Pepper' Is The Bestselling Studio Album In The U.K. Ever

This week in the U.K., The Beatles are back at No. 1 after half a century away with one of their most beloved titles. No, the remaining members haven’t reformed to start recording new material! A newly-released anniversary edition of Sgt. Pepper's Lonely Hearts Club Band, meant to celebrate 50 years since the title was first released, was welcomed warmly by the British public, and now it is on top once again. 

This past week, the title shifted another 37,000 equivalent units, which adds to the already impressive total the record has been able to move over the decades. That figure might be enough to give the band the No. 1 spot this week, but it is actually a tiny fraction of the total number of copies that have been sold over the 50 years Sgt. Pepper's has been available.

According to the Official Charts Company, Sgt. Pepper's Lonely Hearts Club Band is the bestselling studio album in British history. The record has now sold well over five million units in the U.K. alone, which is an absurdly high number for a country only one-third the size of the U.S.

It is important to note that the title is the bestselling record of all original material, but it isn’t actually No. 1 when all types of recordings are included. Two greatest hits compilations—Queen's Greatest Hits and ABBA’s Gold—have both moved more copies, but it’s easier to shift millions of units when every track on a CD is a certified smash. Sgt. Pepper's Lonely Hearts Club Band is impressively in third place behind those two blockbuster releases, which is incredible, considering the fact that The Beatles also have a handful of massively popular best of collections, though none of them performed nearly as well as the record considered one of the greatest artistic accomplishments from the most successful band of all time. 

Sgt. Pepper's Lonely Hearts Club Band has now topped the British album charts for 28 nonconsecutive weeks, and while it might not end up ruling the ranking ever again, the LP has made history many times over and in a number of different ways, and it will likely never stop selling.