YouTube Está Ajudando Na Explosão Da Música Latino Americana

Is The YouTube Effect Helping Fuel The Latin Music Global Explosion?

first of all thanks to Veronica Villafañe for this article.

Luis Fonsi and Daddy Yankee broke all sorts of records this year with their global hit “Despacito.” Their song remained No. 1 on Billboard’s Hot 100 for 16 consecutive weeks, led charts around the world and its music video became the first in YouTube history to reach 4 billion views, achieving that milestone in just 272 days.

But the Puerto Rican singers are not the only Latino artists that are making their mark in what could be described as the year of Latin music. Beyond other trailblazers such as Ricky Martin, Jennifer Lopez, Shakira and Enrique Iglesias, a new generation of performers have helped fuel the popularity and growth of Latin music genres.

Camila Cabello, Cardi B and J Balvin, for example, are currently in the top 10 of Billboard’s Hot 100 and right now, one out of every five tunes on the Spotify Global 100 chart are by Latino artists. When it comes to YouTube, in addition to the record-setting 4.3 billion views “Despacito” has scored so far, 20 other Latin music videos have entered the “1 billion views club” on the platform - a 300% increase from last year. And they're doing it faster than ever. J Balvin and Willy William’s video for “Mi Gente” reached 1 billion views in only 102 days, becoming the fourth fastest in history to reach the milestone.

"It’s meteoric. It’s just spectacular to witness and see this happen first hand," says Lyor Cohen, Global Head of Music at YouTube. "It helps to have their music and their videos seen all over the world."

Over one third of the tracks featured on YouTube’s weekly music track chart feature Latin artists and over the last two years, daily views of the top 100 Latin acts on YouTube have grown over 75%. The popularity of diverse Latin genres has skyrocketed around the world. Daily view counts for top Latin acts compared to this time last year have grown 316% in India, 268% in Indonesia, 257% in Philippines, 206% in Egypt, 150% in Israel, 120% in the United Kingdom, 116% in Australia and nearly 50% in the United States.

YouTube

The popularity of Latin music has spread worldwide.

Collaborations with English-language pop stars have helped raise awareness and increase the popularity of some of the songs - as in the case of the “Despacito” remix featuring Justin Bieber or Beyonce lending vocals on “Mi Gente.” But accessibility, shareability and engagement of Latin music on digital and social platforms have allowed for its massive growth and popularity on a global scale.

“The recent successes of Latin artists such as Luis Fonsi, Daddy Yankee and J Balvin have shown us that music today knows no geographic boundary or language,” says Rocío Guerrero, Head of Global Cultures at Spotify. “Latin music has truly become a universal language.”

Streaming music services have helped amplify that reach. Spotify, for example, offers the "Viva Latino" playlist - the third most streamed in the World. But it’s powerhouse YouTube that’s really broadening the reach of Latin music genres, allowing artists to build a global and engaged fanbase.

YouTube

Six of the top 10 videos on YouTube are by Latino artists.

“There are no borders and the opportunity to connect directly with your fans,” says Sandra Jimenez, YouTube’s Head of Music Partnerships Latin America, explaining the success of Latin music genres on the platform. “This is the second year in a row that we see tremendous growth. We see the trend of Latin music expanding globally, but also on our platform, which has incredible reach.”

YouTube is now even building relationships with artists - whether they're established performers or rising stars - to promote their work within the video platform and on social media.

“Ozuna is a true example of what we’re doing,” says Jimenez.

YouTube produced an 8-minute documentary on the Puerto Rican singer, who has over 8.6 million subscribers on the video platform, which racked 1.5 million views in the first five days since its release on November 8.

“We partner with artists to develop projects, like Ozuna’s documentary. And then, we work together to support the releases or promote them around the world,” explains Jimenez. She says they identified him as a talented artist with a knack for engaging with his audience on the platform. The team is now looking at rapper Bad Bunny, who picked up 4.2 million YouTube subscribers in less than a year. “He’s been doing an amazing job. He really keeps in touch with his fanbase.”

But that’s just part of the formula for success on the video platform.

“How we help artists grow is by virtue of recommendations,” says Cohen. “What many people don’t know is that 80% of all of watch time on YouTube is done through internal recommendations. That’s one of the biggest ways we surface up the artists.”

YouTube data

The popularity of Latin Artists has also grown in the United States. These are some of the artists with the most video views so far this year.

If you’re an avid YouTube consumer, you have probably seen suggestions of other videos to watch. It’s those recommendations that can expose you to other artists you may have never even heard of.

“You’re seeing the effect on multiple levels: the community growing, more countries are coming online and people are loving the music. Latino artists are making great videos and producing wonderful content. They’re competing on the world stage and they’re doing a hell of a job.”

A Música 'Immigrant Song' do Led Zeppelin Ganha Próximo De 1000% Em Vendas Apos Ser Vinculada No Filme Do 'Thor"

Led Zeppelin's 'Immigrant Song' Gains by Nearly 1,000% in Sales Thanks to 'Thor' Synch

The classic, featured in the newly-released movie "Thor: Ragnarok," achieves its best digital sales week. 

Led Zeppelin's "Immigrant Song" returns to No. 1 on a Billboard chart thanks, once again, to Thor: Ragnarok.

After originally appearing in the film's trailer this spring (spurring a 7,000-download sales week on April 29-dated charts, according to Nielsen Music, good for No. 1 that frame on Hard Rock Digital Song Sales), the 1970 classic off Led Zeppelin IIIjumps back to No. 1 (from No. 14) on Hard Rock Digital Song Sales after being included in the Thor film itself, which opened in North American theaters Nov. 3.

"Immigrant" increases by a whopping 977 percent to 18,000 sold in the week ending Nov. 9, up from 2,000 in the previous week. That's the best tally for the song since it was first released digitally; it moved 14,000 its first week out as a download, nearly a decade prior (reflected on the chart dated Dec. 1, 2007).

Its latest sales sum is also good for No. 3 on Rock Digital Song Sales, the band's best rank on the chart, eclipsing the then-No. 9 peak of "Immigrant" earlier this year when the Thor trailer premiered. The track re-enters the all-genre Digital Song Sales chart at No. 27, marking the band's highest position and first appearance since Dec. 8, 2007.

Fueled by its sales surge and 133 percent boost to 2.1 million U.S. streams, "Immigrant" returns at a new No. 4 high on Hot Rock Songs, where older songs can re-enter if showing a meaningful increase and ranking in the top 25. The song previously hit No. 16 powered by the Thor trailer earlier this year.

That's not all. On the Billboard 200, Mothership, the Led Zeppelin greatest hits compilation released in 2007 concurrent with the band's digital debut, leaps 166-80 with a 70 percent gain to 8,000 equivalent album units. While track and streaming equivalent units make for a sizable chunk of that overall total, Mothership moved 2,000 in pure sales, a 71 percent increase. The set also bounds 11-2 on Hard Rock Albums.

'Third Man Records' Lança Junto Com A 'Beats' Um Headphones Com Edição Limitada

Third Man Records Teams With Beats For Limited Edition Headphones

Apple and Third Man Records are revealing a limited edition Beats by Dr. Dre headphone ahead of Record Store Day Black Friday on Nov. 24.

The headphones are distinctively Third Man -- they boast the independent label’s signature black and yellow color scheme, small depictions of the label’s logo and, of course, come with a collector’s edition, translucent yellow flexi disc of The Raconteur’s debut single, “Level.” But what most clearly proves the headphones are a product of Third Man is the packaging that reads: “With the needle down and the volume up.” An all-too fitting statement from the vinyl-centric label that dares to defy how headphones are typically used to consume music -- on the go.

"We tried to refrain from just throwing the logo on something," Third Man co-founder Ben Blackwell tells Billboard of the headphone’s style. "You want to [create a product] with reverence, and you want to do it so that it's still identifiably in the Third Man realm. But also, we're not trying to eliminate or downplay the fact that Beats is involved too."

Blackwell recalls how initial conversations about teaming up with Apple for an exclusive headphone started last year following a Beats commercial campaign called Be Heard that used The White Stripes' “Seven Nation Army” (Jack White is a co-founder of the label, and Blackwell's uncle). He says while Third Man has always “had a foot in the world of hardware in terms of turntables or guitars or effects pedals or synthesizers,” high-quality headphones was a new endeavor.

Record Store Day Black Friday is a spinoff of sorts on the internationally celebrated Record Store Day that takes place annually in April; naturally, Blackwell says it’s likely the second busiest day for every record store, “so it makes sense to give people something to look forward to.”

Third Man sure has. In addition to the limited edition Beats, the label has also made headlines for the anticipated release of U2’s new single “The Blackout” on vinyl. Special colored vinyl versions will only be made available at two locations in the U.S. -- Third Man’s locations in Nashville and Detroit -- and two abroad in U.K and Ireland. “ I didn't really know how widespread and how hardcore the U2 fanbase was until we made this announcement,” Blackwell admits.

What he is more certain of, are his thoughts on the new headphones: "The headphones sound fucking great," he affirms. "You probably [can't] print "fucking," but the proof's in the pudding."

Beats Solo3 Wireless Third Man Records Limited Edition are available for presale today from Third Man Records and will be available at Third Man Records on Nov. 24th.

Coleção 'Stephen King' De Trilhas Sonoras

Stephen King Soundtrack Collection

Varèse Sarabande presents: Stephen King Soundtrack Collection

Varèse Sarabande: 
We are proud to announce THE STEPHEN KING COLLECTION as our newest limited edition box set release. In this special set, we focus on a fearful foursome of Stephen King movies composed by four very capable composers: two feature films and two television miniseries, each featuring very different but very potent scores. To add to the uniqueness of this box set we expanded the scores to James Newton Howard’s DREAMCATCHER and W.G. ‘Snuffy’ Walden’s THE STAND into 2-disc Deluxe Editions. Nicholas Pike’s THE SHINING is making its official commercial debut here in full glory: A three-CD set with music separated by each night of the special event series. Tangerine Dream’s Firestarter is being reissued for the first time in almost 15 years. 

All this great music is housed in a box designed to pay tribute to Stephen King paperbacks with a 24-page bound booklet and each disc secured in individual pockets. As an extra level of protection during shipping, we have added a piece of foam on top of each panel so that all discs remain in their respected pockets. The foam provides friction and capacity to keep discs in place during shipping. Featuring liner notes by writer Randall D. Larson and original art by Shawn Conn this is a must own collection for horror fans and film score collectors. 

This box set is limited to 1,500 units.

Live Nation Lança Divisão Latina Americana

Live Nation Launches Latin Division, Headed By Hans Schafer

Hans Schafer, former AEG Director of Latin Talent, will head new effort to “increase the company’s presence in the growing Latin live events market in the United States.” 

Live Nation Entertainment has announced Live Nation Latin, a newly formed department of the company the will be headed by Hans Schafer, who formerly was the director of AEG’s Latin Talent division. Schafer will be based out of Beverly Hills.

Live Nation Latin will “focus on increasing the company’s presence in the growing Latin live events market in the United States, including touring, festivals, and artist development.,” according to statement from the entertainment giant.

Although Live Nation has had a powerful presence in the Latin touring market for some time, the creation of Live Nation Latin marks the first time the company is forming an official touring division dedicated to the genre.

“Fan demand for live events is rising across the board, and we have been seeing increased demand for Latin live events right in lock step with the overall market,” said Bob Roux, Co-President, Live Nation US Concerts.. “Hans’ specific insights and experience related to the Latin Touring business and his valuable talent relationships will allow Live Nation to continue to grow this important segment of live entertainment.”

Live Nation Latin “will amplify Live Nation’s touring expertise across the Latin genre,” according to the company's announcement, which comes on the eve of the Latin Grammys (taking place Nov. 16 in Las Vegas) and in the wake of the runaway success of the song "Despacito."

In 2017, Live Nation produced major Latin shows including Enrique Iglesias and Pitbull Live! Tour, Prince Royce’s Five Tour, as well as Ricky Martin’s Las Vegas residency at Monte Carlo’s Park Theater. The team also booked and promoted events for Mana, Marco Antonio Solis, Ana Gabriel, Alejandra Guzman and Gloria Trevi, Gerardo Ortiz, Miguel Bose, Los Temerarios, and Alejandro Fernandez. Additionally, Live Nation recently put on sale a 33-city tour for Shakira.

“Live Nation already works with some of the world’s leading Latin artists, and I look forward to continuing to develop marquee events with these performers as well as up and coming Latin talent,” said Schafer.

'Insiders' Da Indústria Da Música Dão Dicas Para Os Compositores Que Querem Navegar Nos Negócios

Industry Insiders Share Tips for Songwriters on Navigating the Music Business

The pathway to success in the music industry is rarely as simple as just being a good songwriter, gifted singer or accomplished producer. To reach certain heights, you need to surround yourself with the right support and place your trust in savvy representation. Having smart support on your side can make all the difference between struggling in obscurity and gaining access to the shot that gets your music heard on a whole different level and gives your career a serious boost.

But what should an aspiring artist look for in these crucial roles? What are the key traits that indicate that a prospective representative is the right fit for your aspirations in the music industry?

To solve this crucial quandary, BMI’s Senior Director, Creative, Jessa Gelt sought out the expertise of two veritable movers and shakers in high profile management and A&R, Dan Petel and Evan Taubenfeld. As the founder of This is Noise Management, Petel counts an impressive roster of hitmakers under his representation. Collectively, his clients are responsible for over seven #1 hits and have over 26 gold and platinum singles. Additionally, in the last two years, This is Noise clients have accumulated nine BMI Pop, Urban and London Awards. Taubenfeld, meanwhile, is the head of A&R Crush Music and oversees management of its producer/writer roster and publishing operations. Some of his clients include Sia, Lorde, Train, Fall Out Boy, Weezer, Panic At The Disco, Lykke Li and Green Day. Prior to his career in A&R, Taubenfeld was an artist in his own right and a lead guitarist and collaborator for Avril Lavigne.

With that combined wealth of experience, Petel and Taubenfeld sat down with Gelt to shed some light on what to focus on when looking for representation.

Jessa Gelt: How does one know when it’s the right time for management, publisher, attorney, and when to build out the team in the development of artistry and songwriting?

Dan Petel: While everyone’s situation is different, I think the right time to add a team member is when you are so overwhelmed with the “business” you can no longer focus on the creative.

Evan Taubenfeld: Get a manager when you find someone who will tell you the truth, who you trust implicitly and who you’ll actually listen to. He or she will tell you when to get a lawyer or publisher since your situation is different from everyone else’s.

JG: It seems to me that choosing a manager is an essential consideration to the career growth for a writer or producer. From your experiences, what are some key aspects that one should look for?

DP: Your manager is an extension of you and your business. Find someone who is passionate about your music and has the knowledge and experience to represent you. It’s also important to find a manager that is honest and objective with you about your music, someone who will provide necessary criticism when you need it.

ET: Honesty, patience, kindness, diligence, humility. Also, it doesn’t hurt if they have a ton of leverage.

JG: In the early stages of one’s career, do you have any advice for someone who is self-managed? 

DP: Educate yourself as much as possible on the business and ask questions. I would much rather deal with a self-managed songwriter who asks questions as opposed to the one that pretends they know what they are doing.

ET: Keep yourself honest. Ask yourself the questions you’d want them to ask you, and look in the mirror and answer honestly. Advertise yourself not with hustle or networking but with your music. Writing one great song is better than telling ten thousand people you can write a great song.

JG: What are some of the biggest misconceptions of the manager role?

DP: Managers will not single-handedly make you successful. I meet so many songwriters who think if they had the right manager representing them, they would be all over the charts. Your success will ultimately be up you and your skill as a songwriter.

ET: That there is a magic button that can make someone massively successful. The truth is that all of our artists make themselves successful; we’re just here to make sure it takes the least amount of time possible, and lasts as long as possible.

JG: If you had to think back over the course of your professional career, is there a mistake you made or something you wish you knew then, that you know now that impacted the direction of your career?

DP: I would say it was trusting the wrong people and not trusting the right ones. Don’t put too much stock into people who talk a big game.

ET: I would have focused more on the heart and less on the head.

JG: What is the first piece of advice you would give someone starting out as a songwriter?

DP: Be realistic about your music. Too many songwriters think the first song they write is the best song in the world. Realize that, for many, it takes years of writing hundreds of songs to have any success. I was ultimately realistic with myself, and realized I was not a great songwriter. That decision led me to my role as a manager, and It couldn’t have worked out any better for me.

ET: Write from your heart and don’t chase. Don’t worry about hits, singles, money, charts or what everyone else is doing. You are on your own path and if you make truly great music, then all will work out.

JG: Any advice you can give to an up-and-coming writer or producer when headed into the studio?

DP: I think it’s really important to make sure you leave your ego out of the studio. A successful session isn’t about how many of your ideas you can cram into a song, it’s about coming away with a great song, regardless of who contributed more to it.

ET: Check your ego. The point of a great collaboration is to complement the other writers/artists in the room, and have the sum be greater than the parts. You only hurt yourself if/when you act like a jerk or shut off other people from allowing their ideas to be heard.

JG: Where do you see songwriting headed and from your perspective, what shifts have taken place?

DP: I feel creatively the industry is taking more chances. There’s more music being put out than ever before, and more opportunities for different kinds of music to enjoy mainstream success.

ET: I think we’re going to see people stop chasing as much and start innovating a bunch more. There’s already too many good songs, no one needs any average songs, so the demand for truly exceptional, magical moments – which only come from taking chances, being sincere, candid, etc. – will lead to better and better music.

JG: What’s your most essential ingredient for songwriting?

DP: Being genuine. Everyone I know that’s having success in our industry writes music that’s genuinely meaningful to themselves and accessible to others.

ET: Sincerity.

JG: If you could change one aspect of the music industry, what would it be?

DP: There is still unfortunately a lack of appreciation and compensation for the creatives in our industry. I would like to see the ones that are creating all this amazing music be rewarded more fairly for their work.

ET: I’d eliminate the people who don’t add value or only care about their own personal gains/goals. There’s little room left for them already.

JG: What is the most challenging part of your job?

DP: I would have to say it’s just keeping up with all the new artists, songwriters and producers. There is so much new talent out there that it often becomes overwhelming trying to stay on top of everyone.

ET: Keeping egos – mine included – out of the equation, so we can make sure we’re solely focused on what’s best for our artists.

JG: Any key lessons you’ve walked away with?

DP: Treat everyone with respect. The office assistant will one day be running the company, the developing producer will have songs all over the charts. Regardless of creative or business differences, if you treat people with respect, they will continue to want to collaborate with you, and take your calls.

ET: Whether you like all of your peers or not, the truth is that they’re coming with you for the next 40-50 years. Be nice to everyone, and root for everyone, because the business is so small, we’re all really on the same team now.

JG: What do you love most about your job?

DP: I love being a part of a song’s journey the most. It’s such an amazing thing to watch a song go from a demo mp3 you get late at night in your inbox to being a song people dance to at a wedding, sing along to at concerts and hear all over radio. Is just such rewarding process to be a part of.

ET: Half of my childhood heroes are now calling my phone every day.

Video - Fazendo A Música Do Vídeo Game 'Doom'

Video: Making the music of Doom

Released last year, id Games' latest Doom earned a variety of plaudits from players, critics, and devs, including a fair bit of praise for its earnest, over-the-top soundtrack.

To shed light on how it was made, at GDC 2017 composer Mick Gordon offered up a behind-the-scenes look at the compositional process, production techniques and creative philosophies that went into scoring the game.

Specifically, Gordon reflected on how to best create a high-energy soundtrack that complements a game's core design without drowning it out. Covering musical sound design, synthesis techniques, compositional approach, interactive music, mixing, and working remotely, his talk was both practical and engaging.

If you didn't get to see it in person (or just want to refresh yourself) you can now watch Gordon's talk for free on the official GDC YouTube channel!

About the GDC Vault

In addition to this presentation, the GDC Vault and its new YouTube channel offers numerous other free videos, audio recordings, and slides from many of the recent Game Developers Conference events, and the service offers even more members-only content for GDC Vault subscribers.

Those who purchased All Access passes to recent events like GDC, GDC Europe, and GDC Next already have full access to GDC Vault, and interested parties can apply for the individual subscription via a GDC Vault subscription page. Group subscriptions are also available: game-related schools and development studios who sign up for GDC Vault Studio Subscriptions can receive access for their entire office or company by contacting staff via the GDC Vault group subscription page. Finally, current subscribers with access issues can contact GDC Vault technical support.