Conheça Os Compositores Responsáveis Pelos Sucessos Do 'Top Chart' de 2017

Meet the Songwriters Behind 2017's Chart-Topping Hits, From 'Havana' to 'Believer'

As streaming continued to revolutionize music, songsmiths from the pop, dance, country and rock charts had breakthrough years. Get acquainted with four songwriters who stood out in 2017, below.

JACOB “J KASH” KASHER

On the charts: Maroon 5’s “Cold” (No. 16), Charlie Puth’s “Attention” (No. 5) and “How Long” (No. 26) are among Kasher’s 10 appearances in 2017 on the Billboard Hot 100, where he was the chart’s 13th-ranked songwriter this year.

His story: Following a short-lived stint as a rapper himself, Kasher started focusing on songwriting with producer Kevin Rudolf circa 2008. It was a light-bulb moment: "I thought, I might suck as a rapper, but I can put some lyrics to good use," he recalls, laughing. The Virginia native now known as J Kash has since worked with everyone from Selena Gomez to One Direction. As for his 2017 success, Kasher thanks the "smorgasbord" of genres on this year's pop charts for pushing him to expand his comfort zone. “Country and Latin music got really big,” says Kasher. “Nothing is off-limits, and there’s no wrong way to create.”

ALI TAMPOSI

On the charts: Tamposi co-wrote a pair of top 10 Hot 100 hits -- Camila Cabello’s “Havana” (No. 2) and Kygo and Selena Gomez’s “It Ain’t Me” (No. 10) -- and dominated even more on the Hot Dance/Electronic Songs chart, where she was the year’s third-biggest songwriter.

Her story: “I don’t necessarily know what makes a hit, but I know what feels like a special song,” says the 28-year-old Florida native. Her star-studded resume proves it: Tamposi had her first placement with Beyoncé  at 18, co-penning Kelly Clarkson's "Stronger," her first Hot 100 No. 1 hit, two years later. These days, honesty is her secret songwriting weapon -- for "It Ain't Me," Tamposi mined her own relationship history for lyrics. “Artists are expressing their vulnerabilities in a way that resonates with listeners," she explains. "Honest lyrics always win.”

MATTMAN & ROBIN

On the charts: In 2017, the two were a force on the Hot Rock Songs chart (where they were the seventh most-credited team of the year), co-writing much of Imagine Dragons’ Evolve LP including the band’s No. 4 Hot 100 hit, “Believer.”

Their story: The famously reclusive Swedish duo -- Robin Fredriksson and Mattias Larsson -- is part of hitmaker Max Martin and Tom Talomma’s Wolf Cousins production entity, and have crafted pop gold for the likes of Gwen Stefani, DNCE and Hailee Steinfeld. But 2017 proved the duo's versatility: While working with veteran songwriter Julia Michaels on her lauded Nervous System EP, co-penning standouts like "Uh Huh" and "Worst in Me," the duo also left their fingerprints on Imagine Dragons' Evolve, dominating the rock charts with smash "Believer."

ASHLEY GORLEY

On the charts: The year’s top-ranked songwriter on the Hot Country Songs chart, Gorley penned hits like Jon Pardi’s “Dirt on My Boots” (No. 2) and Brad Paisley’s “Today” (No. 7).

His story: “I’ve always been restless,” says Gorley, who heads up Tape Room, the Nashville publishing company that released Sam Hunt’s record-setting, chart-topping smash, “Body Like a Back Road.” It shows. In November, Gorley was awarded songwriter of the year at the ASCAP Country Music Awards -- his record fifth time receiving the honor. And while his heart is with country music (with more than a decade of professional songwriting experience, he's worked with Tim McGraw, Blake Shelton, Carrie Underwood and countless others), he was excited to see the genre widen in 2017. “[Hunt] is following Rihanna and DJ Khaled on my pop station," Gorley explains. "I love being part of that.”

A IMPEL (Empresa Europeia De Licenciamento) Procura Obter O Mesmo Sucesso Da Merlin

European Licensing Organization IMPEL Looks to Replicate Merlin's Success As It Goes It Alone

Tom Petty, Sampha and writers for Britney Spears and One Direction are among those represented by member publishers 

Pan-European licensing organization IMPEL will become a fully independent collection society in a move that the organization says will benefit its members and help grow the digital music business.

Founded in 2010, IMPEL -- which stands for Independent Music Publishers’ E-Licensing -- is a collective of indie music publishers managed as part of the MPA Group of Companies and administered by U.K. collection society PRS for Music.

As per other collection societies, it provides independent publishers with the ability to offer their repertoire on a multi-territory basis to digital music services under a single license.  

IMPEL’s nearly 50 publisher members represent songwriters such as Ina Wroldsen (Britney Spears, One Direction), Grammy winner Amy Wadge (Janelle Monae, Keith Urban), Sampha (Beggars) and Tom Petty (Wixen), as well as songs recorded by Ed Sheeran, 2 Chainz, Drake, The Kinks, The Rolling Stones, Glass Animals, Rag'n'Bone Man and Camila Cabello.

Until now, the London-based organization has used MCPS (the Mechanical Copyright Protection Society) to license and administer its members’ online mechanical rights for Anglo-American repertoire.

Fulfilling long-held ambitions to become a separate entity, that agreement will now end, with multi-territory online rights transferred from MCPS to IMPEL over the coming weeks.

From that point onwards, IMPEL will be a standalone collection society owned by its members, regardless of whether they are based in the U.K. or internationally, and be subject to same requirements of transparency and efficiency as its European Union competitors.

IMPEL says that the new structure will give publishers greater flexibility by allowing them to take part in other licenses outside of those currently offered. The transition process is planned to be fully completed by April 2018.

“It is no secret that IMPEL has aspirations towards the success of Merlin and this is the next step on that mission,” said the organization’s chairman Simon Platz. He went on to call the collective “a group of publishers totally wedded to independence and totally wedded to being stronger together.”

Jane Dyball, CEO of the MPA Group of Companies added, “In a highly competitive market there is a group of independent music publishers who are firmly committed to sticking together to improve their position in the digital landscape, and to provide a nimble and adaptable service to their members.”

Advogado Paul Rothenberg Especialista Em Entretenimento Dá Dicas Para Artistas Emergentes

Entertainment Attorney Paul Rothenberg Shares Tips For Emerging Artists On Achieving Success and Longevity

Paul Rothenberg says that while he has always been analytical -- he was a math major at Dartmouth, after all -- he was also always passionate about music. “Being an entertainment attorney ended up being a great way to marry the two interests,” he tells Billboard.

Working with creative clients and in the field of law fits his strengths, and has allowed Rothenberg to excel since first becoming an attorney in 1998 before turning his focus to entertainment law in 2002. In April 2009, Rothenberg opened his own boutique entertainment law firm, Rothenberg, P.C., with locations in New York, Los Angeles and Miami. The firm boasts an impressive roster of acts including Charlie Puth, Logic, A$AP Ferg, Trey Songz and D’Angelo, and also has focuses on film, sports, theater and more.

“It’s very creative and entrepreneurial on top of the transactional work," the Tampa, Fla. native says. "A lot of times I’m the first person an artist may get in touch with on a professional level -- we become a trusted advisor and help them put together their team. I always felt that that role is very rewarding. You end up forming a very close bond [with an artist] and become a part of the inner circle.”

Of his clients, Puth and Logic in particular have had standout years (“Their success is reflective of a long-term effort,” he says), which in turn has meant a busy year for Rothenberg. When an artist takes off, he explains, “That coincides with a lot more deals and opportunities and trying to capitalize on the moment and make smart decisions.”

When it comes to making strategic moves, Rothenberg seems to have tapped into how an artist can find not only success, but the holy grail of music careers: longevity. Here, Rothenberg runs through four tips for an artist navigating the often-confusing world of starting out in the music business.

Don't Be Afraid To Take Things Slow

"Prepare for your career like it’s a marathon," he says. "There are so many opportunities and everything is important and everything is helpful, but you really have to find a balance and draw the line to protect your health, too. I try to keep [new artists] focused on that fact that this is a career and a marathon, and we don’t want to see them burn out early."

Pay Attention To Your Contract

"The first line in the contract is sometimes the most important, which is who the contract is with," he explains. "Take your time, decide on the right partner -- it’s not always the first person that finds you. Don’t focus only on the advance; there are too many stories of massive deals and no career. Choose a partner and deal that gives you the best chance for long-term success. But no matter how much homework you do, every deal and partner you choose is going to be somewhat of a leap of faith. So build in an escape clause so you can get out if things don’t go as planned. That can be very valuable. And keep the contract short, which limits the damage as well."

Make Decisions Early On 

"Today, artists can take something and grow their brand pretty far themselves online and build an audience," says Rothenberg. "But they have to decide, do they want to take it as far as they can on their own and try to get the best terms and a deal, or would they prefer to bring on a strategic partner early, to increase their chances of success and get there faster? I personally favor a mix -- one or two deals early, bring on strategic partners, and then wait on some that capitalize on your success at a later time."

Be Cautious Of The Company You Keep

"Build a strong team. Keep them engaged," he says. "Personally, we as attorneys like to be involved early so we can help provide guidance from the beginning. We are responsible for everything of a business nature that they need. Whether it’s civil litigation, or someone gets in trouble and there is a criminal attorney needed, or trademark or family law, trusts and estates. It’s our job to find [the artist] the best person to handle that work and oversee it and make sure it’s prioritized and they are charged fairly. So we become like a member of the board of directors, and we see the client as the CEO. I say to artists, 'Know who you are as an artist and be true to yourself. Everyone's going to have opinions. Listen to feedback from those you trust, but also fight for what you believe.'”

Billboard 200 Chart Tem Star Wars: The Last Jedi' Trilha Sonora E Os Beatles' 'Christmas'

Billboard 200 Chart Moves: 'Star Wars: The Last Jedi' Soundtrack & The Beatles' 'Christmas' Debut

On the latest Billboard 200 albums chart (dated Jan. 3), Eminem notches an unprecedented eighth consecutive No. 1 debut, as his new studio effort Revivalopens atop the list. The title earned 267,000 equivalent album units in the week ending Dec. 21, according to Nielsen Music. Of that sum, 197,000 were in traditional album sales.

The Billboard 200 chart ranks the week’s most popular albums based on their overall consumption. That overall unit figure combines pure album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA).

Now, let’s take a closer look at some of the action on the rest of the Billboard 200:

— Soundtrack, Star Wars: The Last Jedi – No. 12 — The soundtrack to Star Wars: The Last Jedi bows at No. 12 with 44,000 units (41,000 in traditional album sales). All eight of the main Star Wars saga films have seen their companion soundtracks reach the top 20. The lowest-charting title of the bunch is Return of the Jedi, peaking at No. 20 in 1983. The remaining six Star Wars film soundtracks have all hit the top 10, though none have reached No. 1. (The closest the series came was with the first film, Star Wars, which saw its album spend three consecutive weeks at No. 2 in 1977. It was stuck behind Fleetwood Mac’s Rumours, which ruled the list for 31 nonconsecutive weeks.)

The last Star Wars saga film, Star Wars: The Force Awakens, saw its soundtrack debut and peak at No. 5 in January of 2016.

Following The Force Awakens, the soundtrack to the stand-alone film Rogue One: A Star Wars story, reached No. 29 in January of 2017.

— Linkin Park, One More Light: Live – No. 28 — The rock band claims its 15th charting album with this new live set, recorded before the death of the group’s singer, Chester Bennington. The set was recorded during Linkin Park’s tour of Europe in June and July of 2017. Bennington died on July 20.

Earlier in 2017, Linkin Park notched its sixth No. 1 album with the studio effort One More Light.

— Alan Jackson, Precious Memories Collection – No. 33 — The country king scores his 25^th top 40-charting album with this compilation of inspirational songs, as Precious Memories Collection rises 162-33 with 22,000 units (up 255 percent). The album — which is a collection of the tunes found on his two earlier Precious Memories albums — is supported nearly entirely by traditional album sales (22,000; up 272 percent). The rise is owed to a big gain in sales through mail order and internet retailers, powered by direct-response TV ads that have been airing over the holiday season.

The Precious Memories Collection features all 36 songs that were included on Jackson’s 2006 set Precious Memories, and its sequel, 2013’s Precious Memories: Volume II. The Collection title also includes two new tracks: “It’s All About Him” and “That’s the Way.”

— Soundtrack, Pitch Perfect 3 – No. 61 — The soundtrack to the third installment of the Pitch Perfect film series debuts at No. 61 with 15,000 units (14,000 in traditional album sales). As the film arrived in U.S. theaters on Dec. 22 — the day after the chart’s tracking week ended — the soundtrack could rise on next week’s tally. The first Pitch Perfect soundtrack peaked at No. 3 in February 2012, while Pitch Perfect 2 debuted at No. 1 in 2015.

— The Beatles, The Christmas Records – No. 199 — The Beatles’ new box set of colored vinyl singles, The Christmas Records, arrives at No. 199 with 7,000 units (all from traditional album sales). The archival box has reproductions of the seven flexi-disc vinyl singles the band sent to its fan club members each Christmas between 1963 and 1969. The set, which has a total combined running time of about 44 minutes, features a smattering of music from the band (including the original tune “Christmas Time [Is Here Again]”), comedic skits and messages from the group. The Christmas Records also debuts at No. 4 on the Vinyl Albumschart and, due to the nature of the box’s contents, at No. 38 on the Holiday Albums tally.

Paul McCartney 'One on One Tour' Faturou $132 Milhões Em 2017

Paul McCartney's One on One Tour Earns $132 Million in 2017

Final 2017 box-office sales totals for Paul McCartney’s One on One tour have been reported during the final days of the year, earning the rock legend the top slot on the weekly roundup of Hot Tours (see below). With $67 million in sold ticket revenue from 15 performances added to the concerts that were already reported earlier in the year, the tour’s overall gross in 2017 rises to $132 million. The trek included a total of 37 concerts from April through December with the number of sold tickets totaling 907,610 during the eight-month span.

The One on One tour covered four continents in 2017 beginning with a string of four concerts at two venues in Japan from April 25 through 30. Three of those shows were held at the Tokyo Dome and grossed $22.8 million from 143,826 sold seats. The sold out run ranks as McCartney’s highest-grossing concert engagement in 2017 but is his second highest on record at the venue, based on Billboard’s Boxscore archives. He also sold out three nights at the Tokyo stadium during his Out There tour that ran for two and a half years from May 2013 through October 2015. That three-show stint in November 2013 earned $23.4 million from 146,845 sold tickets.

This past summer the tour was booked at arenas in twelve North American markets including eight shows in the metropolitan New York City area that drew over 113,000 fans to four venues. Following in October the tour played stadium dates in five Latin American cities, four of them in Brazil.

The final leg of the tour was a sweep through Oceania in December with shows in Perth, Melbourne, Brisbane and Sydney, Australia and a finale in Auckland, New Zealand. All were stadium dates except Sydney’s two arena shows.

The One on One tour launched originally in 2016 and included two legs in North American markets as well as a trek through Europe and also Argentina. Just as he did this year, McCartney played both arenas and stadiums during the first year of the tour. He wrapped his 2016 schedule with his two appearances at Desert Trip, the $160 million grosser that featured six iconic rock acts and six performances on the Coachella festival grounds in Indio, Calif. during October.

Not all of the 2016 shows were reported to Boxscore, but based on per-show averages throughout the run, the tour is estimated to have surpassed $240 million overall in sales during it’s two-year run with about 1.8 million tickets sold worldwide.    

	HOT TOURS - Dec. 26, 2017
	Ranked by Gross.  Compiled from Boxscores reported Dec. 19-25
Rank	ACT
	Total Gross
	Show Date Range
	Venue/City (Shows/Sellouts)
	Total Attendance (Capacity)
1	PAUL MCCARTNEY
	$67,566,928
	April 25-Dec. 16
	Nippon Budokan, Tokyo (1/1)
	Tokyo Dome, Tokyo (3/3)
	Chesapeake Energy Arena, Oklahoma City (1/1)
	Hollywood Casino Amphitheatre, Tinley Park, Ill. (2/2)
	Little Caesars Arena, Detroit (2/2)
	Estadio Azteca, Mexico City (1/1)
	nib Stadium, Perth, Australia (1/1)
	AAMI Park, Melbourne (2/2)
	Suncorp Stadium, Brisbane, Australia (1/1)
	Mt Smart Stadium, Auckland, New Zealand (1/1)
	449,175 (449,175)
2	QUEEN + ADAM LAMBERT
	$3,572,980
	Dec. 12-13
	O2 Arena, London (2/0)
	35,049 (36,922)
3	THE KILLERS
	$3,021,730
	Nov. 27-28
	O2 Arena, London (2/0)
	35,629 (36,748)
4	LITTLE MIX
	$2,924,410
	Nov. 25-26
	O2 Arena, London (3/0)
	48,030 (50,235)
5	OZUNA
	$2,672,415
	Dec. 14-16
	Amway Center, Orlando (1/0)
	American Airlines Arena, Miami (1/1)
	Prudential Center, Newark, N.J. (1/0)
	34,086 (35,795)
6	JAMIROQUAI
	$2,295,730
	Dec. 3-6
	O2 Arena, London (2/0)
	29,909 (35,215)
7	GORILLAZ
	$2,072,630
	Dec. 4-5
	O2 Arena, London (2/0)
	27,549 (29,787)
8	KASABIAN
	$1,854,650
	Dec. 1-2
	O2 Arena, London (2/0)
	28,772 (36,078)
9	MARIAH CAREY
	$1,525,000
	Dec. 11
	O2 Arena, London (1/0)
	15,074 (16,290)
10	DEPECHE MODE
	$1,446,430
	Nov. 22
	O2 Arena, London 1/0)
	17,366 (19,151)

10 Segundos De Técnica: Dicas Para Melhorar O Seu Efeito Sonoro

10 SECOND TECHNIQUE: TIPS TO IMPROVE YOUR SOUND DESIGN BY BARNEY ORAM

First of all thanks to Barney Oram for this article.

The 10 second sound design technique is a method I’ve been using over the last few years as a tool to rapidly improve my sound design skills. It’s a simple principle, and encourages depth and detail your sound design work, without demanding a big time investment to complete. I think this technique is best suited to those starting their sound design journey, or those who are looking to improve their skills in a specific niche of sound design.


Improvement comes from iteration; doing something over and over, learning from each attempt

One of my aims, in all of my work as a sound designer, is to make great sounds. I want to design sounds that tell stories, sounds that inform the audience, sounds that build a world. These aren’t trivial tasks; in fact, it can be very challenging to make sounds that both have depth, and sound cool. I think it can seem daunting, especially when starting out, to compare your work to major films and games, that have seemingly incredible sound design work – and wonder if you’ll ever be as good as that. For me, that was scary, but also a motivator. It made me want to figure out what they were doing – how they were creating their sounds – and how I could do the same thing. What I wanted to do was improve my skills – and improvement comes from iteration; doing something over and over, learning from each attempt, and slowly getting better. It’s as simple as that – you’ve just got to practice.


The key to being able to create great sound design is to practice it

Practice makes perfect. It’s taken some years to realise this for myself, but I think the key to being able to create great sound design is to practice it. As with everything, the more practice you put into something, the better you become. Through practice you develop taste, you develop an understanding for how sound, textures, and frequencies function together, and you become quicker at making the decisions that lead to creating great work. It might seem like an obvious concept – but I think it’s an important one to remember.

But how do you practice sound design effectively? I found that doing small and frequent work is a great way to learn. I’m a big fan of doing sound re-designs – taking a clip of media and re-designing the sound for it. This is a helpful exercise to do, as it allows you to practice your craft, and enables you to develop your perception of how sound functions alongside visuals. I wasn’t interested in doing huge, long clips – or full mixes – I just wanted to focus on really in-depth, complex sound design, and for this to be something I could do on a regular basis – once every few weeks.


So I started by taking really short clips, and working with them. I think 10 seconds is the perfect length to start with. I’ve been teaching myself cinematic sound design in the last year or so – and I’ve been taking clips of visual media, choosing content that pushed me to explore interesting and challenging sounds – and spending 4-6 hours focusing on this tiny piece. This amount of focus, for a fairly considerable amount of time, has encouraged me to really dig deep into designing complex and original sounds. It’s encouraged me to experiment, to explore sound creation, and has led me to create work that I would’ve never considered myself capable of.


A big part of skill improvement is taking feedback from others

I’ve also found that a big part of skill improvement is taking feedback from others – preferably those who you consider to be better than you. Do a few 10 second re-designs, and send them to people you look up to. Often they’ll be able to suggest improvements and changes, even within such a short piece of work. Taking their advice forward into the next piece of work you do is crucial – this is part of how you improve.


It’s best to select a visual piece that focuses on the elements you want to work on the most

I think it’s best to select a visual piece that focuses on the elements you want to work on the most. For example, I try to avoid clips that contain dialogue – and if they do, I generally don’t address it – because this isn’t really my area of expertise. I try to push myself and pick clips that are challenging and complex, so that I can aim to expand my ability and capability in that area.
How to find material to re-design:
There are several ways to find material to re-design. Get permission from the original author of the video you’re looking to re-design, license stock footage, or seek out Creative Commons material from sites such as these: Vimeo – Creative Commons material • Pexels • Pond 5


You can also use Youtube’s search filtering option to filter by Creative Commons (Filter/Features/Creative Commons)

Next you have to decide if you want to reference the original sound, or not. If you’re wanting to take a clip and imitate the style of sound design used in it, then working with the original as a close reference is a good thing to do. For me, I’ve always tried to approach a clip with my own fresh perspective; so I think avoiding listening to or analysing the original sound of the clip is a good approach, thus not allowing it to influence your work.


Break the clip down into sections of focus, and try to build a narrative flow

Starting the piece, I like to spot through the clip and decide what the main ‘beats’ are going to be. This essentially means I’ll break the clip down into sections of focus, and try to build a narrative flow to guide my work. This can mean highlighting the particularly visually impressive moments, or perhaps sections with a specific tone or mood, or even aspects that have a clear narrative arc already strongly defined in the visual content. Practically I do this by adding markers to my timeline, and noting down a few ideas for each element.