Episodi
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INTRO/OUTRO MUSIC:
Lakey Inspired — "Better Days"
YouTube | SoundCloud
License for commercial use: Creative Commons Attribution 3.0 Unported "Share Alike" (CC BY-SA 3.0) License.
Full License: https://creativecommons.org/licenses/...
Music promoted by NCM: https://goo.gl/fh3rEJFEATURED GUEST:
Amit Gurbaxani, freelance music journalist (Firstpost, Billboard, Music Ally, etc.)FULL ANNOTATED AND HYPERLINKED TRANSCRIPT:
★ Support this podcast on Patreon ★
https://medium.com/@cheriehu42/what-indias-music-industry-can-teach-us-about-paid-youtube-views-musical-regionalism-and-the-7008bc4cea99 -
Episodi mancanti?
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INTRO/OUTRO MUSIC:
Madame Gandhi — "Bad Habits" (Instrumental)
Spotify | Instagram | YouTubeFEATURED GUEST:
Kiran Gandhi, a.k.a. Madame GandhiFULL ANNOTATED AND HYPERLINKED TRANSCRIPT:
★ Support this podcast on Patreon ★
https://medium.com/@cheriehu42/what-does-an-artist-centric-future-for-music-tech-look-like-9ae5ca11d435 -
INTRO/OUTRO MUSIC:
PYLOT — "Clova"
Spotify | SoundCloud | Apple Music
Music provided by Monstercat:
https://youtube.com/monstercat
https://youtube.com/monstercatinstinctFEATURED GUEST:
Wyatt Jenkins, SVP Product at Patreon
Patreon raised a $60 million Series D funding round in July 2019, around one month after this interview was originally recorded.
Part of our discussion revolves around Wyatt's blog post in February 2019 about why Patreon is not a discovery platform.FULL ANNOTATED AND HYPERLINKED TRANSCRIPT:
https://medium.com/@cheriehu42/why-music-isnt-a-top-two-category-on-patreon-yet-c734a71d8959Thanks to Marcus Hahm for his help with mixing!
★ Support this podcast on Patreon ★ -
INTRO/OUTRO MUSIC
"McFlurry" (Instrumental) by Sleaford Mods
Original song: Spotify | Apple Music | YouTube
Music licensed from Lickd - https://lickd.co
Listen and License this track here: https://t.lickd.co/0b16a70c28b54aaab609c4fc88193c06
License ID: 498c21344bcd47379e72f0f740e4465cFEATURED GUEST
Alex Mitchell
Founder/CEO, Boomy
Boomy launched out of beta on July 19, 2019, just one hour before this episode was recorded.FULL TRANSCRIPT WITH HYPERLINKS
★ Support this podcast on Patreon ★
https://medium.com/@cheriehu42/how-artificial-intelligence-will-do-to-music-what-instagram-did-to-photography-b69268a2d318
Special thanks to Marcus Hahm for help with mixing! -
INTRO/OUTRO MUSIC
"Flowers" by a[way]
Creative Commons — Attribution 3.0 Unported — CC BY 3.0
Free Download/Stream: http://bit.ly/Flowers-away
Music promoted by Audio Library: https://youtu.be/h_7V5TXkAw4
FEATURED GUEST
Sammy Andrews
CEO, Deviate Digital
This episode is inspired by Sammy's recent column in Music Week about the stubborn data silos that persist in the music industry.TIMESTAMPED TOPICS
Siloed consumption data among several labels for the albumSiloed audience data among labels and promotersLabels charging outside parties to use retargeting data, not being open to outside pixel tracking
[2:49] Interview begins
[5:53] Preliminary overview of different data silos that exist among artists, labels, publishers, distributors and streaming platforms. Examples:[9:49] Importance of asking for access to certain kinds of data in recording/publishing contracts.
[11:15] Promoters usually get left behind in terms of access to data, but take on the most risk in putting on shows.
How can managers and agents help solve the issue?What role can streaming platforms like Spotify play in terms of driving higher clickthrough rates for ticket sales?[15:09] DSPs have a long way to go before fully nurturing and monetizing superfan relationships.
E.g. possibility of streaming services offering artists the data and tools to retarget their most loyal fans off-platform[16:40] Distributors offering self-serve advertising platforms to indie artists
Examples: CD Baby's Show.co; Sammy mentions BeatchainCORRECTION: AdRev, which is owned by CD Baby's parent company, focuses on Content ID management and video monetization, not on advertising.These types of platforms still may have a drawback in terms of full autonomy from a siloed platform.[21:08] Given that nothing is certain in terms of the future of tech and media companies, the best way to protect artists is to ensure that they can have their consumption, audience and payment data move with them, as opposed to constantly trying to cobble together fragmented sources at the whim of third parties.
[26:05] What are types of data that music companies are very protective about and don't want to share, but whose openness could actually benefit them more?
Sammy's personal example: Data silos prevented her from successfully building a global playlist brand for the independent community, to compete with major labels' curatorial brands (Digster, Filtr, Topsify).[30:03] More and more music companies all morphing into the same thing and eating into each other's revenue streams.
Original article comes from Music Business Worldwide's Tim Ingham, writing for Rolling Stone.Caveat: Will this consolidation just lead us back to an era of predatory 360 deals?[33:09] Is bundling an effective solution for breaking down data silos, or does it just take advantage of fans?
Examples: DJ Khaled vs. Tyler the Creator on the Billboard charts, and Taylor Swift's controversial Verified Fan campaign with Ticketmaster.[36:10] The chicken-egg problem for solving the data-silo problem: Should we try to build a concrete product first, or start by tackling wider organizational practices and behaviors?
Lessons from other industries: practices for a global album launch should be on par with how big-name fashion brands Nike and Adidas plan global product launches.Data silos present artists from being able to treat themselves as legitimate, always-on brands.[42:31] Overrated/Underrated segment begins
Example of a failure: Amazon's short-lived ticketing venture.Where does the music industry fit in, with respect to carving out different routes to market and thinking in a more innovative way about press and media campaigns?
[42:39] Sammy's topic: Big tech players like Netflix, Facebook and Spotify extending and diversifying their reach into entirely different types of content and technologies.[47:25] Caveats of doing exclusive distribution and content deals with tech platforms
Crazy Rich Asians director Jon M. Chu chose to go with a traditional big-screen release over a Netflix exclusive deal, which allowed him and the film to break box-office records and have wider cultural impact.Should artists "sign" to streaming platforms — or is the ideal relationship more nuanced?With great content opportunities come great digital advertising opportunities, which can go a much longer way than a single, poorly-placed TV ad. Sammy comes across a few new advertising opportunities for her clients every week.[52:46] Cherie's topic: Spotify is one of several tech companies supporting Facebook's new cryptocurrency Libra.
Spotify published an official post on their website.The Libra partnership parallels Spotify's needs to integrate directly with local telcos in emerging because of the relative lack of separate bank accounts.
★ Support this podcast on Patreon ★
Special thanks to Jay Shah for help with editing and mixing! -
INTRO/OUTRO MUSIC:
Yung Skrrt & Jonah Baseball - "The Man" (feat. Houdinne & Lunarboy) (Instrumental)
Spotify | SoundCloud | Bandcamp
Yung Skrrt: Twitter | InstagramCOVER ART:
Arielle TrenkFEATURED GUESTS:
Eugene Kan — co-founder, MAEKAN
Charis Poon — writer, editor and producer, MAEKAN
Both Eugene and Charis co-host the weekly podcast Making It Up, and were two of five co-writers of the essay "The Modern Creator's Paradigm: Reasons for More Critique and Accountability."SHOW TIMESTAMPS:
[2:50] Interview begins.
[4:00] Are we as consumers sufficiently challenging the creative work that's out there? Is it our role to challenge it? Should the consumer always "win"?[9:12] Music and video platforms are increasingly embracing their roles as gatekeepers, and taking on the burden of responsibility and scrutiny in their curation.
Liz Pelly's "Discover Weakly," a study of gender representation on Spotify playlists.[15:45] A significant component of creative and algorithmic accountability just comes down to answering the question of why. Why is a platform recommending this song or movie to me? Why am I listening to this song, and does the platform know that reason? This is a question that word-of-mouth addresses better than any other tactic, and that algorithmic channels like Spotify's Discover Weekly still struggle to navigate.
[20:36] Thinking more critically about a piece of creative work arguably drives up the value of that work. "Without creative accountability, the new work that’s generated rarely gets the critique necessary for it to develop into something refined and of higher value."
[25:26] Regardless of whether the song "Old Town Road" is actually "good," Lil Nas X benefited from fast-moving forms of cultural response — including memes, which arguably comprise a form of cultural criticism.
[28:42] Despite whatever creative democratization has taken place thanks to technology, our silos of communal critique may be deepening.
[29:39] As a whole, if we're advocating for smaller, tight-knit communities of critique to help push culture forward, how many of those communities will we be able to see in the open? Who will even get to see it in the first place? (Hint: platforms.)
[30:57] From a cultural consumer's perspective, higher barriers to consumption arguably lead to more impactful and emotional investment in creators.
[33:41] Music distribution and tech companies are increasingly catering to the "middle tier" of independent artists and their teams.
I wrote a recent newsletter about how music distributor Stem made precisely this pivot to "middle-tier" services.[39:01] A somewhat radical idea: What if creator-focused companies taxed hobbyists higher than professional artists for their services? Or, put another way, what if artists were rewarded with more equity, not less, for contributing positively to their culture and community — essentially the opposite of how traditional record-label deals are structured?
[42:44] Discussion of the key building blocks for the future of media, speaking from our experiences building MAEKAN (Eugene/Charis) and a Patreon membership (Cherie). Key trends:
Moving beyond news cycles, accelerated timelines and output quotas."Finishable content" — i.e. moving past the psychological feeling of never getting caught up.Infinite cultural mindset — i.e. fostering culture with infinite longevity and cross-generational relevance, instead of focusing only on content that drives short-term engagement.[54:39] Overrated/Underrated segment begins. (this lasted more than 10 minutes, lol)
[54:57] Charis: The conversation and controversy around Taylor Swift's new single and music video "You Need to Calm Down."[58:32] Eugene: The role of merch bundling not only in Billboard chart placement, but also in artists' cultural influence on- and offline.
See the multiple articles online on DJ Khaled vs. Tyler, The Creator for more context on the merch bundle wars.[1:04:46] Cherie: YG Entertainment founder Yang Hyun-Suk stepping down, amidst a string of sex-related scandals in the K-pop world.
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Subscribe to my newsletter for more conversations on big ideas and trends in music and tech:
bit.ly/waterandmusic -
INTRO/OUTRO MUSIC:
WYL & Wun Two - "Kübla"
Spotify | SoundCloud | BandcampFEATURED GUESTS:
Ben Gross — Chief Strategy Officer, Genius
Laura Kinniburgh — Head of Music Licensing, GeniusSHOW NOTES:
[2:34] Interview begins
[2:52] Overview of Genius' relations with publishers, songwriters and other players in the music industry
[5:45] Overview of Laura's background in music licensing and current role at Genius[6:53] Types of licenses involved in Genius' online video series
[7:23] Relationship between Genius' industry relationships and the site's user-generated content
As a senior in college, I made the Genius profile for the rapper Rekstizzy, which he got verified after the fact!Genius did not enable transcription IQ until 2017.[10:06] How Genius approaches sharing advertising revenue with rights holders—including emerging artists without publishing representation or support
[12:21] Overview of Genius' partnerships and integrations with Spotify, Apple Music and YouTube
Spotify's Behind the Lyrics integration launched in January 2016.Apple Music launched its own in-service Genius integration in October 2018.YouTube and Genius briefly tested a Song Stories feature in 2018.[15:05] Genius' role as an advocate for publishers in their deals with streaming companies
[17:02] Impact of lyric integrations on lean-forward engagement and differentiation on streaming services
[21:16] Role of lyrics in voice search
Amazon's Alexa devices enable lyric requests.Google Home launched a Genius integration in January 2017.[24:40] Laura's role in educating up-and-coming and unsigned artists about how publishing and performance royalties work
[25:21] How Genius' "Verified" videos provide a source of publishing income for artists
[26:18] Whether Laura's job in music licensing has gotten easier or harder over time as technology has advanced
[27:36] New and unconventional forms of music and lyrics licensing
Genius had to sign an "industrial license" for displaying lyrics from The Notorious B.I.G. at its Lyrics to Life event, hosted in partnership with Dropbox .[31:00] Why music scares brands from a licensing perspective, and how companies like Genius are trying to help
[33:08] How users can experience lyrics as the first point of music discovery
[35:34] How you don't have to be interviewed in a "Verified" video to get paid by the series
Ariana Grande gets paid publishing income for every view of the Genius Verified video for "Monopoly," which features Victoria Monét.[36:45] How Genius recently reconfigured its approach to music licensing—in part because of Laura's background on The Tonight Show
[38:03] What tools and resources Laura uses to help streamline her licensing process
[39:45] The massive metadata problem for artists and how, if at all, Genius can help out
Genius often gets requests from publishers for lyrics data, instead of the other way around![44:23] Overrated/Underrated segment begins
[44:35] The ongoing wave of vague copyright infringement lawsuits from songwriters, in the wake of the "Blurred Lines" case
Earlier this month, Chilean singer Jaime Ciero dropped his 2017 lawsuit against the Walt Disney Company, songwriters Kristen Anderson-Lopez and Robert Lopez, and performers Demi Lovato and Idina Menzel that claimed "Let It Go" infringed on Ciero's own composition.In June 2018, Bebe Rexha belatedly gave Shelly Peiken a songwriting credit on the former's song "I'm A Mess," because of a suspected interpolation.[48:05] Mariah Carey is an underrated songwriter
Genius honored Carey at their flagship "Levels" event in November 2018, and Carey did get nominated for the Songwriters Hall of Fame that same month.[51:10] Fenty, Rihanna's new luxury house with LVMH
I wrote for Billboard last year about Rihanna's accessibility- and diversity-first ethos in her previous fashion partnerships and linesKanye West sold $50 church socks at Coachella in April 2019Thanks for listening! :)
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INTRO/OUTRO MUSIC:
"Muted Voices" by Landslide
Spotify | Apple Music
Licensed from Lickd—listen and license this track here
License ID: 4d328232aa4a4fb1845b1b8097aaaf8eFEATURED GUEST:
Alex Bonavia
Head of Business Development at Wavo
Twitter: @A_BonaviaSHOW NOTES:
[1:40] Interview with Alex begins
[4:54] Adam Alpert on The Chainsmokers' monthly release strategy in 2017: "The strategy works very well for streaming services, because they are getting regular content, and playlist editors can help you narrate that story month to month."
https://www.billboard.com/articles/news/dance/7718105/chainsmokers-manager-adam-alpert-interview-2017[5:25] The newly-reunited Jonas Brothers released their two latest singles, "Sucker" and "Cool," within 40 days of each other:
https://www.youtube.com/watch?v=CnAmeh0-E-U
https://www.youtube.com/watch?v=8_JbZvHc92U[9:15] An example of a label exec touting the power of building "career artists":
https://www.billboard.com/articles/business/8094078/2-single-release-strategy-music-industry[12:55] I wrote for Billboard last year about whether labels should be concerned about Spotify's churn rate:
https://www.billboard.com/articles/business/8258220/music-industry-spotify-churn-rate-inactive-subscribers[13:38] Splice raised a $57.5M Series C round in March 2019:
https://techcrunch.com/2019/03/20/splice-sample-marketplace/[15:05] Alex's tweet about the rise of JVs:
https://twitter.com/A_Bonavia/status/1105205494170480646[15:52] Managers like Jake Udell and Scooter Braun are starting their own labels in-house:
https://www.billboard.com/articles/business/8488954/artist-managers-launching-record-labels[17:09] ODESZA's label Foreign Family Collective:
https://www.foreignfamilycollective.com[17:45] RÜFÜS DU SOL launched their own label Rose Avenue in October 2018, which has a distribution deal with Warner Bros. imprint Reprise Records, according to metadata from their latest album on Spotify:
https://www.billboard.com/articles/news/dance/8478125/rufus-du-sol-rose-ave-label-cassian-lafayette[20:50] W Hotels launched its singles label in October 2018, and has collaborated with the likes of Amber Mark and Perfume Genius:
https://www.rollingstone.com/music/music-news/w-hotels-is-record-label-now-too-732641/[21:03] Red Bull Music Academy will be shutting down later in 2019:
https://pitchfork.com/news/red-bull-music-academy-and-radio-to-shut-down/[22:08] Yes, KFC's Colonel Sanders did have a slot at the Ultra Music Festival:
https://consequenceofsound.net/2019/03/ultra-kfc/[22:35] Mountain Dew's media & entertainment venture with Complex Media, Green Label, once housed the record label Green Label Sound, which collaborated with artists like Jay Electronica and The Cool Kids. The venture at large seems to be inactive today:
http://greenlabel.com[22:53] More context on the multifaceted Kitsuné brand, co-founded by former Daft Punk manager Gildas Loaëc:
https://www.billboard.com/articles/business/8236269/kitsune-x-nba-new-standard-indie-label-releases-fashion-sports[26:25] ALL the JVs!!
- Boominati Worldwide, Metro Boomin's JV with Universal Music's Republic Records: https://www.billboard.com/articles/columns/hip-hop/7849328/metro-boomin-boominati-worldwide-label-bryson-tiller-tour
- Visionary Records, Visionary Music Group's JV with Sony: https://www.forbes.com/sites/ogdenpayne/2019/01/24/music-entrepreneur-chris-zarou-launches-new-sony-backed-imprint-visionary-records/#3abcd53c7485
- Palm Tree Records, a JV between Kygo's manager Myles Shear and Sony: https://www.billboard.com/articles/business/8478266/kygo-myles-shear-palm-tree-records-sony-music
[27:55] In 2017, Spotify's Director of Economics Will Page wrote an important analysis for Music Business Worldwide about why the arbitrary 18-month threshold for catalog marketing is no longer relevant in the streaming era:
https://www.musicbusinessworldwide.com/music-industrys-definition-catalogue-need-upgrade/[31:54] Spotify automatically creates "This Is" playlists for artists on its platform, compiling and ordering songs in their catalog—e.g. this playlist for Anderson .Paak:
https://open.spotify.com/playlist/37i9dQZF1DZ06evO1VjTu8[34:39] A designer and illustrator collaborated on a fun web app that automatically generates personalized festival lineups based on your recent listening habits on Spotify:
salty-beach-42139.herokuapp.com
twitter.com/cheriehu42/status/1116779941838958592[35:43] More context on the power of fitness playlists, apps and studio companies in music marketing:
https://www.forbes.com/sites/cheriehu/2018/08/02/fitness-marketing-revenue-music-tech/[36:03] My newsletter issue from September 2018 about the concept of "today's hit being tomorrow's niche," inspired by Chris Anderson's book The Long Tail:
https://www.getrevue.co/profile/cheriehu42/issues/today-s-hit-is-tomorrow-s-niche-132544[36:21] MIDiA Research's Managing Director Mark Mulligan's blog post, "Kobalt Is A Major Label Waiting To Happen":
http://www.midiaresearch.com/blog/kobalt-is-a-major-label-waiting-to-happen/[46:10] Overrated/Underrated segment begins
[46:24] Sylvia Rhone got promoted to Chairman/CEO of Epic Records in April 2019:
https://www.billboard.com/articles/business/8508355/sylvia-rhone-chairman-ceo-epic-records[46:58] Great Billboard piece from April 2018 about the diversity gap among hip-hop executives within major labels at the time:
https://www.billboard.com/articles/business/8313035/hip-hop-boom-black-executives-music-business-labels
[47:57] L.A. Reid left Epic Records in 2017 following harassment allegations from an assistant at the company:
https://www.billboard.com/articles/news/7793105/la-reid-epic-records-exit-allegations-female-staffer[48:23] Beyoncé's deluge of promotional flexes—
- A $60-million, three-project deal with Netflix: https://variety.com/2019/music/news/beyonce-netflix-deal-1203193729/
- The first output of said deal, the two-plus-hour documentary "Homecoming" honoring her historic 2018 Coachella performances: https://www.netflix.com/title/81013626
- "Lemonade" is now available across multiple streaming services beyond Tidal, including Spotify and Apple Music: https://trapital.substack.com/p/beyoncs-streaming-strategy-explained[50:32] Kanye West's Sunday Service:
https://www.nbcnews.com/think/opinion/kanye-west-s-sunday-service-isn-t-his-redemption-it-ncna998061
[52:34] More context on how Coachella promoter AEG is sharing in Beyoncé's streaming revenues, licensing fees and ticket sales from her "Homecoming" documentary and live album:
https://www.billboard.com/articles/business/8507795/how-beyonce-homecoming-pays-off-coachella-promoter-aegThanks for listening! :)
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INTRO/OUTRO MUSIC:
"In All The Wrong Places" (Instrumental) by Kero One
YouTube | Spotify | SoundCloudFEATURED GUEST:
Kero One, DJ/rapper/producer
http://www.kero1.com/SHOW NOTES
[2:40] Interview with Kero One begins
[4:46] More context on the origin of the "Is this a butterfly?" anime meme:
https://www.vox.com/2018/5/15/17351806/is-this-a-pigeon-anime-butterfly-meme-explained[5:45] Cartoon Network's Adult Swim is referenced several times in oral histories of lo-fi hip-hop—from its role in engineering the success of rapper MF DOOM, to its influence on other, younger producers and the emergence of nostalgia-driven audiovisual mixes on YouTube:
https://www.youtube.com/watch?v=kVZcO6bcYqc
https://djbooth.net/features/2018-06-13-lo-fi-hip-hop-evolution
https://www.vice.com/en_us/article/594b3z/how-lofi-hip-hop-radio-to-relaxstudy-to-became-a-youtube-phenomenon[8:15] YouTube first launched its native livestreaming feature in limited beta in spring 2011, and waited until late 2013 to open up the feature to anyone with 100 or more subscribers:
https://youtube.googleblog.com/2011/04/youtube-is-going-live.html
https://www.theverge.com/2013/8/3/4586624/youtube-live-streaming-now-available-to-channels-with-100-subscribers[10:50] I last interviewed Kero for a Forbes article in summer 2017, during which he shared how one of his biggest breaks as an artist came when underground DJs in Japan picked up copies of his 2006 project Check the Blueprints:
https://www.forbes.com/sites/cheriehu/2017/07/21/inside-kero-azures-old-school-new-blueprint-trans-pacific-vision-of-indie-rap/#7b1023aa2eed[11:40] The New York Times published a fascinating multimedia article in February 2019 about the presence of Chicano/Chicana subcultures in Japan, including an interview with Japanese Chicana rapper Mona. To be fair, OC Weekly beat them to their own coverage eight years earlier:
https://www.nytimes.com/2019/02/19/style/how-my-southeast-la-culture-got-to-japan.html
https://ocweekly.com/when-east-los-meets-tokyo-chicano-rap-and-lowrider-culture-in-japan-6573626/[14:04] Links to Nujabes and Cradle Orchestra:
https://www.youtube.com/watch?v=WrO9PTpuSSs
https://en.wikipedia.org/wiki/Cradle_Orchestra[17:32] Passion of the Weiss' interview with Bas van Leeuwen, founder of record label Chillhop Music, in which he states that "we don’t want the music to be seen as a throwaway or interchangeable product. We want people to recognize individual tracks":
https://www.passionweiss.com/2019/01/16/lo-fi-hip-hop-chillhop/[19:17] You can watch the first installment in Kero's career-driven video series on YouTube by clicking here:
https://www.youtube.com/watch?v=TbCJmSmObuE&t=60s[22:10] Kero's comments connecting EDM to lo-fi hip-hop in terms of both genres' dependence on playlists reminded me of this piece I wrote for Billboard last year about how some flagship playlists on Spotify were underperforming on engagement and conversion to artist fandom, despite having multiple millions of followers:
https://www.billboard.com/articles/business/8463174/spotify-playlists-engagement-analysis-study[26:06] DJ Mark Farina has been commercially releasing a series of downtempo/chill hip-hop compilations called Mushroom Jazz since 1996. Here's a link to the second compilation in full on YouTube:
https://www.youtube.com/watch?v=f6k0FlHGrZE[31:06] Spotify's "Lo-Fi Beats" playlist currently has over 1.7 million followers; "Mellow Beats" has over 1.4 million followers; "Chill Lofi Study Beats" has over 400,000 followers.
https://open.spotify.com/playlist/37i9dQZF1DWWQRwui0ExPn
https://open.spotify.com/playlist/37i9dQZF1DX3qCx5yEZkcJ
https://open.spotify.com/playlist/37i9dQZF1DX8Uebhn9wzrS[33:32] Links to the life and work of Sam Gellaitry, an electronic producer in his early 20s:
https://soundcloud.com/samgellaitry
http://stoneyroads.com/2018/03/getting-to-know-sam-gellaitry-the-producer-everyone-is-listening-to/
https://www.youtube.com/watch?v=Hwwl_5stL1M[37:17] The resurgence of '90s references in fashion, music and other realms of pop culture is well documented:
https://www.nytimes.com/2016/07/13/t-magazine/fashion/90s-fashion-revival.html
https://www.rollingstone.com/culture/culture-features/90s-obsessions-nostalgia-charli-xcx-768664/[40:39] Vulture's Craig Jenkins dove into the rise of the "sad summer song" in 2018:
https://www.vulture.com/2018/08/the-saddest-songs-of-2018.html[44:58] Overrated/Underrated segment begins
[45:25] Lil Nas X. Enough said. For more context on his viral, historic rise, and the technological and commercial forces that made it happen:
https://www.nytimes.com/2019/04/11/arts/music/lil-nas-x-old-town-road-country-rap.html
http://nymag.com/intelligencer/2019/04/lil-nas-x-was-a-popular-twitter-user-before-old-town-road.html
https://www.rollingstone.com/music/music-features/lil-nas-x-old-town-road-streaming-record-819468/
[47:08] More context on the "yeehaw agenda," a movement of people of color (particularly African Americans) reclaiming western and cowboy aesthetics:
https://afropunk.com/2019/03/black-cowboys-yeehaw-agenda/
https://www.gq.com/story/old-town-road-yeehaw-agenda[49:36] K-pop group BLACKPINK performed on The Late Late Show with James Corden last week:
https://www.youtube.com/watch?v=sUqppHl3U8M[49:58] You can listen to BTS' single "Boy With Luv" ft. Halsey here:
https://www.youtube.com/watch?v=XsX3ATc3FbAThanks for listening! :)
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INTRO/OUTRO MUSIC:
"sleep" (instrumental) by min.a
Spotify | SoundCloud | YouTubeTRAVEL UPDATES:
I'm speaking at the European DIY Musician Conference in Valencia, Spain on April 6 and 7!
If you'll still be around, you can purchase tickets here: https://diymusiciancon.com/eu/
FEATURED GUEST:
Amber Horsburgh
Music marketing consultant; former SVP of Strategy of Downtown Records
Author of the Deep Cuts newsletter
https://us2.list-manage.com/subscribe?u=f0541c84182af8be2e2a9a627&id=6b07de7ce8Today's episode is inspired by Amber's blog post "Playing to Strangers":
https://medium.com/@AmberHorsburgh/playing-to-strangers-8568f5e0e2fdSHOW NOTES:
[3:44] Interview with Amber Horsburgh begins
[5:32] Byron Sharp's book How Brands Grow: What Marketers Don't Know:
https://www.amazon.com/How-Brands-Grow-What-Marketers/dp/1511383933[10:46] Music Ally's report on the "dry streams" problem and how labels and managers navigate it:
https://musically.com/wp-content/uploads/2019/03/Sandbox224-62916028.pdf[15:18] Kevin Kelly's original blog post on "1,000 True Fans":
https://kk.org/thetechnium/1000-true-fans/[19:02] The Coachella lineup in 2012 featured many more artists from the rock and pop world—e.g. Beirut, The Black Keys, Arctic Monkeys and M83—than from hip-hop, R&B and similar genres:
https://consequenceofsound.net/2012/01/radiohead-dr-dre-the-black-keys-headline-coachella-2012/[20:41] As one example of a study on rising concert ticket prices, the U.K.'s National Arenas Association found that the average ticket cost for a big-arena gig in the country rose from £22.58 in 1999 to £45.49 in 2016. Adjusting for inflation, that's a 27% increase over that time period:
https://www.bbc.com/news/business-42982769[22:02] Artist manager Jake Udell's newsletter about how record labels often spend 80% to 90% of their budget on content, rather than on reach:
https://artofamanager.com/2019/02/important-marketing/[24:26] During Spotify's Investor Day presentation in March 2018, CEO Daniel Ek shared that the streaming service receives roughly 20,000 tracks every single day:
https://investors.spotify.com/events/investor-day-march-2018/default.aspx[29:49] According to a study by MusicWatch, 44% of Facebook users like an artist or band, while 56% of Instagram users follow, tag and/or share posts from artists
https://www.soundexchange.com/2018/08/08/musicwatch-music-social-media-perfect-harmony/[39:12] Marshmello's groundbreaking Fortnite concert continues to be on the tips of everyone's tongues in the industry:
https://www.theverge.com/2019/2/2/18208223/fortnite-epic-games-marshmello-concert-exciting-bizarre-future-music[40:33] Courtney Barnett and Kurt Vile's critically-acclaimed collaborative album Lotta Sea Lice was released in October 2017:
https://courtneybarnettandkurtvile.bandcamp.com/album/lotta-sea-lice[43:32] Overrated/Underrated segment begins
[43:47] Bandsintown acquired Hypebot and Music Think Tank:
https://variety.com/2019/music/news/bandsintown-platform-acquires-hypebot-musicthinktank-1203170255/[44:47] Throughout January and February 2019, both HuffPo and BuzzFeed laid off 7% and 15% of their workforce, respectively:
https://www.theguardian.com/media/2019/jan/26/huffpost-buzzfeed-layoffs-digital-journalism[45:23] I recently wrote a two-part essay for my newsletter Water & Music about how artist education is the new point of competition for music companies, especially for streaming services and third-party distributors:
https://www.getrevue.co/profile/cheriehu42/issues/artist-education-is-the-new-competition-part-one-154161
https://www.getrevue.co/profile/cheriehu42/issues/artist-education-is-the-new-competition-part-two-156331[48:37] Warner Music acquired Songkick in July 2017:
https://techcrunch.com/2017/07/14/warner-music-group-buys-concert-discovery-service-songkick/Thank you so much for listening! :)
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INTRO/OUTRO MUSIC:
"Drifter" by postmoderndisco
Spotify | Bandcamp | SoundCloud | YouTubeGUEST:
Mike Warner
Author, Work Hard Playlist Hard (https://gumroad.com/a/550745203)
Artist + Label Relations, Chartmetric
Manager + Producer, Date NightCITATIONS:
[3:32] Interview with Mike Warner begins
[5:14] My original tweet claiming that "playlist placement isn't artist development":
https://twitter.com/cheriehu42/status/1067873158705893378[5:41] My email newsletter issue about our new "post-playlist" reality:
https://www.getrevue.co/profile/cheriehu42/issues/our-new-post-playlist-reality-138493[11:48] There are many other resources online about how to "optimize" your Spotify profile for discoverability and follows, such as on this blog:
https://www.awal.com/blog/playlisting-tips[17:35] Spotify shut down third-party playlisting pitching service Spotlister for breaching the former's terms of service, as illuminated in an investigation by The Daily Dot:
https://www.dailydot.com/upstream/spotify-playlist-scandal/[22:42] Playlist SEO is real, and there are ways artists can use it to their benefit (instead of, you know, for scamming people):
https://diymusician.cdbaby.com/music-promotion/build-spotify-playlist-shows-search/[29:00] As I and a few other writers have covered recently, the role and power of music publicists has changed rather dramatically over the last five years in the wake of streaming and other digital trends:
https://www.billboard.com/articles/events/women-in-music/8488966/female-music-industry-publicists-unsing-power
https://www.billboard.com/articles/business/8493224/independent-music-publicists-shrinking-media-landscape-premieres[32:40] Keith Jopling's blog post about the future of playlist innovation for MIDiA Research:
https://www.midiaresearch.com/blog/whats-next-for-playlist-innovation/[33:51] Spotify launched a collection of horoscope playlists in January 2019, in collaboration with "resident astrologer" Chani Nicholas:
https://newsroom.spotify.com/2019-01-17/astrologer-chani-nicholas-shares-how-music-matches-your-horoscope/[38:32] Overrated/Underrated segment begins
[38:51] Facebook announced new music licensing deals in India, Thailand, Vietnam and other markets across Asia during SXSW:
https://www.billboard.com/articles/business/8502461/facebook-music-40-countries-india-thailand[39:40] In January 2018, a study by Diffusion Group found that 50% of adult Facebook users in the U.S. had never heard of the free Watch video service, while 24% had heard of it but never used it.
https://variety.com/2018/digital/news/facebook-watch-half-users-never-heard-of-1202913756/[42:42] Around Spotify's launch in the U.S., the streaming service relied heavily on Facebook for acquiring users and spreading a reputation of the service as "social-friendly."
https://www.wired.com/2011/05/facebook-spotify-together/[43:18] Spotify launched in India in February 2019—but without some clickbait-friendly legal action from Warner Music Group.
https://techcrunch.com/2019/02/26/spotify-launches-in-india/
https://www.theverge.com/2019/3/1/18243053/spotify-warner-india-global-food-fight-music-streaming[46:00] In December 2019, Indian streaming service Saavn merged with the music arm of Reliance Jio, one of India's biggest telcos:
https://techcrunch.com/2018/12/05/jiosaavn/[47:05] Deezer is known for relying heavily on telco partnerships for customer acquisition, even if those customers don't stay around for long—leading to a phenomenon that MIDiA Research has called "zombie users":
https://www.billboard.com/articles/business/8258220/music-industry-spotify-churn-rate-inactive-subscribers[47:21] Here's a recap of the most-streamed songs on Spotify India in the first week:
https://musically.com/2019/03/07/western-artists-prove-popular-in-spotifys-early-days-in-india/[48:55] Apple is expected to launch a video subscription service later this month:
★ Support this podcast on Patreon ★
https://www.forbes.com/sites/dawnchmielewski/2019/03/21/apple-tv-app-to-get-a-second-life-with-video-subscription-service/#efa3e061e377 -
OPENING & CLOSING MUSIC:
Mark Redito (fka Spazzkid) - "Getting To Know You"
SoundCloud | Bandcamp | Spotify (Spazzkid) | Spotify (Mark Redito)FEATURED GUEST:
Dan Runcie, founder of Trapital
https://trapital.substack.com
http://www.danruncie.comPODCAST ARTWORK:
Arielle Trenk
http://www.arielletrenk.com/---
FULL SHOW NOTES:
This episode is inspired by Dan's article in Trapital about the intersection of hip-hop and VC:
https://trapital.substack.com/p/why-hip-hop-can-help-venture-capital
[3:30] Interview with Dan Runcie begins[4:25] The original tweet is now deleted, but there are several news articles written about the debate that ensued—here's just one example:
https://news.iheart.com/featured/jojo-wright/content/2018-01-29-people-are-choosing-dinner-with-jay-z-over-50k/[6:18] Links to some of Jay-Z's nuggets of wisdom, including his autobiography and interview on the Rap Radar podcast:
https://www.amazon.com/Decoded-Jay-Z/dp/0812981154
http://rapradar.com/features/rap-radar-podcast-jay-z/[8:45] One example of a social app that relied on celebrity investment for user acquisition, only to fall flat shortly thereafter, is Shots:
https://www.recode.net/2016/10/30/13459412/shots-app-justin-bieber-rudy-mancuso-lele-pons[10:39] Some links to rapper Russ' tweet-storm touting the importance of artists owning all the rights to their work and building enough leverage and clout on their own terms, prior to approaching a label, lawyer or other business partner:
https://twitter.com/russdiemon/status/1103422668366376960
https://twitter.com/russdiemon/status/1103393282506264578
https://twitter.com/russdiemon/status/1103390793316921344[12:25] The "record-label-as-VC-firm" concept has been swimming around for over a decade—here are links to some earlier examples:
https://money.cnn.com/2007/04/18/news/companies/pluggedin_arango_music.fortune/index.htm
https://www.hypebot.com/hypebot/2010/09/the-music-venture-capital-business-model.html[14:15] We reference indie distribution company UnitedMasters frequently in this episode. For those who aren't familiar, it's a distribution service owned by ad agency Translation that purports to give unsigned artists an unparalleled opportunity to connect and partner with brands, using distribution and the accompanying consumption data as the primary funnel.
https://unitedmasters.com/[16:53] The news of NLE Choppa partnering with UnitedMasters instead of signing a $3 million traditional record deal was broken on Billboard:
https://www.billboard.com/articles/business/8498476/nle-choppa-turned-down-a-3-million-record-deal-partner-united-masters[18:18] Here are some links that give more context on indie.vc's model, and its investment in black-owned media company The Shade Room:
https://venturebeat.com/2016/07/30/how-the-indie-vc-model-is-disrupting-vc-firms/
https://techcrunch.com/2017/05/17/the-shade-room-is-profitable-and-not-interested-in-acquisition/[21:01] Amuse is a 100% free music distribution tool; the parent company's business model relies in part on its wholly-owned record label, which scouts and signs artists based on data gathered through the distribution service:
https://amuse.io/record-label[21:39] Playlist placement isn't artist development. Repeat that ten times.
https://twitter.com/cheriehu42/status/1067873158705893378[22:30] UnitedMasters' first official brand partner is the NBA, giving the distributor's artists the opportunity to have their music synced across NBA's digital properties:
https://techcrunch.com/2018/11/09/new-unitedmasters-deal-will-enable-its-artists-get-play-across-nba-properties/[24:34] CD Baby's CEO Tracy Maddux has written about the , despite
https://www.billboard.com/biz/articles/news/digital-and-mobile/6121578/tales-of-long-tails-death-greatly-exaggerated-guest[26:46] See the graph on page 4 of PitchBook's Venture Monitor report from Q4 2018:
https://nvca.org/wp-content/uploads/delightful-downloads/2019/01/4Q_2018_PitchBook_NVCA_Venture_Monitor-1.pdf[27:20] Music Data Narrative #1: Labels are becoming much more data-driven than ever and exercising more scrutiny in the artists they sign—serving as a model for outside industries.
https://www.inc.com/darren-heitner/big-data-is-revolutionizing-music-industry-here-are-lessons-for-your-business.html[27:35] Music Data Narrative #2: Labels are still throwing everything at the wall and seeing what sticks, rather than taking a more measured and data-driven approach in their A&R process. Three different publications have written about this frenzy as it relates to hip-hop:
https://www.rollingstone.com/music/music-features/f-ck-it-well-take-the-bet-the-gold-rush-to-sign-the-next-rap-god-699707/
https://www.billboard.com/articles/business/8272682/hip-hop-signing-frenzy-record-deal-prices-soaring
https://www.wsj.com/articles/behind-hip-hops-bidding-wars-1536073605[29:49] L.A. Reid opened up about his signing of Lady Gaga during an interview with Larry King:
https://www.youtube.com/watch?v=0101Sm7HAjs[31:19] Gut vs. data is the music-industry cliché of the century. Some executives, such as Instrumental CEO Conrad Withey, have argued that it's not a question of "gut vs. data" but rather "gut plus data":
https://www.musicbusinessworldwide.com/in-ar-gut-vs-data-isnt-actually-a-binary-choice/[31:54] The mic acted a little wonky for a few seconds here during the recording—sincere apologies for any disruption in your listening experience!
[32:57] Ever heard the term "Uber for X" or "Spotify for X"? If yes, you're familiar with pattern-matching in tech. Perhaps the best way to learn about the pitfalls of pattern-matching is from people who are deliberately trying to avoid it in their investment choices, such as Arlan Hamilton with her firm Backstage Capital.
https://mattermark.com/venture-capitalists-cognitive-bias-and-why-past-isnt-always-prelude/
https://www.cnn.com/2019/03/10/tech/backstage-capital-founder-arlan-hamilton-profile/index.html[34:07] Dreamville is rapper J. Cole's record label, which operates as a subsidiary of Interscope Records. The label's first compilation album Revenge of the Dreamers III is set to be released in April 2019.
https://djbooth.net/features/2019-01-09-revenge-of-the-dreamers-iii-j-cole-dreamville-camp[35:20] This Pitchfork feature offers a good overview of how the online "type beat" economy is catapulting otherwise unknown producers to international fame.
https://pitchfork.com/levels/how-selling-and-leasing-type-beats-is-making-unknown-producers-rich/[36:03] BeatStars is one of many "work-for-hire" platforms that producers are using to market their work and establish more passive income streams around their beats. Some producers on BeatStars are earning comfortable mid- to high-six-figure annual salaries from the platform alone.
https://www.beatstars.com/
https://www.billboard.com/articles/news/8449507/work-for-hire-websites-give-new-life-to-songwriters-producers-and-beatmakers[37:22] Deutsche Bank valued Universal Music Group at around $33 billion in January 2019.
https://www.musicbusinessworldwide.com/universal-music-group-is-worth-33bn-says-deutsche-bank/[38:01] According to the H1 2018 fiscal report from Universal Music Group's parent company Vivendi, UMG makes around $55 million per week (or around $7.9 million per day!) from streaming.
https://www.musicbusinessworldwide.com/universal-now-generating-50-an-hour-from-streaming-as-label-revenues-jump-xx-in-h1/[40:10] Brief video featuring the songs involved in the beef between Lil Pump and J. Cole:
https://www.youtube.com/watch?v=zV8IF31iCuo[40:41] Chance the Rapper is known for building his fanbase by releasing music for free, then monetizing through higher-margin income streams like touring and merchandise.
https://djbooth.net/features/2017-02-28-chance-the-rapper-revenue-streams[41:09] Dan's Trapital piece about Nipsey Hussle's direct-to-consumer retail strategy:
https://trapital.substack.com/p/direct-to-consumer-hip-hop-is-not[42:25] You can listen to the first episode of the Water & Music podcast about Ariana Grande's marketing strategy here:
https://waterandmusic.transistor.fm/1[45:16] Ashton Kutcher made the cover of Forbes Magazine in March 2016 thanks to his investment success, in partnership with artist manager Guy Oseary.
https://www.forbes.com/sites/zackomalleygreenburg/2016/03/23/how-ashton-kutcher-and-guy-oseary-built-a-250-million-portfolio-with-startups-like-uber-and-airbnb/#1eabb5511753
[45:30] A 2010 study from CB Insights claimed that only 1% of total funded founders were black, while only 8% of funded founders were female.
https://www.cbinsights.com/research/team-blog/venture-capital-diversity-data/[48:07] Quality Control Music is an Atlanta-based record label with artists including Migos, Lil Yachty and Stefflon Don on its roster.
https://www.complex.com/music/quality-control-music-interview-2018-cover-story[49:02] More background about Manhattan Venture Partners' All-Star Fund, which was founded in February 2017 to invest in unicorn startups on behalf of star entertainment and athlete clients such as Patrick Ewing and Dwight Howard.
https://www.forbes.com/sites/alexkonrad/2017/02/03/all-star-fund-matches-pro-athletes-to-tech-unicorns/#73b2fe5729ea[50:14] Overrated/Underrated segment begins
[50:30] Dan's pick for an overrated story has several background articles online, including but not limited to CNN and the New York Times:
https://www.cnn.com/2019/03/07/politics/supreme-court-first-amendment-rappers/index.html
https://www.nytimes.com/2019/03/06/us/politics/supreme-court-rap-music.html[53:22] Spotify rolled out its hateful conduct policy in May 2018, only to wind it back less than a month later due to both internal and external backlash.
https://www.rollingstone.com/music/music-news/spotifys-hateful-conduct-policy-is-officially-dead-628598/
(CORRECTION: Needless to say, R. Kelly is not a rapper.)[54:20] In response to the late XXXTentacion being targeted by Spotify's hateful conduct policy, the rapper's team sent an email to the New York Times interrogating Spotify's decision to target X instead of a wide range of other artists across genres/backgrounds facing similar allegations:
https://twitter.com/joecoscarelli/status/994635579525599232[55:02] My pick for an overrated story is the announcement that SiriusXM has established a new original-content team at Pandora:
https://www.billboard.com/articles/business/8501359/siriusxm-first-content-team-pandora-media[55:34] More background on the new Pandora Stories format:
https://techcrunch.com/2019/02/26/pandora-stories-launches-combining-music-and-podcasting-in-a-new-format/Thanks for listening! :)
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Opening instrumental: "Gonna Be Honest" by Jae Jin
Original song: youtube.com/watch?v=CwaS3G2TG-c
jaejinmusic.comGuest: David Turner
Website: davidturner.work
Twitter: twitter.com/_davidturner_
Newsletter: getrevue.co/profile/pennyfractions
Patreon: patreon.com/pennyfractions----------
Footnotes + corrections
[2:40] David Turner wrote an issue for his Penny Fractions newsletter about how Ariana Grande's "thank u, next" presents a potential new model for pop music.
https://www.getrevue.co/profile/pennyfractions/issues/penny-fractions-thank-u-next-is-the-new-model-of-pop-music-148912
[3:36] INTERVIEW BEGINS[3:50–4:55] Over the last month alone, Ariana Grande has broken streaming and chart records previously held by Drake, The Beatles, Taylor Swift and Katy Perry.
https://www.billboard.com/articles/columns/chart-beat/8499407/ariana-grande-rules-hot-100-billboard-200-artist-100
https://www.billboard.com/articles/columns/chart-beat/8498841/ariana-grande-top-3-spots-hot-100
https://www.billboard.com/articles/news/8498122/ariana-grande-most-subscribed-female-artist-youtube[5:01] Are pop stars having an identity crisis in the wake of hip-hop's rise? Some people think so.
https://www.wsj.com/articles/the-pop-diva-identity-crisis-1508348017[6:13] YouTube is looking to take its Premiere feature more seriously in 2019, in the wake of one-off successes with artists like Ariana Grande and Dua Lipa.
https://www.rollingstone.com/music/music-news/youtube-unveils-premiere-feature-784746/[8:15] Leading up to the release of her album Witness, Katy Perry hosted a 24-hour livestream on YouTube that featured her simply living around a house, occasionally changing outfits and interacting with viewers. Critics largely interpreted the stream as a "last-ditch effort" to direct audiences' attention toward the album, after a series of singles that flopped.
https://www.billboard.com/articles/news/7825918/katy-perry-witness-live-stream-essay[10:14] Coachella's 2018 livestream attracted 41 million viewers in total over the course of two weekends.
https://www.latimes.com/entertainment/la-et-entertainment-news-updates-2018-coachella-racks-up-record-41-1524000028-htmlstory.html[13:49] One example of a successful 24/7 channel on Twitch is that of electronic and gaming label Monstercat.
https://www.twitch.tv/monstercat[21:49] THE PUMP PLAN!! No other words needed.
https://www.vulture.com/2018/12/the-gatekeepers-of-soundcloud-rap.html[22:54] Netflix deliberately planted memes across the internet in its marketing of original film Bird Box, which did attract views from anywhere between 26 million and 45 million Netflix accounts within its first week of release.
https://www.theringer.com/movies/2019/1/3/18167278/bird-box-memes-netflix-bots-marketing[24:24] You can listen to Lil Pump's new album Harverd Dropout here.
https://open.spotify.com/album/3zGtADK8O9cFL3x6B2yvsB[25:56] Ariana Grande one taught me love etc meme viral, resonated across fandoms.
https://mashable.com/article/one-taught-me-meme-ariana-grande/#NXp6O0dU8PqD[27:12] Illustrator Andy J. Pizza's podcast Creative Pep Talk has become one of my favorite podcasts not just for motivation and inspiration, but also for tactical advice on running an independent career in any creative field. Here I cite his recent episode about what questions artists must ask themselves before pursuing "more followers."
http://www.creativepeptalk.com/episodes/2019/2/13/218-want-more-followers-ask-yourself-this[31:29] Chris Molanphy, chart analyst and host of Slate's music history podcast Hit Parade, discusses his concept of a celebrity's "imperial period" in this episode about Elton John and George Michael.
http://bit.ly/2Sp58wH[32:38] In June 2018, Spotify infamously plastered Drake's face over dozens of their biggest playlists, to promote the rapper's album Scorpion. The marketing move was controversial both to industry insiders and to fans, and some Spotify users even wanted refunds on their Premium accounts for getting bombarded with what was essentially an ad.
https://www.billboard.com/articles/columns/hip-hop/8463896/spotify-drake-subscribers-refunds-scorpion-playlist-marketing[34:36] Vulfpeck, one of my fave bands out there right now, will be playing their first-ever Madison Square Garden show in September 2019. As I mention in this episode, they largely cultivated their fanbase through their YouTube channel, without much care for playlisting.
https://liveforlivemusic.com/news/vulfpeck-madison-square-garden/
https://www.youtube.com/channel/UCtWuB1D_E3mcyYThA9iKggQ[39:34] DJ KHALED!! 'Nuff said.
https://www.cnbc.com/2017/06/15/dj-khaled-how-to-succeed-on-social-media.html[40:11] I have to credit Allegra Rosenberg with articulating the importance of "horizontal" vs. "vertical" artist-fan engagement so clearly early on, and making me think about the concept ever since.
http://gumball.company/blog/horizontal-engagement[44:02–44:44] Here are some links to 88rising and Thrice Cooked Media, two boutique companies with expertise both in artist management and creative video production.
https://thricecookedmedia.com/
https://www.businessinsider.com/88rising-sean-miyashiro-rich-brian-joji-2018-11
*CORRECTION: I said in this episode that these two companies started as artist management companies before evolving into video production companies, but I actually meant the other way around.[49:00] OVERRATED + UNDERRATED
[49:44] The massively popular game Fortnite is currently facing a series of copyright infringement lawsuits from dancers and entertainers who claim the game "stole their moves," including the Carlton, the floss and the Milly Rock.
https://variety.com/2018/gaming/news/fortnite-dance-lawsuit-1203092141/[50:14] Drake's record-breaking appearance on gamer Ninja's Twitch stream arguably set the stage for Ariana Grande's rapid-fire sequence of YouTube Premieres.
https://www.polygon.com/2018/3/15/17123162/drake-ninja-fortnite-stream[52:22] Jet Li revealed the logic behind his decision not to film future installments in the Matrix series in an interview with Chinese media.
https://www.abacusnews.com/digital-life/jet-li-says-he-rejected-matrix-because-he-didnt-want-his-kung-fu-moves-digitally-recorded/article/2169070[52:52] More info about likeness rights and potential implications for musicians:
http://performermag.com/band-management/contracts-law/legal-pad-what-you-should-know-about-likeness-rights/[54:19] On February 21, the late Amy Winehouse's hologram tour was put abruptly on hold, due to "unique challenges and sensitivities" that were not named. *strokes beard*
https://www.billboard.com/articles/business/8499502/amy-winehouse-hologram-tour-on-hold-unique-challenges-sensitivities[54:58] I interviewed execs from BASE Hologram and other companies involved in the Roy Orbison Hologram Tour for a piece in Billboard last year. I highly encourage you watch a video of a show from the tour for yourself.
https://www.billboard.com/articles/business/8093773/inside-roy-orbison-hologram-tour-in-dreams-base
https://www.youtube.com/watch?v=0rCXu1nPpygThanks for listening! :)
★ Support this podcast on Patreon ★
