Posts Tagged ‘Social media’

BY JEENA JOHNSON

Haj was born and raised in Queens, NY to a family of Punjabi descent. This 80’s baby learned the meaning of hard work and loyalty growing up in the streets of NY. He’s always had a strong passion and love for music. His musical inspiration originates from his favorite emcee Nas. Haj’s latest release, the single “Whole World”, is one of those songs that become part of your life’s soundtrack. It’s catchy, uplifting and makes you want to groove along. It inspires warmth and a sense of well-being that can change your perspective in an instant.

HAJ-WORLDThis song appeals to any generation, race or creed. “Whole World” will touch your soul and trigger a visceral reaction in you. We need as much music of this nature as we can get to deal with this crazy world of ours. The music pulsates with regularity of wonderful heartbeats. Musically it kicks into gear with a quirky keyboard of sorts, using a repeating electric piano chord, while a sturdy snapping drum comes in, accompanied by Haj’s smooth sing-song voice declaring: “ I got the whole world in my hand and I know I can change it.”

Throughout the song Haj describes the emotion of brotherly love and making the world a better place – not as a far-fetched theoretical concept, but as a real living entity that has a physical nature, and through which happiness could easily reached. He sings: “Change started from the bottom, just think about it. Pyramids weren’t built from the top.” And then he further explains: “First love yourself, then love another.” And firmly concludes the concept with: “Raise your mind, raise your voice. Change the world like only you can.”

HAJ-PROFILEWhat is most impressive is the nature of this song’s possibly massive cultural impact. While trendy songs have always come and gone in the past, even ones that had a positive message to them, it’s been a very long time since a song that represented pop music in a musically meaningful and sophisticated nature has such a positive source of inspiration. I remember Bobby McFerrin’s “Don’t Worry, Be Happy”, coming from a similar place of peace, but with different connotations.

Mood-enhancing, but with a stripped down musical production, Haj as deliberately created a soundscape which allows the lyrics to be clearly upfront and not lost in a surplus of sound or trapped in a bunch of rambling and ranting rap verses. Haj has kept things simple and uncluttered, allowing the song’s message to arrive in a timely manner.  I think if everyone listened to this song and truly followed its example, one day, all around the world, everything would change in an instant!

OFFICIAL LINKS: YOUTUBE – SPOTIFY – APPLE MUSIC – ITUNES – INSTAGRAM

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Final MusicDish*China Single Blast Report

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Lyn Davee <musicpr2promo@gmail.com>

Feb 9 (2 days ago)

to Onaje
We’ve promoted Luc’ single “MayDay” on our Chinese streaming and social channels – see links below and attached screenshots. If you post on social media, make sure to tag @Killjoyradio so we can share.
“MayDay”描绘了挣扎、贫穷、伤痛、贪婪、愚昧、谋杀、背叛、犯罪……真实却让人却难以承认的————真相。“MayDay”是救命,是对拯救的呼喊。Luc’(Loose)用诙谐的唱词强烈地传达出了戏剧感,请欣赏吧。

Onaje Brown

Feb 9 (2 days ago)

to me

Got it. Thank you and I sure will.

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BY JEENA JOHNSON

If you are new to One Girl Symphony, I must tell you that their music is very hard to categorize. As a matter of fact, I think we are on the cusp of a new genre. However before experiencing the magical musical world of One Girl Symphony we need to know that OGS is actually a boy and a girl – the talented composer and instrumentalist, Whitney Vandell, a young musical prodigy adopted at the age of two by an American missionary and music teacher, and the exquisite and experienced violinist, William Stewart.

One-Girl-Symphony-CoverWhitney met William online through the random connection of a family-friend. Consider that William had long retired from playing the violin at the age of 21 to start a family, nearly thirty years ago, after leaving the Stuttgart Chamber Orchestra. Now, together, One Girl Symphony adventure into classical, rock, hip-hop, folk and blues territories.

‘Today, neither borders nor differences in language or culture can keep musicians apart to stop them from realizing their dreams! Despite us all being from different worlds and working with oceans between us we came together as if we were all sitting in the same room’, says William Stewart, the violinist collaborating on the self-titled, One Girl Symphony album. The inspiring story is proof to musicians worldwide that it doesn’t matter whom you are or where you are located, all that is needed to realize your vision and record an album is a laptop and an Internet connection.

The release of the CD and accompanying DVD film coincided with the premiere performance that united Whitney and William at the TEDx event in Addis Ababa. A crowdfunding campaign was launched and covered William’s flight from France to bring the musicians together on stage to perform. ‘We had never met each other in person but through TEDx we got the chance to realize our fantasy of playing together in front of a live audience’, says Whitney Vandell.

One-Girl-Symphony-TEDxOne Girl Symphony’s music takes you to an entirely different time and place like no other current recording artist. I would encourage everyone to listen to each of their songs in their entirety several times before passing judgment as this style of music is unique and often times the really good stuff really kicks in after the 30 second mark. So watch out for those iTunes samples.

To be sure, the One Girl Symphony experience is a visual as well as aural one, but that isn’t to say the music itself is dependent on the visual. In fact, on its own merits I found this to be an excellent album, showcasing both Whitney Vandell and William Stewart’s technical abilities along with interesting arrangements and, I should say, a sound that I don’t think you can find anywhere else. It’s just that Whitney is a very beautiful lady, which may distract your attention from the music ever so slightly!

One-Girl-Symphony-CDTrayWhitney Vandell has certainly set high standards for her music and that is a good thing because it comes through in everything she creates and plays. This young lady is a multi-talented explosion waiting to happen. And that much is clear from the very first track on the album, “No Glitch” right through to the closer. My only caveat when listening to new music is that I need to feel something when I hear a song, not just want to tap my foot. Her music is so emotional, over and above the melodic manipulation of my brain that it feels almost therapeutic.

Whitney is finding her own expression in this album. It blends genres of music in ways that are very entertaining. You can hear that she is having fun with the music and is not just going through the motions. Very emotional, mature and soul baring, there isn’t a single song on the whole album I wouldn’t listen to again and again; especially “Orleans Dirt”, “What Can I Say”, “Farewell Solace”, “Eternal Savannah” and “Blues City Jam”.  If you like anything that is remotely musical you will most likely enjoy the music of One Girl Symphony.  Without words Whitney Vandell and William Stewart can create beautiful images, stories, and emotions.

OFFICIAL LINKS: WEBSITE – ITUNES – VIMEO

A panel of music supervisors gave a peek into how they choose music for the projects they’re working on at the THR/Billboard Film and TV Music Conference in Los Angeles. In addition to offering advice on what not to do when submitting music, the panelists critiqued snippets of music submitted by conference attendees who are trying to break into film/TV music. Here are some dos and don’ts for submitting music to supervisors.

– When sifting through the music he receives daily, EA Worldwide executive of music Steve Schnur divides the submissions into piles based on importance. I’ll separate it based on things I’m never going to listen to, Schnur said, noting that submissions from people he has relationships gets placed into a pile he’ll likely listen to. Usually those come with a note or a letter, and my assistant pulls those out separately. Submissions with interesting artwork are likely to get noticed over those without, he noted. Music supervisor Frankie Pine said that and CD submissions with handwriting goes into the garbage. 

– It may seem like a no-brainer, but many songwriters don’t leave contact information on music submissions. Those who don’t usually get their music tossed, the panel agreed. While searching in the submission box for music to critique, Pine chose an album by a group whose CD didn’t have contact information on it. I wouldn’t listen to that one, she said. It doesn’t get a listen if it doesn’t have contact information. Because if I liked it, what would I do? I’d have to research it and I don’t have time for that. Picture Tunes Music’s Nora Felder suggested that artists invest in plastic jewel cases and include the name of the act on the spine. For those of us that do continue to use CDs, you want us to be able to see that on the shelf when we’re looking for something, she said. Paul Glass, supervising music director of “One Life To Live,” suggested, “When you put the metadata into your CDs, if you could have contact information in one of the fields, it’s really amazing. So if I’m going through an iTunes list and I’m looking for something specific, it makes things a lot easier.” 

– Most music supervisors prefer digital submissions of music. So if possible, send e-mail with links, streams or MP3s. “One of the supervisors that works for me loves CDs. But I hate them,” Schnur said. “I don’t want to deal with it. I deal with YouSendIt or MP3s. Love it.” Glasser noted that 80% of the music he receives via e-mail contains links to an artist’s music. Play-Tone Company’s Deva Anderson added, “In my office we do digital-only, so we don’t accept any CDs anymore. It’s a lot easier if you have a website to let us know what site it is.” Felder said she accepts CD submissions, but asks songwriters to “please write neatly so I can read it. If you don’t have money for stickets, take a wide piece of masking tape an write the information and stick it right on the CD. Make it as neat of a presentations as possible.” 

– Most music supervisors don’t have time to listen to a whole album, so always circle or note which tracks you’d like the music supervisor to listen to first. “When you’re making an album, obviously you’re not going to sequence it thinking of, “Oh God, I need that song that’s going to get on a TV show”, up front,” Schnur said. “Thus, you really need to call out on that packaging if you have something specific in mind. Because if not, we’re going to go to the first track, and you’re out.” Felder added, “There are many times when I’ll listen to a whole CD and frankly I won’t like most of the songs on the CD. Then one song will be the winner. So definitely try to indicate which song you think is right for the project.” 

– Songwriters should be aware of the projects music supervisors are working on and tailor their submissions to specific films of television shows. “When submitting, it’s really easy to Google anyone here on stage and find out what they’re working on,” Deva Anderson said. “Be familiar with what those shows are and what kind of music they use.” Pine added, “If you really feel like track seven was your strong track, circle it, say why you’re submitting it for this particular project, this one is the one I think would be really great for “Californication,” because I’ve watched the show and know what kind of music they have. Just don’t submit songs for the sake of submitting a song to somebody, because it wastes a lot of our time and unfortunately that tends to leave a bad taste in our mouths.”

Via Billboard

974410_752313181507596_1274045852_nNow collaborating with Houston’s own Just Brittany, who is known for singles with Mo City Don (Z-Ro) and being the Crush Remix Ft with Beat king!.

The “Derriere” Remix came about while DJ Malone was looking for the right fit. He searched for the right person and decided on Just Brittany, who he says: “…[B]rings a flame to the song.” Dj Malone is showcasing various skills on this project by not only writing lyrics for the track, but also producing the beat, shooting a portion of the video, and performing digital editing. The video was shot in Houston, Texas and it took about 15 days to capture all of the footage. However, when it was all said and done, he had a beast of a track on his hands and the right visual elements to complement it. Coming off the heels of his last hit song “Da Wurkout,” DJ Malone again chose video choreography by It’s Showtime, a Houston Dance group. The dance moves, together with the beat on “Derriere” will have you out of your seat! As an additional nod to the Houston music scene, the video showcases young and upcoming talent in the area, including “FOE,” a rap group that DJ Malone has been supporting for years, Ms.

Piggy, DJ Willie T and Lil Black. The video also features Houston’s own sexy plus size model, Astasia Miguel and DJ Ray Young, a well-respected, name in Houston. We are now promoting the video, which has been posted to blogs including www.view hip-hop.com, beat100 and others. This new joint will have you shaking your “Derriere.” When asked how he came up with the concept for the song, DJ Malone noted that he is tired of people saying: “Shake your azz, and shake your booty.” Derriere is a word everyone can say, and in some sense, could upgrade your vocabulary as well.

Check out the video on youtube, DJ Malone Ft. Just Brittany, “Derriere” Remix. Be sure to request the track at your local radio stations and clubs!

Twitter @djmalonepro

Twitter @justbrittany

If you’ve affiliated yourself as a songwriter with a performing rights organization (such as ASCAP, BMI, or SESAC) and registered all your songs, you’ve taken an important first step in collecting the publishing royalties you’re owed.

That being said, PROs such as ASCAP and BMI only collect one form of music publishing revenues: theperformance royalty.

In order to collect ALL of the royalties you’re owed, you either need to have a publishing rights administratorworking on your behalf, or spend hundreds to thousands of hours each year tracking down this money yourself (in every corner of the globe); oh, and you’ll also need to speak dozens of languages and be absolutely psyched about paperwork.

In case my sarcasm went undetected, I’ll repeat it plainly: it’s nearly impossible for independent artists to collect all the music publishing revenue they’re owed — while also having time to make music — without the help of a traditional publisher or a service like CD Baby Pro.

If you’re only signed up with a performing rights organization such as ASCAP or BMI, here’s what you’re missing:

1. Mechanical royalties for physical product (CDs, vinyl, etc.)

Performing rights organizations do NOT collect mechanical royalties. Yet every time a song you’ve written appears on an album that is manufactured for sale, you’re owed a mechanical royalty. If you’re releasing your own material, you’re essentially paying this royalty to yourself. But if other artists cover your songs, are you set up to get paid?

2. Streaming 

Every time your music is played on an interactive streaming service such as Spotify or Beats Music, you’re owed publishing royalties, in addition to the standard streaming license fee you receive per play. These publishing royalties from streaming services are comprised mostly of mechanical royalties, but there is also a small percentage of performance royalties that will be paid to your PRO. Again, if you’re only registered with ASCAP or BMI, you’re only getting paid a fraction of what you’re owed.

3. International download sales

As our friends at SongTrust explain: “Outside of the US, music retailers (iTunes, Amazon, etc)  are required to pay mechanical licensing societies (think Harry Fox Agency but in other areas of the world) around 9% of revenue earned from each download. This amounts to about 9 cents per digital download, owed to the songwriter. This money sits at the mechanical society until it is collected by a publishing administrator.” Without a service like CD Baby Pro, you’re leaving those uncollected international mechanical royalties on the table.

4. International Performance Royalties

US-based PROs such as ASCAP and BMI are great at collecting performance royalties within the United States. But with CD Baby Pro, your songs will be registered directly with international performing rights organizations around the world. We’ll collect your international performance royalties straight from the source. With our direct agreements, you’ll get paid faster and more efficiently than you would via BMI, ASCAP, or SESAC (who have reciprocal agreements for international performance royalties).

—-

If you want to make sure you’re set up to collect all the publishing royalties you’re owed, check out CD Baby Pro.

unread_emails_ask_a_publicist_campaignImage via PCWorld

Imagine this clichéd scenario from a Hollywood teen comedy: the protagonist’s parents are out of town and s/he wants to throw a party. They tell a few of their close friends, and those friends tell a few of their friends, and so on to the point where, on the night of the party, nearly half of their high school is there and the crowd has swollen to extreme proportions.Sometimes a publicity campaign can work this way, too – starting small and relying on word-of-mouth to create anticipation and a feeling of authentic, organic momentum.

This kind of campaign (which for the purposes of this column I will call a “focused campaign”) can work wonders for a new band, but so can a campaign that casts a wider net (i.e. inviting everyone at your school to the party upfront). Let’s call this kind of campaign a “comprehensive campaign.” Both have their advantages and their drawbacks, and depending on a band’s history, sound and visibility, one may be more effective than the other.

Focused Campaign

While all publicity campaigns follow the same basic architecture I outlined in my previous column, they can differ in terms of how selectively an album is pitched and how many resources are conserved or expended throughout the campaign. A more focused campaign starts small, and tactically. A publicist would send a limited quantity of advance copies of a band’s upcoming record only to select tastemakers – critics and editors whose endorsement would provoke interest from their peers and colleagues. When this technique works, it can create a genuine dialogue around an upcoming record, and snowball into more (and more prestigious) press coverage.

However, being selective in pitching and hoping an album catches on organically can be risky. It helps if the music is superlative, and if the publicist working the record is well-connected. If it backfires, however, you’re back at square one. It’s important to be fast on your toes, and you may miss out on some great press opportunities by not casting a wider net at the outset of your campaign. In such an outcome, you may risk bumming out the folks that you pitch to as a second resort (to continue my metaphor from earlier, would you like to be invited to a party only after learning that you weren’t in the first place?).

Comprehensive Campaign

For some new bands, it may not be worth the gamble of a more focused campaign. The alternative is more of a “throw everything against the wall and see what sticks” model. This would mean sending out advance downloads or streams of your record to as many worthwhile press contacts as you can find. After all, music critics and bloggers are just like any other kind of music lover – they’re voracious, they’re omnivorous and they’re open-minded. Who’s to say they might not cotton to your music? You never know if you don’t try.

The disadvantage of pitching so thoroughly is getting lost in the shuffle. When you open your inbox every morning, do you sigh in desperation when you see the number of new, unread emails? It’s the same – and often way worse – for high-powered music writers, so a lot of emails from bands and publicists are straight-up ignored. It can be easy to get lost in the shuffle, but with a little tenacity (and more than a little tact) you can overcome this. There’s a certain amount of momentum that can also come from taking as many different press opportunities as possible, expanding your audience in directions you hadn’t anticipated and raising your profile to the point where you’d be more difficult to ignore.

 

There are many, many, many factors that influence the effectiveness of a publicity campaign beyond what I’ve outlined in extremely broad strokes here, but – depending on your band, your publicist’s preferred methods and what you expect to achieve from a campaign – you can try to set the course for your campaign early on by starting small and deliberately or going for broke and pitching far and wide.

 

Jason Baxter is the in-house publicist for Seattle’s Hardly Art Records, and performs in the electronic duo USF. In a past life he was a music journalist and writes comic books in what little spare time he has.