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Ozzy Vs. Trump, Spotify Data, and more on the latest Music Biz News

The latest Music Biz News video update contains the biggest stories in music for the week ending June 29, 2019.

The final week of June finds the music business busier than ever. From Nielsen’s annual mid-year music report tracking more than half a billion streams in North America of the past six months to questions involving the data and power Spotify grants labels, the last few days have been wild.

Here at Haulix, we pride ourselves on keeping you informed about the need to know events in the music industry. If we wrote about everything that happened, we would never have time to do anything else, so we found an approach that we feel works better for everyone. Music Biz News is a weekly series where Director of Customer Engagement James Shotwell breaks down the latest headlines from across the industry in an entertaining way. You can catch up with the stories everyone is talking about in less than ten minutes, so what is holding you back?

This week, host James Shotwell reviews Nielsen’s Mid-Year Music Report, breaks down the latest Apple Music subscription numbers, explains why Ozzy Osbourne is upset with Trump and investigates how much access to your data Spotify’s pre-save tool guarantees artists and labels. Check it out:

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Industry News News

New Nielsen report predicts one-trillion streams in the US, Canada this year

The Nielsen mid-year music report is here, and it shows the reign of streaming services over the industry is far from over.

Nielsen is widely considered to be the authority on the business of entertainment, and their latest mid-year report reveals the music industry is in good standing. The recently published data found the first half of 2019 shattered previous 6-month records with more than 507 billion on-demand combined music and video streams and milestones led by singles and albums from Ariana Grande, Billie Eilish, Halsey, Khalid, BTS, and Bad Bunny.

The fall is widely considered the busiest time of the year for music, so it is likely the total on-demand combined streaming numbers will be equal to, if not greater than the statistics above. If true, that would mean 2019 is on pace to be the first year where streams of recorded music surpass one-trillion plays in the United States and Canada.

To date, many of this year’s most significant music moments were aided by exposure in popular films. The success of A Star Is Born, for example, gave Lady Gaga and Bradley Cooper’s smash hit duet “Shallow” a major boost following the Acadamy Awards. The song has earned more than 684,000 track downloads, 316 million on-demand song streams, and over one-billion audience impression on the radio to date.

Nielsen sites other areas of entertainment as playing a very influential role in the rise of the year’s most popular songs. The music featured in film and television continued its upward trend from 2018 when soundtracks accounted for two of the year’s top 10 biggest sellers (The Greatest Showman and Black Panther: The Album).  The impact good placement has on songs can be understood by looking at the success of Post Malone and Swae Lee’s “Sunflower” ( 47.6 million U.S. streams), which appeared in the equally popular animated film Into The Spiderverse, or through the continuing success of rock biopics such Bohemian Rhapsody and Rocketman.

There is a wide range of Global pop genres that made a sizeable impact in the U.S as well, including K-Pop and Latin.  K-Pop’s global domination, which reached record peaks in 2018, continued to reach new audiences. 

  • 230,000 equivalent album units earned for BTS’ Map of the Soul: Persona, a career-best for the K-Pop group, during the week ending April 12.
  • BTS and Halsey’s “Boy With Luv” reached 125 million on-demand streams so far this year, including spikes after their performance at the Billboard Music Awards on May 1.  
  • 18.6 million first week on-demand streams for BLACKPINK’s “Kill This Love,” which broke the band’s own record for highest-charting single by a K-Pop girl group on the Billboard Hot 100. 

Nielsen Music’s Mid-Year 2019 Charts:

2019’s Mid-Year Top 10 Albums (Based on Overall Equivalent Album Units)

1. Ariana Grande, Thank U, Next (1,552,800)
2. Billie Eilish, When We Fall Asleep, Where Do We Go? (1,304,000)
3. Khalid, Free Spirit (929,000)
4. Lady Gaga & Bradley Cooper, A Star Is Born (Soundtrack) (889,000)
5. A Boogie Wit da Hoodie, Hoodie SZN (810,000)
6. Post Malone, beerbongs & bentleys (756,000)
7. Drake, Scorpion (718,000)
8. Queen, Bohemian Rhapsody (Soundtrack) (705,000)
9. Juice WRLD, Death Race for Love (675,000)
10. Jonas Brothers, Happiness Begins (663,000)

2019’s Mid-Year Top 10 Selling Albums

1. Lady Gaga & Bradley Cooper, A Star Is Born (Soundtrack) (404,000)
2. Jonas Brothers, Happiness Begins (374,000)
3. Billie Eilish, When We All Fall Asleep, Where Do We Go? (343,000)
4. BTS, Map of the Soul: Persona (343,000)
5. Backstreet Boys, DNA (299,000)
6. Queen, Bohemian Rhapsody (Soundtrack) (253,000)
7. Ariana Grande, Thank U, Next (228,000)
8. Soundtrack, The Greatest Showman (181,000)
9. P!nk, Hurts 2B Human (158,000)
10. Lauren Daigle, Look Up Child (154,000)

2019’s Mid-Year Top 10 Selling Vinyl Albums

1. Queen, Bohemian Rhapsody (Soundtrack) (61,000)
2. Queen, Greatest Hits (49,000)
3. Billie Eilish, When We All Fall Asleep, Where Do We Go? (47,000)
4. Soundtrack, Guardians of the Galaxy: Awesome Mix Vol. 1 (33,000)
5. The Beatles, Abbey Road (33,000)
6. Pink Floyd, The Dark Side of the Moon (32,000)
7. Bob Marley & The Wailers, Legend (30,000)
8. Fleetwood Mac, Rumours (29,000)
9. Michael Jackson, Thriller (29,000)
10. Billie Eilish, Don’t Smile at Me (28,000)

2019’s Mid-Year Top 10 Selling Digital Songs

1. Lil Nas X, “Old Town Road” (958,000)
2. Lady Gaga & Bradley Cooper, “Shallow” (684,000)
3. Post Malone & Swae Lee, “Sunflower (Spider-Man: Into the Spider-Verse)” (488,000)
4. Ariana Grande, “7 Rings” (420,000)
5. Halsey, “Without Me” (388,000)
6. Post Malone, “Wow.” (381,000)
7. Jonas Brothers, “Sucker” (357,000)
8. Lauren Daigle, “You Say” (322,000)
9. Taylor Swift featuring Brendon Urie, “Me!” (322,000)
10. Ava Max, “Sweet But Psycho” (321,000)

2019’s Mid-Year Top 10 On-Demand Song Streams (Audio and Video Combined)

1. Lil Nas X, “Old Town Road” (1,337,995,000)
2. Post Malone & Swae Lee, “Sunflower (Spider-Man: Into the Spider-Verse)” (850,194,000)
3. Ariana Grande, “7 Rings” (776,696,000)
4. Travis Scott, “Sicko Mode” (623,498,000)
5. Halsey, “Without Me” (599,335,000)
6. J. Cole, “Middle Child” (582,748,000)
7. Post Malone, “Wow.” (582,633,000)
8. Blueface, “Thotiana” (588,277,000)
9. Marshmello & Bastille, “Happier” (528,640,000)
10. YNW Melly, “Murder On My Mind” (498,806,000)

2019’s Mid-Year Top 10 On-Demand Audio Streams

1. Lil Nas X, “Old Town Road” (596,113,000)
2. Post Malone & Swae Lee, “Sunflower (Spider-Man: Into the Spider-Verse)” (458,470,000)
3. Ariana Grande, “7 Rings” (433,904,000)
4. Post Malone, “Wow.” (416,231,000)
5. J. Cole, “Middle Child” (395,872,000)
6. Meek Mill featuring Drake, “Going Bad” (337,025,000)
7. Halsey, “Without Me” (319,879,000)
8. YNW Melly, “Murder On My Mind” (287,219,000)
9. Lil Baby & Gunna, “Drip Too Hard” (284,613,000)
10. Travis Scott, “Sicko Mode” (276,802,000)

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Artist Advice Business Advice Editorials Industry News News

The future of marketing: The Pixies are promoting their new record with a limited series podcast

With the launch of It’s A Pixies Podcast, a limited series program, the long-running indie rock group offers a glimpse at the future of music promotion.

Podcast‘ may be the most significant buzzword in music this year. Not only has the format been accused of encroaching on a form of entertainment previously reserved for music and audiobooks, but streaming services Spotify and Apple Music have been investing heavily in promoting notable shows, as well as creating exclusive podcast content.

According to MusicOOMPH, 71% of Americans are familiar with the term ‘podcast,’ and a little over half of the population has listened to a podcast. There are currently 700,000 active podcasts boasting a combined catalog of 29 million episodes, and that figure is going to grow substantially in the latter half of 2019.

The world of podcasting has already proven beneficial for many performers. Comedians in particular have found the freedom of expression podcasting allows as a way to engage their audience between specials and promote tour dates. Musicians can and should see view podcasts the same way. In a time when everyone wants more from everything they love all the time, podcasts present an opportunity to continually offer new content without rushing to release songs or records before they’re complete.

A press release this week announced that one group, iconic indie rock band The Pixies, is ready to embrace podcasts and the numerous possibilities it can offer. The band is promoting their upcoming record by sharing a limited, twelve episode series that documents the creation of the record and the conflicts that arise during production. The podcast is hosted and narrated by New York Times best-selling author Tony Fletcher who was with the band during throughout the creative process.

The full press release reads:

Good morning! “It’s A Pixies Podcast,” Pixies’ 12-episode series, makes its debut today and we hope you’ll check it out. It’s now live on all podcast platforms including Apple, Pandora, Acast, Stitcher, Google and more. The podcast is hosted and narrated by New York Times best-selling author Tony Fletcher who was embedded with the band and producer Tom Dalgety while the new album, Beneath The Eyrie, was recorded last December at Dreamland Studios near Woodstock, NY.  The podcast provides a real fly-on-the-wall perspective of not just the recording, but of the interaction between the band members and Dalgety, while tracking in the main room or making a cup of tea in the kitchen. Beneath The Eyrie will be released on September 13 (BMG).

You can stream It’s A Pixies Podcast wherever you enjoy podcasts. The band’s new album, Beneath The Eyrie, will hit stores in September.

Artists at any level can get into podcasting, and they should. You don’t have to talk about your music. You don’t even have to talk about music in a general sense. Find something you’re passionate about and share that interest with your fans. It can be daily, weekly, bi-weekly, monthly, or whatever works for you. As long as you’re having fun, your fans will enjoy the experience, and they will come away from each episode feeling more connected to you. That connection translates to more engagement, more purchases, and more support.

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Industry News News

What is the ‘Spotify Sound,’ and how is it changing music?

Spotify has changed the music business in many ways, including a few that you may have never considered.

There are many streaming services in the world, but none of them can compare to the size and influence of Spotify. With more than one-hundred million subscribers, the Swedish based company has nearly double the audience of its closest competitor (Apple Music). The company has grown so popular, in fact, that it has become a kind of shorthand for streaming music. People say, “Do you use Spotify,” instead of, “do you subscribe to a streaming music platform?”

Spotify has revolutionized how artists make money from their music. The company pays, on average, between $0.006 and $0.0084 per song stream. A single stream is counted when the listener has played thirty-seconds of the track. If the listener finishes the song, that’s great, but it doesn’t change the amount of money the stream earns for the artist.

With this in mind, it’s easy to understand why many industry experts claim Spotify has changed the sound of music. The ‘Spotify Sound,’ as it has been dubbed, refers to artists who waste no time getting to the heart of their song. The days of lengthy introductions or slow-burning tracks has been replaced by immediate choruses or other attention-grabbing tactics.

Another element of the ‘Spotify Sound’ is the length of a song, which again is a result of the company’s approach to compensating talent. If a play is counted after thirty-seconds of listening time, then artists are not incentivized to make longer songs. The more financially informed approach would be to record more material that is shorter, thus earning more money. A five-minute song earns as much as a two-minute song, but listeners can play multiple two-minute songs in the same amount of time, which means they can earn more money.

A glance at the Spotify and Billboard charts shows the impact of the company’s influence. “Old Town Road,” which has spent three months topping charts, is less than two minutes in length. The remix, which helped catapult the song into the pop stratosphere, runs just over two and a half minutes long.

Artists who have adapted to the influence of the ‘Spotify Sound’ are seeing success on the platform. In a recent digital feature from PBS, two members of the group Frenship credited their efforts to match the changing trends for the success they found with their hit “Capsize.” Check it out:

Other platforms have different rules for what counts as a play. Some services require a certain percentage of the song to be enjoyed before a play is counted, while others have a higher minimum for time spent listening. Both methods of counting plays encourage the same thing. Artists should make shorter, catchier songs if they want to earn big from streaming services.

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Haulix News Podcasts

Inside Music Podcast #166: Tyler Bryant & The Shakedown

Notable rock and roll star Tyler Bryant stops by Inside Music to discuss success and survival in the modern music business.

What makes someone a rockstar? Previous generations would say a rockstar is someone whose song is on the radio at all times of the day, whose face is plastered on bedroom walls of teenagers everywhere, and whose very existence often appears to straddle the line between reality and myth. Rockstars were, for a long time, more than human. They were Gods who blessed devoted rock listeners with songs meant to lift them from the mundanity of modern existence and give them a few minutes of sweet relief.

Today’s rockstars are a decidedly different breed. Rock is no longer the dominant force in music, and even the biggest stars of today must compete for airplay against the reigning champs of the genre. For every new group that finds themselves in rotation at a notable station, there are dozens of ‘must play’ catalog songs they have to compete against for airplay. The same goes for playlists, festivals, and touring.

Tyler Bryant is arguable the closest thing to a classic rockstar we have in the world of reasonably new music. Though he has been active since 2009, Byrant has consistently been labeled a ‘star on the rise’ by major publications around the world. He and his band, The Shakedown, have opened for everyone in the genre that matters. They’ve spent a year with Guns ‘N Roses, rubbed shoulders with Foo Fighters, and even found themselves mentioned by members of Aerosmith as being one of their favorite acts.

Furthermore, Tyler Bryant never slows down. If he’s not on the road, Bryant is in the studio, and as soon as he’s done in the studio he returns to the road. Tyler Bryant & The Shakedown is an unstoppable force in a world where rock bands are often considered a dying breed, and they refuse to give up their passion no matter what cultural analysts and tastemakers claim.

Tyler Bryant & The Shakedown’s latest release, Truth And Lies, celebrates the crossroads of rock and blues with a catchiness that is impossible to deny. It’s a fitting break from the repetition found throughout the industry, and it heralds the dawn of a return to form for rock purists everywhere.

On this episode of INSIDE MUSIC, rock and roll savior Tyler Bryant stops by to discuss his decade-long career on the cusp of superstardom. Tyler Bryant & The Shakedown have opened for every living rock legend, and along the way, they’ve learned how to build a lasting career in the treacherous world of entertainment. Host James Shotwell asks Tyler about his experiences, as well as his advice for the next generation of music stars.

https://soundcloud.com/inside-music-podcast/166-tyler-bryant-the-shakedown

Prefer video? We’ve got you covered:

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Business Advice Editorials Haulix News

How much do music videos really cost?

Video is playing an increasingly important role in music discovery, which means you could be one clip away from stardom.

Like it or not, creating great video content is key to succeeding in music today. The digital generation has embraced visual media far more than their parents, in part because of how easy it is to access, and that trend is likely not going to change. Video is everywhere. You can watch countless hours of visual entertainment for free with just a few clicks anywhere on the planet, with thousands of additional hours of content being uploaded every day.

YouTube consistently ranks as one of the top places to discover talent, which means a great music video could be your key to breaking away from the competition. But how much do videos cost? Indie Mogul may have the answer.

In a new video shared to their YouTube channel, the team at Indie Mogul sat down with a music video producer who has worked with a variety of talent to examine the cost behind three recent viral videos. The producer explains how the videos were made, how much time they required, how many people were likely involved, and sheds light on the cost associated with each clip.

The big takeaway is that cost does not equal quality. No one can guarantee a music video will perform well, nor can any amount of money spent. Successful music videos require a great talent, a great song, and a great team of people working together to create something that has an intangible quality of uniqueness. The clip, for lack of a better phrase, needs to captivate viewers.

Watch the full video from Indie Mogul below. If you want more video content related to life in the music business, head over to our YouTube channel and subscribe today.

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Artist Advice Business Advice Editorials Haulix News

How to Get A Job in the Music Business

The music industry is growing, and it needs hardworking professionals to build the future of entertainment. 

Do you want to live the dream? Do you want to wake up every day to find you’re required to spend the majority of your waking time thinking about, working on, listening to, or otherwise indulging in music? That may seem out of reach, but it’s not.

Landing a job in music is not easy, but it is entirely doable. The digital age has made it possible for more people than ever to find work in the industry, with new jobs being created virtually every week, and that means your chances of landing the career you’re seeking have never been better.

But how do you do it? How do you rise above the competition and excel, especially when you don’t live in a coastal city or another music hub (Chicago, Nashville, etc.)?

In this episode of Music Biz 101, host James Shotwell breaks down the information you need to know to land a career in the music business. James explains his own path to success and offers many alternatives as well because no two people have the same “making it” story. Check it out:

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Industry News Job Board News

Music Industry Job Board (June 24, 2019)

New openings:

Music Marketing Program Manager (Apple Music – Culver City, CA)

Apple is in search of an ambitious and motivated consumer and content marketer with robust marketing experience to join our Music team in Culver City. You will be responsible for developing successful campaigns and programs designed to reach specific consumer/audience segments. This position works hand in hand across the organization, as well as with music content providers and third-party partners to reach consumers/music fans, with a special focus on the Pop, Rock and Dance genres. The Apple Music marketing team is responsible for driving trials and subscriptions, as well as developing creative campaigns that resonate with consumers, and you will have an integral role in achieving those objectives.

Songwriter Relations Lead, YouTube Music (YouTube – Los Angeles, CA)

As Songwriter Relations Lead, you’ll be responsible for growing and developing relationships with songwriters and publishing partners, with a focus on supporting songwriters with promotional opportunities to help build their success on and off YouTube, educating songwriters and their representatives on the YouTube platform and working with cross-functional internal teams to develop tools to support creative growth of songwriters on the YouTube platform.

Music Booking Agent (Allive Agency – Los Angeles, CA)

Allive Entertainment is a Los Angeles based boutique agency that books dope artists in dope venues for dope fans. Specializing in music that makes you screw your face up like you bit a lemon.

Office Manager, Extreme Music (Sony – Santa Monica, CA)

The Office Manager will handle day-to-day operations with a focus on efficiency and time management. The Office Manager will support company operations by maintaining office systems and supervising staff.

College of Entertainment & Music Business, Program Assistant (Belmont University – Nashville, TN)

Assist the associate dean, program chairs, and faculty with daily administrative and operational needs of Curb College academic programs.

Marketing Manager, Digital Music (Amazon – Seattle, WA)

Our team is focused on building a personalized, curated, and seamless music experience. We want to help our customers discover up-and-coming artists, while also having access to their favorite established musicians. We build systems that are distributed on a large scale, spanning our music apps, web player, and voice-forward audio engagement on mobile and Amazon Echo devices, powered by Alexa to support our customer base. Amazon Music offerings are available in countries around the world, and our applications support our mission of delivering music to customers in new and exciting ways that enhance their day-to-day lives.

Artist Management (Heroic – Remote)

Do you live and breathe to be in the music industry, and do you aspire to build and develop talent? As Artist and Marketing Manager you will be a core part of the Heroic management team, showing up to work every day to improve the careers of their clients. You will work closely with the other managers and departments at Heroic and will assume day-to-day responsibilities for our clients and have the possibility to become an Artist Manager for new clients in due time.

Executive Assistant, Digital Music (Amazon – San Francisco, CA)

A unique opportunity is available to support our Product and Design teams, in Amazon Music’s San Francisco office as an Executive Assistant. In addition, you will partner with the existing admin team to offer comprehensive support for a highly-distributed global organization. A successful candidate will have experience with heavy calendar management, travel coordination, large internal team meetings and summits and complex external meeting coordination. The role requires strong, concise communication skills, poise and professionalism.

Electronic Music Instructor, Adjunct (SAE Institute – Chicago, IL)

Reporting to the Director of Education or Program Chair, facilitate student learning toward the achievement of course and program learning outcomes. Teach, inspire, motivate, guide, support, and help students in courses and program. Continually improve instructional and professional skills. Update materials in support of SAE courses. Set high expectations for quality of work and raise the bar each time the course runs. Ensure that each student completes coursework that achieves the goal of the class and is done with quality and attention to detail. Comply fully with all policies, practices, and procedures of SAE Institute as outlined in the faculty handbook, catalog, procedures manuals, and faculty assignment agreement. This is an Adjunct Instructor position with an ongoing contract renewal as needed.

Music / Entertainment PR Specialist (French/West/Vaughn – Raleigh, NC)

Seeking a public relations specialist to take a lead role in generating favorable buzz for numerous clients in the music and entertainment industries. The brands we represent span multiple entertainment categories and music genres, from Rock n’ Roll to Hip Hop and Country, and include work with artists, labels, streaming music platforms, festivals, tech startups and specialty service providers. Daily responsibilities include account team management, industry research and networking, story ideas and pitches, emails to trade and consumer media, and direct follow-up calls as part of a consistent process of outreach and opportunity development for our clients. Candidates should have at least three years of public relations agency experience with solid music, entertainment and film industry media connections.

Assistant, Music Crossover (CAA – Los Angeles, CA)

CAA is seeking an Assistant to support an Agent in our Music Crossover department based in Los Angeles, who focuses on placing music talent in TV and film. The ideal candidate should be motivated, quick-thinking, and has an interest in entertainment (with strong emphasis on the music industry and talent representation within TV and film). The individual should be a master of all things administratively related, detail oriented and organized, a polished communicator, and able to interface directly with all clients and C-level industry executives while remaining poised during all encounters (in-person, phone, email, etc.).

Music Editor (Disney – Burbank, CA)

Walt Disney Animation Studios has been combining the best in artistry and storytelling with cutting-edge technology to bring wonderful new characters and adventures to the big screen for audiences around the world. We currently have an exciting opportunity for a Music Editor to join the team at our Burbank, CA studio.

Head of Music and Voice (PHMG – Atlanta, GA)

This is a unique role that requires an exacting combination of commercial ingenuity and artistic flair – so you’ll be a confident presenter with previous experience in the creative music industry or in an advertising agency. Balancing the needs of the business, the client and our creative talent, you’ll bring the multifaceted areas of our operation together. And as a true people person, you’ll have the innate ability to liaise, connect and inspire people at all levels.

Music Synchronization Sales and Licensing Representative (Aphaia Music – New York, NY)

We are currently looking for a motivated and energetic new business person to join our team and pitch our music for TV/Adverts/Films/Media. Full or part time independent contractor position. The representative will be the face of our company and we are looking for an honest, reliable and easy to work with individual.

Writer / Music Blogger / Content Creator (The Music Development Agency – Manhattan, NY)

We are looking for music bloggers who can create original and engaging content about music. The ideal candidate must be familiar and experienced in keyword research and writing SEO-optimized articles of all types such as discussions, inspiration, journalistic, and authoritative.

AdWords Manager for small music school (Riverside Music Studios – New York, NY)

Small music school in Manhattan seeking a very experienced PPC manager to create and monitor a short term AdWords campaign (August 1 – October 1). We have worked with several AdWord specialists before, and we are very picky. We require at least 5 years of experience with proven success in AdWords specifically. This is a one-time temporary contract at a flat rate of $1200, can be done remotely. If the project yields significant and measurable success, there will be opportunities for potential ongoing work.

Steamboat Symphony Orchestra Executive Director (Steamboat Symphony Orchestra – Steamboat Springs, CO)

The Executive Director provides overall management, planning, and leadership of the organization. S/he is involved in budgeting and financial management; certain aspects of planning and producing concerts, productions, and other events; fundraising and development; public relations and marketing for both events and the organization; strategic planning; representing the organization within the community; and board meeting preparation in conjunction with the Board Chair.

Arts & Culture Editor (Sagacity Media – Portland, OR)

Do you write with a strong editorial voice, have all the opinions, and thrive in a collaborative environment? Great, come work with a sharp team striving to make a magazine that delights and challenges readers in every issue. Portland Monthly magazine is seeking a creative, self-motivated, detail-oriented journalist for an opening in the position of Arts & Culture Editor on our Editorial Team in Portland, Oregon. The Arts Editor will join our team to write, edit, and oversee the magazine’s monthly arts section as well as write narrative features, write and edit service features, and contribute content for our online platforms. Plus, you’ll oversee our editorial internship program. The ideal candidate is a reporter first, with a genuine passion for the arts beat—music, performing arts, books, visual arts, film, and more—as well as healthy curiosity about institutions, nonprofits, and businesses that help support it. Portland Monthly is committed to building a diverse and inclusive newsroom: applicants of all backgrounds are strongly encouraged to apply.

Brand Specialist, Music/Sports (Eleventh Hour Client – Santa Monica, CA)

Our client, a multi-platform media organization, is looking for a Brand Manager to support their Culture channel management team efforts! In this dynamic role, you’ll be responsible for day-to-day content management, publishing, and optimization on all social platforms: you’ll deliver content consistent with the brand’s existing tone and voice, lead community management and engagement initiatives, drive audience engagement by offering meaningful follow-on experiences, leverage internal and external relationships to generate content and celebrate local and innovative stories to amplify brand reach, and evaluate opportunities for platform optimization based on data-driven insights, among other duties. You’ll also identify new social trends and opportunities to spark viral conversations, oversee live stream operations, and create copy with a focus on SEO and growth tactics. This is an excellent opportunity to develop with an industry leader in consumer products and marketing!

Junior Business Manager Global Rights (McCann – NYC)

We are looking for a Junior Business Manager to join our team here in NYC. This person will be supporting a brand that is a leader in its category, and is one of the most recognizable brands of our time. You will be responsible for supporting the management of the global usage rights such as music, talent, photography, and stock for our client.

Manager, Digital Media and Marketing (UMG – Santa Monica, CA)

UMG is seeking a passionate music enthusiast with creativity and innovation that will be responsible for creating and executing digital marketing plans as well as overseeing influencer management and strategy across YouTube brand channels.

Assistant Talent Buyer (Coalition Entertainment – Los Angeles, CA)

Coalition Entertainment is looking for a driven and hungry Assistant Talent Buyer to join the team.

Administrator, Publishing Royalties-Catalog (WMG – Nashville, TN)

The candidate hired to fill this position will be responsible for entering and maintaining mechanical royalty rates in the various publishing royalty systems that WMG utilizes and processing publishing royalty statements for [Name of Label Group].

Manager, Brand Solutions (Viacom – NYC)

BETN is looking for an experienced professional in the area of integrated marketing and advertising, which will report to the Director of Brand Solutions. The Brand Solutions Department, supports the Network’s Sales Team, and is responsible for developing creative ideas around our plethora of programming, digital/social content, and events for all platforms of BET Networks, which augment our advertisers’ traditional media placements. The goal is to enhance our clients’ level of awareness and engagement with their target audiences. We develop creative, unique, brand-relevant initiatives that generate, or have the potential to generate, incremental Network revenue. In addition to the ideation, the Manager will also be responsible for managing the execution of proposals sold, as well as the subsequent stewardship.

Social Media Marketing and Advertising Manager (Noise New Media – Nashville, TN)

Job Purpose: To carry out digital marketing and online advertising activities and manage client accounts.

Writer + Content Manager (Merch Monster – Oakland, CA)

Merch Monster is one of the leading screen printing companies in the SF Bay Area. We’ve grown a successful business with a client roster including; UC Berkeley, Visa, The North Face, Warner Music, Sony Music, Atlantic Records, and many more. It’s an exciting time to be at Merch Monster and we are looking for a Content Manager / Copy Writer to join our team and help grow our business.

Coordinator Commercial Partnerships (UMG – Santa Monica, CA)

The Commercial Partnerships Coordinator provides administrative support to the UMGD Commercial Partnerships Team(s) in the areas of partner and label support and service. Key support roles include distribution and communication of information, and troubleshooting asset deliveries, take downs, and any and all revenue strategy changes. This position supports Amazon.

Talent Acquisition Partner, West Coast (WMG – Los Angeles, CA)

As a result of growth in our west coast businesses, this new role will partner with the Senior Manager, as well as our west coast hiring managers, to engage, recruit and hire top talent for WMG. The candidate must be confident, outgoing, a networking pro, and someone who can represent our brand and culture in the most positive light. The TA Partner must be able to build outstanding working relationships with a wide variety of stakeholders, including hiring managers & employees, HR partners, candidates, colleges, and other outside partners.

Franchise Operations Coordinator (Songs For Seeds – NYC)

Songs for seeds rockin’ kids’ music program is hiring a franchise operations coordinator. songs for seeds offered its first class in 2009 in NYC and since franchising 4 years ago, now has 20 locations across the US. We are a fast-growing company and are looking to add a new team member. In this role you will be the liaison between songs for seeds headquarters in NYC and our franchise owners. Responsibilities include organizing and maintaining our internal support systems, as well as assisting, collaborating with and guiding our franchise owners in all performance and operational areas including on-boarding, budget/financial analysis, operational expertise, hiring and training of employees, location acquisition, customer service and marketing support.

Analyst, Unified Comms (WMG – Los Angeles, CA)

This is an opportunity to move the needle and make a significant impact within a large global enterprise. Responsibilities include coordinating projects and resources as new business offerings and technologies are developed and implemented within Warner Music Group. Requires excellent communication and technical skills, while working closely with all business units within Warner Music Group in determining design criteria and proof of concept as they relate to each business offers. Other functionality includes acting as engineering liaison to outside engineering entities, project budget management, staffing development, and vendor management. Collaborate, design and implement ideas with business leaders from whiteboard to digital delivery and be a true partner with our business leaders. Recognize that as a Service Organization we’re there to partner and steward the organization to operate efficiently, drive revenue and manage risk.

Process Specialist-Record to Report (WMG – NYC)

The RTR Process Lead holds a global remit and is responsible for defining the future state RTR processes and the measures that are aligned with the org. strategies, country specific knowledge and requirements. This process lead will strive to capture opportunities, reviewing existing and best practice workflow, tools and data. The role moves through design, architect, implementation, go-live and the steady state with an ongoing focus on continuous improvement and integration of finance process into the overall WMG landscape

Administrative Assistant, Global Partnerships (AEG – NYC)

AEG Global Partnerships is seeking a Administrative Assistant, Global Partnerships. This position will support the Global Partnerships team with sales and marketing materials, accounts, and general administrative duties.

Project Coordinator (PHMG – Chicago, IL)

Your role will involve as a Project Coordinator will play a key role in the organisation of telecoms engineering work for PHMG clients to allow for a seamless set-up of their contracted audio services. You will liaise with Internal Field Service Managers & Client Account Managers to ensure information and support are offered and supplied when needed. Case completions include liaising and working with third party suppliers and contractors from across the UK and the rest of the world. We are a company in hyper-growth mode with endless opportunities for promotion, making PHMG is a sound choice for your next career move.

Media-Based Learning Consultant (MassMutual – Springfield, MA)

Reporting to the Head of Learning & Development, this role will have the unique opportunity to support Talent Management Advisors and Human Resources Business Partners in providing creative solutions to fill skill gaps within the organization while advancing the maturity of the Learning function through the creation and curation of content driving a learner-centric learning strategy.

Session Musician (SMPL – Nashville, TN)

A session musician backs another artist during live performances or in the studio. He or she must be able to sight, read, and perform several different genres. Session musicians are self-employed, so when not playing, they have day-to-day administrative tasks like staying in contact with other musicians about projects, and of course, practicing.

Administrative Assistant to the Music Director (The Cincinnati Symphony Orchestra – Cincinnati, OH)

This is a part-time, salaried position, provides administrative and clerical support to the Music Director. The Administrative Assistant will ensure the Music Director has an organizational presence even when he/she is out of town, and will bolster the effectiveness, impact and focus of his/her work while present in Cincinnati. This position will provide additional departmental support for artist-related matters.

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Industry News News

With Convert2MP3 shut down, what’s next for the war on stream-ripping?

After years of legal battles, the global music industry found success in the war against piracy after forcing stream-ripping site Convert2MP3 to shutter operations.

The war against music piracy rages on in 2019. Despite significant growth for the streaming marketplace, millions of people continue to pirate music as a means of accessing materials for free. Torrents and file-sharing sites such as Mediafire have lost their appeal to pirates in recent years, but they have been replaced by stream-ripping services that allow consumers to steal audio from video clips and convert them into MP3 files. These sites, which often cost nothing to use, are a scourge on the entertainment business.

In 2016, the RIAA, IFPI, and BPI filed legal action against YouTube-MP3, the largest stream ripping site at the time. This case eventually resulted in a settlement in which the site agreed to shut down voluntarily.

Since that time, the music industry and the many groups around the world working to ensure its continued growth, have set their sights on a number of additional websites promoting free stream-ripping services. That included Convert2MP3, which was sued in Germany with backing from the music groups IFPI and BVMI.

Convert2MP3 has been considered one of the most popular stream-ripping destinations online. The site has previously seen tens of millions of people use its service monthly, and that popularity made it a prime target in the music industry’s war against piracy.

The court proceeding surrounding Convert2MP3 has rarely been in the headlines, but that changed earlier this week when Music group IFPI announced that in a combined effort with the German industry group BVMI, it has reached a settlement with the stream-ripping site. The settlement requires the site to shut down immediately and hand over its domain name to IFPI. 

The settlement also requires the unnamed person or persons behind Convert2MP3 to pay financial compensation. The amount owed has not been made public.

IFPI’s Chief Executive Frances Moore is pleased with the outcome and hopes that it will motivate other stream-rippers to follow suit.

“Stream ripping is a threat to the entire music ecosystem. Sites such as Convert2MP3 show complete disregard for the rights of artists and record companies and take money away from those creating and investing in music.

“The successful outcome of this case sends a clear signal to other stream ripping sites that they should stop their copyright infringing activities or face legal action,” Moore adds.

Not everyone agrees that these type of sites are by definition copyright-infringing. In a letter to the US Trade Representative, digital rights group EFF previously stressed that there are plenty of legal use cases as well.

“[M]any audio extractions qualify as non-infringing fair uses under copyright. Providing a service that is capable of extracting audio tracks for these lawful purposes is itself lawful, even if some users infringe,” EFF wrote.

EFF has a point. There are instances where stream-ripping does not infringe on a copyright, but those cases are few and far between. The vast majority of stream-ripping use does infringe on others’ intellectual property. Is the risk of losing millions to illegal piracy worth making services like that previously offered by Convert2MP3 free to the public?

Perhaps a better solution would be a third-party service that reviews stream-ripping requests. If not that, maybe consumers wishing to rip audio from videos should pay a fee to do so, thus ensuring any parties owed money have the means to collect.

Stream-ripping is far from being extinguished, and the war on piracy is not likely to end anytime soon. The battle for artists to be compensated for their work has raged for decades, but hopefully, the end of Convert2MP3 pushes a few more pirates toward a legitimate music consumption.
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Editorials Haulix Industry News News

Netflix needs music, but music doesn’t need Netflix

The streaming wars are upon us, and Netflix needs to take action before a competitor steals one of the biggest niche audiences.

After years of streaming domination, Netflix finds itself in a war for subscriptions, and music may have the answer.

Netflix is at a crossroads. For more than a decade, the entertainment company has reigned supreme over the world of film and television. Specifically, Netflix has been the leader in streaming content for longer than virtually any of its competitors have existed, but that may soon change. A new crop of streaming platforms are rising, with many owned or largely controlled by the companies that once relied on Netflix to stream its content online.

A quick Google search for new streaming platforms will shed more light on the state of video in 2019. In addition to Hulu and Amazon Prime, which have been gaining ground on Netflix for years, Disney, Warner Bros, DC Comics, Apple, and more have or are preparing streaming platforms of their own. Disney’s product, Disney+, will offer every Marvel movie, Star Wars Film, and Disney original for less than the current cost of a monthly subscription to Netflix. The house that Mickey Mouse built will also pull all its content from Netflix when the platform launches, which is likely what all the other studios will do when their services go live in the months and years to come as well.

That impending change has put more pressure on Netflix to create original content that justifies its rising cost and shrinking library. The company has invested millions into original series with mixed results, but it has found a lot of success through its embrace of stand up comedy. Be it Chris Rock, Amy Schumer, or Joe Rogan, the biggest names in comedy have made Netflix their home, and the company has reaped the benefits of having fans of the art form flock to the platform for fresh content weekly.

Netflix may find similar success through music. After leaving the music industry mostly untouched for the last several years, Netflix made waves in the industry by releasing Taylor Swift’s concert film for her Reputation stadium tour and Springsteen On Broadway at the end of 2018. That release was followed in April with the debut of Beyonce’s Homecoming concert film documenting her now legendary performance at Coachella. Both films were exclusive to Netflix, and each made it possible for millions of fans around the world to witness events they otherwise could not see.

This month, Netflix has taken its relationship with music further by releasing a Martin Scorsese documentary on Bob Dylan and announcing the exclusive premiere of Radiohead frontman Thom Yorke’s new short film. That latter is particularly exciting because it is intended to pair with Yorke’s new solo album, which means Netflix is playing an active role in supporting new music rather than celebrating things that have already happened.

Where Netflix goes from here with music is up in the air, but the company would be wise to continue investing in and aligning itself with musical talent. The live entertainment industry is booming, but no consumer is able to see everything or even a fraction of everything they want to see in a given year. Netflix has the ability to support artists while also helping them engage with fans who otherwise cannot see them live or get to know them behind-the-scenes.  

That said, Netflix needs to hurry if they want to claim reign over music as they have the world of comedy. Amazon Prime released an original film from Donald Glover, otherwise known as Childish Gambino, earlier this year. Amazon also released a Jonas Brothers documentary days before the group’s recent album, Happiness Begins, hit stores. Apple has not announced any music projects for their upcoming video streaming service, but it’s not hard to imagine the exclusive video content made for Apple Music will also appear on that platform.

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