3.12.15 Album Cover Shoot, Radio and Streaming Media
Mar 12, 2015 0:08:47 GMT -5
Post by Q3 on Mar 12, 2015 0:08:47 GMT -5
Album Cover Shoot
instagram.com/antoniobrancogq/p/0GOpR5HdSX/
http://instagr.am/p/0HO_DeHdfY
******
Jay Michaels @jaymichaels13
Program director , The New @1037kvil CBS Radio! Love music, pop culture & music business.
******
Jay Michaels @jaymichaels13
Program director , The New @1037kvil CBS Radio! Love music, pop culture & music business.
******
Streaming Media and Radio
Roundtable: Five Execs Examine Radio's Uncertain Future in the Streaming Age
By Shirley Halperin and Gary Trust | January 12, 2015 2:26 PM EST
Steve Blatter, Anya Grundmann, Michael Martin, Tom Poleman and Charlie Walk photographed December 11th at iHeartMedia in New York.
Eric Ogden
Relying on research or your own ears; syncing the pulse of a local community with the talk of the Internet -- today's radio insiders have the gargantuan task of pleasing a diverse audience of 243 million listeners a week (91 percent of all Americans 12 or older, according to Nielsen) while facing an uncertain future. The business generates steady revenue -- in 2013, year-over-year terrestrial revenue held flat at $14.3 billion, with online growing 14 percent to $570 million. But the arrival of Pandora, Spotify and YouTube in a market where traditional broadcasters and digital pioneers were already elbowing for space has upped the ante, bringing ancillary businesses like concerts and TV programming into the mix. What's the plan for the digital media age? For the participants of Billboard's radio roundtable -- Charlie Walk, executive vp of Republic Records; Tom Poleman, president of national programming platforms for iHeartMedia; Michael Martin, senior vp programming and music initiatives at CBS Radio; Steve Blatter, senior vp/GM of music programming at Sirius XM; and Anya Grundmann, executive director of NPR Music -- the battle to connect is well underway.
Steve Blatter
Senior vp/GM of music programming, Sirius XM, 48
The moment I knew I wanted to be in radio: "Madison Square Garden, 1976 for Kiss. To this day, I remain frightened by that concert -- but boy, was it entertainment. Later, I interned at K-Rock in New York around the time Howard Stern joined the station, and that was a major factor."
Bragging rights: "With Florida Georgia Line, we knew we had something big within a few weeks of playing them. Republic Nashville was smart enough to sign them and now they're among the biggest country breakthroughs of the last five years."
What's the biggest change to the radio industry that you've seen in recent years?
Charlie Walk: There is no room for error, so labels and radio are partners more than ever before. It's a very different relationship. We're having a real conversation as to why something develops and becomes a big hit. It's a truthful, authentic, organic period where we are better at seeing the future through a mix of art and science.
How much of that decision-making is data-based?
Walk: I think radio is playing more hits than ever because of information. Data-driven records like ["Stolen Dance" by] Milky Chance that come from Europe -- we know that if it's No. 1 in 18 countries, there's a good chance it'll be No. 1 here. ["Habits (Stay High)" by] Tove Lo developed on Spotify with massive streams -- cross it over to terrestrial radio, there's a good chance people are going to like it. The old days of Hail Marys and seeing if something sticks or not -- those days are gone forever.
Steve Blatter: At the same time, after we play a new piece of music, we know earlier -- after two or three weeks of airplay, or 125 spins -- whether something is really going to break. We'll look at digital track sales and either go pedal to the metal or drop records more quickly than we ever have.
bcove.me/r6aa8xsu
Formats were once much more regimented. Today, there is no formula on top 40 radio...
Tom Poleman: And that's the best thing. You never know where that next left-field sound is going to come from, whether it's Mumford & Sons or Sam Smith or Iggy Azalea or Tove Lo.
Michael Martin: Who would have thought Mumford [& Sons] would've [had] a pop hit? Or Lorde. We kept stretching and the lane got wider. We used to have the old-school music schedule rules. We've thrown them out.
Anya Grundmann:At NPR, we're committed to giving that broad multigenre scope where we'll celebrate jazz along with hip-hop, along with telling the stories of folk, country, Latin and how they're all speaking to each other across boundaries. We can't underestimate the curiosity of the audience. The younger generation, especially, is incredibly curious around music exploration.
Anya Grundmann
Executive director, NPR Music, 47
The moment I knew I wanted to be in radio: "Listening to Fresh Air [for the first time] while in college and being really captivated by the in-depth conversation and the sea of voices. I thought it was transporting. Some time later, I moved to Flagstaff, Ariz., walked into the public radio station there and volunteered. Eventually, I got on the air there."
Bragging rights: "We had booked Adele for a South by Southwest showcase [in 2008] before she was widely known in the U.S., but she had visa issues and couldn't come. She then came to do one of our Tiny Desk concerts [in 2011] and traveled around to a lot of the stations across the public radio network. It was a pleasure being in her presence."
Iggy is from Australia, Nico & Vinz are from Norway, Lorde from New Zealand. What does the global nature of the market say about where we're at right now musically?
Blatter: The A&R process has been flattened. Ten, 15 years ago, when it came to discovery, we were almost solely reliant on people like Charlie at record companies to identify music that they thought we'd be interested in and then we'd consider it for airplay. That still happens, but now you can get on a computer, spend an hour and discover some of the most amazing music out there. At Sirius XM, we find it everywhere. It's not just all coming through the pipeline of major labels.
Walk: I respectfully disagree. We have the biggest stars in the world because we develop them. Yes, a song will break here or there from other places, but we have spent time over many years curating [artists] and helping grow their brand. Ariana Grande was signed at 16; she's now 21. There's a process.
What has been the impact of streaming?
Walk: Lorde's "Royals" spread like wildfire after [it appeared on] Sean Parker's famous Spotify playlist. That was a very important moment. Tove Lo, too, developed on Spotify with massive streams.
Taylor Swift put Spotify on blast in 2014. Many artists have complained that it doesn't compensate them fairly.
Walk: First, we support Taylor Swift. She has her own prerogative as to whether or not she wants to have her music available on Spotify. That said, it's too early to make an assessment. We have found there to be a symbiotic relationship with streaming and radio success. We are in uncharted waters with where streaming will take us. If what we're seeing in Scandinavia is any indication, streaming can be extremely lucrative for all.
Are you concerned that listeners -- particularly younger ones -- will migrate to Pandora or Spotify?
Radio is completely different from playlist creators such as Pandora and Spotify. It lets you engage with the world and find the music, news, traffic, sports, gossip, weather, events, DJs and talent, etc. that you're interested in, and helps you be part of what's going on. Playlist creators -- or music collections -- are the opposite. They're for when you want to escape from the world and be alone in an environment you create. Music collections have existed in some format or another for decades (45s, albums, cassettes, cds, ipods, MP3 players, etc.).
With iHeartRadio, we do both. iHeartRadio brings incremental listening to iHeartMedia's already existing broadcast audience. Broadcast stations continue to dominate our listenership (92 percent of listening in America happens on AM/FM broadcast radio), but iHeartRadio provides another platform for our listeners to access their favorite radio stations and personalities as well as custom stations and non-audio content. Digital listening/streaming is additive for us and for our listeners. And remember, people are extremely loyal to 'their' stations, like Z100 in NY or KIIS FM in LA. Playlists will never be able to replicate the content, reach and relationship that on air personalities have with their listeners.
Tom Poleman
President of national programming platforms, iHeartMedia, 50
The moment I knew I wanted to be in radio: "As a kid in Ithaca, N.Y., I used to go down to my basement to listen to Casey Kasem and afterward I'd do my own countdown for my parents upstairs. I just loved music and wanted to be a part of it. And I played guitar, but not good enough, so I figured what else was there?"
Bragging rights:"When I first heard Sam Smith, I loved him. We made him one of our On the Verge artists, but I wasn't sure. The great thing about top 40 is that hits can come from any genre. You have to take a chance and see what happens -- and my God, the world connected with him. To see him now at Jingle Ball, he gets the loudest screams of the night."
How much of an impact has social media had?
Martin: In a lot of ways, social has become the new request lines. Our jocks are constantly interacting -- before, during and after their show.
Blatter: It's a great feedback mechanism for listeners to communicate to us what they like and don't like -- about music or other elements of our radio stations.
Poleman: Radio is the original social medium. It became the beacon for communities, and this is just an extension of that same role.
Grundmann: We recently expanded more into hip-hop and R&B. In social you speak differently to different communities, and that is part of us getting to better know the communities with which we're engaging.
NPR seems to be moving into genres not typically associated with public radio. For example, you recently aired a nearly nine-minute-long interview with Taylor Swift...
Grundmann: Yes, but our goal is not to put somebody on and see them go to No. 1. What's interesting about Taylor is how she's changed over time, who she is as a creative artist. This fall, we had T-Pain come by. He was such a personable guy, and people seemed surprised by how well he could sing. Being in that environment allowed the audience to really embrace him.
Walk: The NPR platform is so great at letting artists tell their stories. We have [British singer-songwriter] James Bay, who's about to be a very big act, and we're so thankful of the support of NPR.
Michael Martin
Senior vp programming and music initiatives, CBS Radio, 52
The moment I knew I wanted to be in radio: "I was a club mixer in L.A. Radio to me was never fast enough. It wasn't playing the records I knew were hot in the clubs and the street. So I got an internship at KIIS-FM and I was that loud-mouthed little mixer in the hallways."
Bragging rights: "I love creating events money can't buy. When you can take an artist that does arenas and you pop them in someone's backyard. Seeing the Foo Fighters in a bar in New Orleans with 300 people: That's an unforgettable experience."
Each of the broadcasters sitting here has played an essential role in breaking new acts. What's a recent example?
Blatter: Probably the biggest act that we identified at a very early stage was Florida Georgia Line. We put them on the radio, they reacted almost immediately. They were subsequently signed to Republic Nashville after a bidding war.
Martin: Same with Tove Lo. Who knows who played what first, but we all saw that wave. I remember putting Tove on alternative and within a few spins, you're like, "Oh, my God, this is a pop record." Then everyone started jumping in.
Blatter: We try to be in sync with the label marketing plans. There are times, though, when we go early on a record. With Vance Joy, we played "Riptide" on The Spectrum 10 months ago. We had to follow up with something. Waiting a year until Atlantic said, "Here's the next song" -- that's not an acceptable answer to the audience. So we added "Mess Is Mine."
How does radio reach a younger generation? If you put a transistor radio in front of most kids, would they even know how to turn it on and find Z100?
Walk: They wouldn't. But they want to be curated to -- they want to know what to like. They're not searching for it, they need to be told. Radio is on your device -- it's on your Sonos speakers, in your car. Whether it's satellite or terrestrial, it's there.
Martin: It's our job to take the product that we curate for the radio and deliver it in every possible way that the audience is consuming it. Radio would die if it stuck its head in the sand and refused to acknowledge the technology.
Walk: And a major event like Jingle Ball or the iHeartRadio festivals, it's where the digital meets the physical. People still want to see and touch the artists and be a part of the musical moment. These guys have figured out a 360 approach to communicating to the kids.
Charlie Walk
Executive vp, Republic Records, 46
The moment I knew I wanted to be in radio: "At 8 years old. I listened to the big pop station in Boston, WRKO, on my transistor radio. That little transistor was my communication device -- my connection to show me what's cool and what's next."
Bragging rights: "Halfway through a tour with Maroon 5 opening, I watched as John Mayer played cut 10 off [his second album] Heavier Things, a sleeper called 'Daughters.' Everyone had their hands in their air, singing along. I went backstage and said, 'We got to put this song out.' John insisted it was a throwaway track. The following Grammys, it won song of the year."
Has the definition of radio changed?
Blatter: People ask, "Will radio be around?" The hardware doesn't really matter. It never has. I always say to programmers, "Just because our antenna is higher in the sky than an FM radio station does not matter to an end user."
Poleman:That's a big reason why radio hasn't been impacted the way other mediums have been with new technology -- because there is still that human connection. There's still curation and storytelling and that emotional bond.
Walk: One thing hasn't changed, stars and smashes.
Iggy, Charli XCX, Taylor Swift, Jessie J, Meghan Trainor … Is pop music now the domain of women?
Poleman: Great songs are the trend, and the women happen to have great songs at the moment.
Walk: I'm with Tom. I don't think it's a trend. "All About That Bass" was a media moment. The minute my daughters heard it, something happened.
Poleman: By the way, my first year at Z100 when we did Jingle Ball, we subtitled it Girls Rule the Yule because every single artist on the bill was a woman -- from Tracy Chapman to Lisa Loeb to Sarah McLachlan to Gwen Stefani with No Doubt. And I remember having this exact same conversation.
What about on-air talent: Where are the younger DJs coming from in an era of consolidation?
Poleman: If you don't create an environment between the songs that connects with the consumer, then you're losing your biggest opportunity. So talent development is hugely important. I recently met with Ryan Seacrest and told him, "Some of these stations where we have you on the air, you're talking too little. We need to show your personality."
Martin: I love finding talent, but whenever we have an opening, you get all the résumés and the audios, and a lot of it is the same. So I walk down the hall and start talking to the van drivers, to the street kids, because if you find that kid that has the X factor, you can teach them everything else. But you can't teach the swagger, that innate quality in knowing how to talk to the audience.
Poleman: You can't do things the way you used to on the air because they see you on Instagram, on Twitter, on Facebook. They have access to you and expect a picture of your life. They want to see behind the scenes -- Ryan with his mom at Thanksgiving -- and that's the kind of stuff we have to say on the air to retain that connection. We always have to be a very human medium.
But when Ryan was 16, he walked into the hits station in Atlanta and got himself an overnight shift. Kids today want to intern at Google.
Blatter: You don't come across the college kid that aspires to be a radio DJ as much as you used to. Why would you want to be a radio jock? You can go on YouTube and build a following. So we have to look for talent outside of radio. We recently launched a show with YouTube, and the host is Jenna Marbles. She had never been on the radio. We spent a little time with her, taught her some of the fundamentals, and she is one of the most compelling radio personalities I've ever heard.
What about the battle for the dashboard. How do you view music listening in the car?
Blatter: Sirius is in 70 percent of all new vehicles that roll off the assembly line. We've had amazing penetration there. But it's not so much about getting our hardware in those vehicles as it is to really deliver on the experience.
Poleman: That being said, one of the most intuitive things in a car is an AM/FM radio. It's in 100 percent of cars. It's as essential as a steering wheel. It's free and ever present. If you took somebody's FM radio away tomorrow, they would let you know. At the same time, we support digital as well. We are always mindful of getting iHeartRadio in the dash. But the wheel doesn't need to be reinvented on something like the radio.
Grundmann:I don't think it's about the dashboard. It's about how you like to connect. If someone has a relationship with iHeartRadio or Sirius or NPR, they can plug into the cloud. Making the interaction as smooth as possible is what car folks are working on. And we're not going to be driving our cars in 15 years anyway, right? The steering wheel may not be that useful.
With the iHeart festivals, Sirius' Town Halls, NPR's Tiny Desk series, you're practically in the concert business? Does the radio business cease to be the radio business at some point?
Poleman: Well, we changed our name from Clear Channel to iHeartMedia because of a recognition that we are a multi-platform company. We are not looking to replace Live Nation, we're not looking to replace the record labels or become managers but it's a recognition that we're at the epicenter of a lot of things pop culture and they manifest themselves in a lot of different media forms. We're an outdoor company, we're a digital company. The iHeartRadio platform is one of the most successful digital launches over the past five years and the reason is our consumers expect it and our advertisers expect it. They want their brands to be expressed through multi-media and we want to position ourselves as a solution provider for them.
Martin: We joke that we're concert promoters half the time -- out there booking shows constantly. But everything that we do reinforces our brand. It all links together.
Grundmann: With Tiny Desk, it reflects our desire to tear down some of those boundaries between genres and have it be about the journey of an artist trying to connect. We'll do everything from Yo-Yo Ma to hip-hop and R&B artists, indie rock singer/songwriter folks and Latin artists.
Tom, we keep reading We keep reading about the restructuring of Clear Channel's debt. Is it as much a matter of discussion inside the company as outside?
Poleman: Building our financial flexibility continues to be a top priority. We have made significant progress in the last 18 months to maximize the value of our business by continuing to improve our capital structure and liquidity through the capital markets and strategic transactions, and we're very proud of this. We now have clear runway, which enables us to keep focusing on our operations and growth.
What keeps you up at night?
Walk: Honestly, finding the next artist. I'm less concerned about the platforms. As long as these guys continue to reinvent and create great places of curation, we'll hopefully be able to feed those platforms with amazing talent.
Poleman: [iHeartMedia CEO] Bob Pittman's emails. He's an insomniac and is always thinking. It's like, "OK, what's fighting for the attention of our consumers? We can't sit back and ever celebrate our success. We got to keep moving." This is a guy who created MTV, who ran Six Flags and AOL-Time Warner. I feel like I get a great education every day.
Martin: For me, it's "Did I miss something?" You don't want to surround yourself with sheep who will head-nod and agree with you, because what if you're dead wrong? You have to have those people that look at you and say, "Wow, you are way off."
Grundmann: We can't be satisfied that we figured it all out. This is a very exciting moment to be in the music world. The genres are overlapping, the technology is changing the way we reach people. You want to make the right choices, be open to experimentation and make sure that you have the resources to do so.
A version of this article first appeared in the Jan. 17 issue of Billboard.
Link: www.billboard.com/articles/6436526/roundtable-radios-future-streaming-charlie-walk-tom-poleman-anya-grundmann-steve-blatter-michael-martin
New Report Looks at U.S. Streaming, Finds Pandora the Clear Leader
By Glenn Peoples | March 05, 2015 2:09 PM EST
Louis Quail/Getty Images
Apple's overhaul of Beats Music, whatever that might entail, will have to pull the on-demand subscription service out of America's music-streaming basement. "The Infinite Dial 2015" report from Edison Research and Triton Digital shows Apple's Beats Music ranks last in reported usage.
The U.S. music streaming market can be broken down into three segments: the leader, the followers and the laggards. (Neither Edison Research nor Triton Digital named those segments, by the way.) Pandora is the clear leader. It has the highest brand awareness (75 percent) and the highest monthly usage (45 percent). In this context, usage means a service receives any use in a given period. It does not denote quantity of songs or minutes streamed.
Three services qualify as followers: iHeartRadio, iTunes Radio and Spotify. iHeartRadio ranks third in brand awareness (59%) and second in usage (17%). iTunes Radio climbed to second in brand awareness (72%) in fewer than two years and ranks third in brand usage (16%). Spotify brand awareness ranks behind two laggards (41%) -- one an e-commerce giant -- but ranks fourth in brand usage (13%) and has by far the best numbers of an on-demand subscription service.
The top two services in the laggards group lack users but have name recognition. Amazon Music has 42% awareness but 7% usage. Rhapsody, a veteran music streaming service, has 41% awareness and 5% usage.
Google and Apple, the next two companies in the laggards group, both had modest awareness but light usage. Google Play All Access had 30% awareness and 5% usage. Beats Music had 27% awareness and just 3% usage.
Adding insult to injury, Beats Music has the distinction of being the least effective at converting awareness into listening. A simple ratio of awareness-to-listening based on the reports' numbers can be taken as an indication as a service's ability to convert awareness into listening. Beats Music's awareness/usage ratio of 9.0 is higher than Rhapsody's 8.2, Amazon Music's 6.0 and Google Play All Access's 6.0. Spotify has the best ratio of 3.15. Perhaps because it's a free service, iTunes Radio does a better job turning awareness into listening with an awareness/usage ratio is 3.88.
Music streaming continues to grow in popularity. The Edison/Triton survey found 53% of people surveyed, or 143 million Americans, stream music every month, up from 47% last year. Weekly listeners increased to 44% of people surveyed, up from 36% a year earlier. One figure ran counter to many examples of growth in music streaming. Although the number of weekly music streamers increased substantially since last year, the time spent streaming music each week declined slightly to 12:53 from 13:19.
The big question of 2015 is how the on-demand streaming market will shake out. Spotify is well-capitalized and with a large lead. Deezer is well-funded, but still behind in the United States. How long some other competitors exist as standalone companies -- expect mergers and acquisitions to continue -- will depend in part on the success of Apple's re-entry into on-demand music streaming.
iTunes Radio could be the toehold that gives Apple a chance in the on-demand streaming market. A cursory look at the report might suggest Apple needs to grab Spotify's youthful audience. That's partially true. But the numbers also suggest there's a large number of consumers going untouched by streaming services.
All streaming services are most popular with the youngest age group: 54% listened to Pandora in the last month, 23% listened to Spotify and 20% listened to iTunes Radio. Millennials clearly like to stream music. Apple will need to convince many of them to subscribe. But young consumers are the low-hanging fruit.
The bigger opportunity lays in the older age groups. Of people aged 25 to 54, 12% listened to iTunes Radio in the last month and 9% listened to Spotify. The 55-and-over group was practically non-existent outside of Pandora. Three percent listened to iTunes Radio in the last month and 1% listened to Spotify. Twelve percent of them said they listened to Pandora in the last month.
Apple's great task is to bring the older age groups to its on-demand subscription service. It can't let the download generation go the way of the CD generation.
As Russ Crupnick, previously of NPD Group and now managing partner at MusicWatch, explained in 2011, the four-year loss of CD buyers from 2006 to 2009 was 20 million people. Millions of consumers did not follow along in the shift from CDs to downloads. They were simply dropping out of the marketplace. The result was fewer people supporting the recorded music industry.
Exactly how does a company convince both young and old consumers to pay for a music service when free options exist and many still find downloads appealing? If any company can figure it out, it's Apple.
Link: www.billboard.com/articles/business/6494341/infinite-dial-us-music-streaming-report
Streaming Drives Sales, According to New Study
By Tom Roland | November 20, 2014 2:00 PM EST
YouTube might be "the devil" to Garth Brooks, but in another's eyes, it's a great source of music discovery. In fact, a new study being released by the Country Music Association suggests that adults 18-plus are far more likely to buy music after being exposed to it on YouTube, Spotify and other streaming services than listeners who hear a song for the first time on AM/FM radio.
The study, which focused on consumers who remembered hearing a new track in the previous seven days, asked where they heard the music, if it was by an artist they were already familiar with, and how they responded to the most recent new song they heard.
Some 69 percent took some action, whether that meant searching for further information, playing it for a friend or making a purchase. Invariably, users who discovered the song online were more likely to respond. Half who listened on a streaming app did further research -- such as hitting Shazam to identify the artist, or Googling the lyrics. That figure is triple the 17 percent of radio listeners who conducted follow-up research.
More importantly for labels and artists, fans who streamed a new song were three times as likely to buy it than listeners who were exposed to it on radio. Some 25 percent of respondents purchased a new piece of material after hearing it for the first time online, while only 8 percent of radio listeners bought it.
Consuming music through apps is, of course, easier – and safer – than buying music while listening to the radio in a car. But that's not the only thing driving the disparity.
"A lot of the streaming users are very heavy music enthusiasts, so they do want to have a colleciton of music and they are buying the music," says CMA senior director market research Karen Stump. "Obviously it's not 50 percent, like we'd all like it to be, but compared to other discovery platforms, it is definitely a signfiicant player to driving purchase conversion."
The CMA is unveiling the proprietary study to its membership during a Nov. 20 luncheon, but its findings have significance for music beyond country, too. Respondents were categorized by their primary format to study how, for example, a pop music fan's music-discovery process differed from a country-centric consumer. The differences between genres were negligible.
"So what you're seeing in this report isn't just country music fans," Stump says. "It's all genres."
While radio listeners might be less liable to respond to new music, terrestrial broadcast is still the media where most people find new songs for the first time. Some 43 percent of consumers in the sample cited the radio as the place they most recently heard a new title. YouTube, streaming apps and other online properties totaled 28 percent.
While researchers were somewhat surprised that streaming consumers were heavier music buyers, they were also shocked to discover how little people are sharing their discoveries via social media. Just 5 percent of radio users mentioned a new song on Facebook. That number jumped to 13 percent for streaming apps and 23 percent for YouTube constituents.
Even allowing for more traditional forms of sharing -- such as playing a new song for a boyfriend -- YouTube users, at 49 percent, were far more likely than radio listeners, at 14 percent, to pass it along.
Those positives don't entirely negate the arguments that Brooks, Taylor Swift and Jason Aldean's label, Broken Bow, have made as they take on YouTube and Spotify. Those artists are big album sellers, and the study supports the notion that exposure to new music doesn't necessarily translate to album purchases.
Nineteen percent in the study group bought newly-discovered music in the previous week, but of that 19 percent, a full 41 percent of them bought just the one digital track. Meanwhile, 29 percent bought that one album. Only 17 percent bought that album and one or more additional releases.
Clearly, Brooks, Swift and Aldean are being reasonable in protecting their album sales, though most other artists would not be wise to model their marketing plans after them.
"I don't think everybody could pull off what they could pull off," Stump notes.
One other piece of data helps to indicate how small the number of hyper-fans music companies and artists are targeting. The survey only represents the habits of the 23 percent of respondents who could remember hearing new music in the previous seven days. Reverse that data, and it means 77 percent of American adults either don't hear a new song in the course of seven days or don't recognize that they're hearing something they've not heard before.
Thus, the 19 percent of people who bought new music during the seven-day window were really just 4 percent of the total population (19 percent of the 23 percent who recognized new music). And the 17 percent of those buyers who bought more than one album are a mere 0.07 percent of the total population (17 percent of the 4 percent).
The CMA intends to break down the data further in the coming months, sorting consumers by their level of enthusiasm. Core uber-consumers will, of course, be a central focus.
"They're not the only people that we need to understand," says Stump, "but in order to impact sales of our music, we need to know more about that group and how to market to them."
Link: www.billboard.com/articles/business/6327135/streaming-drives-sales-according-to-new-study
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Vote for……us!!
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The March Madness Adam Lambert Brackets!
Round 1
Round 1
Let the voting begin – the first 4 brackets!! Voting on these brackets ends on March 18, 2015 at 12:00AM US EDT.
A complete list of all 16 first round brackets is located here: adamtopia.com/thread/2866/10-march-madness-pick-final?page=1
Round 1 – the first 4 brackets!
1. Ultimate Adamized Performance
“Whole Lotta Love” (acoustic), Fantasy Springs (2010)
youtu.be/1ljb_JsvUEc
32. Best American Idol Alumnus Appearance (tie)
“Whataya Want From Me” Idol (2010)
youtu.be/pj_ITMBsla8
Vote here: adamtopia.com/thread/2867/round-1-32
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2. Best Acoustic Performances (Excludes BO and WWFM) 1
“Sleepwalker” Zurich (2010)
youtu.be/0ngzERXxoGE
31. Best American Idol Alumnus Appearance (tie)
“Titanium” with Angie Miller, American Idol Finale (2013)
youtu.be/YMmzvr4_fS0
Vote here: adamtopia.com/thread/2868/march-madness-round-1-31
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3. Best Acoustic Performance of “Whataya Want From Me”
Radio NRJ.de (2010)
youtu.be/zyBzibZa2MY
30. Best Acoustic Performance of “Broken Open”
Fantasy Springs (2010)
youtu.be/K3hAZ6IpWNc
Vote here: adamtopia.com/thread/2869/march-madness-round-1-30
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4. Best Trespassing Song 1 (Excludes “Chokehold”)
“Shady” AFTEE, (2013)
youtu.be/gsbLEOaiGAM
29. Best “Chokehold”
Live In The Vineyard (2012)
youtu.be/mxpH2iQRhwc
Vote here: adamtopia.com/thread/2870/march-madness-round-1-29
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The Original High – New Music Watch!!
Last update: 3.8.15 by Q3
So we have some bits.
Album title: The Original High
Album release date: Summer 2015
Genre: Pop
Musical influences – House, Deep House, some R&B (Sources: The Brit Awards Red Carpet Interviews recorded February 25, 2015)
First single: ______________, release date: April 2015
Tracklist (not in order, number of tracks is unknown)
1. The Original High, written by Adam Lambert and ________________
2. TBD – first single, written by Adam Lambert and ________________
3. TBD, written by Adam Lambert and ________________
4. TBD, written by Adam Lambert and ________________
5. TBD, written by Adam Lambert and ________________
6. TBD, written by Adam Lambert and ________________
7. TBD, written by Adam Lambert and ________________
8. TBD, written by Adam Lambert and ________________
9. TBD, written by Adam Lambert and ________________
10. TBD, written by Adam Lambert and ________________
11. TBD, written by Adam Lambert and ________________
12. TBD, written by Adam Lambert and ________________
13. TBD, written by Adam Lambert and ________________
14. TBD, written by Adam Lambert and ________________
15. TBD, written by Adam Lambert and ________________
16. TBD, written by Adam Lambert and ________________
17. TBD, written by Adam Lambert and ________________
18. TBD, written by Adam Lambert and ________________
19. TBD, written by Adam Lambert and ________________
20. TBD, written by Adam Lambert and ________________
Personnel:
Credits:
Executive Producers: Max Martin and Shellback
Vocals: Adam Lambert
Collaborators who might have worked on a track that ended up on the album
U.K. singer-songwriter Joe Janiak (source Billboard March 20, 2014)
Swedish singer and songwriter Tove Lo (source Billboard March 20, 2014)
Several possible songwriters from the TOH songwriting camp: Tobias Lundgren, Tim Mikael Larsson, Johan Fransson, Paul Aiden, Oscar Gorres, Iya, and Hayley Michelle Aitken. (source: Harry Fox song registration April 26, 2015)
Carl Falk (source: Twitter February 16, 2014)
SECTION AND THREAD FOR THE ORIGINAL HIGH!!
adamtopia.com/thread/2854/original-high
Post news in the daily news thread but if it is important information about the album it would be great if you can add it to the album thread. That will make it easier to find in the future.
******
Adamtopia CalendarSince Adam is headed into a solo music promotional period, I am including some general pop music events. They will be in black italics. Events that involve Adam are in Purple. Events that involve Q+AL are in Blue-Violet
March 23, 2015 10AM PT YouTube Music Awards
March 29, 2015 iHeartRadio 2nd Annual Music Awards, Los Angeles, CA
April 2015: Adam first TOH single will be released.
April 2015: Rock In Rio Lot 2 Tickets go on sale.
May 17, 2015 Billboard Music Awards, Las Vegas, NV
May 12-13, 2015 American Idol Finale, Los Angeles, CA
Summer 2015: Adam's Third Studio Album, "The Original High" will be released.
August 30, 2015 MTV Video Music Awards (VMAs), Los Angeles, CA
Queen + Adam Lambert South American Tour
September 18, 2015 Queen + Adam Lambert headline the first night of Rock In Rio
TBD Queen + Adam Lambert, Buenos Aires, Argentina NOT CONFIRMED
TBD Queen + Adam Lambert, Chile NOT CONFIRMED
*****
The Adamtopia guidelines are quite simple. To be a member of Adamtopia...
1. You must be an Adam fan.
2. You must be respectful of other members. Feel free to express your opinion, but be glitterier and golden.
3. Strive to be funny, entertaining or informative when you post. Avoid posting something that has already been posted.
4. Never question anyone's right to post, the appropriateness of a topic or define the proper way for an Adam fan or Adamtopia Member to behave. Let the moderators do their job.
More rules will be added if the need arises but, if everyone follows these rules, we will not need a lot of rules.
*****
Happy Birthday
alwayspring, coshkimishki,
lenka and rhiannon!!!
Happy Birthday
alwayspring, coshkimishki,
lenka and rhiannon!!!