BMG has announced a new long-term global partnership with DEL Records, an indie label focused on regional Mexican music.
The newly inked deal will see BMG becoming the exclusive worldwide publishing administrator for DEL’s several publishing entities. Those entities include DEL Melodies, DEL World Songs, and DEL New Music. BMG has been the publishing administrator of the DEL catalog since 2016.
has been named ASCAP’s Latin Independent Publisher of the Year for three straight years.
DEL president Luca Scalisi said that DEL Records looks forward to the new partnership.
“As a record label that moves markets, DEL Records has always been a leader in digital optimization, monetization, and marketing. This deal speaks to the great history we have had together on that front, as well as the optimism we have about continuing to lead in our genre, further expand the business model and create new opportunities with partners like BMG.”
The Los Angeles-based DEL Records was founded in 2008. It is one of the best-known labels behind several popular Mexican-American artists. Gerardo Ortíz, Luis Coronel, Ulices Chaidez y Sus Plebes, and Regulo Caro are all represented by DEL.
DEL artists have won 15 Billboard Latin Music awards since 2012.
DEL and its artists are up for six awards this year including Regional Mexican album label of the year. Executive vice president of repertoire and marketing for DEL, Thomas Scherer, congratulated the label on the new partnership.
“Latin music has always been a global influence on the creative music community and now serves as an inspiration for the global entertainment industry at-large. DEL has always had a vision for their music, and this is just the beginning — much more to come!”
Billboard’s Latin Music Awards will air on April 25 this year. DEL artists have a chance to add even more awards to the list this year.
San Bernardino, CA – Rakim once said “age don’t count in the booth,” and that’s especially true when it comes to living California legend Suga Free — a one-time pimp turned MC.
Heavily influential to many artists from the West Coast, notably Kendrick Lamar, his debut album Street Gospel, produced entirely by DJ Quik, remains a regional classic, revered by all who were there or who were blessed to be put onto it.
27 years later — and a fruitful catalog of music to boot, he’s on the verge of releasing what he considers to be the best work of his life. Having spent the last while balancing duties as a father and tireless artist, he takes refuge 8000-feet above sea level in the San Bernardino mountains.
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“I like to hear myself think and concentrate on my craft,” he tells HipHopDX. “My whole career I’ve been recording studios within the city … with traffic outside and stuff like that. I want to finish off my recording career on land that’s barely been touched by man.”
Though he’s dropped collaborative material and made some notable appearances, there has been 10 years since his last solo “studio album,” Hi Power Pimpin.
“I took a long break, which was a much needed … you know, I could say that now,” he says.
Rooted in the funk he grew up idolizing, his new project, Resurrection, which he lovingly refers to as a rebirth of sorts, is a family affair featuring many longtime collaborators, such as DJ Quik, and also his childhood friend, Kokane.
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“It’s still a friendly competition, with a lot of MCs out here,” he says, adding “I did a lot of studying. I wanted to be able to look myself in the mirror and say, after all my life, that I was the best I could be … I think I went beyond my call of duty.”
Many things have changed in Suga Free’s life over the years — namely his children, who he credits as driving motivation to excel.
“My children make me want to work hard. They make me want to continue and carry on,” he explains. “We’d like to be providers and lead the way with positivity and all that.”
However, he still admits to actively shielding them from the harsher realities of his content. “I don’t want to create the ambiance of them knowing that, you know, I’m down the hallway in my studio with a mouthful of profanity … I grew out of that mantra. I have another house in our district where I record.“
In a way, his newfound life as a family man is a second chance, as a child he fathered in a young relationship was taken away from him, an experience he credits for both fostering a deep-rooted resentment, and giving him what he calls “the stomach” for pimping.
Getting into the game at the age of 17, and just a few years later — as he described to Vlad TV — being on the road to pimping a hole through the stratosphere, he references a close call for finally pushing him to leave the life behind him.
“The Lord didn’t want me to do it. He showed me that if I didn’t stop he would take something from me … it scared the daylights out of me.”
“I never thought I’d stop. I’m glad I did, man,” he explains. “I felt funny when I stopped … I called one of my film friends and I was like, ‘Man, you know, this feels weird.’ He said, man, I don’t want you to say this to me no more, cause you’re the only one of us who could stop pimping and still get a bitch.”
He likens the bars inspired by his vivid experience on the streets — a lifestyle he was actively living during the recording of his classic debut — to the novels of Iceberg Slim and Donald Goines.
That same bitterness that had allowed him to live the life he was living also pushed him to channel his experiences into music — once he came to appreciate and understand it.
“I didn’t want to be just good at know what I did on the microphone. I wanted to be great at it. And if I’ve I had my hands more than one thing at a time, then you know, I was only going to be good,” he explains. “I put it up, put [music] first and I’m seeing those results.”
Now at the age of 49-years-young, he appears to be the most focused he’s ever been, even describing the decade-long lull since his last solo studio album as a rope-a-dope — a boxing fighting style attributed to the great Muhammad Ali.
“They thought [Ali] was resting, they thought he was hurt … when Forman was all swung out, he licked that ass up. Man. I know I did that,” he says with a laugh.
He’s quick to acknowledge that he’s blessed to have a fanbase that remains rabid for new material. “My music is a medicine that I created for myself to get me a through the darker points in my life,” he says humbly, “It just so happens that the same medicine happened to help other people, too.”
To say that Suga Free’s energy is infectious is an understatement. When told that the hype feels like that bestowed on an artist about to drop a long-awaited debut, he quickly agrees — reiterating how far he’s come with his craft.
“When I first started rapping, I dreamed of rapping the way I rap now. Me and Kokane were just saying the other day if somebody could have told us when we were in the fourth grade that we’d be [almost] 50 when we made our best collaboration ever … man. We really tripped off of that.”
Promising fans that he exercises his freedom of speech, he notes that they’ll definitely — among the more somber fare — find his humor intact. “You’ll laugh your ass off.”
Beyonce‘s father Mathew Knowles was once the manager Destiny’s Child until they broke up and parted ways. Mathew then went on to manage Beyonce’s solo career, but that ended and now years later he’s ready to helm a musical on one the best girl band’s and how they got their start. Mathew announced on Instagram that he is bringing Survivor: The Destiny’s Child Musical to life “with plans for Broadway, London’s West End, and a world tour!”
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“I want to pull back the curtain,” he explained. “I feel it’s time to give the world an opportunity to hear, see and feel the victories and failures that I’ve had as a husband, father and manager who risked everything in pursuit fulfilling dreams—those mine and others.”
The musical will cover how the women got their start, trials and tribulations making it in the industry and the sacrifices they had to make to along the way. There’s no word on who will play Beyonce, Kelly Rowland, Michelle Williams, LeToya Luckett and LaTa Roberson but keep it locked for more details coming soon.
As the summer approaches, the heart festival season arrives ever closer. Today, Las Vegas-based festival “Life Is Beautiful” has unveiled its lineup, which features a notable hip-hop presence. Some the names included are Lil Wayne, Chance The Rapper, Maxo Kream, Saint JHN, Post Malone, Rae Sremmurd, Sheck Wes, Gunna, and more.
If you’re open minded, plenty acclaimed acts various genres will also be participating, including Vampire Weekend, The Black Keys, Billie Eilish, Of Monsters And Men, Hot Chip, Janelle Monae, and several others. There’s even a panel non-musical contributors, including Desus and Mero, Pod Saves America, and Cirque Du Soleil. You can check out the full lineup below, “Life Is Beautiful’s” ficial poster.
Should you be interested in swinging through downtown Las Vegas between Sept. 20th and Sept. 22nd, you can buy tickets to “Life Is Beautiful” on Thursday, at 10 am Pacific Time. Interested in catching this one? If so, keep the ficial website bookmarked for easy access.
Since he was arrested by ICE earlier this year, 21 Savage has kept a relatively low prile. His usual online behaviour has shifted quite a bit. He no longer posts as much as he used to and he’s seemingly living more in the moment. That doesn’t mean that he won’t clap back at somebody who wants to try him though. The Atlanta rapper has been easing himself back into the social media spotlight, singing classic R&B on his Instagram story just like old days. The video was reposted by The Shade Room and an influencer with nearly 5 million followers decided to get cheeky, implying that the artist looks like Sideshow Bob from The Simpsons. Savage was unimpressed with the comment, hitting back with his own insults.
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The Saint Laurent Don kept his mouth clean, shredding the commenter with a pranity-free response. “Aunty looking casket ready with all that surgery walking round looking like you drink embalming fluid,” he wrote. If you scroll down this girl’s page, every second post is an advertisement, which is actually pretty sad. 21 Savage did her justice though, clapping back in a civil yet absolutely lethal manner. She’ll think twice before hitting him with shade in the future.
Posting a captionless image Kanye West looking straight into the camera with no emotion, the minimalistic post draws attention to nothing in particular. Without context, it’s difficult to imagine why Bieber would post a random picture another artist on his page. If you’re not familiar with the Drew House logo, you definitely did not catch onto this. However, those who are aware Justin’s recent work noticed Kanye’s chain right away, noting that it’s pretty cool that the clothing brand has made its way to the Kardashian-West household.
Bieber is friends with the younger sisters and for a while, he was rumoured to have been dating Kourtney Kardashian. Now, he’s seemingly hit it f with Kanye.
Danish rapper Sleiman a lawsuit against Tekashi69 Publishing over an unreleased track.
Alongside his company, Apache Music IVS, Sleiman claims the now-jailed Tekashi 69 (real name Daniel Hernandez) never released their recorded song, ‘Red Bandnna [sic] / Black Hoodie.’ Apache Music had paid around €88,000 (just under $99,000) to Hernandez’s publishing company to set up the collaboration.
Tekashi69 recorded the vocals for the track. His label, 10K Projects, however, claimed it had full rights to the work. Thus, the label declared it won’t release the track, threatening Sleiman with legal action should he release the song through Universal Music Denmark.
10K Projects, founded by Elliot Grainge (son of UMG boss Lucian Grainge) in 2016, says any Tekashi69 track release requires its approval. However, as Sleiman paid for and recorded the track, 10K Projects’ refusal shouldn’t affect his ability to release the song.
As 10K Projects refuses to authorize the track’s release, Sleiman has sued for the song’s rights. He has also demanded a full refund of the money he paid for the collaboration.
The lawsuit reads,
“Plaintiffs (Sleiman and Apache Music) are entitled to a judgment declaring that, pursuant to the Agreement, Plaintiffs have the right to exploit the Song, including the use of Mr. Hernandez’s name in connection therewith, without first obtaining 10k’s permission, approval, consent or ‘clearance,’ and without owing compensation to 10k, and that Plaintiffs are the lawful copyright claimants for the Song.”
Sleiman also blamed Elliot Grainge’s relationship with his father as the reason for the label’s refusal.
“On information and belief, Universal Music Denmark is related to the Universal Music Group, whose Chairman is the father of 10K’s owner.
“As a direct and proximate result of 10K contacting Universal Music Denmark, Universal Music Denmark didn’t proceed with entering into a recording agreement with Sleiman.”
Lambasting 10K Projects, Sleiman’s lawyer, Richard Roth, explained current U.S. copyright laws protect creators. Through its refusal, Elliot Grainge’s label has engaged in “nefarious conduct.”
“We intend on proving that’s precisely what happened here and that such conduct was willful, which will allow Sleiman not only the proper credit for the work, but all monies to which he’s entitled, including legal fees.”
Sleiman has asked for a jury trial in addition to no less than €88,000 (just under $99,000) in damages.
Thousands of indie songwriters are now speaking out against major music publishers like Sony/ATV, Warner/Chappell, and Universal Music Publishing Group (UMPG) over a questionable ‘black box’ collection scheme.
As the U.S. Copyright Office mulls over competing bids to run the Mechanical Licensing Collective, indie songwriters and publishers are becoming increasingly vocal. Yesterday, the Copyright Office’s deadline for receiving comments on the selection of an MLC proposal lapsed, with hundreds of comments peppering the agency’s site.
Among the detailed commenters was the Nashville-based Songwriters Guild of America (SGA). The Guild is headed by songwriter and musician Rick Carnes and represents thousands of writers.
In a detailed filing submitted to the Copyright Office and Register of Copyrights, the SGA raised flags over plans by the major music publishers to claim hundreds of millions — if not billions — of dollars in unmatched and unclaimed royalties that likely belong to smaller songwriters.
The issue has been a serious sticking point since major publishers Warner/Chappell, Sony/ATV, and Universal Music Publishing Group (UMPG), among others, moved to control the Music Modernization Act’s Mechanical Licensing Collective, or MLC. Those publishers are represented by the National Music Publishers’ Association, or NMPA, which has remained silent on growing concerns about black box claiming processes.
The SGA emphatically underscored a serious conflict-of-interest problem. “As to the first criterion set forth in the prior section above, transparency and accountability, Congress had reasons for serious concern that certain inherent conflicts created by the MMA would require particularly intensive scrutiny of the Mechanical Collective at both the threshold of its designation, and over the later performance of its duties,” the SGA declared in its filing this week (full submission ).
“The most obvious of these conflicts concerns the role of the Mechanical Collective in seeking to identify the rightful owners of hundreds of millions of dollars in unmatched royalties that will shortly be turned over to the Collective for identification and distribution.”
Carnes is a board member of the AMLC, which opposes the NMPA-backed MLC submission. The group was largely formed to address perceived issues of unfair collusion among major music publishers.
Also chiming in: MusicAnswers, a group that has drawn more than 3,000 signatories for its ‘Declaration of Principles‘ surrounding fair music compensation and accounting transparency.
According to the group’s filing, major publishers are likely to claim more than a billion in unclaimed royalties, even though they have direct royalty-paying arrangements with major streaming companies like Spotify.
“A Board consisting largely of major music publishers, most of who have (or will have) direct licensing arrangements with digital music services, and whose royalties are therefore unlikely to flow through the MLC, strikes us as an inappropriate choice,” the group commented (full comment filing ).
“Moreover, because those same large publishers will receive the lion’s share of any distribution of unclaimed funds and would
have control over the distribution of those funds, it is a blatant conflict of interest for individuals representing those large publishers to occupy a significant number of the seats on the Board of Directors.”
Just yesterday, the highly-influential Recording Academy , noting that the group needed time to vet through the competing proposals before making a decision.
Earlier this year, Eminemcelebrated the 20-year anniversary The Slim Shady LP. One round celebrations may have been enough for the next guy but Em knows full well that he’ll only get one shot to celebrate twenty years one his most celebrated albums all time. The project kicked f his career and burst him into the musical stratosphere with many referring to him as a “Rap God” because it. With the release a brand new merch capsule, Eminem decided to also let his fans in on a memory, posting a photo from 1999 and letting everyone remember just how much time has actually passed.
A few days back the internet was going wild when it was reported that Ariana Grande was paid two times more than Beyonce for her headlining Coachella set. The disappointing rumor thankfully got debunked after a few publications got word that both performers were paid the same – “$4 million for the first weekend and another $4 million for the second.”
It seems as though some Beyonce fans either never got the word about the debunked report or simply don’t believe it since Ariana had a lemon thrown her way during her Sunday Coachella performance – really. In the clip below, you can see Ariana making her way around the stage when a whole lemon hits her on her chest and drops on the stage. Of course, Ariana didn’t let the fruit disrupt her performance and kept going strong
The lemon is significant since it was the name Beyonce’s last visual album, a clear sign that the lemon-thrower is clearly a part the Beyhive and wasn’t down for the idea Ariana getting paid more than the “Love On Top” music maker.
As for the internet, check out some the reaction below.
In its Global Piracy Report for 2017, Muso, British piracy-tracking startup, around 300 billion visits to piracy sites.
This number jumped 1.6% year-over-year. In the UK alone, streaming music piracy increased 21%.
Then, last September, Muso a surprising fact. Thanks to the rise of streaming platforms, people now pirate less. Yet, while fewer people head to piracy sites – including The Pirate Bay – they head to web-based music download sites instead.
And, while fewer people use torrenting websites, more people love directly downloading music videos from YouTube.
Then, just last month, the piracy-tracking startup published another astounding fact. Streaming music platforms stream ripping.
Muso found music piracy saw the largest overall decline – 34% year-over-year.
Breaking down music piracy, public torrent networks, once a favored piracy delivery method, now account for just 13% of all infringing activity. Stream-ripping also fell 13% between 2017 and 2018 – from 8.9 billion visits to 7.7 billion. This was primarily due to YouTube-MP3.org’s closure in 2017, leading to a 16% drop in overall stream-ripper visits.
Now, to continue tracking copyright infringement, the piracy-tracking startup has confirmed new funding.
Investing in anti-piracy.
In an extension to its £2.5 million ($3.4 million at the historic exchange rate) 2017 Series A funding round, Muso has raised an additional £3.5 million ($4.5 million). Harwell Capital led both fundraising rounds.
According to the company, it will use the additional capital injection to “increase its foothold in the digital media, gaming, and live broadcast sectors.”
The startup focuses on removing unlicensed content on the internet. In addition, Muso also provides data and insights from piracy audiences. Last year, the company tracked 190 billion total visits to piracy sites throughout 2018.
The startup also focuses on pointing out to rightsholders and media distributors that piracy audiences remain untapped opportunities. Rightsholders, broadcasters, sports organizations, and brand advertisers use the information to analyze total audience consumption, content demand, creation, and monetization opportunities.
Speaking about the latest funding round, Andy Chatterley, Co-Founder and CEO of Muso, explained,
“Harwell has been a hugely supportive investment partner, who provide far more than cash alone to the company.
“They understand our vision and objectives, and bring significant advice and acumen to ensure we can execute on our continued growth plans in a most exciting market.”
Daniel O’Brien, Managing Director at Harwell Capital, added,
“Since [our] first investment round nearly 2 years ago, Andy and the team have delivered significant value to existing and new clients including global leading corporate businesses and trade bodies, transformed the Board to include high-profile growth stage veterans, and expanded the product range and application to significantly ratchet their addressable market.”
Three years ago today, Beyoncé released her critically-acclaimed album, Lemonade, exclusively on Jay-Z’s streaming music platform, TIDAL.
The female singer didn’t make the same mistake Kanye West had.
On social media, West vowed never to release his album, The Life of Pablo, on any other music service. A single Twitter post the rapper and TIDAL to quietly settle a potentially costly lawsuit earlier this year. Jay-Z’s music service under criminal investigation for knowingly inflating Lemonade and The Life of Pablo streams for higher royalty payouts.
According to sources, and unlike West, Beyoncé hadn’t claimed her album would remain a TIDAL-exclusive. Instead, Lemonadewould only stay exclusive “in perpetuity.”
Through the album’s exclusivity on TIDAL, Beyoncé reportedly helped the platform gain more subscribers, sacrificing streaming revenue from other services.
Now, the singer has made the album available on all major streaming platforms.
Welcoming Lemonade to Apple Music and Spotify.
The album’s release on major streaming platforms follows other recent moves by the singer.
Six days ago, Netflix a Beyoncé documentary dubbed Homecoming. The documentary coincided with an unexpected live album release.
The Homecoming documentary and 40-song live album center around Beyoncé’s performance at last year’s Coachella festival. This includes rehearsal footage and other previously-unseen backstage moments.
In addition to both releases, the singer a three-part deal to produce multiple projects with Netflix.
The video streamer had apparently outbid HBO to secure the rights to Beyoncé’s documentary. Netflix’s previous experience with music-related content includes Gaga: Five Feet Two and Fyre: The Greatest Party That Never Happened.
The release of Lemonade on major music streaming platforms includes an original demo version of ‘Sorry.’ The 13-track album features appearances by Jack White, Kendrick Lamar, The Weeknd, and James Blake.
In addition to her current projects, Beyoncé will voice Nala in Disney’s upcoming live remake of The Lion King.
Following the company’s of Pandora Radio last year, SiriusXM has remained rather busy as of late.
In a conference call, SiriusXM CEO Jim Meyer explained that the acquisition would create “the world’s largest audio-entertainment company.” The satellite radio company, he continued, would capitalize on cross-promotional opportunities on Pandora’s active user base. SiriusXM would also leverage its existing exclusive content and programming on Pandora’s ad-supported and subscription tiers to create “unique audio packages.”
Following through on Meyer’s promises, the satellite radio company first Pandora CEO Roger Lynch. He had led the company following founder Tim Westergren’s outster.
Under Westergren, Pandora Radio bled money. The company also never turned a profit, despite multiple promises made to investors. Things had only slightly improved under Lynch. Yet, the company continued to bleed listeners.
Then, SiriusXM its first dedicated original content team at Pandora.
The new team creates original music, sports, and talk content for Pandora’s listeners. This includes the introduction of full-time channels, shows, podcasts, playlists, and spoken-word content. Genres range from comedy, politics, and entertainment. In addition, the new team also develops original Pandora content for SiriusXM. This includes adding curated content using the digital radio service’s thumbs-up user data.
Next, Meyer’s company Pandora Now.
With a combined audience of 100 million listeners, Now, a new channel, would use both companies’ listener and curation data. The channel features the most-listened-to and top-trending music on Pandora across all genres. Now serves as an interactive station featuring song skips and ratings on both services.
Then, just last week, striking back at Spotify’s recent podcast acquisitions, SiriusXM 22 of its original shows into Pandora exclusives.
This includes Jenny McCarthy’s Celebrity Dirt, Andy Cohen’s Deep & Shallow Interviews, and Jeff Foxworthy’s A Comic Mind, among many others.
Not content to stop there, Meyer’s company soon an $8 monthly plan for people without cars. Dubbed SiriusXM Essential, the new plan provides over 200 radio stations. Users can listen to the new service either at home or through mobile devices.
Now, the satellite radio company has unveiled pay raises for its top staff.
Making millions in stock options.
In a regulatory filing, SiriusXM has confirmed multiple pay raises for its top five executives.
Meyer earned $17.6 million in 2018, up from $9.7 million in 2017. $7.5 million came through stock awards.
Chief Content Officer Scott Greenstein, who now leads the Pandora original contents team, earned $19 million last year, up from $4.2 million.
The company confirmed most of the compensation came through stock awards.
Jennifer Witz, President of Sales, Marketing, and Operations, earned $5.5 million, up from $4.6 million.
David Frear, Senior Executive Vice President and Chief Financial Officer, earned $16 million, up from $3.7 million. $9 million came from stock awards and $3 million from options.
Dana F. Altman, Executive Vice President and Chief Administrative Officer, earned $7.5 million, up from $2 million. $4.1 million came from stock awards and $1.5 million from options.
Justin Bieber surprised fans when he jumped on stage with Ariana Grande during her last Coachella set last weekend. His performance “Sorry” ended with a special note detailing how he’s sitting on new music. “I wore this fly outfit not knowing that I was going to be on stage,” Justin told the crowd. “This is my first time on stage in like two years. So I had to get my swag back on. Thank you so much and by the way, album coming soon.”
While many fans have been feeling all kinds excitement since the announcement, it seems as though there’s been a clarification on the news since the Biebs actually needs at least a year until we get something new.TMZ reports that Justin jumped the gun and got caught up in the moment at the end his Sunday night set. The “What Do You Mean” singer does have a few tracks secured but nothing quite ready to share with the world just yet.
Last month Justin announced a hiatus from music to deal with some “deep-rooted” issues. “I realized and as you guys probably saw I was unhappy last tour and I don’t deserve that and you don’t deserve that, you pay money to come and have a lively energetic fun light concert and I was unable emotionally to give you that near the end the tour,” he explained.
“Music is very important to me but Nothing comes before my family and my health. I will come with a kick ass album ASAP,” he added.
Sometimes, an aspiring scribe opts to try their hand at penning a spec script, in the hopes securing a position in the exclusive writer’s room. Such was indeed the case for Esquire video editor Dominick Nero, who found himself writing an Avengers–inspired Saturday Night Live crossover script, in which the Mad Titan himself plays the admirable role host.
Sharing a link to the document on Twitter, Nero shared a pitch sorts. “What would it be like if Thanos hosted Saturday Night Live? this question haunts my every waking moment,” he writes. “Since Endgame is out this week, i finally tried to answer that question. heres my spec script, an entire episode SNL hosted by Thanos. please enjoy.”
Complete with a photoshopped reimagining Thanos’ unlockable “SNL” costume, the script finds the Endgame antagonist trading jokes with Alec Baldwin’s Donald Trump, Pete Davidson, and more. Also, Hoobastank is the musical guest – for some reason. While we attempt to rationalize the logic behind such a decision, check out some the responses to Nero’s viral body work.
Is it time to get Josh Brolin on the phone, slap some purple makeup on him, and call it a day?