Music company – Bastard Inc http://bastard-inc.com/ Tue, 17 May 2022 12:34:28 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://bastard-inc.com/wp-content/uploads/2021/06/icon-150x150.png Music company – Bastard Inc http://bastard-inc.com/ 32 32 UK music licensing firm PPL reports 2021 revenue of $347.7m, up 12% year-on-year https://bastard-inc.com/uk-music-licensing-firm-ppl-reports-2021-revenue-of-347-7m-up-12-year-on-year/ Tue, 17 May 2022 12:03:06 +0000 https://bastard-inc.com/uk-music-licensing-firm-ppl-reports-2021-revenue-of-347-7m-up-12-year-on-year/ UK music licensing company PPL reported revenue of £252.8m ($347.7m) for 2021, up 12%, or £27.1m ($37.27m). dollars) year-on-year. The company’s results for 2021 mark its second-highest annual revenue total, having collected £271.8million in 2019. PPL reports that it saw year-over-year growth across all three revenue streams in 2021, including International, Broadcast & Online, and […]]]>

UK music licensing company PPL reported revenue of £252.8m ($347.7m) for 2021, up 12%, or £27.1m ($37.27m). dollars) year-on-year.

The company’s results for 2021 mark its second-highest annual revenue total, having collected £271.8million in 2019.

PPL reports that it saw year-over-year growth across all three revenue streams in 2021, including International, Broadcast & Online, and Public Performance & Dubbing1, with revenues of international and broadcast and online licenses reaching record annual amounts.

A closer look at PPL’s ​​results for 2021 reveals that the company collected international revenue of £94m ($129m) last year, or £8.1m ($11.14m). dollars) more than in 2020, and up 9.4% year-on-year.

This is PPL’s ​​highest annual revenue amount since international fundraising began in 2006.

PPL has entered into 105 agreements with collective management organizations (CMOs) in Africa, Asia, Europe and North and South America and, in 2021, entered into new agreements with CMOs in India and Indonesia.

The company says a number of CMOs accelerated or advanced payments in 2021, to support performers and recording rights holders impacted by COVID-19, which it says further contributed to the amount of payments. 2021 international income.

Elsewhere, online broadcast and licensing revenue rose 5.3% year-on-year, or £4.4m ($6m), to a record annual total of £86.7m. sterling ($119.25 million) in 2021.

According to PPL, this reflects the recovery of advertising revenue from the commercial radio sector in 2021, whose license fees are calculated as a share of each station’s revenue.

PPL’s ​​public performance and dubbing revenue (from live music playing in venues such as pubs, bars, clubs, shops and offices) increased by £14.6 million ( $20 million) to reach £72.1 million ($99 million) in 2021, up 25.4% YoY.

While PPL licensees have been able to trade more freely than in 2020 thanks to the easing of COVID-19 restrictions, revenues have yet to return to their pre-pandemic level of 99.6 million of pounds sterling.

Meanwhile, PPL reports that its distributions fell 15.2% year-on-year, or £31.5 million ($43.3 million), to £228.7 million (314. $5 million) in 2021, due to the impact of the pandemic on 2020 collections.

The music licensing company, however, says it paid a record number of performers and recording rights holders, with 147,000 performers and rights holders receiving at least one payment in 2021, an increase of 35,000. (31.3%) compared to 2020.

“Being able to deliver this in the midst of the COVID-19 pandemic, with all its negative impact on the economy, is a testament to the strength of PPL’s ​​business.”

Pierre Leathem

Peter Leathem, Managing Director of PPL, said: “2021 has been a good year for PPL. We achieved our second-highest annual revenue total and had our best year for both international revenue and broadcast and online revenue.

“Being able to deliver this in the midst of the COVID-19 pandemic, with all its negative impact on the economy, is a testament to the strength of PPL’s ​​business.

Leathem added: “PPL now pays more than three times as much to performers and recording rights holders as it did a decade ago when I became CEO and receives nearly double the revenue.

“We collect more international neighboring rights royalties than anyone else, and PPL PRS Ltd, our public performance licensing joint venture with PRS for Music, launched in 2018, is streamlining the collection of public performance royalties.

“PPL has been able to achieve such successful growth thanks to the talented and dedicated team I have with me at PPL. Thank you to our members, licensees and industry partners for working with us and we look forward to continuing to grow the neighboring rights industry for the benefit of performers and recording rights owners.The music industry around the world

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The 10 Best Classical Music Festivals in the US This Summer https://bastard-inc.com/the-10-best-classical-music-festivals-in-the-us-this-summer/ Mon, 16 May 2022 04:00:35 +0000 https://bastard-inc.com/the-10-best-classical-music-festivals-in-the-us-this-summer/ Summer for the city After the scourge of the pandemic, the inaugural Summer for the City festival offers New Yorkers a summer to “rejoice, reclaim and remember” with an outdoor dancefloor and free installations. Although it has less music than its predecessor, the Lincoln Center Festival, the Mostly Mozart Festival Orchestra will present free concerts […]]]>

Summer for the city

After the scourge of the pandemic, the inaugural Summer for the City festival offers New Yorkers a summer to “rejoice, reclaim and remember” with an outdoor dancefloor and free installations. Although it has less music than its predecessor, the Lincoln Center Festival, the Mostly Mozart Festival Orchestra will present free concerts starting July 6, then a series of classics paired with music by black composers.

May 14-August 14, lincolncenter.org

Ravinia

More than 100 events make up this year’s Ravinia Festival in Chicago, from world music and family-friendly performances to the Chicago Symphony Orchestra in residence. Marin Alsop conducts the opening concert of the CSO on July 15. Later highlights include an Osvaldo Golijov and Bernstein duet, a focus on Mexican music, a celebration of Stephen Sondheim and concerts of two Mozart operas, Don Giovanni and Tito’s clemency.

May 20-September 18, ravinia.org

Marin Alsop conducts the Chicago Symphony Orchestra at Ravinia © Ravinia Festival

St. Louis Opera Theater

A mission to bring opera to audiences, accessible in English, has made the Opera Theater of St Louis one of America’s premier festivals. This year’s program is led by the premiere of alarm clocksbased on neurologist Dr Oliver Sacks’ moving tale of lives rediscovered, by composer Tobias Picker, and a powerful new edition by Stewart Wallace Harvey Milk. Carmen and The magic flute play side by side.

May 21-June 26, opera-stl.org

Opera Theater of St Louis creates a new opera, “Awakenings”

Spoleto Festival United States

Opening night at this year’s festival in Charleston, South Carolina is the first of Omar, a new opera by Rhiannon Giddens and Michael Abels. The story is taken from the autobiography of Omar Ibn Said, who was transported on a slave ship to Charleston in 1807. Other highlights include unholy warsa new musical theater event reassessing the crusades, a new work by Nico Muhly and music by Tyshawn Sorey, straddling classical and jazz.

May 27-June 12, spoletousa.org

Ojai Music Festival

For the first time in 75 years of history, Ojai in California welcomes a collective, the American Modern Opera Company, as musical director. One of the co-founders of AMOC was the composer of the moment Matthew Aucoin and his family dinner, a cycle of mini-concerts, is at the head of a program of six musical and choreographic creations. The festival opens with an “epic musical marathon” featuring core AMOC members.

June 9-12, ojaifestival.org

Works by Matthew Aucoin presented at the Ojai Music Festival © Annalies Van der Vegt

Tanglewood

At the heart of Tanglewood’s varied musical season are the Boston Symphony Orchestra and the Boston Pops. Based in the beauty of the Berkshires, the BSO’s summer festival kicks off with high-octane Bernstein and Stravinsky. Highlights include Andris Nelsons conducting nine programmes, Beethoven’s piano concertos with Paul Lewis, a handful of premieres and two operas in concert, Mozart by Don Giovanni and George Benjamin Lessons of love and violence.

June 17-September 4, bso.org

Andris Nelsons directs nine programs at Tanglewood

Bard SummerScape

Eight weeks of music, opera, dance and theater make up the 19th annual Bard SummerScape at the Fisher Center in New York’s Hudson Valley. A rare chance to see Strauss Die schweigsame Frau is the catch of the opera program. At the center of SummerScape is the Bard Music Festival (August 5-14), an intensive two-week exploration of “Rachmaninoff and his world” in 12 concerts, talks and themed panel discussions.

June 23-August 14, bard.edu

Santa Fe Opera

As the sun approaches, nothing beats opera under a towering sky overlooking the mountains of New Mexico. David Henry Hwang’s award-winning play Mr Butterfly takes on new life as an opera, music by Huang Ruo, libretto by the author himself, getting its premiere as the last of five Santa Fe operas this year. Carmen, The barber of Siviglia, Falstaff and Tristan and Isolda all get new productions.

July 1-August 27, www.santafeopera.org

Grand Teton Music Festival

Nestled at the base of the Teton Mountain Range in Wyoming and adjacent to Yellowstone National Park, the Grand Teton Music Festival offers unparalleled access to the natural world along with eight weeks of music. Under the direction of musical director Donald Runnicles, the program will begin with a cycle of piano concertos by Beethoven with Garrick Ohlsson and end with concerts by Puccini Bohemian.

July 3-August 27, gtmf.org

Glimmerglass Festival Alice Busch Opera Theater
Classic and contemporary come together at Glimmerglass © Karli Cadel

Glass Glow Festival

Opera and musicals play side by side in New York’s scenic Cooperstown neighborhood. Classic and contemporary collide in Glimmerglass’ main novelty of the season, when highlights from Rossini’s operas are married to a comic new story from playwright Ken Ludwig in tenor at sea. The sound of music and Carmen provide the mainstays and there is a double program of new one-act operas by Kamala Sankaram and Damien Geter.

July 8-August 21, glimmerglass.org

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Kendrick Lamar returns with ‘Mr. Morale and big steps https://bastard-inc.com/kendrick-lamar-returns-with-mr-morale-and-big-steps/ Fri, 13 May 2022 04:01:05 +0000 https://bastard-inc.com/kendrick-lamar-returns-with-mr-morale-and-big-steps/ The five-year wait for a new album from Kendrick Lamar – rapper Pulitzer, voice of a generation – is finally over. “Mr. Morale & the Big Steppers,” Lamar’s fifth studio album and one of the most anticipated new albums in years, hit digital services overnight, with high hopes from fans. and big questions about his […]]]>

The five-year wait for a new album from Kendrick Lamar – rapper Pulitzer, voice of a generation – is finally over.

“Mr. Morale & the Big Steppers,” Lamar’s fifth studio album and one of the most anticipated new albums in years, hit digital services overnight, with high hopes from fans. and big questions about his next career steps.

Lamar, 34, is one of the few major figures in the contemporary music scene – where a steady stream of new content is seen as a necessity – who can keep fans waiting that long without sacrificing fan loyalty or critical prestige. . Even after Lamar’s extended absence, “Mr. Morale & the Big Steppers” is set to make an opening week splash on the Billboard album chart.

Lamar established himself as one of the most ambitious rappers of the millennial generation with his major label debut, “Good Kid, MAAd City” (2012). For his follow-up effort, “To Pimp a Butterfly” (2015), he brought in a host of players from the fertile Los Angeles jazz scene, including Kamasi Washington and Thundercat. This album, “a work about life under constant racial surveillance and how that can lead to many kinds of internal monologues, some empowering, some self-loathing,” as Times pop music critic Jon Caramanica, includes “Alright,” which has become an unofficial Black Lives Matter protest anthem.

His 2017 album, “DAMN.”, won five Grammy Awards, although it lost album of the year to Bruno Mars’ “24K Magic.” (The rapper has won 14 Grammys overall.) Lamar, who grew up in Compton, Calif., and made that region’s culture and struggles central to his music, also became the first rapper to receive the award. Pulitzer Prize for Music. “SLIM.” was cited in 2018 as “a collection of virtuoso songs unified by its vernacular authenticity and rhythmic dynamism that offers touching vignettes capturing the complexity of modern African-American life.” Lamar embraced the accolade, appearing in concert with a “Pulitzer Kenny” banner behind him.

Also in 2018, Lamar and the head of his record label, Anthony Tiffith (known as Top Dawg), were executive producers of a companion album to the movie “Black Panther.” A track from the LP, “All the Stars”, by Lamar and SZA, was nominated for an Academy Award for Best Original Song. Visual artist Lina Iris Viktor sued, claiming her work was used without permission in the track’s video; the lawsuit was settled at the end of 2018.

Since that turbulent year, Lamar has kept a low public profile, making a few appearances on other artists’ songs and, last year, joining Las Vegas rapper (and his cousin) Baby Keem for two songs on the album. by Keem “The Melodic”. Blue,” including Grammy-winning “Family Ties.” In February, Lamar took the stage at the Super Bowl LVI Halftime Show alongside Dr. Dre, Snoop Dogg, 50 Cent, Eminem and Mary J. Blige, which put him in the odd position of either being the only young parent in a hip-hop oldies show or – performing songs less than ten years old – perhaps already being a bit of a throwback himself.

Last Sunday, Lamar released a new music video, “The Heart Part 5,” as a teaser for “Mr. Moral.” It has a spoken prologue stating “life is perspective” and then shows Lamar’s face merging with those of a series of black men of varying levels of cultural heroism or controversy: OJ Simpson, Kanye West, Jussie Smollett , Will Smith, Kobe Bryant, Nipsey Fight. The deepfake effects were created by Deep Voodoo, a studio of “South Park” creators Trey Parker and Matt Stone, which plans further projects with pgLang, a new company founded by Lamar and longtime collaborator Dave Free.

The lyrics to “The Heart Part 5” have already been explored for their meaning, as has the image Lamar shared on Wednesday of the album cover, photographed by Renell Medrano. It shows Lamar, in a crown of thorns, holding a child while a woman on a bed nurses a baby, like an allegorical religious painting.

To some extent, these may also serve as clues for the next stage of Lamar’s career. “Mr. Morale” will be his final album for Top Dawg Entertainment, or TDE, Lamar’s home since the start of his career, which released his music in partnership with Interscope. He hasn’t announced a new label deal, but has instead embarked on new projects with pgLang, which was announced two years ago as a “multilingual service company” that will work on a range of creative and commercial projects, from video for “The Heart Part 5” to a series of new Converse sneakers.

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Sonos confirms its own voice command service will launch on June 1 https://bastard-inc.com/sonos-confirms-its-own-voice-command-service-will-launch-on-june-1/ Wed, 11 May 2022 20:05:00 +0000 https://bastard-inc.com/sonos-confirms-its-own-voice-command-service-will-launch-on-june-1/ Sonos will roll out its own voice-control assistant on June 1 in the United States. Like The edge reported earlier this month, Sonos Voice Control will be added to all of the company’s voice-activated smart speakers via an upcoming software update. Once there, owners of these devices will be able to start music playback, skip […]]]>

Sonos will roll out its own voice-control assistant on June 1 in the United States. Like The edge reported earlier this month, Sonos Voice Control will be added to all of the company’s voice-activated smart speakers via an upcoming software update. Once there, owners of these devices will be able to start music playback, skip tracks, adjust volume, and send audio to other Sonos speakers in their home using “Hey Sonos” voice commands. Sonos Voice will expand to France later in 2022, but the company hasn’t announced any rollout plans beyond those two initial countries.

Amazon Music, Apple Music, Pandora, Deezer and Sonos Radio are the supported services at launch. Some will be disappointed by the absence of Spotify, but during a recent press briefing, Sonos clarified that the assistant can still perform basic commands like pause, stop, follow commands, volume, etc for Spotify content already playing on a Sonos system. , although customers will not be able to request a song or playlist from Spotify using Sonos Voice Control.

Sonos tapped a celebrity to be the voice of Sonos Voice Control. Giancarlo Esposito, best known for his roles in Breaking Bad, you better call Saul, and The Mandalorian, lent his recognizable voice to the service. The actor went through a long recording session to give Sonos’ machine learning system enough samples to work with.

You will hear the voice of actor Giancarlo Esposito when interacting with Sonos Voice Control.
Image: Sonos

Sonos Voice Control is strictly music-focused and not intended to challenge Amazon Alexa, Google Assistant or Apple’s Siri as a full-fledged digital assistant. The company says customers will be able to use Sonos Voice and Alexa simultaneously on the same device, sticking to the latter for smart home commands and inquiries about weather, calendar appointments and phone calls. general questions that the Sonos service is not intended to handle. Google Assistant cannot be used with Sonos Voice Control.

Sonos Voice Control can quickly move music from room to room.
Image: Sonos

As well as basic music controls, Sonos Voice Control can also be used to group speakers and rooms together – you can tell it to play something “everywhere” to turn on all your speakers – or move audio around. one device to another in seconds. Sonos designed the service to be as fast as possible; the company says it limits “responses and chimes” in favor of quickly executing a voice command.

Sonos Voice Control was developed to understand common language instead of requiring specific wording. (For example, you can say “Hey Sonos, volume up” instead of “volume up.”) And as long as they’re close together, you can follow one voice command with another without having to say “Hey Sonos.” Everytime. For portable Sonos products like Move and Roam, you can also check battery life.

Sonos seems confident in the performance of Sonos Voice Control. The company says you can get granularity with commands like “stop playing in the kitchen and play in the living room instead” or “increase the volume in the bedroom only”. These very Sonos examples demonstrate why it made sense for the company to create its own voice solution rather than using resources to run this hardware through Amazon Alexa or Google Assistant skills.

The service is rooted in technology that Sonos picked up when it acquired Snips, a privacy-focused voice assistant, in 2019. After buying the company, the Sonos team continued to evolve the service before today’s intro. All Sonos Voice Control commands are processed locally on the device and are not sent to Sonos servers in the cloud.

Sonos’ Jo Dureau, vice president of voice experience, and Alice Coucke, the company’s head of machine learning research.
Photo by Chris Welch/The Verge

Sonos says a good number of consumers shy away from setting up or using voice assistant on smart speakers for privacy reasons, and it thinks Sonos Voice Control could overcome that hesitation. If it meets business performance requirements, it could definitely become a handy new feature. Sonos Voice Control is free, which isn’t surprising given its limited reach.

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Hindi movies go against the formula and fail https://bastard-inc.com/hindi-movies-go-against-the-formula-and-fail/ Tue, 10 May 2022 04:11:31 +0000 https://bastard-inc.com/hindi-movies-go-against-the-formula-and-fail/ Akshay Kumar (right) and Manushi Chhillar pose during the trailer launch of their film ‘Prithviraj’ in Mumbai on Monday. AFP The topic under discussion in recent weeks has been the rise of South Indian dubbed, Telugu, Tamil, Kannada and to some extent Malayalam films in the Hindi belt, where many films from the south have […]]]>

Akshay Kumar (right) and Manushi Chhillar pose during the trailer launch of their film ‘Prithviraj’ in Mumbai on Monday. AFP

The topic under discussion in recent weeks has been the rise of South Indian dubbed, Telugu, Tamil, Kannada and to some extent Malayalam films in the Hindi belt, where many films from the south have started to attract huge crowds, and end up doing business in the hundreds of crores.

Something only a Hindi movie with a big star cast could do! Unfortunately, this happens due to the vacuum created by Hindi films, which are meant to cater to this market. This is so for various reasons.

The Hindi film industry was doing well, making the kind of movies viewers loved. The stars continued to deliver based on their stills and that’s how the filmmakers cast them and that’s how the viewers loved them. But, from time to time, every star preferred to step out of the mold and try something new.


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The action, as such, mostly came at the end of the film when it was warranted and the viewer wanted the villain to get his due. Watching a movie was a family affair, and a movie needed a bit of romance, comic relief, family drama, and dance sequences to make it a wholesome performer. All this, keeping in mind values, traditions, culture, religious customs and morals. Then there was the music, the soul of any film, as it was of the Indian way of life. The music, which gave the film its identity and largely contributed to its success, was the first to be compromised by the directors. And so the downfall of Hindi movies began.

Gone are those sessions involving the creator, composer, lyricist, and writer, followed by sessions to tune a song for creator approval. Gone are those huge recording studios hosting hundreds of musicians during a song recording, playing live while a song was sung by a Lata Mangeshkar, Mohd Rafi, Kishore Kumar or another singer. The studio has been reduced to a car garage and a machine has replaced the musicians!

The way music is made and marketed has changed for the worse. The music company collects a bank of recorded songs and decides which slots in a movie to place a song from their bank! The singer doesn’t matter, nor do the lyrics of a song. If a song suits the situation, great. Otherwise, it is called an “element song”. There are no composers by whose name the music for a film would attract crowds.

Movies gave us songs for every occasion and festival be it wedding, party, puja, birthday, Diwali, Christmas, Eid. Our alliances survive on these old songs. In fact, all of our music-based TV shows thrive on this collection of evergreen classics. Few things have been composed for many years that can be hummed. It is therefore surprising that these songs still collect millions of hits on YouTube!

The next to be compromised was the story/script, the very purpose of a film. A movie had a story that was kept out of the world lest it be stolen by another writer! Story sessions were held in private hotel rooms with only the writer and director aware of the proceedings. Distributors often bought a film only in the name of the author of the film.

A film’s story is something that needs more than one person to get the idea off the ground. So sensible producers worked with teams of writers. The story idea could be one, but it paid off to have a team develop it into a screenplay. Most great filmmakers usually had a team. BR Chopra’s banner, for example, never credited a single writer. Banner Movies has always credited the story to its screenplay department. The trick was to develop an idea, the one-liner as it was called, into a script. For example, Manoj Kumar’s musical hit, “Shor”, had a one-line idea: the father wants to hear his mute son sing, but by the time the son is cured and can finally sing, the father has gone deaf. Such a banal idea, today’s manufacturer would think. But what a great movie “Shor” turned out to be.

Indo-Asian Information Service

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How Amanda Black, Fifi Cooper, Emtee and A Reece All Escaped Ambitiouz Entertainment https://bastard-inc.com/how-amanda-black-fifi-cooper-emtee-and-a-reece-all-escaped-ambitiouz-entertainment/ Sun, 08 May 2022 20:04:04 +0000 https://bastard-inc.com/how-amanda-black-fifi-cooper-emtee-and-a-reece-all-escaped-ambitiouz-entertainment/ Local record label Ambitiouz Entertainment is a music company known for bolstering its artists. From high-profile lawsuits to heated Twitter rants, it seems some of Mzansi’s most notable musicians have struggled with the slippery label. PAY ATTENTION: Click “See First” under the “Next” tab to see Briefly News on your News Feed! These artists have […]]]>

Local record label Ambitiouz Entertainment is a music company known for bolstering its artists. From high-profile lawsuits to heated Twitter rants, it seems some of Mzansi’s most notable musicians have struggled with the slippery label.

PAY ATTENTION: Click “See First” under the “Next” tab to see Briefly News on your News Feed!

These artists have left Ambitiouz Entertainment. Images: Getty
Source: Getty Images

Amanda Black

While Amanda Black gave Ambitiouz props for helping her find her unique afro sound, things got tense after the muso started asking about her money.

In 2016, Amanda was at the top of her game with the release of her hit album, Amazulu. And while the former Idols SA contestant was booked and busy, it certainly wasn’t showing in her depleted bank account.

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When she asked label officials about the money owed, she received the same vague response:

“They said, don’t worry. Manage the music and we’ll take care of the finances. It wasn’t going to work for me. I needed transparency… I was playing but I wasn’t getting paid. When I called to ask why, I was given answers that made no sense that I owed money instead,” she told Drum.

The award-winning singer says things got unbearable when she had to dip into her own savings to pay for rent, transport and even the band. Pushing through the challenges, Amanda continued to show up for her concerts despite the financial pressures:

“I didn’t want to tarnish my reputation and be the girl known for not performing at concerts,” she added.

Despite her fears, Amanda made the difficult decision to leave the label and file a million rand lawsuit for all the money owed to her. She won her case in early 2020 and encourages more artists to defend themselves:

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“People told me to back off because I was nobody to fight a giant…I just hope other artists are resilient because a lot of people are going through what I went through,” a- she added.

fifi cooper

Motswako rapper, Fifi Cooper had a similar problem with her finances. The single mother of one had worked hard for the label for over 2 years but complained about its lack of financial progress.

“I have a child to raise,” she told SowtanLive in 2017.

Reporting her concerns to label boss Kgosi Mahumapelo, Fifi says she received the same dismissive response.

“Whenever I asked him about the funds, there was always a fight… That’s why I left, because I don’t feel like I’m getting paid the way I should,” said said the rapper.

The 30-year-old further denied claims that she was fired.

“I always wanted to leave Ambitiouz, just like these other artists who wanted to leave because of the same thing, you don’t get paid,” she said.

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Emtee

the Pearl Thusi hitmaker has never been shy about venting his bad feelings for his former label. In 2019, things turned sour when Emtee took to Twitter, accusing Ambitiouz executives of limiting his opportunities.

The rapper claims to have been refused several requests to collaborate with major artists. He also alleges that he was prevented from attending award shows in a bitter attempt by management to delay his career, The South African reports.

Online sectionthe 29-year-old also complained after his behind-the-scenes music video was closed, saying not enough was done to market his recent projects.

Getting very emotional, the once-poor rapper says he didn’t expect the same financial hardship as a great rapper.

Check out the now-deleted tweets below:

January 22, 2019:

“I’m not going back to the streets bro. I don’t want to sell drugs or rob people to survive or save for a video.”

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“I’m in the studio every day making music without even knowing if it’s going to drop one day.”

“I was nominated for a BET a year ago and this nigga made sure I didn’t go.”

After months of fierce legal battles, the rapper announced that he had parted ways with Ambitiouz Entertainment in August 2019.

A-Reece

Rapper, A-Reece has built a highly successful career and a cult following since leaving his label. the Meanwhile in Honeydew musician went on national television to explain his side of the story.

Speaking to V-Entertainment, the rapper said he never signed a contract and therefore never had any real obligations. He also blamed mismanagement for ruining his brand and reputation:

“It was a pending thing for me, you know, because I see what’s going on, through my brand and stuff. So I decided to leave a long time ago,” Zalebs reports.

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The rapper further shared that he was encouraged to leave after seeing his label colleagues call him. The 22-year-old rapper says he only wanted to focus on music but was forced to open his eyes and take a closer look at his contract after all the drama with other artists:

“I started looking at myself as an artist, correlating to the label and started realizing some of the things that I didn’t want or even wanted,” he added.

And with the recent departure of musician Intaba Yase Dubai, Ambitiouz Entertainment adds another artist to its growing list of failures. It seems that this local label has not yet learned their lesson.

Source: News in Brief

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Top Nigerian Musicians with International Record Deals https://bastard-inc.com/top-nigerian-musicians-with-international-record-deals/ Sat, 07 May 2022 03:33:55 +0000 https://bastard-inc.com/top-nigerian-musicians-with-international-record-deals/ Several Nigerian musicians are profiting from signing with an international music label. The trend is quickly becoming “normal” in the industry, as these talented artists seek better representation and international standards in the packaging and distribution of their works. Below are Nigerian musicians who have made their mark with international labels. Aisha Saleeman Patoranking Patrick […]]]>

Several Nigerian musicians are profiting from signing with an international music label. The trend is quickly becoming “normal” in the industry, as these talented artists seek better representation and international standards in the packaging and distribution of their works. Below are Nigerian musicians who have made their mark with international labels.

Aisha Saleeman

Patoranking

Patrick Nnaemeka Okorie is a dancehall reggae singer. Identified by his stage name as Patoranking, the Ebonyi State-born songwriter started with Igberaga Records in 2010. He went to Foston Musik in 2014 and in 2015 he signed with an independent label from the Caribbean in New York, VP Records. The label is known for releasing music similar to the reggae-dancehall genre of Patoranking.

wild tiwa

Her entry into an international label dates back to 2019. The “Malo” singer had been at Mavin Records for seven years, but then moved to Motown Records, a subsidiary of Universal Music, where she signed a publishing and distribution contract for seven years. After joining Universal Music, she released “49-99”, then “Attention” and “Owo mi da” to continue entertaining her fans.

Seyi Shay

Deborah Oluwaseyi Joshua is a British-Nigerian singer and songwriter. Seyi Shay’s musical style, as she is known professionally, is a combination of Afropop and R&B, although she has explored other genres depending on what inspires her. After signing a worldwide recording contract with Island Record, a multinational record company owned by Universal Music Group, in 2015 she released the debut album Seyi or Shay. She has done well in the industry with several endorsement deals and also as a music talent show judge.

Like a

Bukola Elemide is reputed to be one of the most exposed Nigerian musicians. Known as Asa, the Franco-Nigerian singer, songwriter and recording artist is under international guardianship and signed to Paris-based Naïve Records. Asa is also signed to Sony BMG. Asa’s deal is very positive because his music is not, especially for Nigerian consumption. Her second album, Beautiful Imperfection released in 2010 in collaboration with French composer Nicolas Mollard went platinum in 2011. Her latest album was released on February 25, 2022.

Brymo

Olawale Ibrahim Ashimi is a singer, songwriter and author. Brymo, as he is popularly known, signed a recording contract with Chocolate City in 2010, but left and signed a new recording and distribution deal with US-based music company Tate Music. Group in 2015. His music is a mix of Fuji, R&B, Rock and Pop. .

Olamide

Olamide is one of the few Nigerian artists to boast of owning a successful record label. Olamide established his label, YBNL in 2012. The label has trained artists like Lil Kesh, Adekunle Gold, Viktoh, Chinko Ekun, Fireboy DML. It recently signed a joint venture agreement with International Label and Distribution company, Empire. The agreement allows all other artists signed with YBNL to enjoy their music distributed internationally.

Burna Boy

Burna was previously signed to Nigerian label Aristokrat Records but left in 2014. Burna Boy signed with Bad Habit/Atlantic Records in the US and Warner Music Group internationally in 2017. He also released his studio album in 2017 “Outside” to celebrate his major label debut. He also signed a publishing deal with Universal Records in 2018. In 2019, Burna Boy spoke about the dangers of embarking on an international deal without proper guidelines.

Assistant

Wizkid signed a multi-album deal with Sony Music subsidiary RCA Records in 2017. The deal came a few years after his exit from EME Records and the creation of Starboy Entertainment. Immediately after his contract with Sony Records, he released his third studio album, “Sounds from the Other Side”.

davido

Davido is signed to Sony Music through RCA Records. He was the first of the Nigerian artists to be signed to an international label. He joined the label in 2016, then created his own label, Davido Music Worldwide, which houses artists such as Peruzzi, Mayorkun, Dremo, Yonda, among others. The same year as his new contract, Davido released an EP, Son of Mercy, but the EP did not do well in the market due to the change in sound and musical style.

Pheelz

Phillip Kayode Moses or Pheelz as he is popularly known is a record producer, songwriter and singer and the latest artist to be signed to an American label, Warner Records.

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SoundCloud acquires music company AI Musiio https://bastard-inc.com/soundcloud-acquires-music-company-ai-musiio/ Tue, 03 May 2022 15:30:06 +0000 https://bastard-inc.com/soundcloud-acquires-music-company-ai-musiio/ SoundCloud has acquired Musiio, a Singapore-based artificial intelligence-based music curation company founded in 2018. The news was first reported by Tech Crunchwhich reports that SoundCloud plans to use Musiio’s technology to bolster its own music discovery capabilities. Terms of the acquisition agreement were not disclosed. Co-founded by Hazel Savage, who previously worked at Shazam, Pandora […]]]>

SoundCloud has acquired Musiio, a Singapore-based artificial intelligence-based music curation company founded in 2018.

The news was first reported by Tech Crunchwhich reports that SoundCloud plans to use Musiio’s technology to bolster its own music discovery capabilities.

Terms of the acquisition agreement were not disclosed.

Co-founded by Hazel Savage, who previously worked at Shazam, Pandora and Universal Music, the company claims to have built an AI that can “listen” to music at scale.

Speaking to MBW in December 2020, Wild explained that Musiio’s technology “processes entire audio files” in order to “train the AI ​​to look for patterns.”

Added Wild: “You can use this process to replicate anything that the human ear might be able to recognize, like BPM and genre, how successful something might be.

“Our new technology looks for hits, virality, talent and melodic familiarity and a whole host of other factors that make for great music.”

Musiio secured an undisclosed round of funding in July 2021, which gave the company a valuation of $10 million. That was up from $3.5 million in 2019.

This funding round included investments from Premiumbeat founder Francois Arbor as well as Tileyard Group owner Paul Kempe.

According to Tech CrunchEliah Seton, president of SoundCloud, “believes Musiio’s AI capability will yield particularly compelling results” on the music streaming platform.

Speaking to TechCrunch, Seton said, “SoundCloud is a unique company. Its unique position in the market as a music streaming service for fans and an artist services business is unlike any other streamer.

“That is to say, it’s the only platform that really has a direct relationship with artists and listeners.”

Eliah Seton Warner ADA

“We are honored to partner with Hazel and Aron and welcome Musiio’s absolutely brilliant team of innovators to the SoundCloud family.”

Eliah Seton, SoundCloud

In a press release, Seton said, “SoundCloud is home to more music from more creators than any platform on the planet.

“The acquisition of Musiio accelerates our strategy to better understand how this music evolves in an exclusive way, which is essential to our success.

“We are honored to partner with Hazel and Aron [ Pettersson] and welcome to the absolutely awesome team of innovators at Musiio to the SoundCloud family.

“I am incredibly proud that after 4 years of building Musiio, we are now part of SoundCloud.”

Hazel Savage, Musiio

Hazel Savage, CEO of Musiio, added, “SoundCloud is not only a legendary household name, but also a forward-thinking artist company that I believe is the future of the new holistic music industry.

“I am incredibly proud that after 4 years of building Musiio, we are now part of SoundCloud.”


SoundCloud secured a $75 million investment from SiriusXM in February 2020.

In February, the music streaming platform entered into a joint venture with Solid Foundation, the management and creative services arm of QC Media Holdings, which, according to a press release, will create “custom A&R programs for selected artists, including including development, distribution and marketing and artist services”.The music industry around the world

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LaMelo Ball Gets His Own Cereal As Hulu’s New ‘Sellout’ Superstar https://bastard-inc.com/lamelo-ball-gets-his-own-cereal-as-hulus-new-sellout-superstar/ Mon, 02 May 2022 08:07:26 +0000 https://bastard-inc.com/lamelo-ball-gets-his-own-cereal-as-hulus-new-sellout-superstar/ “LaMelo was totally up for trying different things and even added a few moments on location,” Michael Schneider, Hulu Group vice president, live and licensing marketing, told Muse. “He and the cast bonded quickly, and it was like they hung out and watched commercials in their living room together. There were quite a few takes […]]]>

“LaMelo was totally up for trying different things and even added a few moments on location,” Michael Schneider, Hulu Group vice president, live and licensing marketing, told Muse. “He and the cast bonded quickly, and it was like they hung out and watched commercials in their living room together. There were quite a few takes where LaMelo had to eat the cereal, and we We were just happy that the sugar rush didn’t impact his performance in the next game.”

The guy looks dope in cartoon form. Cue a Hulu series! Or at the very least, a Rick and Morty guest.

“We had fun creating this place,” LaMello said in press materials. “I never thought I would have my own cereal, but if anyone knows dreams can come true, it’s me!”

Why not produce some of the material for a limited edition promo? With all those ball-headed “MarshLaMelOs” floating in the milk, it must be good!

The work will take place on social and network TV during the NBA playoffs, and once again Hulu is proving adept at blending media tropes to fabulous effect.

Disney-owned Hulu has successfully deployed such a strategy in “Sellouts” since 2019, and the company took a similar approach in this recent reimagining of its logo for videos reminiscent of old-school TV IDs.

CREDITS

Customer credits:
President Joe Earley
Chief Marketing Officer Scott Donaton
Chief Creative Officer Reid Thompson
Vice President, Brand, Live and Licensed Marketing Michael Schneider
Director – Brand Marketing, Live and Licensed Rosalind Pressman
Team Leader, Live Marketing and Licensing Chie Kobayashi
Jayla Winston, Associate Live and Licensed Marketing Manager

Agency Credits:
Large family table

BFT credits and securities:
Chief Creative Officer Guto Araki
Executive Vice President, Group Account Manager Chris Carter
Vice President, Account Manager Lacy Borko
SVP, Executive Embedded Producer Dan Kaplan
Senior Producer Matt Marty
Creative Director Eric Manchester
Creative Director Neal Desai
Account Manager Andrew Haumersen
Account Manager Natalie Uribe
Account Supervisor Wilhelm Lawrence
SVP, Commercial Affairs Director Gabriela Farias
Music Director Chip Herter
Music Supervisor Will Eichler

Live Action Production Company: Hungry Man
Director Dave Laden
Executive Producer Caleb Dewart
Producer Rick Jarjoura
Production Manager Tristan Marciano
Director of photography Bryan Newman

Editorial: The Lair
Executive Producer Jennifer Mersis
Chief Editor Christjan Jordan
Assistant Editor James Bird
Principal Producer Carolina Padilla

Post-visual effects: Tribbo
VFX Creative Director Bibinho Carvalho
Rodrigo Pina, creative director of visual effects
VFX Supervisor / Senior Flame Artist Rodrigo Pina
Flame Artist Sergio D’ Piazza
Lead 3D Artist Erick Buosi
3D modeling Alexandre Takeshi
3D generalist Henrique Freitas and Gabriel Leça
VFX Producer Rafael Flamínio and Tato Carvalho
Compliant Fernando Diniz
IT Manager Lucas Pereira
Account Manager Carolina Barros

Company of color: Company3
Colorist Tom Poole
Color Producer Alexandra Lubrano

Audio Publishing Company: Lime Studios
Audio MixerMatt Miller
Audio assistant Ian Connie
Susie BoyajanProducer
Producer Cassie Underwood

Animation and illustration: Lobo
Directors Guilherme Marcondes
Executive Producer Luis Ribeiro
Production manager Clara Morelli / Marcelo Barbosa
Producer Luiza Pagliarini
Post-production supervision Leandro Pena
Post Production Producer Israel Requene

Music Company: Butter
Executive Producer Annikc Mayer
Executive Creative Director Tim Kvasnoksy
Senior Producer Stone Irr
Associate Producer Sonia Ohan
Composer Gregory Jenkins and Andrew Sherman

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Opera returns to Academy of Music with Verdi’s ‘Rigoletto’ updated in ‘burbs’ https://bastard-inc.com/opera-returns-to-academy-of-music-with-verdis-rigoletto-updated-in-burbs/ Sat, 30 Apr 2022 18:33:24 +0000 https://bastard-inc.com/opera-returns-to-academy-of-music-with-verdis-rigoletto-updated-in-burbs/ Every once in a while, one can’t help but step back from the opera stage and marvel at the army of singers, choristers, instrumentalists, visual artists and technicians focused on making everything that. This does not seem to be an isolated opinion. In its long-awaited return to stage opera at the Academy of Music (942 […]]]>

Every once in a while, one can’t help but step back from the opera stage and marvel at the army of singers, choristers, instrumentalists, visual artists and technicians focused on making everything that.

This does not seem to be an isolated opinion. In its long-awaited return to stage opera at the Academy of Music (942 days, since September 2019), the Philadelphia Opera Rigoletto The production drew a sizable audience of 1,400 (70% of “full view” seats) despite soft ticket sales in other cities and an isolated COVID outbreak that curtailed the Curtis Symphony’s Kimmel Center concert Orchestra at a chamber music recital.

Admirably, the Philadelphia Opera did not rely on traditional production. Imported from New Zealand Opera, Lindy Hume’s production updated the story from its 16th-century origins to more modern governments (former Italian prime minister Silvio Berlusconi was on its mind), with towering interiors and multiple video screens that suggested anything from a news conference to what appeared to be a seagull turning into a vulture.

But despite a vocally capable cast, that gamble worked intermittently at best. Overall, the opening was medium-tension — it felt more like a dress rehearsal — with everything in the right place but no molten core of primal emotions. The three subsequent performances — May 1, 6, and 8 — may well be different, at least on that front.

In any case, visual adjustments must be made. In this gritty tale of the Duke of Mantua – with his corrupt court and disposable attitude towards women – Rigoletto is not so much a buffoon as a sharp-tongued butler was in an elegant uniform. There are few hints that the character was originally written to be a hunchback. And when he was home, Rigoletto seemed like a typical suburban guy. No problem. Really.

The character’s point is his fear and rage at the kidnapping of his virginal daughter Gilda. After her ravishing aria ‘Caro Nome’ professing her love for the Duke, she was surrounded by dimly lit men in business suits – a very striking stage image. The characters were brutally beaten at various times. Gilda’s subsequent nocturnal abduction was a jumble of flashlights – a decent solution to a rarely convincing scene.

Elsewhere, the brilliant ideas and good intentions didn’t translate well into the strengths of this particular cast by revival director Daniel Pelzig. Tenor Joshua Blue, for his part, sang the Duke in a pleasingly robust way with a wonderful upper range and some of the most perfect vocal trills I’ve heard in years. But when he was not a public statesman and was silent at the roadhouse, he became clumsy and unconvincing.

As Gilda, Raven McMillon proved to be a warm-voiced, lyrical soprano whose coloratura abilities were a little hesitant and would likely be helped by not having to sing while rolling around in bed. (With good music, there are times when old-school position and singing still work.) In the title role, Anthony Clark Evans promised to be an answer to Verdi’s baritone shortage with a solid Italian voice, a fast but disconcerting vibrato. , benign stage presence. Where was the paternal rage?

You could hear it at least in the writing of the orchestra. But while musical director Corrado Rovaris’ cachet was evident in the meticulous musical preparation, his usual performance electricity was muted. You know Rigoletto works when, despite the dated plot devices, you care enough about the characters to hope it doesn’t end tragically. In this production, the low-life characters of Sparafucile (Wei Wu) and Maddalena (Kristen Choi) – seen in a setting that resembled a roadside bar in Florida – lent themselves so strongly to the final act that you have almost rooted for them.

Well, we’re all getting used to being back in the world, and opera people aren’t necessarily different. The many moving parts of any business sometimes need to be warmed up. And if that Rigoletto was an essential step in the Philadelphia Opera’s journey to full growth, I’ll take it.

Opera Philadelphia repeats Rigoletto on May 1, 6 and 8. Tickets: $25 to $299. Information: 215-732-8400 or https://www.operaphila.org.

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