Justin Bieber made headlines this weekend for seemingly directing his fans to game Spotify, iTunes and YouTube in order to help send his recent single, Yummy, to No.1 in the US.
A streaming service-gaming guide for fans was reposted to Bieber’s official Instagram account on Thursday night (January 9) and was subsequently flagged by a number of social media users.
As reported by the Verge, the now-deleted post first appeared on fan account, Outlyning (which has 115,000 followers), stating: “Justin really wants that #1 and he is really excited about it as he said yesterday in his livestream. If you don’t want to do any of this it’s totally fine, just ignore the post. ✌️This is tips for the people who actually wants to do an extra effort!”
To amplify the single’s Spotify streams, the guide urged fans to “create a playlist with Yummy on repeat and stream it”.
It further instructed fans to “let it play while you sleep” – but, presumably to avoid Spotify’s fraud detection measures, suggested that they avoid muting the track, and instead play it “at a low volume”.
The post encouraged fans outside the US to use a VPN, and to set their location to the USA so that their streams counted towards the Billboard charts.
As noted by the Verge, fan led-strategies to boost singles in the charts in a similar manner are not un-common.
In 2018 for example, over 1,000 Spotify logins were claimed to have been distributed by the BTS fan ‘Army’ to boost US streams for the K-Pop superstars’ album, Love Yourself: Tear.
As detailed in this Complex article, Justin Bieber’s Instagram post follows various other social media-based promotional tactics for the single, which include posting videos simply asking fans to stream and purchase the track to get it to No.1
Distribution Sergent Major Company Ltd – The Orchard
Les mouvements électriques se superposent aux mouvements de la vie tout court. Quand les bagnoles grincent, que les gyrophares s’emballent dans les rues de LA, quand tout s’enroule dans le circuit infernal des nocturnes policières. Il n’y a plus rien qui sépare les rigueurs de la nuit avec les rigueurs de la vie. C’est comme un mélange d’alcool et de drogues dures, qui détruit toutes les drogues douces que procurent un semblant de vie. Entre les nappes prophétiques et in sinueuses de Jeffery Alan Jones et les roulements des voitures sur les grands boulevards. Il n’y a que des positions de claviers, de bruissement de guitares, peu de mélodies mais le genre de vibration urbain. C’est une musique urbaine, une musique qui souffle sur l’angoisse du soir. Les images glissent comme un bolide et les lignes qui se pourraient mélodique se partagent entre le souffle et la souffrance. Plus qu’une partition c’est une transition sur la voie lactée que nous offre les compositions énigmatiques de Jeffery Alan Jones. Partons a la découverte de ce nouvel état de création. Hellen Page
I write to music. Always have. “Crown Vic” was no exception. When I was writing our two main characters prowling the dangerous streets of LA at night, I needed something to put me in the right frame of mind. Something moody, cool. Propulsive. Which is to say I knew exactly what I wanted this movie’s score to be from jump street. And to “Crown Vic’s” great benefit, Jeff was able to nail it. Which, believe me, was no small task, given my absolute lack of any kind of musical vocabulary. But Jeff was somehow able to decipher the rudimentary grunting’s and cave drawings that were my wants for Crown’s music, and gave the movie exactly the sound it needed, and the sound I’d always hoped for. The music is at the same time cool and emotive, it supports and enhances the story, and most importantly, just feels like driving around at 2AM in LA. So jump in your car one of these nights. Put this music on. And just drives.
Writer/Director, “Crown Vic”
“Crown Vic” follows one explosive night in the life of a seasoned LAPD veteran as he takes a young cop out on patrol and shows him the brutal reality of life behind the wheel of a Crown Vic. I wanted to create the city’s heartbeat through the music. A rhythmic pulse, always intriguing, in its somehow twisted dark beauty. The cityscape drones, it weeps and is intensely frightening. My aim was to support the narrative and expose the subtext without being noticed. The score lives in the shadows and underlies the complex emotions in both the characters and the city at night. Beautifully dark and sprawling; yet suffocating in it’s own despair.
Jeffery Alan Jones Composer
Special Thanks: Alec Baldwin, Joel Souza, Anjul Nigam, Gregg Bello, Jacques Dejean, Plaza Mayor Company, Screen Media, Bugaboo, and Mary Lou Jones.
Hipgnosis Songs Fund has acquired a music catalog from hit songwriter and producer Savan Kotecha.
Savan Kotecha has been awarded nine BMI Awards and 18 ASCAP awards whilst his songs have sold more than 375 million copies globally as he has collaborated – often with Max Martin – on No.1 and platinum hits with Ariana Grande, One Direction, Usher, The Weeknd, Justin Bieber, Nicki Minaj, Britney Spears and Katy Perry.
In addition, his work with The Weeknd includes co-writing the two times Grammy Award nominated US No.1 Can’t Feel My Face which has been certified 7x platinum in the US.
London-based Hipgnosis, led by Merck Mercuriadis (pictured), has acquired 100% of Savan Kotecha’s worldwide copyrights on this catalog which consists of 49 of his songs and includes nine new songs due for release in 2020 by Camila Cabello, Ellie Goulding and Sam Smith.
Today’s news comes only a couple of days after the UK-based company confirmed details of catalog acquisitions from Johnny McDaid, Jack Antonoff and others.
JPMorgan estimates that 80% of Hipgnosis’ £23m revenues in the six months to end of September came from 143 songs, equivalent to just 1.3% of the company’s current catalog of 11,225 compositions.
Savan Kotecha is best known for his work with Ariana Grande, the fourth most streamed artist on Spotify of the 2010s.
Since initially producing Ariana Grande’s second album My Everything, which reached No.1 in the US where it was certified 2x platinum, as well as co-writing the 6x US platinum certified lead single Problem, Savan Kotecha worked as executive producer on her third album, the UK No.1 ‘Dangerous Woman’ as well as collaborating on 13 US or UK Number 1 or platinum certified singles.
The catalog includes four songs co-written by Savan Kotecha from Ariana Grande’s album Sweetener which won the Grammy Award for “Best Pop Vocal Album”, reached No.1 of the album charts in 22 countries including the US and UK going on to be declared by Billboard as the No.1 album of 2018 and one of the top albums of the 2010s and is certified platinum in the US.
These included the album’s first single No Tears Left to Cry which reached No.1 on 14 charts globally and is certified 3x platinum in the US and 2x platinum in the UK having been streamed over 780m times on Spotify alone, as well as the singles God Is A Woman and Breathin.
God Is A Woman, which was nominated for the Grammy Award for “Best Pop Solo Performance”, reached No.1 on four charts globally and is certified 2x platinum in the US and platinum in the UK having been streamed over 510m times on Spotify alone, whilst Breathin reached Top 10 of 18 charts globally and is certified gold in the UK having been streamed over 380m times on Spotify.
The catalog also includes four songs on her fifth album Thank U, Next which has been nominated for Album of the Year and Best Pop Vocal Album at the Grammy Awards and reached No.1 in 15 countries including the US where it is certified platinum.
This included the single Break Up with Your Girlfriend, I’m Bored which reached No.2 in the US and No.1 in the UK where it is certified platinum and has been streamed over 483m times on Spotify alone.
The catalog also includes Camila Cabello’s My Oh My from her new No.1 album Romance, Ellie Goulding’s Close To Me, Diplo and Swae Lee which is gold and platinum globally, James Arthur’s Naked which has been streamed over 300m times on Spotify, Sam Smith’s How Do You Sleep which peaked at No.7 on the UK singles chart and is certified gold in both the US and UK and The Weeknd’s Rockin’ which reached No.4 in the UK R&B chart as well as songs performed by Katy Perry, Justin Timberlake and Gwen Stefani.
Savan Kotecha was represented by Doug Davis at The Davis Firm.
Merck Mercuriadis, Founder of The Family (Music) Limited and Hipgnosis Songs Fund Limited, said: “Savan is a special songwriter with a Midas touch.
“His magical songs have helped propel Ariana Grande into one of the most influential artists of her generation. This is a sensational set of songs and bear out why he’s just been voted Songwriter Of The Year for 2019.
“I’m delighted to welcome Savan into the Hipgnosis family and am very excited to be working with him and Doug Davis.”
Savan Kotecha added: “I’m beyond excited for my songs to join the incredible Hipgnosis catalogue. I know my ‘babies’ will be well taken care of.
“Merck and his team have proven that they are true lovers of music and understand not just the monetary value of songs but the cultural value as well. I can’t wait to see what the future holds!”
MASKUSS BONE featuring LARRY CARTLON Album “WADESDA” Label Plaza Mayor Company Ltd Distribution Sergent Major Company Ltd – The Orchard
Des trains électriques et des guitares qui dérapent. Un tempo signe Larry Carlton, une double sexte de Markuss Bone et nous avons le jeu complet d’une famille rock blues aux sonorités d’un Easy Rider façon cote West… Des titres intitules comme des mirages d’une plage Californienne, une fantaisie toute en James Dean et se dessine une route 66 longue, libre et qui s’illumine de la fin du jour. Les lumières tombent sur la ville comme des réverbères en panne de soleil. Les sanglots s’en vont et se noient dans des flots de bières ou de paroles. On a toute l’évocation d’un Hôtel California, un souffle chaud sur les regrets et une mémoire qui s’époumonent. Cela fait du bien de retrouver quelques brides de jean déchiré et de la Woodstock en vague d’écumes. On a envie de rouler dans ses bagnoles déjantes et rutilantes, envie d’une fantaisie américaine qui commence à nous manquer. On a tout simplement envie de ses panneaux géants de publicités et de promesses d’une autre vie. Merci de nous accorder ce temps de rêve en cet album. Hellen Page
La musique a ses propres légendes. Parmi ceux-ci, Larry Carlton restera sans aucun doute comme un de la figure musicale la plus inspirante à chaque guitariste de jazz-fusion.
Comme la plupart des enfants de mon âge, j’ai grandi à la fin des années soixante en écoutant des héros britanniques de guitare blues-rock comme Eric Clapton, Jimmy Page, John Mayall et bien d’autres.
En 1978, quand je suis tombé sur Larry L’album «Room 335» avec son son de fusion distinctif et frais”Westcoast”, c’était un tout nouveau monde musical qui s’est ouvert aux jeunes guitare-stagiaire que j’étais.
Ce projet « Wadesda » est un hommage à Larry Carlton dont le jeu sophistiqué a été une source inépuisable d’inspiration pour moi au fil des ans. Parmi plusieurs compositions originales de nos propres, il comprend cinq chansons écrites par Larry Carlton, mettant en vedette Larry lui-même à la guitare, et complètement réarrangé par Stéphane Sassi.
Cet album est un rêve devenu réalité.
Markuss Bøne – guitar Larry Carlton – guitar Raul de Souza – trombone Stephane Sassi – keyboards, percussions and orchestration Jeff Babko – keyboards, Fender Rhodes Guillaume Schmidt – alto, soprano and tenor saxophone Travis Carlton – bass Laurent Basso – bass Hervé Chiquet – drums Jimmy Chambert – drums Toss Panos – drums Jean Marc Pierna – percussion, congas, timbales
Netflix is testing discounted plans in India for some long-term subscribers. The plans are only available to selected new subscribers and not existing ones.
While signing up, new users may be offered a 20% discount on a three-month subscription, a 30% discount on a six-month term and a 50% discount on a 12-month contract. These will be available only in India. Netflix currently offers mobile, basic, standard and premium plans in India.
“We believe that our members may value the flexibility that comes from being able to pay for a few months at once,” a Netflix spokesperson said. “This is a test and we will only introduce it more broadly if people find it useful.”
Netflix chief executive Reed Hastings was in India last week, where he revealed that the streamer is investing $400 million in Indian content in 2019 and 2020. Since its launch in April, Indian animated kids show “Mighty Little Bheem” has been watched by 27 million households worldwide, including in Latin America, Australia, Hastings said.
India has a fiercely competitive OTT market with more than 30 popular services. Dominant players include Disney’s Hotstar, Amazon Prime Video, Zee5, Alt Balaji, MX Player, Eros Now, Viacom18’s Voot and Sony Liv. A recent PwC report projects the Indian OTT market value to reach $1.6 billion by 2023.
Amazon Prime Video has greenlit an untitled, unscripted dance show to be executive produced and featuring power couple Priyanka Chopra Jonas and Nick Jonas. The show is inspired by the Indian pre-wedding tradition known as ‘sangeet’ where the families of the betrothed participate in an evening of song and dance. Casting for the series is currently underway and filming will take place in 2020. Amazon Studios, Dan Cutforth and Jane Lipsitz’s Alfred Street Industries, Chopra Jonas’ Purple Pebble Pictures, and Jonas’ Image 32 are producing.
FALCO (Original Television Soundtrack) Director Ernesto Contreras, Julian de Tavira Music composed by Andres Sanchez Maher & Gus Reyes Label Plaza Mayor Company Ltd
Winner of Best Prime Time Show International Emmy Award
Les histoires s’enchainent comme la vie peut passer en images et en couleurs. C’est du roman, c’est du déchirement, c’est de la réconciliation… enfin la vie quoi. Falco est un de ces personnages qui aura perdu une partie et sa vie et aura gagné l’autre partie. Mais gagner après avoir tant perdu, cela n’est pas si évident.
Musique angoissante, musique automnale, musique des fonds de couloir sombre pour exploser au grand jour.
Belle explosion puisque la Tv série Falco vient de gagner les Emmy Awards dans la catégorie des Tv séries.
C’est une très belle récompense, une reconnaissance internationale et un encouragement pour toute l’équipe de production : des réalisateurs aux acteurs et aux acteurs de la musique : Andres Sanchez Maher et son complice Gus Reyes.
Signature d’un très beau score, aux vraies sonorités, aux images tapies dans les notes de velours ou notes assassines. Un score digne d’une grande série. On aime, on aimera.
It’s 1994 in Mexico City, and Alejandro Falco is a good policeman with a promising future and a young family. However, his perfect world is shattered when he is shot by a mysterious attacker in the line of duty. With a bullet lodged in his head, Falco falls into a coma – for the next 24 years. He awakes in 2018 with no memory of what happened, and to a world he doesn’t recognize – including the internet and mobile phones. But far more devastating is the news that his wife has remarried, and the baby daughter he once knew is now a grown woman.
Greatest Managers series profiles the best artist managers in the global business. This time, we speak to Regan Lethbridge and David Morgan of Lemon Tree Music – the co-managers of Tash Sultana and Tones & I, whose Dance Monkey is dominating worldwide streaming charts. The World’s Greatest Managers is supported by Centtrip Music, a specialist in intelligent treasury, payments and foreign exchange – created with the music industry and its needs in mind.
Next time you’re in Australia, maybe don’t take an Uber.
Try walking. And keep listening. You never know.
Tones & I, the world’s fastest-rising artist behind what might be the song of the year, Dance Monkey, was discovered (by Jackson Walkden-Brown), in Byron Bay, busking.
She is now co-managed (alongside Walkden-Brown) by Regan Lethbridge and David Morgan of Melbourne-based Lemon Tree Music Management, who first enjoyed global success with Tash Sultana, who was discovered, busking.
The duo’s management career began when they signed alt-folk duo, Pierce Brothers, who had been discovered, busking.
Before that, Lethbridge and Morgan (pictured) had been in a band together, Bonjah. It was the vehicle that took the native New Zealanders across to Oz where they managed to avoid proper jobs by… yeah, definitely cancel that Uber.
A lot of new music is often said to come from the streets. In the case of Lethbridge, Morgan and their most successful artists, they can literally name those streets.
Right now though, they probably spend more time in the air than on the ground, criss-crossing the globe as it surrenders, territory-by-territory to the talent of Tones & I and the insane appeal of Dance Monkey.
So far, the track has topped the charts in 20 countries (and counting), including the UK, where, having racked up eight weeks in a row at the summit, it is now the longest-running No. 1 ever by an Australian artist – and, almost unbelievably, closing in on the 10 week record for a solo female artist established in 1992/93 by Whitney Houston’s gravity defying I Will Always Love You.
In Tones’ homeland of Australia, meanwhile, Dance Monkey recently ticked off a 17th week at the top (the previous best run was 15 in a row by Ed Sheeran’s Shape of You). Globally, on Spotify, it has more than 560m streams, it remains No.1 on the service’s worldwide chart, and it’s consistently doing over 6m streams a day.
The US is the last major territory to fall, and, while it probably can’t be described as hitting the canvas just yet, it’s wobbling, for sure: Dance Monkey this week climbed inside the Top 20 (at No.19) of the Billboard Hot 100 for the first time.
MBW grabbed an hour from Lethbridge and Morgan’s frankly terrifying schedule to discover the roots of Lemon Tree – which launched its own JV label with Sony Music last year – and get the backstory and future plans for the globe-straddling Tones & I…
WHEN AND WHY DID YOU DECIDE TO BREAK UP YOUR BAND AND FOCUS ON MANAGEMENT? Regan: It just ran its natural course, we all grew up a bit – and we’re all still best friends. That was when Dave and I discussed seriously launching Lemon Tree, in 2013.
Our first signing was the Pierce Brothers, who were local Melbourne guys. We just laid out a blueprint and got to work. It helps that buskers have got this mentality where it’s do or die; they’re super focused on honing their craft and playing for people. They just seem to want it that little bit more.
HOW DID YOU MEET, DISCOVER AND EVENTUALLY SIGN TASH SULTANA? Regan: Pat Pierce, one of the Pierce brothers, kept talking about this busker that pulls really great crowds. Tash came in for a meeting, and I started booking live dates in 2014; I’m still the booking agent in Australia, New Zealand and Asia.
And then, after maybe 18 months or so, one of Tash’s videos went viral on Facebook and I said, ‘Would you consider LTM managing you?’ It was a month of back and forth, then we signed on the dotted line and away we went.
We straight off went about going global with Tash and we’re really proud of all the work that we’ve done. Tash is truly incredible and still blows my mind to this day. We sold out Red Rocks recently, with co-manager for America, Jaddan Commerford, and that was just absolutely unbelievable, quite an emotional experience.