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

CROWN VIC (Original Motion Picture Soundtrack) Composed and Performed by Jeffery Alan Jones

CROWN VIC (Original Motion Picture Soundtrack)

Director Joel Souza

Movie produced by Alec Baldwin

Music composed by Jeffery Alan Jones

Label Plaza Mayor Company Ltd

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.

  • Joel Souza

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

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 GrandeOne DirectionUsherThe WeekndJustin BieberNicki MinajBritney 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!”

WADESDA by Makuss Bonne featuring Larry Carlton A Tribute to Larry Carlton

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 Tests Discounted Subscription Plans in India

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.


The Alex Hiele Paris Jazz Combo Album “Once Upon A Summertime”

The Alex Hiele Paris Jazz Combo
Album “Once Upon A Summertime”
A Michel Legrand Jazz Tribute…
Cd Digital & Cd Physical
Label Plaza Mayor Company Ltd
The Orchard

Un veloute d’archer de contrebasse, un mélo de swing, une passion du jazz et les Moulins de mon cœur peuvent tourner et tourner. Difficile exercice de s’attaquer à un Tribute de Michel Legrand. Exercice de patience, de tendresse et d’un amour pour les choses bien faites. Alex Hiele est un de ces perfectionniste. Maniant le sabre et l’épée, le courage et l’audace pour faire chanter les Demoiselles de Rochefort en un fringuant swing. Michel Legrand nous a diverti de tellement de mélodies et de formules magiques alliant l’image et le son que ces musiques sont intimement liées à notre vie passée et présente. C’est un festin d’images colorées, de tout ce que le cinéma a pu donner. C’est un refrain qui s’émerveille de choses simples et charmantes. C’est un recoin dans nos vies. Tous ces regards qui voulaient s’en aller et qui ont été retenus comme les vagues déferlantes. Car on s’enchante de passions et de fièvres, on s’enivre de toujours et d’ailleurs. Merci a Alex Hiele de nous avoir donner cette chance de retrouver un Michel Legrand facétieux et heureux. Nous partagerons ce bonheur encore et encore.
Hellen Page

Alexandre Hiele
Leader arrangeur et contrebassiste du groupe The Alex Hiele Paris Jazz Combo
Alexandre Hiele est ne a Paris et a participe a la scene du Jazz Parisien des annees 90/2000
Avec Mina Agossi, Mederic Colignon, Le Collectif Slang, Bruno Angelini et egalement des musiciens americains, Mark Turner, Georges Brown, Ronnie Paterson, Ted Curson et egalement Russe tel que Alexei Aigui et japonais ,Ichiro Onoe ,Il frequente regulierement les Jam sessions de l’epoque, tel que ,Le Studio des Islettes ,Les Fallaises, Le caveau des oubliettes, Le Petit Opportin ,et joue dans les clubs parisiens regulierement, Sunset, Duc Des Lombards, New Morning, Franc Pineau, les 7 Lezards, puis tourne en Europe, aux Etats Unis et en Afrique .En 2005, il Emigre Aux Etats Unis et a Philadelphie ,Il recommence sa carrière a zéro et joue dans les clubs de Philadelphie et de New York en tant que side man.il a maintenant son propre groupe intitule The Alex Hiele Paris Jazz Combo et viens d’ecrire des arrangement sur la musique de Cole Porter sur cd qui s’appelle I LOVE PARIS.
Son groupe se produit regulierement dans les clubs et centre culturels de Philadelphie
et de sa region

Legrand Project

  1. La chanson des jumelles
  2. I will wait for you
  3. Once upon a summertime
  4. Between yesterday and tomorrow
  5. Ask yourself why
  6. One at a time
  7. The summer knows
  8. What are you doing the rest of your life
  9. Whatcha what happens


Scooter Braun, painted as the villain of the piece by Taylor Swift in her ongoing complaints about the ownership of her masters, has spoken out.

Braun, manager of the likes of Justin Bieber, J Balvin and Ariana Grande, has just posted a lengthy open letter on social media, directly addressed to Swift.

In it, he reveals that, following the release of Swift’s own open letter last week concerning her performance on the American Music Awards, “there have been numerous death threats” directed at Braun’s family.

Swift claimed in that letter that Big Machine and Braun – whose Ithaca Holdings acquired the music company for $300m earlier this year – were blocking her from performing her old hits at the AMAs on Sunday (November 24) due to a legal re-recording restriction.

That led to confusion in some quarters, as Braun and Big Machine only own the recorded master of these songs, rather than the publishing rights. However, some have observed that, should the AMAs subsequently distribute the live recording of Swift’s performance on digital platforms, it could be argued that a new master had been made commercially available.

According to Big Machine, this situation has since been resolved, with Swift clear to perform her back catalog on the show.

In his new letter, Braun says: “As the world now knows you can and should perform any song you would like at the AMAs. I have never and would never say otherwise. You do not need anyone’s permission to do so legally but I am stating it here clearly and publicly so there is no more debate or confusion.”

He also calls on Swift and her team “to come together [with Braun] and try to find a resolution”.

You can read his letter in full below.

Since your public statement last week there have been numerous death threats directed at my family. This morning I spoke out publicly for the first time saying I wouldn’t participate in a social media war. However I came home tonight to find my wife had received a phone call threatening the safety of our children as well as other threats seen above. I won’t go in to the details of this past week. I have been at a loss. Thinking of my wife and children, my team and their families, I have gone through a range of emotions on how to deal with this. I write this now only after a deep breathe and much reflection. I am certain there is no situation ever worth jeopardizing anyone’s safety.

I assume this was not your intention but it is important that you understand that your words carry a tremendous amount of weight and that your message can be interpreted by some in different ways. While disappointed that you have remained silent after being notified by your attorney 4 days ago of these ongoing threats, I’m still hopeful we can fix this.

We are living in a time of pointless violence and as a husband and father I am concerned.

This is a world filled with toxic division where people express their opinions over social media instead of having conversations in person. I want no part in that. To be frank I was shocked and disheartened to hear that my presence in the Big Machine deal caused you so much pain as the handful of times we have actually met I have always remembered them to be pleasant and respectful. Knowing what I know now all I have wanted to do is rectify the situation. I’m open to ALL possibilities. My attempts and calls to have an open discussion with you over the last 6 months have all been rejected. While some on your team and many of our mutual friends have tried to get you to the table, all have had no luck. It almost feels as if you have no interest in ever resolving the conflict. At this point with safety becoming a concern I have no choice other than to publicly ask for us to come together and try to find a resolution. I have tried repeatedly through your representatives to achieve a solution but unfortunately here we are. This game of telephone isn’t working.

While I am frustrated with your accusations and respectfully disagree with many of your statements, it is important that I am clear – no artist should ever feel cornered or bullied. I have spent my entire career in service of creatives and artists, never the other way around.

As the world now knows you can and should perform any song you would like at the AMAs. I have never and would never say otherwise. You do not need anyone’s permission to do so legally but I am stating it here clearly and publicly so there is no more debate or confusion.

Moving forward I would like to find a resolution. I will make myself available whenever works for you. Many have told me that a meeting will never happen as this is not about truth or resolution but instead a narrative for you. I am hopeful that is not the case. I’m right here, ready to speak directly and respectfully. But if you would prefer to make large public statements while refusing to work towards resolving things amicably then I just pray that nobody gets seriously hurt in the process. I continue to wish you the best and hope we can resolve this.