I intern for his PR Firm and hes been doing his thing. the album is pretty dope
Sunday, May 10, 2009
Friday, May 8, 2009
Chrisette Michele's album is out!
Preview and purchase the song here
http://www.amazon.com/Epiphany/dp/B0027RSGN2
Sunday, March 29, 2009
Saturday, March 28, 2009
DJ KING MIDAS & JDP MIXTAPE....Where Anything Goes Vol. 1
http://www.datpiff.com/DJ_King_Midas_JDP_Where_Anything_Goes_Vol_1.m39598.html
Friday, March 27, 2009
Tuesday, March 24, 2009
Ludovico Message
Message from Alex Ludovico
Good evening/morning, my droogs.
I wanted to share some more music with you guys. This is a little ditty I’ve been working on for awhile. I hate feeling like a trendhopper (although you will NEVER hear me using Autotune, except if you call my voicemail :) ) but this tune has definetly got a bit of a dubstep influence. I’ve been big on Burial and Skream and all the more mainstream acts for a year or so. So this is me and my buddy/producer D’s attempt at reworking that formula. My flow is a bit more aggressive on this track, but trust me, the music calls for it. This is the version going on The Reawakening Mixtape, which has an OFFICIAL release date of April 11th. This date is GOOD AS GOLD! Trust. This song will also be on Artificial Product, but it will have a different sound that will be easily noticable. Oh the joys of creating music and being anal retentive (Im a grown man, so fuck your “no homo”). Hope you dig it. Feedback, as always, is gladly welcomed.
Right Cross
http://www.zshare.net/audio/574656740b228704/
Good evening/morning, my droogs.
I wanted to share some more music with you guys. This is a little ditty I’ve been working on for awhile. I hate feeling like a trendhopper (although you will NEVER hear me using Autotune, except if you call my voicemail :) ) but this tune has definetly got a bit of a dubstep influence. I’ve been big on Burial and Skream and all the more mainstream acts for a year or so. So this is me and my buddy/producer D’s attempt at reworking that formula. My flow is a bit more aggressive on this track, but trust me, the music calls for it. This is the version going on The Reawakening Mixtape, which has an OFFICIAL release date of April 11th. This date is GOOD AS GOLD! Trust. This song will also be on Artificial Product, but it will have a different sound that will be easily noticable. Oh the joys of creating music and being anal retentive (Im a grown man, so fuck your “no homo”). Hope you dig it. Feedback, as always, is gladly welcomed.
Right Cross
http://www.zshare.net/audio/574656740b228704/
People Interviewing me!!
Give us a little background about yourself?
My name is Eric Wallace. I am a Talent Manager, DJ, CEO, Student of the music business, and part time promoter. I’ve been in the music business since ‘05 and manage four acts. I will graduate in May from Columbia College Chicago with a degree in Music Business- Talent Management.
How did you become interested in music?
I was always interested in music, but I wasn’t really interested in getting in to the business until I was at Rochester Institute of Technology, Rochester, NY. I was at that school for making video games, but that wasn’t working out for me. I met an indie label through a mutual friend and the CEO took me under his wing. I took many trips with him to Syracuse, Buffalo, NYC, and Canada with him meeting people in the industry. This is what made me fall in love with the business and I moved to Chicago to pursue it educational wise.
Read the rest of the interview here http://www.blackunlimited.com/blog/wordpress/?p=66
My name is Eric Wallace. I am a Talent Manager, DJ, CEO, Student of the music business, and part time promoter. I’ve been in the music business since ‘05 and manage four acts. I will graduate in May from Columbia College Chicago with a degree in Music Business- Talent Management.
How did you become interested in music?
I was always interested in music, but I wasn’t really interested in getting in to the business until I was at Rochester Institute of Technology, Rochester, NY. I was at that school for making video games, but that wasn’t working out for me. I met an indie label through a mutual friend and the CEO took me under his wing. I took many trips with him to Syracuse, Buffalo, NYC, and Canada with him meeting people in the industry. This is what made me fall in love with the business and I moved to Chicago to pursue it educational wise.
Read the rest of the interview here http://www.blackunlimited.com/blog/wordpress/?p=66
Major Labels vs Youtube
"In the United States, Warner Music Group has yanked its content, based on dissatisfaction with per-video payouts. In the United Kingdom, YouTube is proactively pulling music videos following a cantankerous negotiation process with performance rights group PRS for Music."
So Companies like Warner Music Group are not satisfied with the money they are being paid from youtube. The result? Warner decides to pull all of their artists from youtube. You can't even have any of their music in the background of your videos either. Who really loses from this situation? The answer is EVERYONE!!!
The artist loses because youtube is a very big promotional tool as the paragraph below
"Take Roadrunner Records, a metal label majority-owned by Warner Music Group. Roadrunner is home to a range of harder-edged acts, including Lamb of God, Killswitch Engage, and Mastadon. Just recently, internet entrepreneur Philip Kaplan (best known for starting f-dcompany.com) offered a comedic air-drumming video to Suffocation, whose "Infecting the Crypts" can be found on a Roadrunner release. That video was unfortunately yanked because of the broader Warner fallout, despite 3.5 million views and a nice awareness punch for the extreme metal band."
'Roadrunner director of New Media Jeremy Rosen told Digital Music News. "I spent the better part of two years carefully building the Roadrunner Records YouTube channel into one of the top ten music channels by subscribers and views on the site; one of the top channels period."'
The Fans lose because they don't have access to the videos of their favorite artists on that site and are forced to look at other site or just pass the warner artists up.
WMG loses because the number 4 ranked label is now losing promotional opportunities for their artist on a top website.
What I think they should have done is.....
Before they stripped youtube of all material, they shouldve either struck a deal with another site like vimeo or made their own media streaming on the wmg website. They would have to do some self branding in order to get it to work, but I think it could work.
If any label could pull their content it would be Universal Music Group. They have already put together their media site with video, etc..... http://www.universalmusic.com/videos
Ive noticed that the only person not affected by this WMG vs Youtube thing is Diddy because his youtube channel still is up and is doing great.
What are your opinions?
So Companies like Warner Music Group are not satisfied with the money they are being paid from youtube. The result? Warner decides to pull all of their artists from youtube. You can't even have any of their music in the background of your videos either. Who really loses from this situation? The answer is EVERYONE!!!
The artist loses because youtube is a very big promotional tool as the paragraph below
"Take Roadrunner Records, a metal label majority-owned by Warner Music Group. Roadrunner is home to a range of harder-edged acts, including Lamb of God, Killswitch Engage, and Mastadon. Just recently, internet entrepreneur Philip Kaplan (best known for starting f-dcompany.com) offered a comedic air-drumming video to Suffocation, whose "Infecting the Crypts" can be found on a Roadrunner release. That video was unfortunately yanked because of the broader Warner fallout, despite 3.5 million views and a nice awareness punch for the extreme metal band."
'Roadrunner director of New Media Jeremy Rosen told Digital Music News. "I spent the better part of two years carefully building the Roadrunner Records YouTube channel into one of the top ten music channels by subscribers and views on the site; one of the top channels period."'
The Fans lose because they don't have access to the videos of their favorite artists on that site and are forced to look at other site or just pass the warner artists up.
WMG loses because the number 4 ranked label is now losing promotional opportunities for their artist on a top website.
What I think they should have done is.....
Before they stripped youtube of all material, they shouldve either struck a deal with another site like vimeo or made their own media streaming on the wmg website. They would have to do some self branding in order to get it to work, but I think it could work.
If any label could pull their content it would be Universal Music Group. They have already put together their media site with video, etc..... http://www.universalmusic.com/videos
Ive noticed that the only person not affected by this WMG vs Youtube thing is Diddy because his youtube channel still is up and is doing great.
What are your opinions?
Monday, March 23, 2009
Saturday, March 21, 2009
Friday, March 20, 2009
Thursday, March 19, 2009
Wednesday, March 18, 2009
Monday, March 16, 2009
Sunday, March 15, 2009
Saturday, March 14, 2009
Friday, March 13, 2009
Wednesday, March 11, 2009
Monday, March 9, 2009
Friday, March 6, 2009
Thursday, March 5, 2009
Wednesday, March 4, 2009
Tuesday, March 3, 2009
Sunday, March 1, 2009
Saturday, February 28, 2009
Friday, February 27, 2009
Wednesday, February 25, 2009
Tuesday, February 24, 2009
Monday, February 23, 2009
Saturday, February 21, 2009
Friday, February 20, 2009
Thursday, February 19, 2009
Wednesday, February 18, 2009
Tuesday, February 17, 2009
Monday, February 16, 2009
Sunday, February 15, 2009
Saturday, February 14, 2009
Friday, February 13, 2009
Wednesday, February 11, 2009
Monday, February 9, 2009
Sunday, February 8, 2009
Saturday, February 7, 2009
Wednesday, February 4, 2009
Sunday, February 1, 2009
Saturday, January 31, 2009
Thursday, January 29, 2009
EMI Music Keeps Broadening Its Skill Set...
Majors are insisting on all-encompassing, 360-degree deals, though artists and managers question whether the proper expertise is in place. Labels have been fine-tuning their specialization in areas like recordings, radio promotion, publishing, and distribution for decades, yet question marks surround expanded areas like merchandising, touring, sponsorships, and digital formats.
On Thursday, EMI Music took steps to bolster its all-encompassing know-how. Ronn Werre, president of the newly-created Music Services group, announced the addition of merchandising and sponsorship experts. That includes merchandising and packaged goods executive Peter Palmer, and ex-Live Nation executive Violet Gonzalez, who will head sponsorship initiatives. Dominic Pandiscia will lead the now-global Label Services unit.
The additions, according to the label, will help to fulfill the mission of providing a "global menu of commercial services and seamless access to an expanding range of revenue streams and business models," a fancier way of saying "360". The EMI Music Services division consists of four units, specifically Sales and Commercial Development; Brand Partnerships, Licensing and Synchronization; Label Services; and Merchandising.
On Thursday, EMI Music took steps to bolster its all-encompassing know-how. Ronn Werre, president of the newly-created Music Services group, announced the addition of merchandising and sponsorship experts. That includes merchandising and packaged goods executive Peter Palmer, and ex-Live Nation executive Violet Gonzalez, who will head sponsorship initiatives. Dominic Pandiscia will lead the now-global Label Services unit.
The additions, according to the label, will help to fulfill the mission of providing a "global menu of commercial services and seamless access to an expanding range of revenue streams and business models," a fancier way of saying "360". The EMI Music Services division consists of four units, specifically Sales and Commercial Development; Brand Partnerships, Licensing and Synchronization; Label Services; and Merchandising.
Traditional Radio Royalty Debates Bubbling on Capitol Hill... Again
The debate over traditional radio royalty requirements in the United States is bubbling once again on Capitol Hill, according to correspondence leaked Thursday to Digital Music News. An internal letter circulated amongst lawmakers urges against the passage of a measure that would further exonerate traditional broadcasters from paying royalties for the use of recordings, a longtime exemption. "In the coming days, you will likely be presented with a resolution supported by radio broadcasters, which advocates protections for the radio industry but in effect denies performers payment for their work," the letter states.
The letter was distributed by representatives John Conyers, Jr. (D-Michigan; Chairman, House Committee on the Judiciary), Howard Berman (D-California; Chairman, House Committee on Foreign Affairs), Darrell Issa (D-California; Ranking Member, Government Oversight and Reform Committee), and Marsha Blackburn (R-Tennessee). Those lawmakers are advocates for the Performance Rights Act, a bill that would require payments for the use of broadcast recordings.
Currently, radio broadcasters in the United States are only required to pay royalties to publishers, and not labels or master owners. That has been a sticking point for decades, though broadcasters argue that the promotional value of their platform offers enough benefit to labels. The argument probably holds water for current content, though it is less convincing on older, or heritage, songs. Broadcasters also argue that a royalty on recordings would create an unfair burden, especially for smaller stations.
The letter was distributed by representatives John Conyers, Jr. (D-Michigan; Chairman, House Committee on the Judiciary), Howard Berman (D-California; Chairman, House Committee on Foreign Affairs), Darrell Issa (D-California; Ranking Member, Government Oversight and Reform Committee), and Marsha Blackburn (R-Tennessee). Those lawmakers are advocates for the Performance Rights Act, a bill that would require payments for the use of broadcast recordings.
Currently, radio broadcasters in the United States are only required to pay royalties to publishers, and not labels or master owners. That has been a sticking point for decades, though broadcasters argue that the promotional value of their platform offers enough benefit to labels. The argument probably holds water for current content, though it is less convincing on older, or heritage, songs. Broadcasters also argue that a royalty on recordings would create an unfair burden, especially for smaller stations.
Wednesday, January 28, 2009
Tuesday, January 27, 2009
DVD Release Party on Thursday
Come through to Jugrnaut 427 S Dearborn to mingle and network and at the same time win free DVDs and promo material!!
Wednesday, January 21, 2009
Saturday, January 17, 2009
Tuesday, January 13, 2009
Monday, January 12, 2009
Friday, January 9, 2009
Wednesday, January 7, 2009
Tuesday, January 6, 2009
Monday, January 5, 2009
Thursday, January 1, 2009
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