Talking Heads, “Once In A Lifetime” Twice in a Lifetime David…

Talking Heads, “Once In A Lifetime”

Twice in a Lifetime

David Byrne as a Speaking Head was, arguably, in no way out of character. Wide-eyed and quirky, he managed a mindset that—it seemed—no touring musician with a significant label record deal could reasonably preserve. Contemplate the pointedly hilarious and typically overlooked “Found a Job” from the band’s second album, More Songs About Buildings and Food. Byrne does not just serve as narrator but offers voice to both partners in a marraige saved by writing and making television pilots. He’s also embedded to make the mass-media suburbia joke outright but we get it anyway. Byrne was right here merely to describe the planet around him. As opposed to the shouting and finger-pointing punks and hippies who had occupied the decade therefore far, Byrne was (or played it like) he was just right here to observe—a sort of Silver Surfer in sensible footwear.

But 1 issue he didn’t do is put on costumes. In these heightened days of makeup and hair styles—when obtaining seen on MTV was becoming more critical than becoming heard on the radio—he and his foursome avowedly dressed in straightforward, collegiate, even slightly preppy, garb. Wasn’t that in itself a costume? Confident it was. And did it get them noticed? Confident did.

There had been occasional exceptions to the no-costume policy The cowboy hat Byrne wears in Accurate Stories (the 1986 absurdist descent into Texan Americana he co-wrote, directed and starred in), for example, underscores how rare dressing up was for him was by just how funny he looked, how out of character. His most popular costume was without doubt the oversize white organization suit he wore during “Girlfriend is Better” in the 1984 concert movie Stop Creating Sense. “It’s often showtime here at the edge of the stage,” he sings to us, on the other side of the stage, observing.

The most efficient disguise Byrne donned throughout his days with the Talking Heads was a simple pair of glasses. The video for the 1980 song “Once in a Lifetime” prominently featured him spinning and panting and famously creating a chopping motion across his arm. Bedecked in a grey suit, bow tie and a pair of horn-rims, his appearance somehow didn’t call back to Elvis Costello or Buddy Holly but to one thing outside the globe of well-known music. It was much more like the Michael Douglas’s character in the 1993 film Falling Down, or the confused protagonist in any number of epidoses of The Twilight Zone. It was the costume of a good man wronged. What that incorrect against him is we don’t know. Our protagonist, it appears, is suffering from amnesia, awaking one particular morning to discover that he recognizes nothing at all about his life. We can only imagine he’s suffered some type of trauma and (given that the song is sung in the initial individual) can only speculate as to the trigger.

For the sake of argument, let’s take one more Byrne character from a song with a comparable enough title that we can pretend it was all part of some grand plan. “Life Throughout Wartime” (from the year prior to “Once in a Lifetime”) is yet another very first-individual narrative, this one about a g-man, a spy—or possibly a mercenary. We’re not very certain what he’s up to, but it is some quite covert stuff. “I got three passports, a couple of visas, you do not even know my genuine name,” he announces in a nervous, spongspiel style, then, later, “We dress like students, we dress like housewives, or in a suit and a tie. I changed my hairstyle, so several occasions now, I don’t know what I appear like.”

We don’t know exactly what is going on, but we know it is not great. Byrne and his accomplice/companion are moving via the city at night, the sound of gunfire off in the distance, and transmitting messages to HQ without expecting a response. They finally look to make their way out of the difficulty zone and Byrne says to his companion, “Don’t get exhausted, I’ll do some driving, you ought to get you some sleep.” It’s as damning a sentence as asking “What is this spot?” while entering the haunted castle.

Suddenly the car skids, almost everything goes to black, and then he awakens. It is morning. He appears about the beautiful house he’s identified himself in and at the stunning woman he doesn’t recognize lying asleep next to him and he asks himself, “Well, how did I get right here?”

The gaps in the narrative only bolster the paranoic plotline. We do not see the large image because our protagonist never saw it, even before his position was compromised and he was brainwashed and relocated. He is shellshocked and we are correct there with him, suffering below the grip of a force that can steal your memory and make you disappear. (“Do you keep in mind anyone here? No, you don’t remember anything at all. I’m sleeping, I’m flat on my back, By no means woke up, had no regrets,” Byrne sang on “Memories Can not Wait,” the song following “Life Throughout Wartime” on 1979’s Fear of Music.)

This is all, give or take a year or two, a Reagan-era romance (accurate, he wasn’t in office yet when Worry of Music was released but the storm clouds had been darkening). It’s a Cold War saga. Times have changed because then—or maybe changed and changed back once more.

I was 18 when the Jonathan Demme–directed Cease Making Sense came out. The band had a lot more than doubled in size for that tour and now counted funk keyboard legend Bernie Worrell among its ranks. I had noticed them in concert the summer time ahead of and knew better what I was in for, possibly, then some who went to see the film. I only recently saw it for a second time, best-to-bottom on a large screen. It was in Keene, New Hampshire, two days soon after Thanksgiving and 18 days right after the 2016 presidential election. Our party integrated my girlfriend (who had by no means seen it just before), my sister and her girlfriend and my nephew. Two years younger than I was the very first time I saw the film, it was also his 1st time seeing it. Through the gaze of his eyes, and the haze of passed time, I watched as if I’d by no means seen it before, and one thing funny occurred. Following the serenely beautiful “This Have to Be the Spot (Naive Melody),” when the band launched into the crowd-pleasing “Once in a Lifetime,” I felt an unexpected calm wash over me.

My nephew—who most likely has far more days to negotiate on this dying planet than I—may well come to discover himself living in a shotgun shack. He might ask himself if he is proper or he is incorrect and he may possibly say to himself, “My God, what have I completed?” I believe it is far more most likely, even so, that he may look around and ask what was done before he came along and just before he was in a position to do something about it. He may possibly watch the country he and I get in touch with house fall back into life during Cold Wartime mentality. He might ask himself if there is hope to be had.

“Once in a Lifetime” isn’t a song about hope, but sitting there in that theater it struck me that it is not about despair either. It is a song about the flowing of time, an extended koan about old life giving way to new life. It’s about acknowledging that there are larger things than us and larger factors than our governments. None of us can completely grasp how it is that we got here, but we can let the days go by, let the water hold us down. Since right after the money’s gone, the water will nevertheless be flowing underground.

Exact same as it ever was.

– Kurt Gottschalk

Kurt previously wrote for OWOB about Paul McCartney &amp Wings.

1 WEEK // One BAND

Obama On Post-Election Plans: “I’m waiting for my job at Spotify”

image from pbs.twimg.comAs President Obama ends his eight years in office, he’s hinted that he’ll be functioning to rebuild the Democratic party, bringing much more millennials into the fold as activists and candidates. But at a White Property event for outgoing U.S. ambassadors, he jokingly shared his aspirations to get a job generating playlists for Spotify.

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b and m

At a White Residence reception this week, U.S. Swedish ambassador Mark Brzezinski and wife, podcast host and writer Natalia Brzezinski, shared a priceless private moment with outgoing President Obama. 

“I loved going to you in Stockholm, it was my favored trip. I program to go back there actually quickly… I am nonetheless waiting for my job at Spotify… Cuz’ I know y’all loved my playlist.”

“I am nonetheless swooning,” declared Mrs. Brzezinski on Instagram. And as my own wife is fond of saying, “we could by no means have a president or very first lady as cool or with a wonderful (musical) taste as the Obama’s.”

During his two terms the President posted numerous common Spotify playlists which includes the a single for Summer.

hypebot

Doug Jones Reveals Details About the Mysterious Upcoming Guillermo del Toro Film, ‘The Shape of Water’

Doug Jones — aka the Faun and the Pale Man (scrawny Shar-Pei-thing with hand-eyeballs and evil grapes) in Pan’s Labyrinth, Abe Sapien in Hellboy, other strange things in just about each other Guillermo Del Toro project, and Bette Midler’s zombie ex-boyfriend in Hocus Pocus — lately did an interview with Collider, and spoke about his role in an upcoming del Toro film. Given that the information of said movie, titled The Shape of Water, have largely been kept secret, the interview revealed a excellent deal much more than was previously identified of the project.

What was previously recognized is quite considerably what’s there on the IMDB page: beyond Jones, its cast includes Sally Hawkins (quite good commence), Michael Shannon (the good continues), Octavia Spencer (yup, great), Richard Jenkins (also great), and A Critical Man‘s Michael Stuhlbarg (so that’s 6/6 for a cast of fantastic character actors), and it’s “an other-worldly story, set against the backdrop of Cold War era America circa 1963.” In his interview, although, Jones makes it clear that one particular of the the factors that earns the “other-worldly” description is that he’s not specifically playing a man (as usual), but rather a fish man:

I’m a fish man that is kind of a one particular-off. I’m an enigma, nobody knows exactly where I came from I’m the last of my species so I’m like a all-natural anomaly. And I’m getting studied and tested in a U.S. government facility in 1963, so the Russian Cold War is on, the race for space is on, so there’s all that backdrop and that undercurrent.

He notes that mentioned fish-man — like so several mutant movie humans prior to him — is currently undergoing government tests for use in the military (or, significantly less frequently, for space travel). The government is attempting to hold the piscine technology a secret from Russia. Sally Hawkins, he explains, plays a cleaning lady who gets entangled in a really like narrative with the fish-man. Jones says, “She comes and finds me, has sympathy on me, and then that is the story that you’re actually gonna adhere to with this entire backdrop.”

Collider notes that the fish-man theme had currently been rumored, but people had assumed that Shannon would be playing that starring function — so we’ll have to see what sort of creature (or, sure, anything’s feasible — human) del Toro has up his sleeve for the actor. For those who’ve been waiting for a return to the historically-interested fantasy/horror noticed in Pan’s Labyrinth and The Devil’s Backbone, this statement from Jones ought to further pique your interest: “It is artfully and beautifully [produced]—if this does not end up with Guillermo back at the Oscars, I will be surprised. I will be very surprised.”

Jones as Abe Sapien in 'Hellboy'Jones as Abe Sapien in ‘Hellboy’

Uproxx notes the similarities amongst The Shape of Water character and Hellboy‘s Abe Sapien, who was also played by Doug Jones (though he was voiced by David Hyde Pierce), and was likewise a fish-man stuck in a government facility. Even so, even on the off-chance that The Shape of Water actually sees Jones reprising that role, it seems like, no matter what it is, this won’t be anything resembling a classic superhero movie: “It’s not a sci-fi [film], it is not a genre film, but I am a creature in it,” he said.

Here’s some fishy promotional art:

the-shape-of-water-logo

Flavorwire

Google Rumored To Be Interested In Acquiring SoundCloud, Pandora In search of Alternative Suitors To Sirius XM

Google-logoSpotfify is prepping a major IPO. But on day three of 2017, that’s currently hunting unlikely to be the year’s greatest story in music streaming. Google is reportedly sniffing around SoundCloud, even as Pandora‘s income people search for a purchaser.

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SoundCloud_logo

Google is interested in buying SoundCloud, according to multiple sources. Although we cannot measure the accuracy of each and every of the stories that we’re hearing, there’s adequate chatter for us to believe that where there is smoke, there is actual fire.  A SoundCloud acquire would definitely finish Google’s also ran status in music streaming.

A deal for Spotify to get SoundCloud for an estimated $ 1 billion fell through late last year, following Spotify decided that becoming an even larger and more unprofitable firm did not aid its possibilities of obtaining a profitable IPO.

Pandora_2016_logo wide

Meanwhile, following rebuffing an offer from Liberty Media’s SiriusXM, Pandora’s investment bankers are reportedly sniffing around for another purchaser who would very best what is on the table. They’re also hoping that the early 2017 launch of Pandora’s Spotify competitor will increase company value.

Alongside the inevitable consolidation coming in streaming and music tech, and some scrappy startups ready to make waves, 2017 is already shaping up to be fairly a year.

hypebot

5 Marketing Takeaways From Music Streaming

Marketing-Takeaways-300x200Some recent evaluation from Subsequent Big Sound is showing that streaming is far more than just receiving artists’ music to the public, but is also supplying critical social and event data, as nicely as info on interactions in between artists and fans.

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Guest Post by Bobby Owsinski on Music three.

If you appear closely, streaming is teaching us all some marketing lessons, according to analytics service Subsequent Large Sound (now owned by Pandora), a business that looks at social, streaming and occasion information as effectively as the interaction in between an artist and a fan. Whilst a lot of look at it as just a way to get their music to the public, there’s truly a lot much more to it than that. Here’s what the company found.

1. Streaming platforms supply a path to niche audiences

When you’re trying to attain a particular demographic, streaming music platforms coupled with social media channels offer the most direct path. For example, according to the report, “latin artists now account for one particular-third of the most well-liked artists on YouTube. Half of the prime 20 artists on Pandora are most popular with 25- to 34-year-old ladies.” Streaming, along with social media, enables you to particularly target the group that you are interested in reaching.

2. Underground EDM and hip-hop fans are the most engaged

Some of the largest leading 40 artists might have bigger followings, but that does not imply they’re the most engaged. Artists like Vinny Cha$ e, Marshmello, and Logic haven’t even sniffed radio or the Prime 40 but have extremely robust audiences, in some situations more loyal than the superstars.

Elderly-couple-listening-to-music-mp3-player-208555143. People still listen to older hits

Think it or not, in America individuals are is nonetheless listening to bands like Nickelback—a lot. On Pandora, legacy rock artists like Journey and the Eagles perform just as effectively as Katy Perry and Kanye West.

four. Some musical genres resonate much more with listeners

If you look to the Prime 40 as a barometer for what’s well-known, you’d come to a wrong conclusion as you’d probably get the idea that pop or nation ruled. On Pandora, 60% of the top artists are hip-hop artists, compared to just 15% on the leading 40.

5. Emerging artists can be social influencers as well

After again, it is easy to consider that Beyonce or Katy Perry rule because they seem to dominate the streaming and social networks but that is not the case. Young electro pop artist Halsey, for instance, has a follower growth on Twitter that outranks the Leading 40 artists like Iggy Azalea, Adele, Justin Timberlake, and Britney Spears.

The bottom line is that we tend to consider that the globe revolves around music’s 1 percenters, but that’s not the case at all. Possibly in radio and on the Prime 40, but not across all streaming networks, which provides hope to indie artists everywhere that are attempting to enhance their advertising .

hypebot

Inspiring Lessons from Motion pictures for the New Year

As 2016 winds down to an end, and we put the finishing touches on our New Year’s resolutions, we’re taking a moment to reflect on some inspiring lessons from cinema for the road ahead in 2017. Right here are some sensible and witty quotes from films that have a lot to say about life, enjoy, and happiness. Satisfied New Year!

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Specifically What&#039s Going On in &quotAnd Your Bird Can Sing&quot?

Here’s a handy video we not too long ago stumbled upon. It really is a three-screen clip that shows the magic of “And Your Bird Can Sing,” a 1966 track that always ranks as one particular the Beatles’ best “guitar songs.”

In fact, Guitar World ranked it at Quantity 7 when we published “The Fab 50: The Beatles’ 50 Greatest Guitar Moments” a handful of years ago.

This middle-period gem from Revolver, written primarily by John Lennon, attributes George Harrison and Paul McCartney on impeccably crafted and performed harmony-lead guitar melodies, a pop-rock arranging approach that was nevertheless in its infancy in 1966. It would later be employed extensively in Southern rock by the Allman Brothers and Lynyrd Skynyrd as nicely as difficult rock/metal acts like Thin Lizzy and Iron Maiden.

The two Epiphone Casinos in the clip (it’s most likely the exact same guitar, of course) represent the parts of Harrison and McCartney, each of whom had been playing Casinos at the time. The Strat in the middle (which is painted to appear like Harrison’s “Rocky”) represents Lennon’s part. Yes, this is confusing, but let’s go with it.

With each other, Harrison and McCartney’s individual single-note harmony lead guitar parts kind, for the most portion, diatonic (scale-primarily based) third intervals in the key of E. (Lennon performed his rhythm guitar element as if the song have been in the important of D, employing a capo at the second fret to transpose it up a complete step, as he did on “Norwegian Wood,” “Nowhere Man” and “Julia.”)

The quick half-step and whole-step bends that Harrison and McCartney incorporate into their parts here and there in lock-step style are specifically sweet sounding. Heard collectively, they have the precise intonation of a nation pedal-steel component performed by a seasoned Nashville pro.

The harmonized lines that the two guitarists play more than the “minor-drop” progression in the course of the song’s bridge section, beginning at 1:05 (in the original Beatles recording), reveal their musical depth and sophistication and command more than harmony beyond the basic “I-IV-V” pop songwriting fodder.

Below, we’ve also incorporated a video of a band—1964: The Tribute—performing “And Your Bird Can Sing” in 2008. The guitarist, Tom Function, does an outstanding job of capturing the essence of the two-guitar solo with 1 guitar, a very nice Gretsch Nation Gentleman. His solo starts at 1:01. Get pleasure from!  

Guitar World

Weyes Blood, “Generation Why”The YOLO DissectionPicture this: a…

Weyes Blood, “Generation Why”

The YOLO Dissection

Picture this: a zinfandel-red Toyota Prius cutting by means of late-October fog. About it, burnt autumn cornfields pepper the horizon with droopy stalks, nonetheless and half-frozen, like faceless crowds of naked stick figure scarecrows.

Halloween weekend 2016 was about to commence, and I was driving by way of Fantastic Barrington, Massachusetts, on my way to go to the upstate New York college that I’d graduated from the year before.

I had a half-tank of gas, freshly-filled tires, and a quickly-disappearing package of Eclipse winterfrost chewing gum, which is the excellent gum for driving because the plastic clamshell packaging signifies you do not have to deal with a wrapper when taking out two pieces (by no means just one particular) with only your right hand.

It was mid-afternoon, and despite the fact that it wasn’t especially sunny, I was wearing sunglasses. My Spotify playlist, “To Listen To,” which I’d updated that morning, was saved to my telephone. Weyes Blood’s album, Front Row Seat to Earth, had begun playing twenty miles earlier.

I’d been struck, initially, by the album’s title, after seeing mention of it on a music blog. Natalie Mering (who performs below the moniker Weyes Blood) almost certainly intended it as a dig at the generally-agreed-upon tragedy that is the “social” side of social media, exactly where men and women have swapped physical, human connection with wi-fi-enabled virtual connection, content to view the highlight reels of close friends lives from the front row seats of their couches.

As a young journalist, though, I interpreted the title as asking a query about the position of the writer. Writers are, by our extremely nature, observers. We see or hear or feel anything, permit it to live within us, and, when we (or our deadlines) make a decision it is time, we try to translate the essence of what we have skilled into words on a page. This is its own type of front row seat: by experiencing one thing with the intention of later writing about it, we begin to focus more on the telling of the story than the living of the story.

Nowadays, that way of life has become the norm, regardless of a person’s profession. Facebook has transformed us all into journalists covering our personal lives. We upload brief digest pieces every day, gradually compiling material for cover stories completed over the course of a lifetime, published the moment we die.

“Generation Why,” which sits like a ballast at the center of Front Row Seat, gives religious gravity to a widespread phrase. The song starts with a spooky choir, whose voices have been digitally manipulated and autotuned – the sonic equivalent of a stadium church’s tv screen. From a sweet hum types language, numerous voices asking the question: “Y-O-L-O, why?” You only live as soon as. Here, Mering reaches into the most disposable, seemingly absurd saying of recent pop-culture memory and produces from it a some thing profound: the query of why our generation views “you only reside once” as a comforting idea. It’s a stirring query taken from a trite saying – proof of language’s power to reflect unconscious truths about these who speak it.

“Generation Why” becomes an ode to utilizing an acceptance of death as a explanation to take pleasure in life. “It’s not the previous that scares me,” Mering sings, “Now what a great future this is gonna be.” To Mering, “YOLO” delivers spiritual liberation. And “Generation Why” is a spiritual song certainly its choir projects as though from a pulpit, and the arpeggios of the song’s primary melody – played 1st on guitar, then on piano and organ – bear a striking resemblance to Schubert’s “Ave Maria.”

That “Generation Why” had such a profound effect on me when I 1st heard it probably had something to do with the situation I was in: driving a car from my present (New York City) to my previous (college). A reminder to live in the moment was surely needed I was in a no man’s land in between my personal previous and present.

Like all excellent songs, “Generation Why” has revealed new depths of meaning more than time. The presidential election came just over a week right after my solitary initial listen, replacing the controlled nightmare of Halloween with a significantly less predictable, significantly less short-term one. In the days following the eighth of November, “Generation Why” hung in my mind. I’d hear Mering sing “carry me by means of the waves of modify,” and see the sentiment echoed in President Obama’s words on change: “Societies and cultures are genuinely complicated…This is not mathematics this is biology and chemistry. These are living organisms, and it’s messy.” In other words, alter comes in waves.

We can understand from the cultural questioning at the heart of “Generation Why.” Let us ask ourselves why we say the factors that we say, beyond “YOLO.” Let us appear for unconscious truths in other pieces of ourselves – in the approaches we live, and in what we say. Let us treat the present moment as even though we are fresh graduates, viewing our old selves and selecting what to preserve. Let us contemplate how we can turn out to be a far better version of that individual, how we can create the planet that we want. Such self-assessments feel particularly critical now, as we appear to the future, hoping for adjust, desperately searching for approaches to produce waves of our own. 

Gabe Cohn

Gabe previously wrote for OWOB about Jack White.

One WEEK // One BAND

Lorca’s ‘Play Without a Title’ Gets a New Title, and Two New Acts

A single of Federico García Lorca’s plays is acquiring a new ending. As odd at that may well sound for the Blood Wedding playwright/poet who died in 1936, it is just been created attainable by (and fortunately, the end of this sentence isn’t: “a Lorca algorithm”) another Spanish playwright/poet named Alberto Conejero.

The Guardian reports that the writer has given a play Lorca started but in no way finished (ultimately titled Play Without having a Title in its unfinished form) two additional acts, as well as an additional title, The Dream of Life (El sueño de la vida). Conejero’s version will be published in 2018, and performances will come soon after its publication.

Conejero described The Dream of Life:

It is a play about the role of theatre when confronted with a social emergency but it is also about the necessity of fiction and poetry in a planet in ruins…[It] fulfils the function of theatre in times of social crisis and amid the rise of fanaticism, and I really feel it’s totally necessary now.

Lorca was a staunch socialist, and was believed to have been assassinated by a appropriate wing militia who, per the Guardian, “were systematically wiping out suspected leftwingers” at the starting of the Spanish Civil War, as fascism overtook the nation. Revisiting a play whose completion was violently halted by rising Fascism indeed appears relevant.

Lorca had originally intended it to be a three-act piece, and it’s thought that he began to create it in 1935, but was murdered prior to he could full it. What small there was of the play remained unpublished until 1978, and un-performed till 1989.

What was currently there in Lorca’s writing was a meta-theatrical, tragicomic, early avant-garde piece, which takes location in a theatre exactly where actors are performing A Midsummer Night’s Dream (which also, incidentally, contains an early example of meta-theater).

Apparently, for the project commissioned by Madrid’s regional government, the playwright has followed plans Lorca himself had for the play, but also eschews saying he “finished” it, emphasizing rather that “it’s more about a dialogue with Federico’s voice and carrying on with that impulse.” He says he hasn’t “touched a comma of [Lorca’s] act.” Anticipating controversy, he said, “Anyone who wants to uncover Play Without a Title as it was left can constantly do so. I haven’t painted more than the canvas.”

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Music Market Leaders Provide Their Predictions For 2017

image from canna-ventures.comThe group behind the music business plan at William Paterson University reached out to a variety of top music market leaders to get their predictions for the enterprise in 2017.

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Guest post by Dave Philp from Music Biz 101 at William Paterson University

It is easy to recap a distinct year since every little thing already occurred.  But what about predicting what will take place in a new year?  Yeah, that is tough.  When you believe about it, the job of a lot of people in the music industry is to predict the future.  Isn’t that what agents and promoters do, book artists in venues based upon a prediction of ticket sales?  And what about A&ampR people?  Their job is to predict what sort of artists and what type of songs the planet desires to hear.

In the education world, exactly where this writer is based, predictions are not as common as dwelling on the previous.  That’s why history departments are so a lot a component of a liberal arts curriculum.  English teaches about Beowulf and Shakespeare. Cool stuff, but written by humans who have been dead for hundreds of years.  Even music theory is based upon chords and sounds and pieces written in the cracked rearview.

We took it upon ourselves here at Music Biz 101 headquarters to ask about the American biz and locate out what folks are expecting for 2017.  You’ll study the thoughts of folks working at Rumblefish/Harry Fox Agency, Atlantic Records, A2IM, Warner/Chappell, Tommy Boy Entertainment, and much more.

Get pleasure from the read and then do two items: 1) Comment beneath with your predictions, and 2) Come back here as 2018 approaches and see what came correct and what was way off.

Now, on with the fortune telling!

John Simson

  • John Simson – Executive in Residence. Kogod College of Organization, American University Former Exec. Director of SoundExchange: Will BMI and ASCAP be forced to merge? Each organization has about $ 120 Million in costs. A merger would mean an quick improve of $ 120 Million to publishers and writers by eliminating the redundancy of work. The admin charges would drop as they would no longer want to spend to compete vs. every other probably resulting in further millions in payouts to members.

Michael Simon

  • Michael Simon – President &amp CEO of Rumblefish and Harry Fox Agency – 2017: Blockchain gains even more focus but continues to befuddle all but a limited group of initiates.  Late in the year, we see the release of a lot more “protest”-oriented recordings than we’ve heard in a decade.

Yannick Peary

  • Yannick Peary- Director Digital Advertising and marketing for Atlantic Records – In 2017, labels (and rights holders) will start monetizing their digital audiences (internet site guests, social followers, etc.) equivalent to other main media publishers by means of programmatic ad exchanges and generate new business income streams.

John Butler

  • John Butler – VP Promotion for Curb Music – 2017: The Year That Streaming Services Became Radio – Consolidation of streaming solutions bought by traditional media firms Nashville becomes a 3rd coast A&ampR source for pop music and totally earns the Music City title CBS spins off and tends to make Nashville a corporate house

Jake Ottman

  • Jake Ottman – Exec VP of A&ampR for Warner/Chappell – Because of the explosion of music streaming in 2016 there will be a million new label startups in 2017.

George Dassinger

  • George Dassinger – CEO, Dassinger Inventive – Streaming is the name of the game in 2017 music, but these older than 30 have only a slight awareness of a music revolution happening as they go about their day-to-day.

Jerry Lembo

  • Jerry Lembo – Music Consultant – The Prime ten singles of 2017 will all feature a solo artist, singular songwriter and one particular producer.  And Managing Your Band – 6th Edition will replace All You Require To Know About The Music Organization as the #1 Greatest Seller on Amazon. (Ed. note: Jerry is the ideal human ever.  Read on.)

Rosie Lopez

  • Rosie Lopez – President, Tommy Boy Entertainment – 2016 is the year when tech businesses openly voiced their need to become labels and radio stations.   Will 2017 be the year when labels disrupt the digital music pipeline and lastly invest in launching great apps and platforms that will offer direct access to shoppers ala HBO and Netflix? Will micro transactions and blockchain be embraced by the industry as a way to enhance income and to solve inefficiency in digital content monetization?

Richard James Burgess

  • Richard James Burgess, Ph.D., CEO A2IM (American Association of Independent Music) – 2016 was the year when streamed music exceeded any other format. 2017 will be the year when customers commence to genuinely define the charts by means of the algorithmic measurements of the digital solutions. This will create another seismic shift that echoes the one that occurred 25 years ago when SoundScan was introduced in 1991. Then we learned that metal, hip-hop, country, and R&ampB had been considerably more well-known than the prior charts indicated. Likewise, we will see at the moment underrated types of music surface and begin to dominate. Power to the individuals!

Elyse Chamberlain

  • Elyse Chamberlain, A&ampR Talent Scout at Atlantic Records – 2016 showed that more than ever self-produced and independent artists can enjoy mainstream exposure in streaming and touring with out the help of main labels or commercial radio. 2017 will continue this trend and we will also see the rise of artists exclusively releasing singles and EPs alternatively of the classic album.

Paul Resnikoff

On the December 14, 2016 broadcast of Music Biz 101 &amp More, Digital Music News founder Paul Resnikoff predicted one thing new and thrilling in the vinyl globe, but simply because of time constraints, could not offer specifics related to alterations going on with those rotating black spheres.  

Music Biz 101 Happy Holidays Philp &amp Marcone

Medical doctor Esteban Marcone predicted the AT&ampT/Time Warner merger would happen, affecting the music biz in a profound way.  He also believed some streaming services would either merge or go by the wayside.

What about your Professor David Kirk Philp?  Well, on the air he stated there would be a lot more celebrity deaths.  2016 was unusually difficult, as we all lost greats like Prince, David Bowie, Glenn Frey, Sharon Jones, Maurice White, both the E and the L in ELP (Emerson, Lake &amp Palmer), and so several far more.

For this post, Philp will go out on a ledge and state that he (me) thinks we’ll see the huge streaming audio services, like Spotify, Apple Music, Amazon, and Pandora, get more into original content.  Apple Music and Tidal are getting exclusives currently.  But I’m speaking about making original content material for music, in other words signing and recording talent, and distributing that as a new release under the auspices of Spotify Recording Group, for instance.  Amazon and Netflix currently do this with video content material.  With tens of millions of listeners, a captive audience, and with highly influential playlists, I can not see why the big services would ignore at least trying out the notion.

What do you believe will happen?  Comment under and let’s see who’s very best at figuring out what’ll take place just before the clock strikes midnight each tomorrow.

Adios!

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Professor David Philp is Assistant Professor Music Management &amp Well-liked Music Research at William Paterson University. He is the co-host of the only Totally free suggestions college radio-primarily based music &amp entertainment industry talk show in America, Music Biz 101 &amp A lot more, which airs reside most Wednesday nights and is available as a podcast Right here each evening (days also).  Reach him at PhilpD@wpunj.edu or discover him on LinkedIn Right here.

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