This week, Billboard’sNew Music Latin roundup and playlist — curated by BillboardLatin and Billboard Español editors — features fresh new music from artists including new music by Chencho Corleone, Arthur Hanlon, Yotuel & Darell; Cris MJ, FloyyMenor & Louki, and more.
In her latest release, X Amor II, Kim Loaiza builds upon the foundations laid by her 2023 debut, X Amor. The Mexican singer demonstrates her evolving artistry through an eclectic mix of genres ranging from reggaetón to música mexicana, peppered with other unexpected styles. A standout track includes the opener, “5 Babys,” a powerhouse intro that features an all-female lineup with Spanish MC Ptazeta, Mexican reggaetonera Bellakath, Argentine lyricist Yami Safdie, and Colombian rapper Fariana.
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Argentinian stars LIT Killah and Nicki Nicole team up with the release of “Somos 3,” an electro pop track with subtle trap and Afrobeat undertones, courtesy of producers Tatool and Francisco Zecca. The single was recorded during the summer in Madrid.
Cumaná, Venezuelan newcomer MARI also dropped “La Carajita,” which offers a “hypnotizing fusion of urban music and Venezuelan llanero music, subtly transporting us to the countryside through sustained falsetto verses like ‘the street is calling me,’ and bringing us back to the city with forceful drum rhythms, rap and cuatro,” wroteBillboard Español‘s Sigal Arias-Ratner.
Other new releases this week include Charly García’s La Lógica del Escorpión, Chino Pacas’ corridos “Otra Vez Pegue Un Vergazo,” Mike Bahía’s tropical pop “La Pena,” and a whole new remix EP by Nathy Peluso, Club Grasa.
Last week, Andy Rivera’s “Moncler” won the poll, bringing in nearly 88% of the votes. Who should win this week? Give these new releases a spin and vote on them below.
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From The Weeknd releasing the lead single to his next album to Charli XCX and Troye Sivan initiating Brat autumn with a fresh remix, this week is full of artists stepping into new eras.
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Starting with the Canadian superstar, new song “Dancing in the Flames” marks the lead single off his upcoming album Hurry Up Tomorrow. When that LP drops, The Weeknd will finally have completed the album trilogy he started in 2020 with After Hours and continued with 2022’s Dawn FM. The albums reached Nos. 1 and 2 on the Billboard 200, respectively — there’s a reason the “Blinding Lights” musician is Billboard‘s No. 18 greatest pop star of the 21st century.
Next up, the duo behind the upcoming Sweat Tour unleashed their highly anticipated collaboration on a remix of “Talk Talk,” which follows a summer of Charli’s Brat remixes with Lorde, Billie Eilish and more. The flirty anthem also precedes the British alt-pop star’s recently announced follow-up album Brat and It’s Completely Different but Also Still Brat, which arrives Oct. 11.
Plus, both Katy Perry and Shawn Mendes premiered new singles from their respective fast-approaching albums, 143 and Shawn. The former unveiled “I’m His, He’s Mine” featuring Doechii while the latter dropped “Nobody Knows,” with both tracks making their live debuts on the MTV Video Music Awards stage Wednesday (Sept. 11), two days prior to their releases.
Also new this week are tracks from Playboi Carti, Tate McRae and FKA Twigs, plus a 14-track album from Miranda Lambert. There’s a lot to choose from, but Billboard wants to know your favorite fresh release — so cast your vote below.
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All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
“The notion of ‘effortless luxury’ is quite authentic to me, my designs, and the meaning behind them. The word ‘luxury’ is used in too many ways, and you can get bored of it — it’s much more difficult to achieve something simple and effortless, of which you never get bored,” Marant said in a statement.
Since a young age Marant was inspired by Charles “Chuck” Taylor, the basketball player and famed shoe salesman behind Chuck Taylors. “When I was a kid, about eight or nine, I used to cut pieces of cork and put them in my sneakers — those shoes were actually a pair of Chuck Taylors” Marant shared with the Converse team.
Converse x Isabel Marant Chuck 70 Wedge High-top Sneakers
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Jelly Roll and mgk are helping Spotify launch its new vodcast series Countdown To, which offers viewers a behind-the-scenes introduction to artists’ upcoming projects as they count down to album launch day.
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In July, Spotify expanded its Countdown Pages tool, which helps artists and their fan bases gear up for album launches by allowing listeners to preview tracklists, watch clips, acquire artist/album merch and see a timer count down the seconds until album launch.
With Countdown To, artists sit down with their fellow artists, album collaborators, family members and friends to dive into a new album’s music, themes and inspirations. The interview-spearheaded series is located on the artist’s Countdown Page, while the full video will be available as a vodcast episode on Spotify, and on Spotify’s YouTube page.
The inaugural episode features Jelly Roll in conversation with mgk, as the countdown ticks to the release of Jelly Roll’s upcoming album Beautifully Broken on Oct. 11. Jelly Roll and mgk previously teamed up for the song “Lonely Road.”
“I felt early in this writing process, it was becoming my journal of mental health,” Jelly Roll said, adding, “It’s the longest time I’ve took writing a single project… I really wrote this record hoping that people would feel that they were spoken for. What I hear the most from people is, ‘Man, this song says what I can’t.’ And that sticks with me, dude… That’s what I want them to get from this album.”
They also discussed how they went from enemies to friends, with mgk saying, “So, our beginnings were interesting,” and sending Jelly Roll into a deep laugh. “It is so funny how much I love you now,” said mgk, “because like, God, I hated you so much back then.”
Jelly replied with a laugh, “I was just a spiteful, bitter f–kin’ dude, you know what I’m saying?” adding, “I explain this to people and they don’t understand the concept because of our age now. Whenever I talk to my daughter, I’m like, ‘You gotta understand there was only like seven white rappers on Earth at this time, so it was so competitive when you was in that pool, that we were kind of automatically forced against each other anyways.”
“For sure,” mgk said. “You’re bred to hate each other.”
“And you were just like, just skinny and handsome,” Jelly Roll said. “So I was like, I was just a hater. I was just a hater, dude! It’s hard to grow up in front of the whole world.”
“This might be one of my favorite mgk disses, was, ‘F–k Machine Gun Kelly and his mohawk,’” mgk said, eliciting more laughs from Jelly Roll. “Because you just had this Southern drawl on your voice, where you didn’t say ‘mohawk,’ you said ‘mo-hawck.’ And that mohawk, dude, my mohawk was f–kin’ just a nice, eight inches of just egg whites and cheap hairspray…”
Jelly Roll’s song “I Am Not Okay,” featured on Beautifully Broken, is currently at No. 9 on Billboard‘s Hot Country Songs chart. Meanwhile, the album shares its name with Jelly Roll’s just-launched arena tour, which also features openers Warren Zeiders and Alexandra Kay.
Jelly Roll also talked about the struggle of balancing life on the road with being there for his family, and the two also discussed the ever-broadening reaches of country music, and compared the widening borders of rock and country.
“Countdown To is the latest effort in our ongoing commitment to spotlight artists and their new music on Spotify,” Sarah Patellos, head of Spotify Music Studios, said in a statement. “Working with director Karam Gill and mgx creative, these intimate conversations are shot documentary-style to really get to the root of each artist’s creative journey.”
The 23rd Annual Americana Honors & Awards, which are set for Sept. 18 at Nashville’s fabled Ryman Auditorium, will be bookended by memorable performances.
Duane Betts will open the show by performing the Allman Brothers Band’s “Blue Sky,” which his father Dickie Betts wrote. The song appeared on the 1972 classic Eat a Peach, the band’s first album to make the top 10 on the Billboard 200. Dickie Betts died on April 18 at age 80.
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Emmylou Harris and Rodney Crowell will close the show with “Return of the Grievous Angel,” the opening track on Gram Parsons‘ Grievous Angel, on which Harris was prominently featured. The album was released in January 1974, four months after Parsons’ death from an overdose. He was just 26.
The Americana All-Star Band, led by Buddy Miller, will return to back the artists who are performing on Americana music’s biggest night. Other band members include Don Was (who is set to receive a lifetime achievement award), The McCrary Sisters, Bryan Owings, Jerry Pentecost, Jen Gunderman, Jim Hoke and Larry Campbell.
Other performers set for the show include SistaStrings (who will perform with Clark) and Fantastic Negrito (who will perform in a tribute to the late Rev. Gary Davis, who will receive the Legacy Award in partnership with the National Museum of African American Music).
The program will be filmed for broadcast on PBS in the Austin City Limits time slot in November. The awards show is the centerpiece of the annual Americanafest, which returns for its 24th year Sept. 17-21.
The show is set to begin at 6:30 pm CT. Doors open at 5:30 pm CT.
Here are all the performers and presenters for the 2024 Americana Honors & Awards.
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August proved to be full of major releases for new streaming content, and thanks to platforms such as Hulu, Paramount+, Netflix, Apple TV+, Peacock, Max, Disney+ and Prime Video, the amount of TV shows and movies to watch is practically endless. With so many streaming options available, it can be overwhelming trying to keep track of what to watch every weekend. Rather than have to keep track or endlessly scroll to figure out the best new shows to stream, ShopBillboard has put together a guide of some of the most anticipated releases to put on your radar.
Each month, streaming platforms have a lineup of exciting and new releases to add to your watch list. From the return of the Emmy’s to channel-exclusive content from MTV, ABC and even USA Network, find our picks for the best TV series and movies to watch this weekend below.
What to Watch on Hulu This Weekend
Hulu comes with a full library of original shows in addition to cable shows from FX and ABC that premiere the day after airing. If you don’t have a subscription, you can get a 30-day free trial when you sign up. When the free trial ends, you’ll be charged as little as $7.99 a month. For even more content options, you can bundle Hulu with with Disney+ and ESPN+ and Max for as low as $14.99 a month. And for live TV options, you can get Hulu + Live TV for $76.99 a month.
JFK airport worker Melissa (Natasha Rothwell) is notably afraid of flying, but after a close encounter with death, she rediscovers her passion for life and decides to dream big again.
In Vogue: The ’90s (Season 1)
Release date: Sept. 13
With ’90s fashion continuing to influence today’s fashion trends, this limited docu-series delves into the fashion industry during the decade through the eyes of notable style editors including Anna Wintour, Edward Enninful, Tonne Goodman and Hamish Bowles in addition to celebrity fashion influencers like Kim Kardashian, Kate Moss, Victoria Beckham and Mary J. Blige.
76th Emmy’s Award Show (2024)
Release date: Sept. 15
The Emmy’s return for the 76th year and will be aired live on ABC with co-hosts Dan and Eugene Levy taking you through the night. Shogunand The Bearare current record holders for the most amount of nominations for their respective categories (23 for the Jeremey Allen White led comedy series and 25 for the drama). You’ll need Hulu + Live TV in order to livestream the award show or you can stream it the next day on Hulu.
What to Watch on Prime Video This Weekend
Prime members have all of the Prime Video library at their fingertips, including Prime originals and exclusive content. If you’re not a member, Amazon is offering a 30-day free trial for new users. You’ll get access to the entire Prime Video library in addition to Prime exclusive perks. Once your free trial is over, you’ll be charged the regular membership fee of $14.99 a month or $139 a year.
In The Money Game, Prime Video gives a closer look into college athletes’ lives and the impacts on the law change that finally allows players to make a profit through brand deals. You’ll see four different players from Louisiana State University as they navigate the benefits and challenges that come with this new era in collegiate sports.
What to Watch on Paramount+ This Weekend
Paramount+ is the official streaming platform for Showtime, Nickelodeon, MTV, CBS, Comedy Central and even its own exclusive content. Paramount+ subscribers can watch and stream any content within the library for free including live content. New users who sign up can take advantage of a free seven day trial that’ll let you watch everything for free. Once the free trial is over, you’ll be charged $5.99 a month (or $59.99 a year). To get access to Showtime content, you’ll need to sign up for Paramount+ With Showtime, which is only $11.99 a month.
Sylvester Stallone returns in this dark comedy that follows Mafia capo Dwight “The General” Manfredi as he begins a new crime empire after being exiled to Tulsa. The latest season will see how things fare after The General draws unwanted attention with the opening of his new casino and weed company.
What to Watch on Max This Weekend
Max subscribers can look forward to dramatic new releases when logging in. If you don’t have a subscription, you can sign up for as low as $9.99 a month or $99.99 a year for the ad-supported plan or you can go ad-free for $15.99 a month ($149.99 a year).
The final season of the drama series looks examines female friendships focusing on two young women’s relationship and its evolution throughout the years with the final season set against the backdrop of a post WWII Italy.
Civil War (2024)
Release date: Sept. 13
Kristen Dunst stars in this dystopian thriller as journalists race to the Washington D.C. in an attempt to help prevent an attack from rebel factions on the White House.
What to Watch on Netflix This Weekend
Besides signing up the traditional way, new Netflix subscribers can take advantage of free trials and promos going on through Xfinity, T-Mobile and Verizon.
Emily in Paris (Season 4, Part 2)
Release date: Sept. 12
Fans’ appetite for the full season can finally be satiated as the second part of Emily in Paris is officially out. New romance is possibly on the horizon for Emily Cooper as she finds herself in Italy on vacation with Gabriel and Camille (who is secretly hiding her false pregnancy).
Uglies (2024)
Release date: Sept. 13
Based on the bestselling series, Joey King stars in this sci-fi thriller as Tally Youngblood, a young girl who lives in a society that enforces beauty standards. As she awaits her mandatory cosmetic surgery, she finds herself caught up in a hunt to find her missing best friend.
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Donald Trump infringed copyrights by using Eddy Grant’s iconic “Electric Avenue” in a 2020 campaign video without permission, a federal judge ruled Friday (Sept. 13), rejecting Trump’s argument that he made legal fair use of the song.
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Grant sued Trump in 2020 after the then-president used his 1982 hit in a social media video attacking Joe Biden. Grant said he reacted with “dismay” when he began receiving inquiries asking if he had approved the Republican candidate’s use of his music.
Trump’s lawyers had argued the video was shielded under copyright’s fair use doctrine, which allows for the “transformative” re-use of protected works in certain situations. But in Friday’s ruling, Judge John G. Koeltl sharply rejected that argument.
“In this case, the video has a very low degree of transformativeness, if any at all,” the judge wrote. “The video is best described as a wholesale copying of music to accompany a political campaign ad.”
A spokesperson and an attorney for the Trump campaign did not immediately return requests for comment.
Four years earlier, Grant filed a similar case over Trump’s “wrongful and willful” use of “Electric Avenue,” a funky, reggae-infused track about the 1981 Brixton riot, named for a road running through that London neighborhood. The song reached No. 2 on the Hot 100 in the summer of 1983 and ultimately spent 22 weeks on the chart.
The video at issue, shared by Trump on Twitter, featured a red “Trump” train outrunning a handcar driven by Biden, as audio clips of Biden’s speeches played above Grant’s 1982 hit. Grant’s attorneys said the campaign had refused to remove the clip even after they were warned — meaning that Trump was acting as if he was “above the law.”
Facing those allegations, Trump’s legal team argued that the video amounted to fair use, claiming the campaign had transformed Grant’s song into a vehicle to criticize Biden. In 2021, Judge Koeltl hinted that he would likely reject that argument on the grounds that it “misapprehends” how fair use works, but he said it was too early to decide the issue.
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On Friday, the judge made good on his warnings, largely adopting the same rationale as his 2021 decision. He noted that Trump’s video “did not edit the song’s lyrics, vocals, or instrumentals at all” and had “offered no justification for their extensive borrowing.”
Trump’s attorneys had argued that the video had “transformed Grant’s original conception of ‘Electric Avenue’ as a protest against social conditions into a colorful attack on the character and personality traits of a rival political figure.” But the judge was entirely unswayed by that defense — saying that it would only count as fair use if Trump had used the song to attack Grant, not Biden.
“The animation does not use ‘Electric Avenue’ as a vehicle to deliver its satirical message, and it makes no effort to poke fun at the song or Grant,” Judge Koeltl wrote, quoting directly from his earlier decision.
Friday’s ruling means that Trump and his campaign have been held legally liable for copyright infringement, but it leaves undecided the amount he must ultimately pay Grant in damages. That issue will be resolved in future proceedings.
An attorney for Grant did not immediately return a request for comment.
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With fall just around the corner, there’s no better time to update your autumn playlists with new music from your favorite queer artists. Billboard Pride is proud to present the latest edition of Queer Jams of the Week, our roundup of some of the best new music releases from LGBTQ artists.
From Charli XCX & Troye Sivan’s amped-up new remix to Demi Lovato’s touching new ballad, check out just a few of our favorite releases from this week below.
Charli XCX feat. Troye Sivan, “Talk Talk (Remix)”
The best remixes are the ones that take the concept behind an original song and completely transform it into something new. Charli XCX and Troye Sivan accomplish exactly that on their thrilling rendition of “Talk Talk,” keeping a handful of memorable melodies from the original song while completely recontextualizing the track into a sweaty, bouncing club banger. Their vocals pair perfectly together as they talk their way into their respective lovers’ beds, making the hype around this remix much more than just talk (talk).
Demi Lovato, “You’ll Be OK, Kid”
In many ways, Demi Lovato’s new documentary Child Star is an opportunity for them to speak to their younger self. With the documentary’s accompanying song “You’ll Be OK, Kid,” Lovato takes that idea to its literal conclusion, singing a lullaby-esque melody to a younger, less-experienced Demi. She warns her former self to be wary of “sharks in the water” and “thorns on the roses,” but concludes with assurance that ultimately, things will work out.
Joy Oladokun, “I’d Miss the Birds”
Joy Oladokun is ready to move on. On her stunning new single “I’d Miss the Birds,” the pop-folk singer-songwriter pens a bittersweet farewell to the city of Nashville, a place that has simultaneously helped her become the person she is, while also being the place that she has entirely outgrown. Throughout her brutally-honest track, Oladokun makes clear all the things she won’t miss, before admitting that leaving somewhere you’ve called home for so long is never easy. “But it doesn’t mean I should hang ’round and suffer,” she determines.
Arca & Tokischa, “Chama”
What happens when you take two of the most fascinating experimental pop artists in the game and put them together on one song? You get something like “Chama,” the entrancing new single out courtesy of Arca and Tokischa. Throughout this pulsating anthem, the duo trade sexed-up verses in their native Spanish, which the shifting, percolating beat constantly switches, morphs, speed, slows and intensifies, making “Chama” yet another slice of thrilling music courtesy of two artists intent on changing things up.
Soccer Mommy, “Driver”
If Taylor Swift was admitting she might be the problem with “Anti-Hero,” then Sophie Allison (a.k.a. Soccer Mommy) is thanking her lover for sticking around anyways on “Driver.” This classic, guitar-and-drum indie-rock track sees Allison embracing her role as the indecisive, spaced-out girlfriend, waiting for her partner to bring her back to Earth. It’s simple, effective, and a testament to Soccer Mommy’s staying power as a rock artist that she keeps you listening throughout this easy-to-enjoy single.
Pale Waves, “Thinking About You”
Speaking of effective rock vibes, Pale Waves is here to once again prove just how good their new era sounds. “Thinking About You” follows previous singles like “Perfume” and “Gravity” in its ’90s goth-rock-meets-pop inspiration, as frontwoman Heather Baron-Gracie finds herself stuck on a past relationship no matter how hard she tries to move on. The soft guitars and Baron-Gracie’s top-tier vocal sends “Thinking About You” to new heights for the band.
Check out all of our picks on Billboard’s Queer Jams of the Week playlist below:
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With the announcement of Charli XCX’s Brat remix album, Troye Sivan leads the way with his remix with her on “Talk Talk.” Watch what he had to say about making the remixed single, out now!
Stay tuned for the full Troye Sivan interview, coming soon!
Troye Sivan: We’ve come out with something that I really, really love, like, it slaps I think.
Why was “Talk Talk” the song that you guys felt like was right for your remix?
She did the whole remix album, so there’s, like, a remix for every song, and she chose me for “Talk talk.” When she was first working on Brat, she sent me “Talk Talk” and I loved it, obviously. And it was really cool, though, because what she’s done with this remix album is, like, it can be … Some of the remixes are kind of a more maybe traditional feature, where the person has come on and just, you know, is on the second verse, kind of like doing the same melody, but maybe changing some lyrics, but, you know, kind of like that vibe.
What she said as well, though, was that she wanted some of the songs to … She’s just like, “I don’t care if you use one word from the original, it can be a completely new song. But use, use ‘Talk Talk’ as, like, you know, a seed for a song.” Essentially, we sampled “Talk Talk” and created an entirely new pop song out of it. Because I said to her, “If it’s a remix, is this like a, like a six-minute long, like, club song? Or is this like a pop song?” And she was like, “No, it’s a pop song.” I’m like, “OK, cool.”
I had so much fun, kind of, like, taking the scissors to the song that I really, really love, and getting to, kind of, like, chop it and change it and whatever. And we brought in kind of, like, the rush team, and worked on it, and then sent it back to Charli, and Charli did her thing, sent it back to me. It was just kind of like this really fun collaborative process, and we’ve come out with something that I really, really love, it, like, slaps I think, yeah.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-09-13 19:30:352024-09-13 19:30:35Troye Sivan Gets to ‘Talk Talk’ About Charli XCX Remix | Billboard News
You can’t say no one’s getting rich from streaming. In an indictment unsealed in early September, federal prosecutors charged musician Michael Smith with fraud and conspiracy in a scheme in which he used AI-generated songs streamed by bots to rake in $10 million in royalties. He allegedly received royalties for hundreds of thousands of songs, at least hundreds of which listed as co-writer the CEO of the AI company Boomy, which had received investment from Warner Music Group. (The CEO, Alex Mitchell, has not been charged with any crime.)
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This is the first criminal case for streaming fraud in the U.S., and its size may make it an outlier. But the frightening ease of creating so many AI songs and using bots to generate royalties with them shows how vulnerable the streaming ecosystem really is. This isn’t news to some executives, but it should come as a wake-up call to the industry as a whole. And it shows how the subscription streaming business model with pro-rata royalty distribution that now powers the recorded music industry is broken — not beyond repair, but certainly to the point where serious changes need to be made.
One great thing about streaming music platforms, like the internet in general, is how open they are — anyone can upload music, just like anyone can make a TikTok video or write a blog. But that also means that these platforms are vulnerable to fraud, manipulation and undesirable content that erodes the value of the overall experience. (I don’t mean things I don’t like — I mean spam and attempts to manipulate people.) And while the pluses and minuses of this openness are impossible to calculate, there’s a sense in the industry and among creators that this has gradually become less of a feature and more of a bug.
At this point, more than 100,000 new tracks are uploaded to streaming services daily. And while some of this reflects an inspiring explosion of amateur creativity, some of it is, sometimes literally, noise (not the artistic kind). Millions of those tracks are never heard, so they provide no consumer value — they just clutter up streaming service interfaces — while others are streamed a few times a year. From the point of view of some rightsholders, part of the solution may lie in a system of “artist-centric” royalties that privileges more popular artists and tracks. Even if this can be done fairly, though, this only addresses the financial issue — it does nothing for the user experience.
For users, finding the song they want can be like looking for “Silver Threads and Golden Needles” in a fast-expanding haystack. A search for that song on Apple Music brings up five listings for the same Linda Ronstadt recording, several listings of what seems to be another Ronstadt recording, and multiple versions of a few other performances. In this case, they all seem to be professional recordings, but how many of the listings are for the same one? It’s far from obvious.
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From the perspective of major labels and most indies, the problems with streaming are all about making sure consumers can filter “professional music” from tracks uploaded by amateur creators — bar bands and hobbyists. But that prioritizes sellers over consumers. The truth is that the streaming business is broken in a number of ways. The big streaming services are very effective at steering users to big new releases and mainstream pop and hip-hop, which is one reason why major labels like them so much. But they don’t do a great job of serving consumers who are not that interested in new mainstream music or old favorites. And rightsholders aren’t exactly pushing for change here. From their perspective, under the current pro-rata royalty system, it makes economic sense to focus on the mostly young users who spend hours a day streaming music. Those who listen less, who tend to be older, are literally worth less.
It shows. If you’re interested in cool new rock bands — and a substantial number of people still seem to be — the streaming experience just isn’t as good. Algorithmic recommendations aren’t great. Less popular genres aren’t served well, either. If you search for John Coltrane — hardly an obscure artist — Spotify offers icons for John Coltrane, John Coltrane & Johnny Hartman, the John Coltrane Quartet, the John Coltrane Quintet, the John Coltrane Trio and two for the John Coltrane Sextet, plus some others. It’s hard to know what this means from an accounting perspective — one entry for the Sextet has 928 monthly listeners and the other has none. If you want to listen to John Coltrane, though, it’s not a great experience.
What does this have to do with streaming fraud? Not much — but also everything. If the goal of streaming services is to offer as much music as possible, they’re kicking ass. But most consumers would prefer an experience that’s easier to navigate. This ought to mean less music, with a limit on what can be uploaded, which some services already have; the sheer amount of music Smith had online ought to have suggested a problem, and it seems to have done so after some time. It should mean rethinking the pro-rata royalty system to make everyone’s listening habits generate money for their favorite artists. And it needs to mean spending some money to make streaming services look more like a record store and less like a swap-meet table.
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These ideas may not be popular — streaming services don’t want the burden or expense of curating what they offer, and most of the labels so eager to fight fraud also fear the loss of the pro-rata system that disproportionately benefits their biggest artists. (In this industry, one illegitimate play for one song is fraud but a system that pays unpopular artists less is a business model.) But the industry needs to think about what consumers want — easy ways to find the song they want, music discovery that works in different genres, and a royalty system that benefits the artists they listen to. Shouldn’t they get it?
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-09-13 19:25:352024-09-13 19:25:35Is Streaming Broken? The Big AI Fraud Indictment Raises Serious Questions