Univision’s team has exciting news about #PremiosJuventud! Celebrating its 21st edition in Puerto Rico on July 25, this year's show is all about honoring artists and the unstoppable spirit of youth. Hosted by the dynamic trio of Lele Pons, Clarissa Molina, and Wisin, we're gearing up for an unforgettable night under the theme "Atrévete a Más." This year’s show introduces four new creator awards that spotlight social media's cultural movers and shakers. From Creator Del Año to Mejor LOL, Premios Juventud will recognize those who dare to push boundaries and inspire us all. For the full list of nominees and new categories visit https://lnkd.in/ezRchz-J.
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The tears from the local industry players and creatives do reek of a layered brand elitism. It’s fashionable to cry for the Grammys. Even though we’re technically guests, invited to an American spectacle to diversify their ranks. We’re still fringe players at the Recording Academy, with negligible numbers incapable of swinging the odds in our favour. We still have a few voting cycles to cry some more. And that privilege of crying depends on Afrobeats maintaining its hold on pop culture. We are still building over there, and todays lesson teaches us that growth isn’t linear. Afrobeats, please hold this one. Where was this level of support for the Headies, Nigeria’s homegrown, legacy award show with 16 years of honouring the local scene? Nominees are often absent and late. The chatter about the show borders on derisory. We don’t pack our halls in honour of the event, neither are we interested in elevating it. But we can cry for the Grammy. Fashionable tears for what could have been. What we need is to return home. Tails between our legs as the realisation that all we got is us. And if we don’t take care of home, build, support and elevate it locally, we at risk of delegating our pride to foreigners. Afrobeats have intrinsic value. But the current business model has funneled the entire ecosystem into exportation. And while we can boast of improved finances and investment pathways, we’re now forced to negotiate our cultural impact on parameters that weren’t created for us, in spaces where our existence is still a moot point. Why are we hurt? Because we are playing a game that wasn’t created for us. And it sucks to lose. Perhaps, this spurs us as a creative and business class. To look inward and see our worth within us. That our local industry and all its institutions are enough, and exploration is just what it is; exploration. Perhaps across the continent, we can resurrect our reward systems, intentionally imbuing cultural power and credibility in local award shows and bodies that seek to celebrate us. And to see those platforms worthy of our artistry and ego. The Grammys snubbed Nigeria this year. And rather than mope around and petulantly kick some dust, let’s fight back by getting stronger at home. It’s the only way out.
Afrobeats To The World: Where's Nigeria's Grammy?
afrobeatsintelligence.substack.com
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The recent remarks by the Grammy Chairman regarding the Afrobeat category have exacerbated existing frustrations within the music community. For a process aiming for genuine authenticity, the identities and qualifications of the "certified judges in the USA" who voted remain unclear. Their apparent lack of understanding of Afrobeat's significance and nuanced elements raises serious concerns. Dismissing the public outcry by invoking subjectivity merely adds insult to injury. Voting, similar to the judicial system, shouldn't be solely subjective. Concrete evidence of an artist's work and its impact deserves thorough review and assessment by qualified, unbiased individuals with a deep understanding of the genre. Anything less undermines the credibility and relevance of the Grammys. And to those who say people who have objections to the outcome are sore losers, I sincerely want you to experience such a situation where you have worked for years and at the point of you getting rewarded, it is handed over to someone else entirely. That way you begin to see clearly why this is an issue. No hate here but voting can't be subjective not in this case,
The tears from the local industry players and creatives do reek of a layered brand elitism. It’s fashionable to cry for the Grammys. Even though we’re technically guests, invited to an American spectacle to diversify their ranks. We’re still fringe players at the Recording Academy, with negligible numbers incapable of swinging the odds in our favour. We still have a few voting cycles to cry some more. And that privilege of crying depends on Afrobeats maintaining its hold on pop culture. We are still building over there, and todays lesson teaches us that growth isn’t linear. Afrobeats, please hold this one. Where was this level of support for the Headies, Nigeria’s homegrown, legacy award show with 16 years of honouring the local scene? Nominees are often absent and late. The chatter about the show borders on derisory. We don’t pack our halls in honour of the event, neither are we interested in elevating it. But we can cry for the Grammy. Fashionable tears for what could have been. What we need is to return home. Tails between our legs as the realisation that all we got is us. And if we don’t take care of home, build, support and elevate it locally, we at risk of delegating our pride to foreigners. Afrobeats have intrinsic value. But the current business model has funneled the entire ecosystem into exportation. And while we can boast of improved finances and investment pathways, we’re now forced to negotiate our cultural impact on parameters that weren’t created for us, in spaces where our existence is still a moot point. Why are we hurt? Because we are playing a game that wasn’t created for us. And it sucks to lose. Perhaps, this spurs us as a creative and business class. To look inward and see our worth within us. That our local industry and all its institutions are enough, and exploration is just what it is; exploration. Perhaps across the continent, we can resurrect our reward systems, intentionally imbuing cultural power and credibility in local award shows and bodies that seek to celebrate us. And to see those platforms worthy of our artistry and ego. The Grammys snubbed Nigeria this year. And rather than mope around and petulantly kick some dust, let’s fight back by getting stronger at home. It’s the only way out.
Afrobeats To The World: Where's Nigeria's Grammy?
afrobeatsintelligence.substack.com
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New Post: TikTok Undercuts Artists With Claims of ‘Free Promotion.’ It’s the Oldest Trick in the Book (Guest Column) - https://lnkd.in/gpYwjvhk - For as long as there’s been a “music business,” creators have been fighting for their fair share, and modern history is replete with examples of corporations trying to shortchange music makers. Case-in-point: AM/FM radio, where U.S. broadcasters have been getting away with paying artists $0 from their $15 billion-a-year revenue – despite the fact that music is their main input. Their argument? Because radio is supplying “free promotion” for the musicians, they don’t deserve a cut of the profits. Big broadcasters have been pushing this excuse since the 1930s. Fast forward almost a century, and we’re now seeing this play out with new technology – most recently with the dispute betweenTikTok and Universal Music Group (UMG). Using the same argument as radio broadcasters, TikTok claims its platform provides “free promotion” to artists, and it’s therefore trying to undercut what they pay for the use of their music. But UMG refused to fall for this ploy and has now pulled all of its content from the platform until TikTok agrees to an appropriate licensing fee. As a result, about one-third of the most popular recordings on TikTok, including music from Taylor Swift, Justin Bieber and Billie Eilish, are now unavailable on the platform. (And this trend may grow if the dispute expands to the publishing side of the business, with indie publishers’ TikTok license due to expire in April.) Related Why Some Indie Artists Are Also Struggling With UMG’s TikTok Ban 02/29/2024 UMG is doing the right thing by standing up for its artists. The label is making the case that creators should be paid fairly for the use of their tracks, in line with other platforms. (It also seeks to protect artists from the harmful effects of unregulated AI and encourages online safety protocols for users, two things all of us should support.) UMG recognizes that the lure of potentially viral promotion is in no way a substitute for fair compensation to hard-working creators. Long before social media, companies using others’ musical property have sought to avoid paying fairly for that privilege because of this outdated argument around “promotion.” They tried it in the case of piano rolls, silent movie theaters, retail stores, music venues and even peer-to-peer file sharing platforms like Napster and Grokster. In each of those instances, companies tried to underpay (or not pay at all) for the music on the bogus theory that creators should “just accept the promotion, be thankful for whatever they get, and be on their merry w
TikTok Undercuts Artists With Claims of ‘Free Promotion.’ It’s the Oldest Trick in the Book (Guest Column)
shipwr3ck.com
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Music Supervisor, Musician & Director || I Create Content for Pop & Latin Music Brands || Keynote Speaker #Tedx
Tedx was one of the coolest experiences of my career thus far. As an artist and creative being able to speak about how the merging of different Afro-Carribean cultures has produced the fastest growing music genre today --Reggaeton-- was an honor. Why? I've been blessed to work on projects with some of the pionners reggae music. Never would I have thought I'd be sitting in a room listening to Ian and Roger Lewis talking about their late friend and colleague Bob Marley. Mind blowing! Never would I thought I'd be standing next to Mykal Rose (Reggaes first Grammy winning artist) having jolly conversation with him. As someone who is a part of the Jamacian diaspora and grew up in Latin America, it's amazing to see how a local music scene in Jamacia grew from the grassroots and was able to inspire muscians to create their own interpretation of reggae-dancehall with their own elements. Thus, I want to say this. Whatever discrepancies (because there are) about who did what or who influenced who are discussions that should be our focus. Whether it's Jamacia, Puerto Rico or Panama, our different music cultures coming together has shook the world. Small countries that has influenced global music and pop culture in a big is not an understatement. Let's celebrate this story with ourselves and to the world. #musicbusiness #musicians #musicmarketing #musicindustry
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EY development and support for infrastructure is a crucial piece of the musical jigsaw.
We are thrilled to be kicking off our Arts Council England funded project 'Creative Cultural Partnerships' which will enable us to work with cultural organisations here in the North West - libraries and museums - to develop early years music sessions. These sessions will follow a shared delivery model where staff in our partner organisations will work alongside Note Weavers to deliver sessions, building skills, knowledge and confidence to be able to deliver sessions independently. We will also work to connect the cultural organisations with their music hubs/services to develop partnerships and sustainability into their music provision for early years. Arts Council England #communitymusic #musicinlibraries #musicinmuseums #musiccpd
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Holiday reading! In our summer newsletter you can find out what we have been up to lately, what is next to come, and how you can participate ICH safeguarding journey! In the newsletter there are also great tips for summer music events in the Interreg Aurora region, links to our past webinars and an interview on motivation to share intangible cultural heritage. And much more! Read here: https://lnkd.in/dzUmqxQP #ichnorth #intangibleculturalheritage #musicalheritage #summerreading
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New Post: Friday Music Guide: New Music From Future & Metro Boomin, Shakira, Olivia Rodrigo and More - https://lnkd.in/gjzTxAUG - Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond. This week, Future and Metro Boomin make magic together, Shakira is still on fire, and Olivia Rodrigo has a few more bangers for the faithful fans. Check out all of this week’s picks below: Future & Metro Boomin, We Don’t Trust You Allow the early headlines about We Don’t Trust You, the new collaborative album from Future and Metro Boomin, to focus on Kendrick Lamar’s guest verse on “Like That,” which features some house-torching bars and some thinly veiled shots aimed at the J. Cole-Drake partnership. That’s understandable, and deserved. Yet don’t overlook the fact that We Don’t Trust You features Future’s most complete end-to-end performance on a project in a half-decade: with Metro’s all-star run of cinematic beats stretching longer, Future sounds reinvigorated, lurking underneath heavy bass at moments and pouncing on his doubters over widescreen drums. Shakira, Las Mujeres Ya No Lloran Las Mujeres Ya No Lloran marked one of Shakira’s most successful eras even before its release, thanks to a bevy of hit singles, from the Internet-smashing “Bzrp Music Sessions, Vol. 53” to the blockbuster Karol G collaboration “TQG,” both of which returned the icon to the top 10 of the Hot 100. The album is divided into two halves — the first is fully new material, the second is the slew of recent releases — but that opening eight-song run includes plenty of exciting new tunes, including “Puntería,” a Cardi B team-up in which Shakira locks in on the production shimmer and scoops up another undeniable melody. Olivia Rodrigo, GUTS (spilled) Olivia Rodrigo has already scored major hits, competed at the Grammys and kicked off an arena tour in support of sophomore album GUTS, limiting the incentive to unveil more new songs as part of a deluxe edition of the album — but the five new tracks comprising the GUTS (spilled) release are a hearty thank-you to her many fans, and include plenty of moments worthy of her top-notch second LP. “So American” is a jittery rock jam that builds upon the guitar alchemy of “Bad Idea Right?,” while “Obsessed” features a Rodrigo vocal take dripping with attitude, and deserves to be another radio staple. Tyla, Tyla Tyla’s smash hit “Water” was another commercial win for the Afrobeats and amapiano sounds that have helped define global pop this decade, but Tyla represents something even more meaningful — a front-to-back excellent full-length that should immediately rank among the strongest crosso
Friday Music Guide: New Music From Future & Metro Boomin, Shakira, Olivia Rodrigo and More
shipwr3ck.com
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Brands have used music and culture to help sell their products for many years, but how can we create campaigns that stand the test of time and build loyalty with cultural communities? We spoke to brand and culture expert Ollie Oshodi who gave us her top tips: https://lnkd.in/eCjaKuAE
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Check out page 11 😊
Congratulations to all the winners on their well-deserved triumph 🏆! We would like to extend our heartfelt gratitude to all the participants, sponsors, and partners who made the 2023 Promax Local Awards a resounding success. Thank you to our Awards Design Partner: @elevationinc, Awards Show Music Partner: @megatraxmusic, Experience Design Partner @bellaluca_creative, and Voice of the Local Awards Show: @stonevoiceovers. Check out the list of winners https://lnkd.in/g83vzXEa.
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Commercial Banking Relationship Manager providing creative financial solutions to support both organic and inorganic growth.
Key Takeaways from Aretha Franklin's estate: The lack of a clear Will can lead to family conflict and financial impact. Aretha Franklin’s case serves as a strong example. Without a definitive Will, your estate may face unnecessary legal fees, asset depreciation and tax complications. Seek guidance from an estate planning professional to clarify your estate plan and protect your loved ones.
Aretha Franklin was an icon in the music industry. For her family, Aretha’s passing in 2018 should have been a time to celebrate the artist and mourn her passing. But quickly, a series of estate planning issues emerged that took over the moment. Comerica thought leaders Lisa Featherngill, Andrea Bruce and Steven Zamenski look at the details of Aretha Franklin's estate and lessons we should all take away on the need for a clear Will. https://bit.ly/3WHlhmf 📷: Jan Persson/Redferns/Getty Images #EstatePlanning #ArethaFranklin #Comerica #ComericaWealthManagement #LessonsLearned
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