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Chapter 600 - "We Wanted More Freedom" ...as read by Mark Goodwin of Sick PuppiesToday we welcome Sick Puppies drummer Mark Goodwin to the podcast! The new Sick Puppies record, Wave The Bull came out last Friday on OneRPM. Mark talks about growing up in Southern California, getting his musical footing in church, deciding to move forward as a band with a new vocalist, the scene for a mainstream rock band, and more.https://sickpuppies.com/Discordhttps://www.patreon.com/c/asthestorygrowshttps://asthestorygrows.substack.com/Email: asthestorygrows@gmail.comChapter 600 Music:Sick Puppies - "Going Places"Sick Puppies - "There Goes The Neighborhood"Sick Puppies - "Creature"Sick Puppies - "Friends Like You"Sick Puppies - "Knock Your Lights Out"
This week on Here's What We Know, join us for an unforgettable conversation with country singer-songwriter, philanthropist, advocate, and all-around amazing human, Jay Allen. Known for his emotional storytelling, trademark humor, electric performances, and tireless work to make a difference, Jay opens up about his life, career, and the causes closest to his heart. Listen now!In This Episode:Jay dives into his fitness routine and how staying active helps him maintain mental clarity. Get a behind-the-scenes look at Jay's preparation for the last ACM Awards, where he rocked a timeless all-black wedding tux.Jay opens up about how he and his wife overcame the curveball of Hurricane Ian disrupting their wedding plans. Thanks to the generosity of friends, they turned a challenge into a beautiful celebration of love.Prepare to be moved as Jay shares his mission to fight Alzheimer's. With over $120 million raised for research, collaborations with artists like Walker Hayes, and impactful charity concerts, Jay's philanthropy shines a light on how music and storytelling can make a difference.Jay reflects on an emotional visit to The White House during a film screening, sharing how vulnerability and empathy fuel his powerful storytelling through music.Jay talks about his music, “Better Now,” dedicated to those facing anxiety and depression; this song is a reminder that healing is possible.This episode is sponsored by:Habana Cuba (Be sure to use code "Gary20" to get 20% off your order!) A Flood of Love Bio:Known for his philanthropic work spurred on by his mother's passing from Alzheimer's in 2019, Jay has gone on to raise over $160 million to help fight the disease.He's been featured on NBC's The Voice, ABC World News, PeopleTV, Pickler & Ben, and in People & Forbes Magazine, among many other media outlets. He was selected as The Highway Find on Sirius XM with his song “Sounds Good To Me”, won the 2022 Country Now Awards as Favorite Competition Contestant, and was recognized as one of Music Mayhem Magazine's 2023 Artists to Watch.Celebrated for his philanthropic work in 2023, Allen was presented The Caregiver Award by The National Alzheimer's Association, was personally invited to The White House by First Lady Dr. Jill Biden, made history by performing the first-ever concert in the U.S. Capitol Building, and successfully concluded his first international tour in the United Kingdom, leading to airplay on BBC.Jay signed a record deal with ONErpm in 2023 and continues to tour with his band “The Stallions” in effort to help those suffering with dementia and their caregivers. His new 10-song album “Des Moines” is available now.Website: https://www.jayallenofficial.com/Instagram: https://www.instagram.com/jayallenmusicTiktok: https://www.tiktok.com/@jayallenmusicConnect with Gary: Gary's Website Follow Gary on Instagram Gary's Tiktok Gary's Facebook Watch the episodes on YouTube Advertise on the Podcast Thank you for listening. Let us know what you think about this episode. Leave us a review!
In episode 237 of the podcast, we're joined by Aaron Bruno of AWOLNATION/The Barbarians of California. We dig into Aaron's new project, The Barbarians of California, whose debut album drops October 4th, 2024 on ONErpm. We also hit on a variety of other topics surrounding music: new AWOLNATION, Aaron's podcast venture coming soon, and much more. This was an amazing convo with someone very thoughtful about their craft.Be sure to check out the new Barbarians of California, ‘And Now I'm Just Gnashing My Teeth', out October 4, 2024!Check out Aaron and his projects here:Web: https://www.awolnationmusic.com/AWOLNATION IG/X: @awolnationWeb: https://www.thebarbariansofcalifornia.com/Barbarians of CA IG/X: @barbariansofcaPhoto Credit: Greg Flack (IG: @xgregflackx)Podcast theme performed by Trawl. Follow them here:Web: https://www.trawlband.com/IG/X/TikTok: @trawlbandWe'd love for everyone to hear this episode! Support the Podioslave family by rating, subscribing, sharing, storying, tweeting, etc — you get the vibe. Peace, love, and Podioslave. Check us out here:Web: https://www.podioslave.com/ IG/Threads/X/TikTok: @PodioslaveYoutube: Podioslave PodcastEmail: Podioslavepodcast@gmail.com --- Support this podcast: https://podcasters.spotify.com/pod/show/podioslave-podcast1/support
No matter where you are in your career, you'll benefit from listening to 3Q. 3Q provides a window into the careers of some of the best in the music business. Every episode is an insider's view of the realities of life as a music executive. Topics include issues of empowerment, uncertainty, trust, finances, etc; issues that will impact you both personally and professionally. The executives we interview represent every aspect of the industry including but not limited to A&R, Marketing, Music Supervision, Artist Management, Promotion, and more.About Jenna:Jenna LoMonaco is a Digital Marketing expert who has used her love of music and knowledge in the social media space to help break up and coming artists into the mainstream music space for over 17 years After studying audio production and working at a recording studio straight out of college, she truly started her career in PR at Girlie Action in 2005. In 2007 Jenna got her first big role at an up-and-coming record label, Glassnote records as the Head of New Media. It was there where she blossomed her skills in the digital space, helping break artists such as Mumford & Sons, Phoenix, and Childish Gambino. After 5 years at Glassnote, she left to join the new Label Services branch at Kobalt- Kobalt Label Services. Jenna worked in the digital department where she handled digital strategy for artists such as Martina McBride, Lenny Kravitz, and New Kids on the block. In 2015 as Island Records was relaunched as a solo label after separating from Def Jam, Jenna joined the Island team to run the Digital Marketing department. It was here that she begin to work with a newly signed teen artist, Shawn Mendes. Using her social media knowledge she helped create a social media strategy to help grow Shawns social following into the multi-millions. She also lead the digital marketing efforts for artists such as Jessie Reyez, Nick Jonas, The Killers, Elton John, Bon Jovi, Tove Lo, Fall Out Boy, and Demi Lovato.In 2021 Jenna Joined ONErpm to lead their US Marketing team. Since then she has doubled their marketing staff and launched new marketing services including Digital Strategy, Brand Partnerships and Sync. Aside From leading the US Marketing team Jenna also oversees all ONErpm events as well as coordinating the Global Marketing Team. Jenna's journey in the music industry highlights her dedication to supporting artists and her deep understanding of digital marketing, making her an invaluable asset in helping talent reach their full potential.
Cecily Wilborn, an Arkansas native and Full Sail University Music Production graduate, has quickly risen in the music scene with her self-produced hit single "Southern Man," which garnered over 4 million streams worldwide in its first year. As an independent artist under JayWil Entertainment, Cecily has performed alongside notable artists like King George and West Love, captivating audiences at venues such as BB King's in Memphis, the Essence Festival, The Apollo, and the FedEx Forum. Her music is a unique blend of Blues, RnB, Country, Pop, Gospel, and Southern influences, reflecting her roots and versatility. Cecily recently released her new album, *Kuntry Gurl Playlist,* featuring tracks like "Party" and "Red Cup Blues," in partnership with OneRPM. Growing up in the small town of Marianna, Arkansas, with a population of about 3,500, Cecily, a Preacher's Kid, comes from a musically gifted family. In this episode, she shares the challenges of navigating the music industry, particularly working with her husband as her manager, and reflects on the personal and professional shifts she has faced, including the loss of her brother Cecil during the launch of her new album. Enjoy the soulful sounds and stories of Cecily Wilborn.
Cecily Wilborn, an Arkansas native and Full Sail University Music Production graduate, has quickly risen in the music scene with her self-produced hit single "Southern Man," which garnered over 4 million streams worldwide in its first year. As an independent artist under JayWil Entertainment, Cecily has performed alongside notable artists like King George and West Love, captivating audiences at venues such as BB King's in Memphis, the Essence Festival, The Apollo, and the FedEx Forum. Her music is a unique blend of Blues, RnB, Country, Pop, Gospel, and Southern influences, reflecting her roots and versatility. Cecily recently released her new album, *Kuntry Gurl Playlist,* featuring tracks like "Party" and "Red Cup Blues," in partnership with OneRPM. Growing up in the small town of Marianna, Arkansas, with a population of about 3,500, Cecily, a Preacher's Kid, comes from a musically gifted family. In this episode, she shares the challenges of navigating the music industry, particularly working with her husband as her manager, and reflects on the personal and professional shifts she has faced, including the loss of her brother Cecil during the launch of her new album. Enjoy the soulful sounds and stories of Cecily Wilborn.
In today's episode, we dive into the heartbeat of the Kenyan music industry as we sit down with the incredible Bilha Ngaruiya, Country Manager of ONErpm for Kenya, to uncover how distribution companies are revolutionizing the industry. Bilha spends her time helping artists across Kenya access essential music services through ONErpm to advance their brand and careers. Her early experiences gave her a profound understanding of artists' needs and challenges, allowing her to foster close and impactful relationships with stakeholders within the industry towards the impact she's creating today. We also explore the crucial role of data in decision-making for artists, where Bilha explains how understanding geographic locations, demographics, and genres can unlock new revenue streams and drive smart business decisions. As we uncover the intricacies of the music industry, we also look at what artists think about the role of distributors through the lens of academic research findings and breakdown the knowledge gaps that currently exist that prevent artists from reaching new heights in the music market. Whether you're an aspiring artist or a music enthusiast, this episode is packed with essential knowledge on navigating and thriving in the ever-evolving music landscape. To learn more about Bilha and the amazing work that she does, check out her LinkedIn here and the ONErpm website here. Episode Chapters 00:00- Introduction to Bilha & Her Early Life 23:32- ONErpm & The Role of Music Distribution 37:41- Kenya vs Other African Music Markets 45:58- How Industry Insights Relate To Academic Research 50:10- Music Intelligence & Data-driven Business Decisions 1:07:12- Future Prospects For Kenyan Music 1:18:25- Quick Fire Questions & Outro --- Join us in creating social impact through a cup of tea by visiting www.nepalteacollective.com Support our podcast further by buying us a coffee here: www.buymeacoffee.com/boardroombanter
On the latest Music Business Worldwide podcast, MBW founder Tim Ingham is joined by Emmanuel Zunz, founder of ONErpm, one of the recorded music industry's most interesting companies and something of a quiet giant.When it was founded in 2010, ONErpm quickly gained ground in Brazil, where it continues to challenge the major record companies for market share. Since finding success in Brazil, ONErpm has grown all over the planet, offering a range of partnerships to artists, from low-margin DIY distribution to higher-margin full-service deals.Understood to turn over a substantial nine-figure sum each year, ONErpm is profitable because it has to be: One of the most remarkable things about the company, over and above the fact that it runs more than 40 offices globally, is that Zunz continues to fully own the business. He's never taken a cent of private equity or venture capital money, and he's rebuffed a number of acquisition approaches from major music companies and other parties.As he explains on this podcast, Zunz's ambition is simple — to become the fifth largest record company in the world while maintaining a profitable, sustainable business controlled by its founder…Music Business Worldwide's Podcasts are supported by Voly Entertainment (previously known as Voly Music).
0:40 - Give us a quick summary of the indie label landscape? What do they offer that may be different from the traditional models?04:28 - If I'm an independent artist, what do you as an indie label need/expect from me?07:21 - At what level of artist are you and your team looking for? Is there a metric?12:57 - Can you identify the key benefits of artists who choose indie models over some of the major models? The AIMP Nashville Pubcast is a DiMe Collective Production
SILENT THEORY Embarks On Tour with A SKYLIT DRIVE Plus @ Rock Fest in CadottNew Album Tell Us How It Ends Drops September 13th via ONErpm. Third Single "Emptiness In You" Out06/22 Seattle, WA @ The Funhouse06/23 Portland, OR @ Dante's06/25 San Francisco, CA @ DNA Lounge06/26 Nevada City, CA @ Ribald Brewing06/27 Salt Lake City, UT @ Urban Lounge06/28 Denver, CO @ HQ06/29 Albuquerque, NM @ LaunchpadSee Silent Theory at Rock Fest 07/19 in Cadott, WI.Silent Theory, the Idaho rock band who have surpassed 120 million video views, premieres a new video "Emptiness In You" at Revolver today. Take some zany and serious journeys with The Pipeman aka Dean K. Piper, CST on The Adventures of Pipeman also known as Pipeman Radio syndicated globally “Where Who Knows And Anything Goes”. Check out our segment Positively Pipeman dedicated to Business, Motivation, Spiritual, and Health & Wellness. Check out our segment Pipeman in the Pit dedicated to Music, Artistry and Entertainment Subscribe to The Adventures of Pipeman at https://www.spreaker.com/podcast/the-adventures-of-pipeman--941822/support Would you like to be a sponsor of the show?Would you like to have your business, products, services, merch, programs, books, music or any other professional or artistic endeavors promoted on the show?Would you like interviewed as a professional or music guest on The Adventures of Pipeman, Positively Pipeman and/or Pipeman in the Pit?Would you like to host your own Radio Show, Streaming TV Show, or Podcast? Contact the Pipeman:Phone/Text Contact – 561-506-4031Email Contact – dean@talk4media.com Follow @pipemanradio on all social media outletsVisit Pipeman Radio on the Web at linktr.ee/pipemanradio, theadventuresofpipeman.com, pipemanradio.com, talk4media.com, w4cy.com, talk4tv.com, talk4podcasting.com. Download The Pipeman Radio APPThe Adventures of Pipeman is broadcast live Wednesdays at 1PM ET and Music & Positive Interviews daily at 8AM ET on W4CY Radio (www.w4cy.com) and replays on K4HD Radio (www.k4hd.com – Hollywood Talk Radio part of Talk 4 Radio (www.talk4radio.com) on the Talk 4 Media Network (www.talk4media.com). The Adventures of Pipeman TV Show is viewed on Talk 4 TV (www.talk4tv.com).The Adventures of Pipeman Podcast is also available on www.theadventuresofpipeman.com and www.pipemanradio.com, Talk 4 Media (www.talk4media.com), Talk 4 Podcasting (www.talk4podcasting.com), iHeartRadio, Amazon Music, Pandora, Spotify, Audible, and over 100 other podcast outlets.
SILENT THEORY Embarks On Tour with A SKYLIT DRIVE Plus @ Rock Fest in CadottNew Album Tell Us How It Ends Drops September 13th via ONErpm. Third Single "Emptiness In You" Out06/22 Seattle, WA @ The Funhouse06/23 Portland, OR @ Dante's06/25 San Francisco, CA @ DNA Lounge06/26 Nevada City, CA @ Ribald Brewing06/27 Salt Lake City, UT @ Urban Lounge06/28 Denver, CO @ HQ06/29 Albuquerque, NM @ LaunchpadSee Silent Theory at Rock Fest 07/19 in Cadott, WI.Silent Theory, the Idaho rock band who have surpassed 120 million video views, premieres a new video "Emptiness In You" at Revolver today. Take some zany and serious journeys with The Pipeman aka Dean K. Piper, CST on The Adventures of Pipeman also known as Pipeman Radio syndicated globally “Where Who Knows And Anything Goes”. Check out our segment Positively Pipeman dedicated to Business, Motivation, Spiritual, and Health & Wellness. Check out our segment Pipeman in the Pit dedicated to Music, Artistry and Entertainment Subscribe to The Adventures of Pipeman at https://www.spreaker.com/podcast/the-adventures-of-pipeman--941822/support Would you like to be a sponsor of the show?Would you like to have your business, products, services, merch, programs, books, music or any other professional or artistic endeavors promoted on the show?Would you like interviewed as a professional or music guest on The Adventures of Pipeman, Positively Pipeman and/or Pipeman in the Pit?Would you like to host your own Radio Show, Streaming TV Show, or Podcast? Contact the Pipeman:Phone/Text Contact – 561-506-4031Email Contact – dean@talk4media.com Follow @pipemanradio on all social media outletsVisit Pipeman Radio on the Web at linktr.ee/pipemanradio, theadventuresofpipeman.com, pipemanradio.com, talk4media.com, w4cy.com, talk4tv.com, talk4podcasting.com. Download The Pipeman Radio APPThe Adventures of Pipeman is broadcast live Wednesdays at 1PM ET and Music & Positive Interviews daily at 8AM ET on W4CY Radio (www.w4cy.com) and replays on K4HD Radio (www.k4hd.com – Hollywood Talk Radio part of Talk 4 Radio (www.talk4radio.com) on the Talk 4 Media Network (www.talk4media.com). The Adventures of Pipeman TV Show is viewed on Talk 4 TV (www.talk4tv.com).The Adventures of Pipeman Podcast is also available on www.theadventuresofpipeman.com and www.pipemanradio.com, Talk 4 Media (www.talk4media.com), Talk 4 Podcasting (www.talk4podcasting.com), iHeartRadio, Amazon Music, Pandora, Spotify, Audible, and over 100 other podcast outlets.
In episode 215 of the podcast, we're joined by Michael Kaminsky (KMGMT), Eric Tobin (Hopeless Records) and Kevin Lyman (Warped Tour) to discuss the idobi Radio Summer School Festival. Eric, Kevin and Michael give us the low down on how the festival was created and the work that goes into getting it off the ground. The three of them have been around the music industry for decades, and created a festival that looks to give the headliners of tomorrow a platform to connect with fans across the country. Bringing in bands looking to take the next step (Scene Queen, Stand Atlantic, Magnolia Park, and more), as well as sponsors like Hot Topic and oneRPM to help keep ticket prices down ($35!), this is for sure a tour to check out this summer. Keep your eyes peeled! Check out the idobi Radio Summer School Festival here: Web: https://www.summerschooltour.com/ IG: @summerschooltour Kevin Lyman: IG/X: @kevinlyman Photo Credit - Lisa Johnson Michael Kaminsky: IG/X: @kmgmt Eric Tobin: IG: @etobinetobin Photo Credit - Jordan Kelsey Knight Podcast Theme performed by Trawl. Check them out here: Web: https://www.trawlband.com/ IG/X/TikTok: @trawlband We'd love for everyone to hear this episode! Support the Podioslave family by rating, subscribing, sharing, storying, tweeting, etc — you get the vibe. Peace, love, and Podioslave. Check us out here: Web: www.podioslave.com IG/Twitter/X/TikTok: @Podioslave Youtube: Podioslave Podcast Email: Podioslavepodcast@gmail.com --- Support this podcast: https://podcasters.spotify.com/pod/show/podioslave-podcast1/support
Esta es una revisión actualizada sobre los 15 aspectos más importantes sobre ONErpm (OFFstep) y sus funcionalidades, herramientas y servicio en general.Es nuestro cuarto programa de la serie donde analizamos detalladamente las distribuidoras de plataforma abierta más relevantes para los países hispanohablantes. Puedes revisar los demás aquí: https://youtube.com/playlist?list=PL4gOS1MEGRTJIjU3xDORp453mWcm6DHRh&si=3jRD30LLHopQp2uk00:00 Intro01:46 Costo04:02 Comisiones05:01 Cobertura06:11 Website y facilidad de uso07:55 Verificación de perfiles y canal oficial de artista 08:37 Elegir fecha de lanzamiento09:14 Split de regalías (división de pagos)10:29 Manejo de covers11:15 Mostrar colaboradores a nivel principal12:17 Herramientas de marketing y recursos informativos 13:38 Manejo de playlists14:33 Facilidad para hacer cambios en lanzamientos14:58 Atención a cliente15:43 Posibilidades de crecer - Servicios de sello17:32 Administración editorial (Publishing)RECURSOS Y ENLACES
01. All I want feat. Me White (Adriatique remix) - [Drumpoet Community] 02. Mi Peña - Birds of mine - [Get Physical Music] 03. Flores - Emanuel Satie & mega (meera remix) 04. Rain Queen - Massh remix - [Rise Music] 05. Simple Child feat Rondo Mo, Meloni, LKF Project, Selim Sivade (Kadoah remix) - [AZZUR] 06. Touch - Skeleton Army, Rockin Moroccin - [Get Physical Music] 07. Concha - Sued Nunes (Dre Guzzelli & Tablot remix - [ONErpm] 08. Your Way - Emanuele Esposito, Darksidevinyl - [Selador] 09. Mi Amor - Komashov - [Monaberry] 10. So good - Tim Engelhardt, Sean Doron - [Siamese] 11. Bring the lights down - Moullinex, GPU panic - [Watergate Records]Music in the Air is an incredible travel into house, deep house and nu-disco sound selected by Villahangar' s Djs, Download
Únete a este canal para recibir respuesta prioritaria a tus comentarios, y más:https://www.youtube.com/channel/UC-BuQscBRRi1OUTezwICm-w/joinMuchos artistas están desilusionados de su distribuidora, pero al revisar bien las causas, me doy cuenta de que el error son las falsas expectativas. En este programa verás qué puedes esperar si trabajas con una distribuidora de plataforma abierta, como DistroKid, ONErpm, CDBaby, Tunecore, Symphonic Starter, Amuse o Ditto Music.00:00 Intro02:02 La esencia del servicio de una distribuidora de plataforma abierta02:32 No me dan apoyo de marketing03:58 Me dijeron que manejan playlists…05:59 Apoyo en manejo de perfiles y cuentas07:05 Apoyo para subir música07:45 Atención a cliente09:32 Recomendación finalRECURSOS Y ENLACES
¿Estás buscando la mejor distribuidora digital de música para ti? En este video, el Lic. Alexiomar Rodríguez, abogado de música y entretenimiento, entrevista a Kevin Eiroa, A&R de ONErpm / Offstep. En este episodio aprenderás sobre los nuevos planes de ONErpm (Offstep), sus precios, tecnología disponible para artistas y sellos, métodos de pago disponibles, y las diferencias con otras alternativas en la industria de la música, para que puedas tomar una decisión informada al seleccionar la mejor distribuidora digital de música para ti.
En este episodio nos adentramos en el mundo de los contratos discográficos y la propiedad intelectual con la destacada abogada Marina Map. Graduada en Derecho por la Universidad Autónoma de Madrid, con un máster en Live Entertainment y master en mediación, arbitraje y negociación civil y mercantil, con especialidad en propiedad intelectual y derechos de autor, Marina ofrece su perspectiva sobre cláusulas cruciales que los artistas deberían considerar antes de firmar con una disquera. Marina comparte su opinión personal sobre cómo evitar situaciones como la de Taylor Swift, quien enfrentó la dificultad de no poder comprar sus propios masters. Explora estrategias clave para que los artistas protejan sus creaciones y negocien contratos más equitativos. Además, conversamos sobre la inteligencia artificial aplicada a la música. Marina aborda la cuestión de si el uso de la voz de un artista(como le ocurrió a Bad Bunny) a través de la IA podría resultar en acciones legales. Marina también ofreció valiosos consejos para artistas emergentes que buscan navegar el complejo panorama musical. Sobre Marina Map: Marina Peláez, también conocida como Marina Map, es una talentosa profesional de la industria musical con 31 años de edad y originaria de Madrid, España. Actualmente reside en la Ciudad de México desde hace más de dos años. A lo largo de su carrera, ha trabajado en diferentes áreas, incluyendo derechos de autor para artistas y disqueras, organización de eventos a gran escala, management, comunicación y marketing internacional. Ha fundado un programa de descubrimiento de talentos y ha colaborado con artistas emergentes en aspectos como booking, marketing y financiación. Durante su paso por ONErpm llegó a trabajar con artistas como, Alex Cuba, Playa Limbo, Daniela Calvario. Mientras estaba en Virgin Music (Universal Music Group) fue parte del equipo que manejó proyectos importantes como Tame Impala, Juan Gabriel, Young Miko, Rema (en el momento de "Calm Down" con Selena Gómez), entre otros. En la actualidad, Marina ejerce como Directora Creativa del sello OCESA Seitrack, la empresa de entretenimiento más grande de México y la agencia artística más relevante del territorio, donde tiene bajo su dirección artistas destacados como Paty Cantú y Los Angeles Azules. Su amplia experiencia y habilidades la han posicionado como una figura fundamental en la escena musical mexicana. https://www.instagram.com/musicamdemujer/https://www.instagram.com/marinamap31/ https://www.instagram.com/vanemenag/ --- Support this podcast: https://podcasters.spotify.com/pod/show/musica-con-m-de-mujer/support
Únete a este canal para recibir respuesta prioritaria a tus comentarios, y más:https://www.youtube.com/channel/UC-BuQscBRRi1OUTezwICm-w/joinUno de los mayores atractivos de la distribuidora ONErpm era su plan gratuito autoservicio (DYI), destinado a artistas emergentes, que podían publicar toda la música que quisieran a cambio de que les retuvieran el 15% de regalías cuando comenzaran a generar ingreso.ONErpm ha cancelado su plan gratuito y lo han sustituido por un plan llamado OFFstep.Por qué pasó esto? De qué se trata este nuevo plan? Qué significa esto para tí si ya eras cliente de ONErpm antes de este cambio? Entérate de todo eso en este programa.00:00 Intro01:53 ¿Por qué se suspende el plan gratuito?02:32 ¿Por qué ONErpm ya va a cobrar por lo que antes era gratis?03:44 Nueva alternativa (nada mal), OFFstep05:00 Qué inconvenientes tiene OFFstep05:55 Qué pasa si soy un artista más grande o un sello06:58 Qué pasa si yo ya tenía cuenta en ONErpm07:57 Qué otro servicio lanzó ONErpmPROGRAMAS y RECURSOS
Diretor da OneRPM no Brasil, Arthur FITZGIBBON conversa com Pedro Valente no Bahiacast.Acompanhe nossos episódios ao vivo no Youtube:https://www.youtube.com/c/BahiaCastSe você curte nosso trabalho, e as pessoas que por aqui passam, considere Inscrever-se no canal e apoiar assim também a cena local.Nosso canal de cortes:https://www.youtube.com/channel/UCT96OP4_tqz8EC09giXXbkA/videosMídias sociais: @bahiacast @bahia.cast #bahiacastApoio e Patrocínio:Sennheiser https://pt-br.sennheiser.comDe Além-marhttps://www.instagram.com/dealemmar/Orignial Ateliêhttps://www.instagram.com/original_atelie#bahiacast#podcast@bahiacast@bahia.cast
Singer, songwriter, guitar player whose newest single was just released five days ago. In April he was signed by ONErpm, which operates one of the world's largest music distribution platforms and YouTube multi-channel networks. He has drawn praise from the New York Times, and his debut album back in 2016 opened in the Top 5 on Billboard's Country Albums Chart and landed him on countless year-end best album lists, including Rolling Stone and iTunes. He had signed a major label deal at the age of just 19 and landed at Number 1 on Mediabase with the Gold certified, “I Met a Girl.” He was at CMA Fest this past June and has performed more than 50 times on the Grand Ole Opry, plus he was featured by the Country Music Hall of Fame and Museum as a highlighted artist in the 2017 American Currents exhibit. That same year he joined Maren Morris and three others in being named New Faces of Country Music in conjunction with the annual Country Radio Seminar.
Descubre lo que buscan compañías que proveen servicios discográficos como ONErpm a hora de firmar artistas y talentos nuevos. El A&R Kevin Eiroa explica los secretos detrás de la decisión de firmar un artista, los mitos y errores comunes que afectan negativamente tu carrera musical. Desarrolla tus habilidades y conocimiento en el negocio de la música con cursos prácticos, interactivos, y divertidos: https://bit.ly/seedyt
Le llegamos a las oficinas de ONErpm y montamos un podcastón junto a RC de Clandestinum Lab. RC trabajó por muchos años desarrollando estrategias para marcas como Deezer, TikTok, entre otras... convirtiéndose en una pieza importante en la industria de la música. Ahora abrió su empresa como consultor para ayudar a los artistas, disqueras y distribuidoras elaborando estrategias eficientes. RC Carranza https://instagram.com/robcmc https://www.linkedin.com/in/rcmarroquin Clandestinum Lab https://instagram.com/clandestinumlab https://www.linkedin.com/company/clandestinum/ Producción Audiovisual Vivid Life Productions https://instagram.com/vividlifepro Golden Boy Post https://instagram.com/goldenboypost The Film Squad https://instagram.com/thisisthefilmsquad Smash Hits Website (Discord Community, Beats, Merch, Academy, Social Media): https://www.smashhits-music.com Email: smashhitmusic@gmail.com #SmashPodcast #Entrevistas #SmashHitsMusic
We had the pleasure of interviewing Justin Champagne over Zoom video!Justin Champagne was born and raised in New Iberia, Louisiana, and he is known for his genre bending music rooted in the sounds, stories, and swampy swagger of his home turf. His father passed away when he was six ears old, leaving his mother to juggle multiple jobs to help provide for the family. Her tireless work ethic inspired Justin, who started recording his first songs as a teenager. Meanwhile, the loss of his father - an amateur musician - shaped his own approach to music. Justin was determined to chase down the creative milestones that would have made his dad proud. He began making music that was diverse and driven, collaborating with multi-platinum rapper Kevin Gates one minute and then recording his own pop-influenced songs the next.Everything changed in 2016, when Justin Champagne wrote "Sun Goes Down." A breakup anthem filled with hip-hop beats, countritied guitar riffs, soaring vocal hooks, and rhythmic rapping, "Sun Goes Down" was the first song to embrace the full range of Justin's musical tastes. Unsurprisingly, the song became a hit, earning more than a million streams on Spotify after its release, and laying the foundation for a unique, trendsetting career.Today, Justin Champagne has brought in over 50 million streams across Spotify and Apple Music platforms since his first release and continues to be streamed by more than 650k fans monthly. His Youtube videos have also been viewed more than 40 million times! By combining a variety of different sounds together, Champagne created something new: a boundary-breaking genre that showcased not only the depth of his influences, but also his versatility as a songwriter, storyteller, vocalist, and rapper.Expect more releases from Justin Champagne in 2023 as he just signed a million-dollar record deal with ONErpm.We want to hear from you! Please email Hello@BringinitBackwards.com. www.BringinitBackwards.com#podcast #interview #bringinbackpod #JustinChampagne #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/follow Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpodThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4972373/advertisement
Nick Love is a project manager and music industry veteran. He has held various positions throughout his career, including VP of Marketing and Promotions at CTE World, co-founder and general manager of Coalition DJs, and brand curator and co-creative director of Magic City. Currently, he is the project manager over Urban at ONErpm.No Labels Necessary is a Weekly Podcast hosted by Sean "BrandMan" Taylor and Jacorey "Kohrey" Barkley, unveiling the world of marketing from Indie Artists to Major Labels.Check out the Content Rollout Plan That Got Our Artist 1 Million Streams on His First Song Ever:http://www.nolabelsnecessary.com/Pre-Save Your Future Releases:http://www.foreverfanmusic.com/Topics covered:00:27 Intro04:00 Nick Love: My Job is More Than Hanging With Rappers and Going to Clubs05:23 Working at CTE, Coalition DJs, Tequila Avion, Magic City, Thousand Islands and ONErpm09:31 Beware of this When Working with Artists14:24 Falling out with Jeezy and rebuilding their relationship23:32 Magic City: Being the Brand Manager of The Most Prominent Strip Club in ATL33:40 Solving ASAP Twelvyy's Biggest Problem with ASAP MOB40:52 Artists Can't Last Without This48:20 Pay to Win Doesn't Exist in The Music Industry54:57 Tequila Avion: Growing a Liquor Brand with Jeezy01:00:37 Artists Who Last Are Selling This01:15:21 What is a Project Manager01:18:05 Timing Your Rollouts
Nuestro invitado, Admes le llegó al podcast para hablar su experiencia trabajando con Nesty "La Mente Maestra" y dejar unos cuantos códigos. Hablamos de Dolby Atmos, el joseo para llegar al estudio Nesty y su experiencia trabajando como productor para los "Premios Tú Música Urbana". INVITADO https://www.instagram.com/admes_ -------------------------------------------------------------------------------- Smash Hits Website (Discord Community, Beats, Merch, Academy, Social Media): https://www.smashhits-music.com Email: smashhitmusic@gmail.com Powered by ONErpm: https://onerpm.com/es/como-funciona-es
Diego Maldonado, cabeza global del departamento de publishing de ONErpm, explica cómo funciona ONEpublishing y cómo puede trabajar con ellos un autor de cualquier nivel o un sello que controle derechos editoriales.ENLACES RELACIONADOS:https://onerpm.com/es/one-publishing-eshttps://www.instagram.com/onepublishing/NUESTROS RECURSOS:
In this episode of My 23-Year-Old Self, Zena talks with Jenna LoMonaco, Head of US Marketing at modern record label and distribution partner ONErpm. Over Jenna's career, after getting her start at music PR agency Girlie Action, she's helped break artists like Mumford & Sons, Phoenix, and Childish Gambino. She's also worked with many other iconic artists, from The Killers to Demi Lovato to Elton John to Shawn Mendes. In this episode… ● Jenna will share her creative approach for breaking into the industry, and how she successfully worked her way up the ladder. ● She'll recount the time Mumford & Sons made her cry happy tears around the time of their first Madison Square Garden show. ● We'll hear about the ugly incident she encountered early on in her career while working as a studio manager, and the bias she faced due to assumptions about her presence at a late-night session. ● Jenna will share her tips for turning a passion into a career, and... ● We'll hear how one of her mentors gave her the type of advice that taught her to be self-sufficient.
En este episodio Vanessa Mena conversó con Andrea Gonzáles, Nancy Pérez, Raquel Guerreo y Dana Bosquez, quienes son algunas de las genias detrás del mercadeo y publicidad que ofrece ONErpm a sus artistas. En una época donde se publican más de 24.000 canciones diarias, el éxito no solo de una canción sino de un artista, se rige en gran medida a la publicidad que fue estratégicamente creada siguiendo un buen plan de mercadeo. No es simplemente publicar en redes sociales y pedirle a la gente que escuche tú música, va más allá de eso. Se trata de construir una comunidad de “encontrar a tus futuros fans” y para eso existen personas como estas genias de ONErpm que pueden impulsar la carrera de un artista. --- Support this podcast: https://podcasters.spotify.com/pod/show/musica-con-m-de-mujer/support
We had the pleasure of interviewing Jay Allen Zoom video!Country singer Jay Allen has released his latest single, "No Prayer Like Mama's," through ONErpm. The new single is a touching tribute to the strength and devotion of a mother's love and is available now on streaming services worldwide.Inspired by Jay Allen's own journey, "No Prayer Like Mama's" is a tribute to the love and sacrifice of mothers. The song was born out of Allen's own experience of losing his mother to Alzheimer's disease and serves to honor the memory of all mothers who have dedicated their lives to their children, even in the face of adversity. The lyrics pay homage to the endless prayers that mothers offer for their children, from their earliest moments to when they've reached adulthood, capturing the beauty and power of that love that can transcend time and distance.Allen spoke about the song, saying “'No Prayer Like Mama's' was written after grieving the loss of my own mother. That process was a difficult journey, but now I find strength in believing that she's still with me. I hope this song brings honor to both mothers in heaven and those still with us.”Growing up near Cedar Falls, Iowa, Allen was influenced by the music he heard from both his father at rock concerts and his mother, who would sing country tunes on long car rides. Allen attributes his love for country music to his mother, and it's what ultimately led him to move to Nashville in 2013. He signed a publishing deal in 2014 and an artist deal with SONY/ATV in 2016. With the release of "Sounds Good to Me" in 2017, Allen was selected as Sirius XM's "The Highway Find."It was his 2018 hit "Blank Stares," a powerful tribute to his mother who suffered from early-onset Alzheimer's, that first caught the attention of national audiences. The song went viral, reaching over 500 million views on Facebook, and showcased Allen's raw talent and dedication to raising awareness for the Alzheimer's Association. As a result of his advocacy efforts, Allen has been involved with several international events, including the Rita Hayworth Gala, which have raised over $100 million for the Alzheimer' Association and has received numerous accolades, including The Caregiver Award from the National Alzheimer's Association.Allen has also been recognized for his music. He was named Favorite Competition Contestant at the 2022 Country Now Awards and featured in Music Mayhem Magazine's 2023 Artists to Watch.With the release of his debut EP Bulletproof, which includes the single "Mustang on Mud Tires" featuring UMG country artist, co-writer, and now-wife Kylie Morgan (along with Nate Kenyon and Blake Bollinger) Allen continues to captivate audiences with his emotional and heartfelt music.We want to hear from you! Please email Hello@BringinitBackwards.com. www.BringinitBackwards.com#podcast #interview #bringinbackpod #JayAllen #NoPrayersLikeMamas #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod
What are "label alternative services" and who should be using them? How do you build your "story"? Check out this episode with Alex McGinnis, Project manager for ONErpm Heavy, the hard rock and metal division of ONErpm, to find out. Hear how ONErpm differs from other distributors, and how it can benefit artists to work with a company like them, compared to being totally independent OR being on a label. Check ONErpm's services: https://onerpm.com/ Need PR? Contact us at https://csquared.info/?page_id=391
The artist-entrepreneur-investor Mr Eazi has no on-off switch. Who he is in the recording studio, on stage, and on the boardroom are the same. With business and music, Mr Eazi has found parallel industries that allow him to be the same person.He's founded both emPawa Africa and Zagadat Capital to feed his business appetite. The former invests into African artists and helps them scale. Meanwhile, Zagadat Capital invests into tech startups, most of which are inside the continent. Then there's Mr Eazi, the Afrobeats artist. He's collaborated with the likes of Beyonce and J Balvin, and also taken center stage at Coachella. After taking time away from music amid the pandemic, Mr Eazi is back in album mode now. Holed up in Cape Town currently, Mr Eazi has plans for two new albums this year.I caught up with Mr Eazi to cover his never-ending pursuits in music and business. Here's everything we chatted about:[0:22] How Mr Eazi is balancing artistry and entrepreneurship[1:40] Similarities between music and startups[6:19] Taking equity stakes in artists and what an “exit” looks like[10:50] How Eazi measures success for Empawa artists [13:00] Eazi's investment thesis for startups[18:10] Startup success trends in Africa [21:30] Lack of capital is biggest challenge to Africa's startup scene [29:45] Raising awareness within the continent[32:20] Biggest obstacle that African artists face [36:52] Uncleared sample on a Bad Bunny song[40:45] Impact of Western companies investing into Africa[47:35] Mr Eazi is in album modeListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Mr Eazi, @mreaziThis episode's sponsor is Symphony. Put your fanbase growth on autopilot with the first AI-powered platform that brings all your artist marketing workflows in one place. Learn more at symphony.to/trapitalEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Mr. Eazi: part of me deciding to be an artist was reading the book, the Jay-Z book, Empire State of Mind. And that was when I saw it clearly and I was like, oh, wait a minute like this music is a business and the music gives you access, it gives you access to capital, access to the network it puts you, gives you a seat at the table[00:00:20] Dan Runcie Intro: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital Dan Runcie, this podcast is your place to gain insights from the executives in music, media, entertainment, and more. Who are taking hip hop culture to the next level.[00:00:48] Dan Runcie: All right. Today we have the one and only Mr. Eazi, the artist, entrepreneur. How you doing man? Welcome to the pod.[00:00:56] Mr. Eazi: I'm good. I'm good. I'm chilling. What's, going on[00:00:59] Dan Runcie: Me. I'm good, man. Trying to keep up with you. Trying to keep up with you, man.[00:01:03] Mr. Eazi: I'm trying to keep up with me, bro.[00:01:06] Dan Runcie: Well, let's talk about that because you are someone who sits at this intersection of artist, investor, entrepreneur, and you are doing all of those three jobs and more. And it's also happening at this moment where the entire continent of Africa is booming from an entrepreneurship perspective, booming from a music perspective.[00:01:29] How does it feel right now? How are you operating being at the center of that?[00:01:34] Mr. Eazi: To be honest, I just feel like it's a blessing to be born or to be existing in this time. where like you said, everything is just like taking shape and, you know, yeah, it's exciting and it is for me. It's like every day I'm seeing opportunity left and right and just figuring out what is fun and what is doable and just, you know, going from thinking, oh, I'm an entrepreneur, to oh, I make music. And, it's similar cause it's products at the end of the day, on the bottom line, it's like you're selling music or you're selling some other product. And I thought they were two different things, but you know, I'm seeing how it's one and the same.[00:02:17] It's just exciting to realize that I don't need to be two different people like I still be the same me and operating both walls.[00:02:27] Dan Runcie: So how are they similar for you approaching both music and startups?[00:02:32] Mr. Eazi: So I feel like every artist is like a. because the artist has a brand, has a feel, it's like a service product, it's an emotional product, right? And every artist, you know, that IP, there's an IP with every artist, and the artist usually needs investment to scale. And like coming from, like when I went outta school straight into an incubator program called 440NG and I kind of, there I learned how, you know your idea and your business, you know, you have the idea, you put it together, you iterate as the business keeps on going. So what you thought was the business at the beginning, you know, your customers could give you feedback and then you realize it evolves, it accelerate and you are trying to be as lean as possible and grow to the point where you have that critical volume to sort of like ask, what's the word as, proof that this is a valid idea either via customers or via revenue. And then you try and get to, you know, you try and scale, and you figure out what's your, unique value proposition is, and that's like where the startup, what's your unique value proposition?[00:03:46] Who are your customers? What's the idea? You take it to market, you test it, you go get investment. And it's the same thing with every artist so at the time where I decided to do music full-time, I was in an incubator program, and so I just started to see the similarities with the music. I'm like, okay, let me test it, put it out, people listen to it, you know, gimme the feedback, you know, and the point where I decided I was gonna take the music as a business was when like I got the first person reach out to me and say, Hey, I want to pay you for a verse. So that was the first signifier to let me know that, okay, maybe I'm onto something.[00:04:22] Then I started to have my early fans then Lauryn Hill reached out and said she wanted me to come play at her show. And I thought it was a fluke until I found myself in America performing in Lauryn Hill, coming out to say, I love you, thank you so much for coming. And like all of that is like with a business, with a traditional startup, it could be different things, but for me, the revenue, the number of users, aka the fans, all of that were signifiers.[00:04:51] And then I just needed, you know, the capital to take it to the next level, right? So I think those are the similarities, and I've tried it when I started emPawa it was at the beginning, it was to test if they were one and the same. So I was like, okay, Y Combinator send, you know, picks a few, start a couple of startups, you know, does incubator program put funding and whatnot to them?[00:05:18] And then maybe 20% of them you know, end up working on, and I did that with 100 artists across 11 African countries, over 30,000 entries then picked 100, then gave them the same amount of money, created the emPawa YouTube channel to host their videos, service it the same way, and in the end, start to see the ones that organically started picking up.[00:05:41] And we had success with that. So for me it was like, oh, wait a minute it's one and the same. I've proved this. And that's when emPawa then turn from, you know, the, program I was doing to actually full service music company, because I had proved that it was the same and in the same way you invest in a song.[00:06:01] I remember the first Joeboy song, the visualizer cost me $500, and then the song ended up having like 30 million views in like a year. And you know, Joeboy just went boom, boom, boom, boom, boom. So, I start to say, okay, there is a process here and perhaps we could do it with other artists, you know? So to answer your question, that's how I see both as, you know, one and the same in a way.[00:06:28] Dan Runcie: That makes sense. And I wanna talk about emPawa specifically because this is you bringing so many of those startup concepts to music like you said, you saw Y Combinator is doing. How could you apply that here? The difference though is that with Y Combinator, the promises of course, an exit, so they're hoping this companies get acquired.[00:06:47] They're hoping that they go public in music though. What does that look like for you as someone that is taking equity stakes in the artist? What does your return look like? What does your exit look like?[00:06:59] Mr. Eazi: So, I mean, first off, the return is like when you invest, you know, you invest to create the content, you put it out, put some marketing, and you start to see, you know, the streams coming, the revenue coming, the artist is now doing live shows, getting endorsement deals, you know, you could get four, 5x, 10x multiples, you know, and time.[00:07:24] so that's, one. But secondly, like on a developmental standpoint, you could develop the artist and then a big label comes and says, oh, we wanna upstream. So upstreaming is like a sale. It's like an exit, and you could still have passive rights to get passive income, on the artist. So those are like the kind of like returns and the kind of like exits.[00:07:48] Plus you could just invest in the IP, buy it up, and next thing somebody wants to sample it and then they have to write you a big check. And it could happen now, it could happen in like 10 years, in 15 years time, you know, you could have a record just lined. I'll give you an example, recently the Joeboy record that didn't make it to the Joeboy is one of my artists.[00:08:09] The song didn't make it to his album, and so we then licensed the song to a guy called Lakizon, you know, he puts out the record, you know, there's not so much thought to that. I wake up one day, Bad Bunny has put out, an album and I'm just listening to the album cause I'm a fan and I hear a record there and I'm like, basically what I was trying to say is, so you have that record that didn't make it to the album, Right? And it's just there and we license it to this guy and the next thing the record appears on a Bad Bunny album.[00:08:43] And that's like the biggest artist in the world last year by a lot of metrics. And so that's like an example, you know, an exit because you make this record and then boom, and the upsides are like, you know, so high. And right now on the market, even if you wanted, you are seeing, you know, my mentor, one of my mentors, Merck Mekadalas, you see how many multiples from 10 to 23, 24xlast year's revenue on, you know, buying rights for music. So I think there's multiple exits and even just the music and music IP as an asset class has been proven to be a valid asset class by Merck and the likes. For instance, I was, I was part of the deal, the KKR deal that bought, I don't know if you saw that some time ago, that bought a law of the rights, including the Weeknd et cetera.[00:09:36] I was part of that deal, via one of the companies, and you could see how you could see what an exit looks like. So there's multiple exits for music, whether it's an upstreaming deal from the label or it's a straight up acquisition of the catalog, or it's just multiples of revenue, the artist is now beginning to earn or if your label, you could get your entire label could become upstreams or you could go into a JV type situation.[00:10:06] Dan Runcie: So that speaks more to the flexibility that's offered with being able to invest in music. It isn't just this one time event that you're hoping for as a startup investor.[00:10:17] Mr. Eazi: Yeah. 100 percent.[00:10:19] Dan Runcie: Yeah. Yeah And with that too, you mentioned that you have a hundred artists that at least came through the first cohort, over 30,000 had applied and when you are measuring your success for them, I'm sure that each of the things you mentioned are the things that you hope for, but along the way, what are some of those key performance indicators or what are some of those things that you're looking for to hope that traction can be gained to hopefully get to the point where you do have, positive financial event that comes.[00:10:51] Mr. Eazi: I mean, it starts with like hyper local recognition. So, you know, I give example, there was this like I think she was 18 or 17 at the time, Nik, her name is Nikita and she's from Kenya. She had joined the program, she didn't make it to the top 10, but we put out the video and you know, that song started to gain local traction in Kenya even though she didn't make it to the Final 10.[00:11:17] And by local traction, I mean like number of downloads, it made it to radio, you know, it made it to press picking it up. And even though she wasn't part of the software and I didn't give her full on funding, she got signed to Universal. So for me that's a testament of like the success and those are like KPIs like, okay, does it get to radio in your local country?[00:11:40] Does it get, you know, that local, you know, appreciation from the fans in your country? And then when does it start to transcend, and there's nothing wrong with you having a popular song in Kenya or in Tanzania, but by the time it starts to go from Tanzania, you know, to rest of East Africa and then comes to the west, you know, those are the things you look out for and, you know, next level is by the time you start getting booked for shows based on the 1, 2, 3 singles you put out,[00:12:11] Dan Runcie: That makes sense. That makes sense. Let's shift gears a bit to startups, because I know that's the other space that you're actively in. What is your thesis for investing in startups?[00:12:22] Mr. Eazi: Right now, what I do is like, you know, I can bring some form of value to. So when I look at like the idea, or like when my team, you know, sends me some deal flow and we kind of walk through it, it's like, okay, aside the money, what else can we bring to this business? You know? And if I'm able to spot some extra form of value I can bring to help the business kill.[00:12:53] Then I want to invest, you know, it could be marketing. Can I add some marketing? Can I add some of my experience here? Can I leverage on my network in this other side? Aside the money, and most of the investments I've been making haven't been personal. They've been via my collectives, Zagadat Capital, and Zagadat Capital is basically, for now, it's 12 people like myself, young, successful African boys or girls who usually, you know, find it boring to speak to the financial guys and you know, have some form of liquidity. And so when we get the deal flow, and I just look at who's in the collective and who can add value, then we bring it to, the collective and then we invest.[00:13:45] So it's majorly been, it's like 90% being Africa focused because I feel like there's so much opportunity, on the continent and also on the sentimental level. The amount of impact the investment does when it's, on the continent makes, is something that's bigger than just the money.[00:14:07] And the money is great like, you know, we've seen a lot of African companies hit and cross a billion dollar evaluations to become unicorns. so you know that, can happen. But at the same time, the impact, and it's always fun when I go to an office that I'm an investor in of the like employees, they're excited that Mr. Eazi is in our office and Mr. Eazi is a shareholder like, you can't buy that. And I think that's what I always wanted because like part of me deciding to be an artist was reading the book, the Jay-Z book, Empire State of Mind. And that was when I saw it clearly and I was like, oh, wait a minute like this music is a business and the music gives you access, it gives you access to capital, access to the network it puts you, gives you a seat at the table and you know your merch, merchandising could be like the three cap that chance the rapper does, or it could be Uber or it could be, you know, Power Pay, which I've invested in that, you know, is the number one mobile money focused payments aggregate on Africa doing over 1 million transactions a day, you know, and so it's, different things and I know how I can bring value beyond my, cash it and just watch it grow. And it's exciting[00:15:28] Dan Runcie: That makes sense. So that collective, that operates a lot like a syndicate. You all are sharing deal soon where you can add value. What stage do you normally invest in and how much money are you normally putting into startups?[00:15:41] Mr. Eazi: You know, it's different like we've done like some seed stage. we did a company that was looking at listing last year on the LSE. We've done growth stage as well, so it really depends, it depends on where it comes to us, and it could be as low as, you know, 25K check, which just gets maybe if it's a 25 K check, I might just take 50% of it and just say, Hey guys, do the rest, and I just put it on the platform we use and boom, boom, boom, everybody just clicks and it's, done. Once it's done, it's done like I just invested in a platform called Ruka Hair, and it is a startup that, you know, provides hair for, people of African descent based out of London.[00:16:30] And that was a small check for, and it is growth stage, you know, so it really varies. and there's no rule. Yeah.[00:16:41] Dan Runcie: That makes sense. Yeah, keeping it flexible and gives you the opportunity to see everything that's coming through. What are some common trends that you're seeing? What are some things that you're seeing from the founders or from the startups that are coming through, especially the ones that are getting markups and getting closer to exits?[00:16:59] Mr. Eazi: I'm seeing like, you know, companies that solve fundamental, problems. You know, and I know there's so much bars on FinTech, it's like everybody just gets a hardon for African FinTech. But like, for instance is, if this products are solving specific, like there's a company called Eden Life, which I invested in.[00:17:26] And what this company does is like, you know, there are a lot of people like myself who, we don't in town enough, like enough for us to like have a chef and all of that. And we have very busy schedules, so we want like meal preps delivered to us and we want like our laundry picked up, you know, that's a very middle class, sort of like early into the job market, like pre family kind of types. And so that kind of product is a product that's like valid because like you're solving a particular need, you know, or PISA for instance, that are invested in. So PISA gives remittance based lending.[00:18:13] to, people in Mexico. So you know, the love Mexicans in the US sending money back to, Mexico to their family and their loved ones. And PISA uses that data of how much you get your current every month like my mom and dad, I put them on allowance. Like I pay them an allowance every month, Right? So we use like, by the way, for clarity they don't need it like they're good, but it's just something I do. And the other people in cultures like African culture, like in Africa, it's a pride for you, even if your dad is a billionaire, like being able to do something for your dad is like, it's like a pride.[00:18:53] It's like you've achieved, right? So you have people sending money back home, you know, either to Mexico or to different parts of Africa to either family that need it or to do stuff with it, like build a house back home or to help the family school fees or whatever, or just out of sentiment, like, it's like paying your tithes.[00:19:15] I don't know if you're Christian, it's like when you pay 10% of your income to the church. It's something like that. and then there's all that data, all that data because it's like salary, right? it comes every month, usually on a certain day. So PISA uses that information to provide loans to people.[00:19:34] And that's like a need, that's a specific need. So that's what we are seeing, Yeah.[00:19:40] Dan Runcie: What are some of the bigger challenges right now for startups in Africa?[00:19:45] Mr. Eazi: I think one of the biggest challenges is, you know, getting funding and you see a lot of, like African startups, YC has been doing a great job, but there are, you know, and like, future Africa, which I'm part of and I'm an advisor, you know, investing in these projects. But raising fund is like so hard.[00:20:07] There's still a hesitance when it comes to African startup raising funds, especially at seed stage. And usually this is not a lot of money. It's like from 20K checks to like even hundred is a lot of money, you know, but that 50 k to, get you into flight mode. So I think that's the biggest issue is not lack of ideas, it's, you know, getting funding, especially local funding that's not a lot of local funding sources. There's few options like the YC's and it's hard to get in generating that local funding is still a problem as a lot of the, you know, organizations and a lot of investors are still trying to understand this whole tech investment and valuation.[00:20:55] I have my uncles ask me, you said this company is, is what, $20 million? Do they have 20 million cash in their account or do they have, buildings? Where's the building? Where's the physical asset, you know, it's that culture going from brick and mortar to technology and understanding evaluation and all of that.[00:21:15] And, then you have sectors that are now like so hot that valuations are going crazy you know, And you have, like, depending on what sector you are, a lot of the countries are just catching up to technology. And in some places there are no laws written for the kind of products you are creating.[00:21:38] So if you're not in sync with the regulators, the regulators might pass a law that is detrimental to your business and all of a sudden you wake up one morning and your successful business is now killed just like the motorbike railing company. I forgotten the name in Lagos. That was really growing and then with one day regulations like no motorbike, transportation in Lagos, boom, dead.[00:22:04] So, I think it's not just in Africa-peculiar problem. It's like, for instance, with crypto and, you know, a lot of, you know, countries trying to understand what is going on. So you're having innovation outpacing regulation and you know, if there's no proper interaction you are having like regulations could just like be the end of use.[00:22:28] So I think access to capital, and in some sectors, depending on your sector, regulation as well could be a major setback.[00:22:38] Dan Runcie: The access to capital piece, I could see that, especially since the friends and family round is such a key piece, or having the angels outta there, such a key piece to help make that happen. But if the people that have the financial means are fewer and far between, you know, whether it's folks like you or others that are in your syndicate or maybe some of the other co-investors you have, that means that the deal flow that you all get is heightened even more so because there's just so fewer other places, which makes you all needing to be even more selective, I can imagine, than you maybe otherwise prefer to be. I mean, how do you feel in that perspective as someone that wants to see the space grow, but you know that you can't back everybody even though you know, I'm sure inherently you wish you would, but you still have your own rubrics. You still have your way that you evaluate things, and that likely has to be even heightened given the number of deals that you're seeing.[00:23:32] Mr. Eazi: Yeah, I mean like, well one of the things I pray, I have some days, fuck you money. Do you understand? To just like, because like 1.2 billion people in Africa on the continent. And it's like, if you think of the amount of money that comes back to Africa from the African Diaspora, it's like, I think it's like over a trillion dollars a year.[00:23:54] So there's so much opportunity. And, but like you said, what this does is it makes things a little bit harder for people, you know, entrepreneurs who need the money and the proof is in the pudding. Like I always say, like although it takes time and things are changing, don't get me wrong, things are changing.[00:24:15] They are more local, VCs, funding, but like I probably know like five people with networks over a hundred million, right? But now, for me to get to the point where, and these are people who've, amass all this wealth with brick and mortar businesses. So now you know, there's a job to do to sort of like show proof, show validity that, hey, I invested at this point, it's not for Gen Z it's not a pyramid scheme.[00:24:50] And like show people and then you get more people, coming in. And I have seen like some of my friends who are like billionaires now start to set up separate funds to say, okay, you know what? I don't really know what this tech thing is about for, but you know, put the money in future Africa or put it in some other fund and try to learn.[00:25:11] So it's more sort of like publicity and sometimes the drop, the setbacks are when there's a big startup out of the continent that then runs into all sorts of scandals and then, you know, it causes five steps backward. And that's not peculiar to Africa like, I mean, you seen what happened to ftx, right? So that happens everywhere.[00:25:35] The only differences, you know, because it's still kind of new. It causes more negative effects, you know, so I think there needs to be more education, more pr to the successes of these companies. Every success is a success and should be, you know, communicated and things would get better because there is capital on the continent.[00:26:00] There is like lose capital on, the continent looking for where to invest, you know? So I mean, things are changing like Future Africa. I always keep mentioning Future Africa, like they've been able to show that, you know, they know what they're doing. There is a method to the madness. They could deliver results in terms of like revenue, you know, they invested in Move, which is a company that provides, you know, the cars for Uber drivers and it's, you know, I think it's now a unicorn and that's like a very particular need because, you know, drivers need cars, but they don't have the capital to purchase the cars, right? And going through the banking routes, you are gonna have to bring collateral, your mom's name, your grandmother's house, plus the high interest, you know, so they've identified, and this has been a problem, it's still a problem to today that they've been able to solve.[00:26:54] So I think the more people know about this, the more education, the more things will open up.[00:27:01] Dan Runcie: The PR piece you mentioned is interesting because from my side, living in the states, I'll see the articles about a company like Carry1st, which I do think has had a fair amount of PR, I feel like one of their announcements got an got an article in the Hollywood Reporter, so I remember seeing things like that, but I feel like it does become fewer and farther between, at least from what you are seeing, from the awareness of some of these[00:27:27] Mr. Eazi: Yeah, you're correct and it's not so much I understand why like there's a lot of PR outside looking PR like you said, you know, New York Times, you know, LA blah, blah, blah, because that's where the money's coming from, right? But like, I'm talking more intra-Africa PR like for the money on the continent, you know, because that's like easily, like it's right there in your face, you know, there's enough money in Lagos for them not to be any need to raise capital from outside . You get what I'm saying? There's so much capital in Lagos, like from Lagos, you feel me? Or from Rwanda, you know, and, Rwanda is trying to position itself as startup, you know, pro-startup investing, you know, so there's money on the continent and it's like[00:28:22] that's what I mean by PR and publicity and awareness. if I wasn't friends with, like, I met in, was co-founder of, Flutterwave with and then Andela, you know, and then Move. So three unicorns, right? And, you know, we've been friends and we've been investing together. if there was not that proximity to him or to Shola the founder of Paystack that got bought by Stripe, I wouldn't know that this was going on.[00:28:50] You feel me? Maybe, you know, I wouldn't have known. So that's what I mean, you know, because like every A-list, Afro-B artist can be you know, can be invested, you know, so that's exactly what I mean.[00:29:08] Dan Runcie: It is interesting you bring up the music piece because I'd be curious to hear how you feel some of these challenges that African startups may face. How do the African artists themselves fare in that regard? Do you think that they have similar challenges with funding or with regulations in that way?[00:29:26] Mr. Eazi: There's regulation issues, like for instance, collecting, publishing revenue on the continent. It's a joke, right?[00:29:34] Dan Runcie: Why is that?[00:29:34] Mr. Eazi: Or collecting streaming revenue because like for you to be able to collect publishing revenue, you need the government to enforce the laws for the radio stations to pay you, you know, publishing royalties on the music they place for the bars to be able to pay for what they play, like for the use of your music. So you need strong in a lot of African countries, these laws are there, but there's no enforcement because I would say it's worse for creatives because people still look at the creative sector as a joke.[00:30:08] The orange economy is like, ah, that's not really business like that's just young people with dreadlocks, just singing and dancing and jumping across the world. Yes, they hear the music everywhere. Yes, now things are getting better because they're seeing teams at the Grammys, they're seeing Burna Boy, you know, and whiskey doing Madison Square Garden, but there's not a lot of education for them to really understand the business of music or creativity.[00:30:36] So even, I remember like two years ago I spoke to almost all the bank MDs, or three years ago, almost all the bank MDs in Nigeria trying to convince them on why music is a business is a valid business, but I couldn't get funding. And that's me being a successful African artist showing the revenue, showing all of that, like I once got on a panel with, you know, a financial institution that was meant that. they have a fund, they have like a 500 million dollar fund for investing in creatives. And I was on a panel with somebody there and the person said, oh, it is impossible to protect music IP, it is difficult to protect music IP, and I was like, whoa, whoa, whoa, whoa, whoa, What? And like, are you kidding me? Like, there's Shazam technology, there's like, every song has an ISRC code and like if you upload the song in Kenya or in in Afghanistan, like on YouTube, like it will pick it up instantly. So when you have a situation where you have an institution that has up to a billion to invest in creatives. But you are having the key stakeholders who decide who gets what telling you or speaking out confidently and saying is hard to protect the IP, you know, then that just shows you where it sucks. So there's still a lot, but I feel like that's why there needs to be more education, you know, just like for startups to music, to let people realize that this is a business, like there's revenue to be earned. Not just live revenue, like streaming revenue, publishing revenue, especially now that the world is looking to Africa. Like you're seeing early starters jumping on Afro Beats records, like, what's that song?[00:32:31] Essence, Essence was a hit song before Justin Bieber jumped on it. It was already a global smash. Peru was a, global smash before, Ed Sheeran jumped on it. So you are having like pure Afro Beats records in our local language produced locally in some hotel room in Lagos, you know, going on to be big songs globally without any major support from without necessarily, you know, I know A and R like support, like his producers locally. And you're seeing this, so you do know that this is the time, or you know, like the example I gave, you know, Bad Bunny, you know, sampling a Joeboy record and putting it on his album, putting an Afro Beats record on his album, you know, that's an ex example.[00:33:18] Dan Runcie: And by the way, that was declared properly and like I'm about to go, you know, go crazy with the lawyers to make sure I get my bread. And more importantly, the writers and the producers get, their due credit and revenue and, you know, Did Bad Bunny's team reach out before this?[00:33:39] Mr. Eazi: No, no, no, I literally just listened to Bad Bunny's album and I just heard Joe Boy's voice at the end of the record, and I was like, I've heard this record before. And then I realized is a record, I didn't make it to his album. And I'm like, wait a minute. And then my team start speaking to them since May of, last year.[00:33:55] And it's just back and forth to the point where I'm like, okay, you know what, you guys have had fun with this. Like, I'm just going brazen on this, let's get lawyers. Let's make it like a proper lawsuit. But what I'm trying to, or you have, you know, Beyonce, you know, doing the Lion King, the gift and having created from all of Africa put it so like, you know, you are having Drake, you know, with Whiskey on one dance you're having Ed Sheeran, Justin Bieber jump on multiple Afro Beats records that are Afro Beats records. You're having people more and more people sampling Afro Beats records, you know, and maybe not giving proper credit or do, or you are having, like I once produce. and was on co-produced and wrote and featured on a record involving Bad Bunny on the Joint album and Afro Beats record.[00:34:45] So you're seeing is becoming more global and global. So we need to be able to tell these stories to the funding sources back home to establish that this is indeed a business. So it's education the same way education for the startups, but even more for music because music was never, and creatives, you know, was never looked at as a valid business.[00:35:09] It was looked at as things, people who don't graduate from school or people who just wanna be jokers do. But right now people are sitting, wait a minute, wow, that artist bought car that artist's bought a house. that artist did this, did that or Grammys or this, that, that. So, but there still needs to be more information back home to the business side of the music to know that behind that sold out.[00:35:36] MSG is a check, and behind that billboard is a check, you know, and even the TikTokers, like I was speaking to someone at the bank and explaining to my bank MD friend that, you know, I showed him a lot of payments, like TikTokers in Nigeria are getting paid as much as $10,000 to put up a post on their TikTok.[00:35:59] 17 year old, 18 year old, you know, and I had to show this and he was like, what? Are you serious? And then he went back to ask his kids. And find out that, oh wow, this is a thing, you know? So it's that education, I mean, because there is the capital on the continent, it's just like, how do you get it?[00:36:17] And it is a lot of work to do to basically explain and explain and explain. And one needs to have the patience. And it's hard to do that while still running my label, doing everything I'm doing, putting out music for myself, you know, so, you know, but thankfully I'm not the only one doing it, Don Jazzy is doing it.[00:36:39] Olamide is doing it. They're more examples. So one way or the other people are saying it.[00:36:44] Dan Runcie: How do you feel about the investment in African music that has come from the West? So thinking about Universal Music group opening up record label in Africa and some of the other majors having different concentration in Nigeria or elsewhere, how has that been and what type of impact has that had, if any, on your end?[00:37:07] Mr. Eazi: I mean, I think it's good. It's a good signifier because all these labels were in Africa from the years before Fella, right? You had all these labels in Nigeria before, you know, the nationalization where, you know, the government had passed that all the companies should be nationalized and the labels got sold to local owners.[00:37:26] So you are just having, you have Majek Fashek that was on the late, late show, the late night show in 1991, bro. So when people say, oh, African music is then becoming popular. It's been popular. And it's coming back again with technology and everything. So I think it's good. I think the more, you know, major labels coming to Africa, but not just as, or let's test to see what happens.[00:37:52] But the more investment that comes, the more structure there will be for the business and the more signifiers, you know, to show people who wanna invest, you know, so yeah, I welcome it. And I think there should be more funding and there should be more, like the local companies should be autonomous, you know, I think that's been the only drawback with the majors, pardon of me, I might be wrong. Don't quote me where you are seeing the local, you know, Universal Nigeria or Sony or whatever, you know, that lookout team not having a lot of, autonomy in the checks they're writing to the artists or taking those risks they have to get approval from maybe South Africa or, you know, London or LA.[00:38:43] Meanwhile, everything is happening on the ground in Lagos, so you are having distributors. So I think a lot of the most recent successes have been by more distributors than record label in breaking artists. So more like Empire or ONErpm or the Orchid or emPawa or, you know, Believe, because these distributors are more flexible and have been able to give a lot more autonomy to the local guys who are running, these local companies to write those checks because like, what is somebody in London like with all due respect, like I always say this as a joke. There's no songwriter in the world that would've written, I don't care how many Grammys you've, gotten, you cannot write Soco, Soco, Soco, Soco, Soco, baby.[00:39:42] You. That's the Wizkid song, you can't write that song or, one of my favorite artists Wande Coal, there's a part of his song where he just spits jibberish, like he don't mean anything, like it's a vibe. So like without due respect to your A and R ears, you don't know the music like even me, I'm from Nigeria, but I always have to be updated.[00:40:09] So there needs to be more investment and more autonomy. But I love it like the more labels come in and the more distribution companies come in and there's this competition, the more money is invest invested. And when you invest money, then you start to structure it then you start to say, Hey, why are we not making as much money locally?[00:40:29] Okay, let's invest in touring, you know, in Nigeria, in on the continent. let's go lobby for enforcement of collection of royalties. So, yeah.[00:40:40] Dan Runcie: Have you seen any success stories from the major record label side in Africa yet?[00:40:48] Mr. Eazi: There's none that comes to mind in terms of breaking an artist. So you have Wizkid signed, you have Diplo signed, you have Burna Boy signed. you know, and this is like A-list, A-list, right? But if you look at all the artists that have broken Buju for instance, initially signed to Burna Boy and then Empire, broke him, you know, that's Buju, Fire Boy via Empire and Olamide's YBNteams, you know, independently broke with, her record. I think she's been upstreamed now. So in terms of sort of like carrying that conversation, you know, outside to the rest of the world, yes, I'm sure there's been a lot of success like the Wizkid record, you know, Burna Boy, entire Renaissance.[00:41:44] And you could go on and on, but in terms of actually finding an artist and breaking the artist, there's not a lot of successes. And I think that's down to autonomy because, you know, you have some executives moves from the label to the distributors and do well, you know, we just understanding you know, how to a and r and how to put our music, on the continent, and you can't just bring like somebody who's of Nigerian descent and just expect that they don't understand. Like, I am Nigerian, but every time I go back to Lagos, I'm like, whoa, the sound has changed, you know? So that underground on the ground, you know, and there's a lot of work.[00:42:31] Dan Runcie: Definitely, and yeah, I know that there's so much interest, but like you said, if they don't have the control or the ability to really make decisions on their own, I can easily see why an Empire or some of the other distributors have been able to have success there. But Mr. Eazi, man, this was great. I feel like you gave us a snapshot of where everything is right now on music and investing side.[00:42:53] But before we let you go, for you, what's big on the road for you still beginning of the year? What's big on the deck for you? What do you got coming up?[00:43:02] Mr. Eazi: I mean, I kind of like needed a break from putting out music and touring and when COVID happened I was like, oh, thank God, like because I was battling with, oh, if I should, I pause, like it was just routine doing the same thing and it was like too much for me. So I was able to have that pause, and put some of the attention towards like growing emPawa with my co-founder.[00:43:27] And then leaving it to him to sort of like, you know, and come back to iterate, iterate change the model, blah, blah, blah, build the team. And I just went off and started doing like investment and putting more time in the startups I was investing in. And now, I'm in Cape Town recording. I'm putting out two albums this year, one in September and one in, I think April or May.[00:43:55] So I'm just recording that now and I feel like, and now I want to go back on the road, but not first as my usual live band touring, but first as sort of like a curator, where I bring like, you know, the way Major Lazer tour where they have the sound system with Walshy and Diplo and Ape Drums. But instead of Diplo and Ape Drums, I select like the DJs, maybe one playing Afro Pop, one playing Ama one playing something else.[00:44:27] And I am the Walshy Fire, sort of like putting it together, hype man MC. So that's what I want to tour. The first part of the year once I put out the Chop Life album, so that's called Chop Life. To chop life means to enjoy life. So I'm making an sort of Afro dance album that I'll put out first and then I will talk as Chop Life sound system with doing these parties.[00:44:53] you know, of majorly Afro Beat parties, sound system across the world. And then I dropped the album, the second album, and I taught as, okay, this is my album tour. So that's the plan. Hopefully I'm able to complete the first album. The second album is done, it is just in mixing a mastering, that's the September one.[00:45:13] It's done just in mix. And my string phase and then this first one, I'm recording. That's what I'm recording right now. Recording downstairs.[00:45:21] Dan Runcie: Nice. Nice. Well, looking forward to all of that, man, and thank you. No, this has been a pleasure. And yeah, so people that wanna follow along and keep up with all that, where should they go to follow you?[00:45:30] Mr. Eazi: Follow me everywhere on social media @mreazi, M R E A Z I, Mr. Eazi. Yeah, everywhere, everywhere on social media.[00:45:44] And I wanna see you at one of my shows. You have to come maybe when I do the parties, where are you right now?[00:45:49] Dan Runcie: Me, I'm in San Francisco[00:45:51] Mr. Eazi: Cool. I'm, sure I'll be coming around LA, San Fran, at some point[00:45:55] Dan Runcie: Yeah, come through.[00:45:57] Mr. Eazi: I'd send you an invite,[00:45:58] Dan Runcie: Definitely, definitely. All right, man. We'll talk soon.[00:46:01] Mr. Eazi: All right. Have a good one. Thank you.[00:46:03] Dan Runcie Outro: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat. Post it in your Slack groups. Wherever you and your people talk, spread the word. That's how capital continues to grow and continues to reach the right people. And while you're at it, if you use Apple Podcast, go ahead.[00:46:24] Rate the podcast, give it a high rating, and leave a review. Tell people why you like the podcast. That helps more people. Discover the show. Thank you in advance. Talk to you next week.
Quizás eres como yo (Vane), creciste pensando que la música era solo para quienes querían ser cantantes o tocar un instrumento, pero lo cierto es que se trata de una industria con múltiples ramas. Por lo que conversé con Sofía Cardona, Global Design Coordinator de ONErpm, una de las plataformas de distribución digital de música e interrelación con los fanes, más reconocidas de la actualidad. Sofía siempre supo desde niña que quería hacer algo relacionado con la música, pero no sabía que exactamente y la vida se encargó de llevarla a hacer lo que ahora más que un trabajo es su pasión. Así como la música es importante, las imágenes y videos que la acompañan también, pues te cuentan una historia desde lo visual, otra manera de comunicar. --- Support this podcast: https://podcasters.spotify.com/pod/show/musica-con-m-de-mujer/support
This week Sean is joined by Alex McGinnis of ONErpm to talk about The Mandalorian Season 3 Trailer, what comic characters would make the best metal band & the first episode of the new HBO hit, The Last Of Us!Buy Metalcore Nerds MerchSong of the Week: Amber Run "The Beautiful Victorious"Check out the Metalcore Nerds Pull List Spotify PlaylistNerd News
Las cosas cambian y evolucionan con mucha frecuencia en el ecosistema de las distribuidoras. Nos dimos a la tarea de actualizar la información de videos pasados para mostrarles en un solo programa cuáles son las 8 distribuidoras de plataforma abierta más relevantes, y cuáles son sus pros, contras, costo, regalías que pagan, plataformas cubiertas, manejo de covers, y demás consideraciones importantes. Las 8 empresas revisadas en este programa son: Amuse, CDBaby, DistroKid, Ditto Music, Landr, ONErpm, Symphonic y Tunecore.00:00 Intro y consideraciones generales01:30 Amuse04:52 CDBaby06:36 DistroKid07:47 Ditto Music08:47 Landr09:47 ONErpm10:49 Symphonic11:49 Tunecore
ARTHUR FITZGIBBON é presidente da ONErpm. Ele comanda a empresa líder de distribuição e produção no mercado digital da música. O Vilela sempre quis aprender a tocar violão, mas ele só sabe mesmo é tocar seu órgão.
Entrevista súper dura junto a Kevin Eiroa, A&R de ONErpm. Hablamos un poco sobre su proceso para entrar en la industria de la música y luego nos fuimos al detalle sobre como trabajan las distribuidoras, las disqueras y la magia detrás de ONErpm. INVITADO https://www.instagram.com/kevineiroa
Nick Love from OneRPM joins us to talk about: Being related to Bem Joiner. How Puff inspired his career. Coming up with Jeezy. How OneRPM helps artists. The ATL favorites and much much more. Interview Recorded: October 12, 2022 - CreateATL Who introduced us - Black Owned C Bone Who should I have next on The Atlanta Podcast - Reese LaFlare Intro and Outro Music– Brian Revels. Listen to this episode on your favorite app.
It's time to “Suffer In Hell,” as we welcome in guitarist Stephen Rutishauser from deathcore outfit Chelsea Grin. 15 years in the game within the heavy metal music community, and Utah-based band continue to release some of the heaviest and grooviest albums to date. Enter the 6th and latest studio release, a double album titled “Suffer In Hell,” and “Suffer In Heaven.” Stephen sits with IUF today to discuss the details and writing/production process behind “Suffer In Hell,” Pt.I of the double record release. While Pt.II (“Suffer In Heaven'') is set to drop in March of 2023, Pt.I is more than enough to keep the fans on their toes with plenty of brutal assault tracks in “Suffer In Hell.” Not an easy thing to accomplish, and having it being the first double album in Chelsea Grins decorated catalog – Stephen is here to tell you that the band is at it's best this time around. And they hold nothing back as they do their due diligence to top 2018's fan favorite in “Eternal Nightmare.” We also talk to Stephen about his personal experience in the music industry from where he started to where he is now, and even though there isn't a single original member left in Chelsea Grin, the successful transition within the lineup changes serve as a testament to the hard work each member has put in to this chapter of the band. Lastly, we ask Stephen about the bands collaboration with the late great Trevor Strnad of The Black Dahlia Murder on a new track from the record, titled “Forever Bloom,” a topic you will not want to miss. “Suffer In Hell” entails everything any Chelsea Grin fan would want, and then some. Tune in now to our conversation with Stephen Rutishauser and be sure to buy and stream Pt.I, out now worldwide via OneRPM. Pt.II, “Suffer In Heaven,” is due out March 2023.Stay connected with Chelsea Grin, visit: https://www.chelseagrinband.com/, https://www.facebook.com/ChelseaGrinMetal/ and https://www.instagram.com/chelseagrinofficial/Stay connected with IUF, visit: https://interviewunderfire.com/
Es fin de semana y Vera nos saca de dudas... ¿Es verdad que los pelirrojos están en peligro de extinción como consecuencia del cambio climático?, además Sitios web para descargar libros electrónicos gratuitos (y legales), El mail que Elon Musk les envió a los empleados de Twitter, entrevista con la gente de Onerpm y mucho más en el programa de hoy.
Eric and Stephen from Love and Theft are the guests on today's show. Founded in 2006, Love and Theft spent their first five years as a trio, releasing top 10 single “Runaway” in 2009. After becoming a duo in 2011, Love and Theft released its second album, featuring recurrent No. 1 “Angel Eyes,” while a third album produced the critically acclaimed single “Whiskey on My Breath.” It's been seven years since they've released new music. Previously known for their contemporary-leaning songs, the duo is back with a fresh, harmony-driven approach on Better Off, a six-song EP the two wrote and produced themselves. Better Off, with the title track as a new single, will be available on all platforms Friday, July 22 via global music provider ONErpm.Listen to Love and Theft on Spotify: Click HereCheck out Love and Thefts Website: Click HereCheck out Love and Theft on Facebook: Click HereContent JefeA podcast that helps online business owners make better content and more money.Listen on: Apple Podcasts Spotify
ONErpm es una de las distribuidoras de plataforma abierta que más han despuntado en años recientes en Latinoamérica. Su excelente cobertura y planes de servicio para artistas de todos los tamaños les han ganado muchos miles de usuarios. En México, Hamurabi Castro encabeza ONErpm, y aquí lo tenemos en entrevista para hablar de los temas más relevantes para los artistas independientes en el mundo hispanohablante. Hablamos con Hamurabi sobre temas como: Problemas o retos que tienen los artistas independientes en cuanto a la distribución de su música y la labor necesaria para manejar su proyecto de forma profesional Marketing y mejores prácticas en Spotify y YouTube Cómo aprovechar al máximo las plataformas de streaming y sus recursos para artistas Redes sociales Cómo funciona la atención al cliente en ONErpm Opción de administración editorial Cómo maneja ONErpm temas técnicos como: agregar colaboradores en tus canciones, publicación de covers, actualización de metadatos o créditos
New York rap giants, Jim Jones and Maino, joined forces for a collaborative rap group – Lobby Boyz. In celebration of this collaboration they have dropped their debut record today, “The Lobby Boyz Anthem.” This spitfire track takes listeners on a nostalgic trip to that hard-hitting NYC classic hip hop from the 2000's with a modern flare. Jim Jones spits lyrics such as “all this water on my body like some swimming trunks,” followed up with Maino's “Soon as the city lit we light up the city b*tch, Lobby Boyz”. “The Lobby Boyz Anthem” is the first of several singles to be released by the pair through OneRPM. This track is truly a club banger and street anthem bringing traditional New York rap back to the music scene.
This week, we sat down with Kelby and Nick from the pop duo Kid Politics. Tune in to hear an exclusive acoustic version of their song "Diamonds In The Sky," what the duo's go to coffee order is, all about their upcoming album "people should be nice." and more!About Kid Politics: One of the buzziest bands in the pop scene, Kid Politics has quickly made a name for themselves with an arena-ready live show, hook-laden anthems and a lead singer with a voice unparalleled in the current landscape. At the top of 2020, Kid Politics signed with Verge Records, an imprint of OneRPM. The full purpose of Kid Politics' message is to uplift and empower the world.Support the show
Osagie Osarenz is an African music industry professional. A famed talent manager, and acute operator in African sound culture and business, she's currently the Director of A&R and Operations at ONErpm, a full-service data-driven music business solutions provider, helping artists succeed in today's global music market. Osagie's contribution in the music industry has shepherded the discovery and growth of superstars including Wizkid, Skales, Timaya, Aramide, and more!
ESP Nuestra invitada a esta conversación es Rebeca Lane (Rebeca Eunice Vargas Tamayac), quien se dedica al rap, y al activismo feminista dentro de la cultura hip-hop. Rebeca también usa las herramientas del hip-hop para dar talleres en donde comparte su conocimiento musical para la comunicación popular y personal, como una forma de visibilizar y confrontar aquello por lo que queremos luchar y transformar. Durante la conversación ella nos lleva por un recorrido que hace una mirada crítica a la generación de conocimiento proveniente de la academia la cual históricamente ha tendido a ser extractivista y alejada a las realidades cotidianas de la gente. En contraste, Rebeca ilustra como con su propia práctica dentro del hip-hop, ella ha podido tener un acercamiento a la realidad social por medio de la vinculación de su historia personal con relatos sociales más amplios. Al final del recorrido, hablamos del caos como forma de organización emergente y cómo el orden es un esfuerzo humano de controlar lo incontrolable, lo cual termina haciéndolo obsoleto. La producción de audio fue hecha por Kyle Leve. Marysol Ortega y Silvana Juri entrevistaron a Rebeca Lane. Sofía Bosch Gómez y Erica Dorn generaron el comentario en inglés. La producción de este podcast se hizo con el apoyo de la Escuela de Diseño de la Universidad Carnegie Mellon. PUBLICACIONES Su más reciente canción y video Flores Rojas
We had the pleasure of interviewing Anarbor over Zoom video! Phoenix-based Anarbor recently released their latest single “Drugs.” Drawing the parallel connection between romance and drugs, frontman Slade Echeverria and guitarist Danny Stravers delve into the excitement of a newfound relationship, alongside its extreme highs and lows, and the mistakes that are left to learn. Set to retro guitar riffs and an energetic indie-pop beat. The single is accompanied by a music video featuring Echeverria and Stravers in an MTV-inspired set. Nestled with TV static and cartoon characters dancing along with the band, the “Drugs” visual will take you back to the music video glory days of the early ‘90s. ABOUT ANARBOR: Phoenix-based alternative rock band Anarbor was formed in 2003 while the members were still in junior high school. After signing with Hopeless Records in 2008, Anarbor found mainstream success providing theme songs for Cartoon Network's “Scooby Doo! The Mystery Begins,” ESPN's SportsCenter, Good Day L.A. and MLB Network Countdown. Along with relentless touring in the United States, Anarbor has appeared in Japan, United Kingdom, Canada and Australia. While partnering with Hopeless Records, Anarbor released two EPs and two full-length studio albums. More recently, Anarbor independently released their eponymous third studio album titled Anarbor in June of 2016 and an EP. in 2018 titled The EP. Both pieces of work were self-funded and produced by long-time collaborator Matt Keller (Lydia, The Maine, The Summer Set, Katastro). Anarbor signed to OneRPM in 2020 and released the Tangerine EP. Currently, the members are gearing up to release their fourth full-length studio album in 2022. Anarbor is composed of lead vocalist and bassist Slade Echeverria and guitarist Danny Stravers. We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com #podcast #interview #bringinbackpod #ANARBOR #Drugs #NewMusic #zoom Listen & Subscribe to BiB https://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod
Ryan has worn a few hats during his time in Nashville. He's held roles in areas such as publishing and artist management. He's currently A&R, Country Music at OneRPM.
Arthur Fitzgibbon é fundador da Thurbo Music e professor de pós-graduação em Negócios da Música e Marketing, e presidente da ONErpm Brasil. Já trabalhou na Universal Music, Polygram, Abril Music, EMI Music e Kuarup, empresário de artistas, produtor executivo musical e radialista. A ONErpm é uma plataforma de distribuição digital, controle, marketing e rentabilização para artistas musicais.
Flow Podcast é uma conversa descontraída, longa e livre, como um papo de boteco entre amigos.
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