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8 Jun, 9 tweets, 2 min read
In 2015, the music industry moved the global release day from Tuesday to Friday. At the time, the decision was made to a) combat piracy and b) align with the traditional consumer payday, among other smaller reasons. Six years later, it's time to go back. Thread...
Thanks to the proliferation of streaming, piracy has declined sharply over the past half-decade. Why? Accessing music through DSPs is incredibly easy and leaks are limited because music isn’t distributed in physical form ahead of its wide release.
The proof is in the numbers, too:  

* Through the first 6 months of 2020, 72.1 million consumers paid for a music streaming sub in the US across all DSPs.  

* Roughly 1/3 of all Americans use a streaming service (paid or ad-supported) to consume music.
As for releasing music on the same day of the week that people are paid... it's irrelevant! Monthly subscriptions have replaced digital and physical purchases. Once a month, on the same exact date, a flat rate payment is drawn from a charge card or bank account by most DSPs.
Releasing music on Fridays doesn't just suck for artists, who lose marketing momentum once the weekend hits. The labels hate Friday, too, because they know by the following Monday, they must move on to begin marketing titles for the next week. Also: labels don't work weekends.
A return to Tuesdays would mean a more robust post-release marketing plan opening week. Songs and albums would remain in the conversation longer — which, in a world dominated by Trending topics and algorithms, means a longer shelf-life and more streams.
Also: when titles are scheduled to go live, inevitably, there are delivery errors, metadata errors, mapping errors, etc. A move from Friday back to Tuesday would benefit streaming platforms, mitigating the mad, pre-weekend scramble to fix outstanding issues.
Assuming this never happens, I highly recommend to artists who don't have designs on charting on the Billboard Hot 100 or 200 their opening week — release titles off-cycle on Tuesday or Wednesday. Give yourself multiple weekdays to push/market your title before Friday's deluge.
Statistically speaking, users actually consume fewer hours of music on weekends than weekdays. The reason is routine. Five days of one routine (school, work) means consistent listening time. Weekends are variable, & music competes with and loses to video when people are home.

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More from @djboothEIC

17 Sep 20
This afternoon, I spoke with a veteran legal expert ON THE LABEL SIDE who has anonymously shared their thoughts with me on the #KanyeWest recording contract(s) with UMG and his decision to share those contract(s) with the world on Twitter. More analysis tomorrow, but for now...
Record labels have been moving more toward “distribution” style deals with established stars where the label royalty rate is low in the US because they can earn good revenues from deductions and ex-US sales. Outside the US the artist royalty rate is lower.
In the case of Kanye, before he gets paid, UMG has allowed itself to deduct its marketing costs — which may be internal, and therefore margin-bearing — and unrecouped amounts from Kanye’s PRIOR contract(s).
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29 Jun 20
Over the past few months, a company named DaBlock365 has been working with several notable rap artists — including Fat Joe, Benny The Butcher, Jadakiss, and Dave East, among others — offering indie rappers "mixtape placements" for between $500 and $650 per slot. A thread...
These notable rap artists will post to social media, asking their followers to tag artists who they should be on the look for. Below, you'll see @FatJoe asking his fans to tag an artist who "spits crack." Well played, Joe.
Armed with these social media handles, the company, DaBlock365, then begins DMing artists from the notable rapper's accounts.

The messaging is typical motivational BS:

"Ready to push your music?"
"Ready to invest in your career?"
"Hard work pays off, let's get you on"
Read 12 tweets
8 Apr 20
I was recently asked if I could share best practices for conducting an artist interview. I could write a book on this subject, but here are 5 simple tips:

1. The best interviews are conversations. Make your subject feel comfortable, not like they’re being interrogated.
2. Prepare questions. Then, once you ask the first question, be prepared to throw them all out.

3. Be an active listener. Never focus on the next question. Listen for the opportunity to ask a better question you didn’t expect to ask before the interview began.
4. If your subject introduces a proper noun — a person’s name, for instance — while answering a question, make a note to follow-up at the end of the interview for clarification on the spelling. Asking them mid-interview could interrupt a great flow.
Read 4 tweets
6 Mar 20
Just read over Megan @TheeStallion’s full recording contract with 1501. It's a 360 deal. Megan receives...

• 40% of her royalties (“net”)
• 70% of her merchandising (“net”)
• 70% of her performance revenue > $1,000 (“net”)
• 100% of her performance revenue < $1,000 (“net”)
Megan’s deal calls for the delivery of one "full LP record," with two options (two additional albums). Of note, for an album delivery to count toward the deal, it must clock-in at no less than 45 min. Here are her runtimes:

Tina Snow – 30:00
Fever – 40:09
Suga – 24:33
In addition to her advance, 1501 committed, for "Tina Snow" Project, a minimum of $60,000, and maximum of $100,000 including mastering and marketing costs.

The recording budget for "second and third commitment album(s)," assuming 1501 picked up both options, is the same.
Read 6 tweets
26 Feb 20
Artists, if you’re presented with an offer that sounds too good to be true… that’s because it’s BULLSHIT. This past weekend, it came to our attention that an individual(s) used the @Audiomack name — and the name of one of our employees — to SCAM an artist. THREAD:
Last November, Eric Isom (@GODSAVETHEREBEL), a former writer at Pigeons & Planes, told @281neek, an independent rap artist from Houston, that he “knew a guy,” who, for $500, could get Neek booked at @RollingLoud 2020 in Miami this May on the @Audiomack Stage.
Before I continue, it’s important to note: You cannot buy your way onto the @RollingLoud stage. Rolling Loud pays its performers, it doesn’t require its performers to pay them. @Audiomack, a past presenting partner at RL, has zero control over talent booking. ZERO.
Read 23 tweets

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