K-os Signs to Dine Alone, Unveils New Single Ahead of 2015 LP
| via Exclaim.ca
By Alex HudsonK-os spent several years promising his delayed 2013 double-album BLack on BLonde. Here's hoping that the same thing doesn't happen with his next record, since the Canadian rapper has signed a deal with Dine Alone Records.
Anticipation is building around Illitry’s debut album as they release their newest single “Runaways”. They will play alongside Arkells, Dirty Nil, and Shout Out Out Out Out at Supercrawl on Friday, September 12.
Less than a week after a Nottingham crowd inundated them with boos and booze, Macaulay Culkin's pizza-centric Velvet Underground tribute act the Pizza Underground have canceled the rest of their European tour dates, NME reports.
White began by saying that he felt forced to discuss his private opinions because "through the actions of lawyers trying to villainize me in a private legal scenario, my private letters were made public for reasons I still don’t understand." During his divorce from ex-wife Karen Elson,private e-mails were leaked that revealed White badmouthing the Black Keys, saying that they ripped him off, and White elaborated on those opinions during his interview with Rolling Stone.
There have been a lot of changes in the last few months. I started a new job in Toronto, for one-- which is a blessing! I am so thankful to be able to work in the music industry in some way and get paid for it. Now that I'm used to the daily grind, I'm able to start blogging again. For realz. I look forward to hearing from all of you soon! RT, Like, Favourite, or Reblog your favourite posts to connect! Sending love and gratitude :) From, Rachael
SPOTLIGHT ON: TV Freaks From: Hamilton ON Why You Should Care: the energy this band exudes (no, explodes) on stage is infectious and mind blowing. You'll get it when you see them on June 15th at Smiling Buddha. Website: http://televisionfreaks,.blogspot.ca Bandcamp: http://teeveefreakzz.bandcamp.com/
A synchronization license is a license to use music in sequence with a series of moving images. For example, the song playing in the foreground & background of the scene where Brian, "the Brain" narrates the essay he wrote on behalf of the Breakfast Club, the song "Don't You Forget About Me" captures the scene's emotion, message, and undertone.
Before getting started, there are two forms of copyright to consider when you want to license your music for film and tv:
The Master
and
The "Sync"
The Master is the PHYSICAL recording, the piece of plastic or film or megabytes of the song.
The Sync (short for synchronization) is the INTANGIBLE composition of the song.
Do you get it? No? Don't worry, I didn't get it the first hundred times I heard about it in class. So here is a diagram that may help.
Phew! Okay, moving on.
Music In Motion
There are various uses for music in film:
A television series
Motion picture
Independent film
Commercials
Video Games
Television
TV licenses are in perpetuity; meaning that as long as a copy of a television show/series exists in the world, the license for using a song lasts forever. Shows like American Idol, the Voice, and the X Factor only pay for the songs they use for the duration of a season or episode.
Television show producers hire music supervisors to seek out music that would fit a specific scene or mood. They are given a budget for the episode/season, then create a list of "Wants vs. Reality". For example, if the a music supervisor is given a $10,000 budget for the whole season and want to have a Kanye West song (I'm picking on you today, Kanye) it would cost their entire budget or more for one snippet in an episode.
In the most likely of cases, music supervisors use independent or up-and-coming acts' music to use in the series. The since broken-up Fairview is an indie act out of Brockville, Ontario whose music was used in a CW television show as background music over dialogue. They received $1,500 for the use of their song, plus royalties (which I will get to later).
Next, a music supervisor takes to blogs, their inbox of 1,000+ emails, Dropbox, and their contact list of "Music Pitchers" (we'll get there) to find the right music for a scene. Next, when the supervisor has a smaller list of "Reality" songs, they make sure that they can easily acquire the Master and the Sync Licenses from the label and/or artist, and publisher.
After they have clearance for the songs, the music supervisor meets with the producer, director, and/or editor to pitch 3-5 songs they believe fits the mood/scene. Once they have the okay from the higher-ups, they go ahead with the purchase of a license.
Motion Picture & Independent Film
Sweet Thing's Change of Seasons, Simple Mind's Don't You Forget About Me in Easy A.
The process is very similar to a Television Music Supervisor's, but there is a lot more money in the budget. Usage of a song in the opening credits can cost anywhere from $25,000 to $250,000. A song that is featured in the trailer and credits, like Sweet Thing's Change of Seasons in Easy A, is licensed with something known as "broad rights". The film company takes all rights in perpetuity to the film.
Independent films have a smaller budget similar to that of a television series.
Commercials
For commercials, a song can get anywhere from $50,000 to $200,000 for a one-year national usage in the United States, on television and radio. Really well-known songs in major campaigns can go higher sometimes over a million for a classic, iconic song, but the current trend is downward. These figures get scaled down for regional or local usages, and for periods of less than a year.
All You Need to Know About the Music Business, Donald S Passman, 2012, page 252.
Video Games
In Canada, video game music supervisors pay a sync license fee and mechanical royalties. In the United States they do not pay out royalties for video games. The pay can range from mere dollars to $50,000 depending on the popularity of the song and the video game.
Follow me, @rachaelbstar and @SoundCaveAudio on Twitter for a link to
Part 2: What Music Supervisors Are Looking For & Music Pitchers.
Janelle Monae and M.I.A. just performed the most high-tech concert finale ever. The musicians played live duets together while touring on opposite coasts — Monae in Los Angeles and M.I.A. in New York — sharing their respective stages with hologram images of each other.
Fan video caught the jaw-dropping visuals of Monae’s glittery likeness bustin’ out bouncy rhymes during M.I.A.’s “Bad Girls,” while other footage documents M.I.A. beaming down into technicolor multiples during Monae’s “Q.U.E.E.N.” (appropriate, since the music video is time travel-themed). According to reports, the collab marked the first ever hologram performance to use integrated video mapping, a cutting edge technology that can enhance the already insane 3D projections with animated graphics.
The resulting virtual reality is MUCH flashier than previous hologram-integrated performances, including Tupac’s famous virtual resurrection at Coachella in 2012. But this current stunt is raising just as many eyebrows over how these elaborate projections could forever change the future of live music.
Touring as we know it might become obsolete — why cram the band into a bus when you can just beam down in a different city every night? And with the 20th anniversary of Kurt Cobain’s death upon us, could a digital reunion of the Nirvana frontman with bassist Krist Novoselic and drummer (and all-around good guy) Dave Grohl be in order? We’ll be keeping our eyes out for a holographic appearance at Coachella later this week — perhaps Lou Reed will return for a touching posthumous performance, or Fatboy Slim will beam down a dancing Christopher Walken to the beat of “Weapon of Choice“ (um, that would be amazing!). Festival-goers on the ground, get your iPhone cameras ready.
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