New Effort Aims to Bolster Music Venues

As you nod along to a catchy tune over dinner or drinks with friends, you might not even think about the live music you’re enjoying. For many people, live music is simply part of the ambiance of their local bars or restaurants. For others, it may be the main draw. Either way, people often don’t give much thought to the price of that entertainment.

For small business owners, however, paying for a license for that music can be a major worry. While playing live music in a venue without a license is copyright infringement, creating potential liability for lawsuits seeking large amounts of money, it is often impossible for business owners to figure out which licenses to buy, for what and from whom. Despite the explosive growth in access to information of all kinds online, there is still not a single comprehensive and actionable database of music copyright ownership and licensing that exists today.

If a person wants to buy licenses for copyrighted music, they currently must sift through a sparse patchwork of incomplete databases – covering only some copyrighted works, like those maintained by the performing rights organizations (PROs) that license song performances. Those databases are often unhelpful and usually state that they can’t be relied on to be accurate or up-to-date. Business owners wanting to offer music to their customers are often not equipped with the tools necessary to make rational decisions based on opaque data.

This leaves business owners either guessing or forced to buy all of the licenses. Increasingly, venues like restaurants, taverns, wineries and hotels are walking away from hosting live musicians altogether. In fact, a 2016 industry survey by WineAmerica estimated as many as 32 percent of wineries throughout the United States have either canceled or are considering canceling their live music programs. This can put venue owners in a no-win position and leave them denying opportunities for new and upcoming artists to do what they love and discover new audiences.

Bipartisan legislation introduced by Rep. Jim Sensenbrenner (R-WI) may provide a solution to this problem. The Transparency in Music Licensing and Ownership Act would help establish a neutral, searchable, digital database of historical and current copyright ownership and licensing information, free-of-charge.

“Beverage licensees have been clear that their focus is on bringing transparency to the music licensing process and already support songwriters by collectively paying millions of dollars in licensing fees to PROs,” said John Bodnovich, executive director of the American Beverage Licensees trade association. “This is a bipartisan issue, affecting hospitality businesses in every town, city and state across America, and this bill is a sensible step toward a more transparent system.”

The proposed legislation is a step toward creating an open and accessible music licensing system, ensuring that venues can safely continue to provide live music for their patrons.

“Transparency is the only way for wineries to make sound business decisions when it comes to music,” said Tara Good, vice president of WineAmerica. “Music and live music performances play a huge part in promoting wine tourism and creating a memorable and unique experience.”

With more transparency and access to music ownership and licensing information, venue owners can buy the right licensing with confidence and you can keep enjoying live music. To support live music at local venues, call your members of Congress and urge them to support H.R.3350 – Transparency in Music Licensing and Ownership Act. (Family Features)

New Effort Aims to Bolster Music Venues

As you nod along to a catchy tune over dinner or drinks with friends, you might not even think about the live music you’re enjoying. For many people, live music is simply part of the ambiance of their local bars or restaurants. For others, it may be the main draw. Either way, people often don’t give much thought to the price of that entertainment.

For small business owners, however, paying for a license for that music can be a major worry. While playing live music in a venue without a license is copyright infringement, creating potential liability for lawsuits seeking large amounts of money, it is often impossible for business owners to figure out which licenses to buy, for what and from whom. Despite the explosive growth in access to information of all kinds online, there is still not a single comprehensive and actionable database of music copyright ownership and licensing that exists today.

If a person wants to buy licenses for copyrighted music, they currently must sift through a sparse patchwork of incomplete databases – covering only some copyrighted works, like those maintained by the performing rights organizations (PROs) that license song performances. Those databases are often unhelpful and usually state that they can’t be relied on to be accurate or up-to-date. Business owners wanting to offer music to their customers are often not equipped with the tools necessary to make rational decisions based on opaque data.

This leaves business owners either guessing or forced to buy all of the licenses. Increasingly, venues like restaurants, taverns, wineries and hotels are walking away from hosting live musicians altogether. In fact, a 2016 industry survey by WineAmerica estimated as many as 32 percent of wineries throughout the United States have either canceled or are considering canceling their live music programs. This can put venue owners in a no-win position and leave them denying opportunities for new and upcoming artists to do what they love and discover new audiences.

Bipartisan legislation introduced by Rep. Jim Sensenbrenner (R-WI) may provide a solution to this problem. The Transparency in Music Licensing and Ownership Act would help establish a neutral, searchable, digital database of historical and current copyright ownership and licensing information, free-of-charge.

“Beverage licensees have been clear that their focus is on bringing transparency to the music licensing process and already support songwriters by collectively paying millions of dollars in licensing fees to PROs,” said John Bodnovich, executive director of the American Beverage Licensees trade association. “This is a bipartisan issue, affecting hospitality businesses in every town, city and state across America, and this bill is a sensible step toward a more transparent system.”

The proposed legislation is a step toward creating an open and accessible music licensing system, ensuring that venues can safely continue to provide live music for their patrons.

“Transparency is the only way for wineries to make sound business decisions when it comes to music,” said Tara Good, vice president of WineAmerica. “Music and live music performances play a huge part in promoting wine tourism and creating a memorable and unique experience.”

With more transparency and access to music ownership and licensing information, venue owners can buy the right licensing with confidence and you can keep enjoying live music. To support live music at local venues, call your members of Congress and urge them to support H.R.3350 – Transparency in Music Licensing and Ownership Act. (Family Features)

SOURCE:

MIC Coalition

Featuring the Classic What a Woman Wants By the Electrifying Maria Johnston

Featuring What A Woman Wants, a compilation of amazing music performed by Maria Johnston.

Lyrics are composed by William Jackson and Clarence Ferguson, Jr., and arranged and produced by William Jackson, Clarence Ferguson, Jr., and Maria Johnston.

Listen, enjoy, and pick up your personal selection of music from What A Woman Wants.

A “Beautiful” Evening Celebrated at Bass Concert Hall

Written By Candice Johnson and Scott Rigtrup for InFluential Magazine

Photography courtesy of Joan Marcus.

Carnegie Hall. Julia Knitel (“Carole King”)

Carnegie Hall. Julia Knitel (“Carole King”)

Just when you might think to yourself, “I’m not sure if I know who Carole King is?”, you quickly realize, “I can’t believe how much Carole King has been a part of my life!”.

Four Friends. (l to r) Curt Bouril (“Don Kirshner”), Liam Tobin (“Gerry Goffin”), Julia Knitel (“Carole King”), Ben Fankhauser (“Barry Mann”) and Erika Olson (“Cynthia Weil”).

Four Friends. (l to r) Curt Bouril (“Don Kirshner”), Liam Tobin (“Gerry Goffin”), Julia Knitel (“Carole King”), Ben Fankhauser (“Barry Mann”) and Erika Olson (“Cynthia Weil”).

Tuesday, March 21 at Bass Concert Hall we attended Opening Night to experience Beautiful – The Carole King Musical, the musical that took us all back in time personally to some of our most joyful and sorrowful moments. The amazingly lyrical performance reminded us of just how much we intimately share in this life with each other through the gift of music.

Queens College. Julia Knitel (“Carole King”) and Liam Tobin (“Gerry Goffin”)

Queens College. Julia Knitel (“Carole King”) and Liam Tobin (“Gerry Goffin”)

This production was outstanding in all aspects. The performers’ theatrical acting and incredible vocals, buoyed with wonderful costuming and staging, sweetly walked us through literally decades of some of America’s most creative and momentous musical history.

The Shirelles. (l to r) Traci Elaine Lee, Rebecca E. Covington, Rosharra Francis and Salisha Thomas

The Shirelles. (l to r) Traci Elaine Lee, Rebecca E. Covington, Rosharra Francis and Salisha Thomas

Carole King’s life is bravely chronicled from her optimistic adolescence and hopeful entry into professionally writing music, her exuberant union with her writing and subsequent life partner, her heart-wrenching demise of that partnership and finally her inspirational victory of perseverance as she steps forward from behind her music as a writer in to the spotlight as the performer of her music. It was a grand presentation of music which places her center stage, touchingly exposed by the notes and lyrics of her own life’s story, and thus ours.

The Drifters. (l to r) Jay McKenzie, Paris Nix, Josh A. Dawson and Sidney DuPont

The Drifters. (l to r) Jay McKenzie, Paris Nix, Josh A. Dawson and Sidney DuPont

A sublime evening throughout, InFluential Magazine was honored to be in attendance and witness the memoir of one of the greatest singer/songwriters of our time.

Juan Ricondo Releases His First Album With Justin Bieber and Demi Lovato’s Producer, JD. Salbergo

Spanish singer Juan Ricondo releases his first album “An American Affair” recorded in Los Angeles. Produced by JD. Salbego, producer of singers such as Demi Lovato or Jason Derulo, and himself. The album has 4 songs, all of them written and composed by Ricondo, and all of them in English due to his American influences and the Britpop.



It has been released digitally, on itunes and his website www.juanricondo.com. But Juan didn´t want to forget the essence of music, so he just released a limited edition on vinyl. The cover of this album was designed by Jose Manuel Ciria, one of the most recognized artists of his generation.



In 2005, Juan got a scholarship to study in New York, at one of the most prestigious acting schools in the world, Lee Strasberg Theater and Film Institute, where stars such as Angelina Jolie and Marilyn Monroe studied. It was in The Big Apple where Juan Ricondo created his first band and they started to perform in pubs around the city.



“I was always singing, even though I wanted to be an actor but I never thought about becoming a professional singer.”



Ricondo used to promote himself organizing his own photoshoots, posters and artwork. He also worked on TV shows such as Ugly Betty, and a number of commercials and plays.


16

“Acting has been a really important thing in my life and in my career. And I guess it is reflected in the way I sing”.

Third Side Music Partners with The Clyde Otis Music Group

As originally published by Grandstand Media on May 24, 2016

Third Side Music is thrilled to announce an admin partnership with The Clyde Otis Music Group, a classic soul, R’n’B and hip hop catalog that includes some of the most widely covered and sampled works to date.

Clyde Otis

Clyde Otis

Clyde Otis was a songwriter, producer and A&R exec. A writer of over 800 songs, responsible for a slew of chart toppers during his four decade career. The vast catalog includes hits from Nat “King” Cole, Aretha Franklin, BB King, Ray Charles, Brook Benton, Dinah Washington, The Isley Brothers and Wilson Pickett. Modern iterations of these songs by artists like Gil Scott Heron / Jamie XX, Drake and Rihanna, Michael Buble / Sharon Jones, and others prove the catalog’s everlasting wealth of catchy choruses and classic hooks and that strong songwriting is the pillar of timeless music.
The TCOMG has been overseen for the last twenty years by Clyde’s son, Isidro Otis:
“It is important to us at TCOMG, as we prepare for the future, to be with an administrator who sees our vision, Third Side Music is that company. We believe our future depends on success in the synchronization and digital content licensing fields and Third Side have proven themselves in that regard. We are very excited for our writers and the catalogs we represent for the future success we anticipate with Third Side Music.” - Isidro Otis
Clyde Otis remains an important historical figure in music from several angles: as a songwriter, a self-made producer, and A&R man. When the Mississippi born Otis returned from overseas after WWII, he settled in New York and began working as a taxi driver. Through his fares, he made connections in the music business and eventually penned his first of many hits, “That’s All There Is To That” for Nat King Cole in 1954.
In 1958, his work caught the ear of the head of Mercury Records, and Otis was hired that year as the first African-American A&R executive for a major label. During his four short years with the label, Otis helped the company earn over $100 million in revenues, remarkably penning 33 of 51 hits for Mercury in 1962 alone. While working for Mercury Records, he signed his longtime ally and writing partner, Brook Benton, who went on to write a string of hits, including “I’ll Take Care of You”, which has been covered by Etta James, Van Morrison, Buddy Guy & Junior Wells, Mark Lanegan, Gil Scot Heron and Drake & Rihanna, as the 2012 hit “Take Care”.
Otis was also among the first wave of songwriters who fought major labels for the right to keep his publishing while simultaneously working as a writer and producer. He helped friends and colleagues to do the same thing, including RoseMarie McCoy, who penned many of Elvis Presley’s hits. He founded a number of publishing companies while helping friends and colleagues to better understand how publishing worked, including IZA Music and Vanessa Music Corporation.
Producers, writers and artists have tapped into The Clyde Otis Music Group over the past few decades to find classic, soulful songs, interpreting them into modern versions or by sampling Otis’ writing. Artists like Drake, Lil’ Kim, French Montana, ASAP Mob, Christina Aguilera and Dillon Francis have all dipped into the catalog.
Throughout his career, Clyde Otis worked and wrote with Aretha Franklin, Nat King Cole, BB King, the Isley Brothers, Dinah Washington and Wilson Pickett. Some of the classic hits Otis helped write include Nat King Cole’s “Looking Back,” Brook Benton’s “Endlessly” and “The Boll Weevil Song”, Sarah Vaughn’s “Broken Hearted Melody,” and Aretha Franklin’s “A Mother’s Love”.
His strength as a songwriter and producer was not limited to the sounds of the 1960s, and Otis saw success while living and writing in Nashville in the country music scene, working with Charlie Rich, Glen Campbell, Charlie Pride, and Randy Travis, who covered “It’s Just a Matter of Time” in 1991, earning Travis a number one hit with the song.

 

Los Plebes Del Rancho De Ariel Camacho Debutan #1 En Ventas Con Su Nuevo Álbum “Recuerden Mi Estilo”

Spanish Translation
Los Plebes Del Rancho De Ariel Camacho Debutan #1 En Ventas Con Su Nuevo Álbum “Recuerden Mi Estilo” 

El nuevo àlbum de Los Plebes del Rancho de Ariel Camacho, RECUERDEN MI ESTILO debutó # 1 en las listas de ventas de Latin Albums y Regional Mexican Albums. Actualmente, la banda tiene 4 canciones en el Top 5 de la lista Regional Mexicano de iTunes y los videos de “Del Negociante,” “No Lo Hice Bien” y “Que Caro Estoy Pagando” han sobrepasado los 55 millones de visitas en YouTube.  El primer corte promocional del  nuevo álbum, “Del Negociante” estuvo en el Top 15 de la lista Hot Latin Songs de la revista Billboard.

Omar, Cesar y la familia de DEL Records continúan honrando y celebrando a Ariel y como tributo al cantante, la banda tiene el nuevo nombre de: Los Plebes Del Rancho de Ariel Camacho. Después de una búsqueda exhaustiva para encontrar al nuevo integrante del grupo, Ángel Del Villar, CEO de Del Records descubrió al joven y talentoso José Manuel López Castro de tan solo 18 años a través de su cuenta de Instagram donde subía frecuentemente videos de él interpretando las canciones de Ariel. José Manuel no solo es la voz principal del grupo, sino que al igual que Ariel, toca el requinto.

En el 2013, Ariel Camacho—conocido por sus tocadas en el requinto—formó un grupo musical con sus amigos Omar Burgos y César Iván Sánchez y juntos, conquistaron las principales listas de música y llenaron cientos de escenarios en los Estados Unidos y México.

Con el lanzamiento del álbum EL KARMA en el 2014, su primera producción bajo el sello Del Records, obtuvieron su primera nominación al Latin Grammy en la categoría “Mejor Álbum de Música Norteña” y el álbum fue certificado disco de Oro por la RIAA. Entre las canciones más destacadas de este álbum se encuentran “El Karma,” “Te Metiste,” y “El Rey de Corazones,” temas que alcanzaron las primeras posiciones en las listas de la revista Billboard, al igual que Monitor Latino y iTunes.

Ha sido emocionante ver que el éxito de la música tome fuerza,” dice Sánchez. “Pero también es agridulce porque Ariel no está con nosotros. En cada canción, cada concierto, lo honramos. Lo extrañamos.”

 

English Translation

 Los Plebes Del Rancho De Ariel Camacho’s “Recuerden Mi Estilo” Album Debuts at No. 1 On the Chart

Rising regional mexican band, Los Plebes del Rancho de Ariel Camacho, debut at #1 on the Latin Albums and Regional Mexican albums charts with their new album RECUERDEN MI ESTILO. Currently, the band has 4 out of the Top 5 songs on the Regional Mexican chart on iTunes and the videos for the first three album singles which include “Del Negociante,” “No Lo Hice Bien” and “Que Caro Estoy Pagando” have surpassed 55 million views on YouTube.  The first single, “Del Negociante,” reached Top 15 of Billboard’s Hot Latin Songs chart.

Omar, Cesar, and the DEL Records family continue to honor and celebrate Ariel, and as a tribute to him, the band is now called: Los Plebes del Rancho de Ariel Camacho. After an exhaustive search to find a new member for the group, Angel Del Villar, CEO of the Del Records discovered the young and talented Jose Manuel Lopez Castro (18 yrs old), through his Instagram account where he frequently uploaded videos interpreting Ariel’s songs. Since then, José Manuel has grown into a great musician and artist, and he’s not only the lead singer of the group, but like Ariel, plays the requinto.

In 2013, Ariel Camacho – known for his unique requinto playing style – along with his friends Omar Burgos and Cesar Ivan Sanchez formed the band Ariel Camacho y Los Plebes del Rancho, and soon after they started touring in the US and Mexico and their songs reached the TOP of the charts.

Their first album under DEL Records, released in 2014 was titled EL KARMA and was certified Gold by the RIAA. The album was nominated for a Latin Grammy in the “Best Norteño Album” category, and the hit singles “El Karma,” “Te Metiste,” and “El Rey de Corazones” all reached #1 in several charts including Billboard, iTunes and Monitor Latino.

It has been exciting to see the success of our work,” says Sanchez. “But it’s also bittersweet because Ariel is not with us anymore. In every song, every concert, we honor him. We miss him.”

Prince is Back With “Breakfast Can Wait”

Prince wants you to know, if you’re feeling frisky early in the morning, breakfast can wait. That’s the message in his new video for, “Breakfast Can Wait,” a song that encourages A.M. risers to embrace their passions.

The video finds a man walking into his girlfriend’s kitchen while she’s dressed in a Minnie Mouse-inspired French maid’s outfit. “The only thing that I’ve been hoping for / Is before you to go to work, babe, we get it on,” Prince croons. The 55-year-old singer is nowhere to be seen himself, instead replaced by a female lookalike who strokes a guitar and holds up a pancake mockingly.

Watch the new video below.