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Tuesday, July 28, 2015



New York's hottest upcoming artist, rapper, singer and songwriter. 

Brittney Taylor - "Frenemies / The Get Back" Official Video

Focus Potion featuring Brittney Taylor "Dirt Monkey"

Trina featuring Brittney Taylor "Like This" 

Did you wonder where Lil Mama got the idea for her Sausage song?  Well it all began right here with Miami's newest artist Big Mac.

Big Mac - "Sausage" Official Vevo Video Premiere

Big Mac featuring Bay Bay and Trony "Sausage"



Jullian Boothe

Tuesday, July 14, 2015

Katrina Walker is an outstanding example of how to beat the odds when they are stacked against you



Katrina Walker is an outstanding example of how to beat the odds when they are stacked against you. As an entrepreneur, philanthropist, and motivator, she took being a witness to cultural, domestic, and financial tumult and converted what she learned into a motivational tool to fight victimhood. Walker went from being a struggling teen bride, to a divorced mother of four, to a trailblazer who has over the past 25 years built thriving enterprises; including a 24-hour day care center, multiple real estate holdings, a record label, and state-of-the-art recording studio-all while becoming a self-made millionaire.

Her renowned Tennessee based RainbowKidz Learning Center is currently expanding into a national brand, while Walker is being busily pursued as a motivating life coach, with personal stories that demonstrate that anything is possible. For over the past two decades her philanthropic, hands-on support has helped turn hardworking individuals into successful business owners; providing them with step-by-step guidance on how to start a business, hire employees, manage a budget, select locations, and take advantage of marketing to realize their full earning potential.

The experience of being in an abusive relationship, both mental and physical, allowed her a keen sense for spotting those in similar crisis, and out of this has grown yet another community supportive enterprise at Walker's helm: the BE (Blind Eye) Foundation, whose mission and motto is to "BE the difference and not turn a Blind Eye to society." With the impact of her encouraging words and motherly guidance-often delivered through her sassy, tell-it-straight, southern style-she is using the BE foundation to launch ongoing, nationally aired PSA's that will weave a true picture of domestic violence-chronicling the cycle of abuse from male and female perspectives. Not only will her media campaign shine the light on often undiscussed areas of abuse, she will narrate solutions, encouraging a way out of victim-hood.

Walker describes what is at the heart of her support system, 

"I consider myself a motivator-not a motivational speaker. Everyone has a story. Everyone goes through trials and tribulations. I don't speak to or at people. I communicate and connect with them instead. I help others with good old fashioned advice-financially, socially, mentally, and spiritually. I motivate people to get up and achieve their goals, start that new business, go after that promotion. How to tell that woman or man you want to get to know them or how to leave that bad relationship. I've been there. I motivate people to stop making excuses, stop saying 'can't do', and I'm going to use all my experiences to show you how."

Katrina Walker has taken adversity and transformed her life into a true American success story. She now continues on her mission to help others find their own positive transformations.

Walker is writing her memoir with award-winning journalist Clarence Waldron, former Jet senior writer and editor, who was mentored by the late best-selling author and poet, Dr. Maya Angelou.

Mrs. Katrina and Honorable Congresswoman Waters
Mrs. Katrina Walker and Rev. Jesse Jackson,Sr.

Wednesday, July 1, 2015


By  RocOnMic

Now that ASCAP and BMI have revealed their revenues for 2014, and we have some data on SESAC (thanks to Moody’s), we can estimate the value of a Spin, per listener, to Songwriters from performances on US Radio, in 2014.

The estimates that follow are based upon figures that have been publicly released by a variety of sources (e.g., ASCAP, BMI, RAB, Arbitron, Nielsen) as well as my own estimates within these sources. And so, to the extent that these sources and my adjustments are correct, this estimate should be as close as plausible.

Importantly, I have shown my work, so please feel free to come to your own conclusion.

The Short Story

Given 2014 reported revenues, combined with audience and listening statistics, it would seem that the per performance, per listener value of the Spin on US Radio in 2014 would hover somewhere around:

$0.0000955… for the songwriter/composers/lyricists
$0.0000955… for the publisher(s)
$0.0000281… for the PRO (average across ASCAP/BMI/SESAC)
$0.000219 <- in Total for Songwriters, Publishers, and PRO

Importantly, since performing artists, musicians, and labels are not paid for performance on Radio in the US, the figure above describes only those payments made to or received by songwriters and composers.

Small numbers can be tough, but the above means that Songwriters receive about 1/10 of 1/10 of 1/10 of a penny for each performance, per listener, on US Radio.

Or, approximately $95.50 for a performance to 1,000,000 listeners.

The Long Story

$177,432.445 <- Estimate of ASCAP collections from US Radio*
$171,854,300 <- Estimate of BMI collections from US Radio**
$32,013,800   <- Estimate of SESAC collections from US Radio***

(A) $381,300,545 <- Estimate of Total PRO collections from US Radio

243,451,000 <- number of US Radio “active listeners,” weekly (Arbitron/RAB)

13.40 <- Number of listener hours (average) per week (RADAR/RAB, Nielsen)
52 <- Number of weeks per year
10.25 <- Number of songs per hour****

(B) 1,738,775,732,200 <- Estimate of Total number of unique performances

$0.000219 <- Value per Spin, per Listener for each performance (B /A)

Since the PRO takes some percentage of this value as Administrative fees, and these fees average around 12.85% between ASCAP and BMI, then about $0.000028 per performance, per listener, goes toward Administrative Fees paid to PROs (i.e., ASCAP, BMI, SESAC).

Publishers, afforded 50% of the payments, post fees, would earn $0.0000955.

While Songwriters (i.e., composers and lyricists) would earn the remaining 50%, or approximately $0.0000955 per performance, per listener.

Importantly, this oranges-to-oranges comparison is something not even the PROs themselves prefer to do. For example, BMI states that 98% of its monitored performances come from the internet, while 2% come from Radio—a discrepancy that results from the organization considering a performance to thousands,or millions, of people on the Radio (apples) as equivalent to a performance to a single person, or account, on the internet (oranges).


*ASCAP domestic revenue in 2014 should be around $655,969 million, a 6.7% increase (as reported) over 2013, when domestic revenue was $614.779 million. In 2013, Radio revenues were 27% of domestic receipts. $177,432,000 is simply 27% of $655,969,000.

**BMI is less transparent than ASCAP. When it comes to numbers, BMI releases only top-line revenue/distribution figures, and seems most excited about percentage increases in their Twitter, Instagram, and YouTube followers. And so, this estimate is a function of simply multiplying BMI’s top-line revenue ($977 million) by that proportion of ASCAP’s top-line revenue that can be attributed to Radio (17.59%).

***SESAC, being a private, for-profit company, is the least transparent of the US PROs. And so, this estimate simply takes a percentage of of total collections attributable to Radio, similar to that experienced by ASCAP, and multiplies it by Moody’s estimate of SESAC’s total collections in 2014 ($182,000,000).

**** Estimating the number of songs played per hour on US Radio appears to be a mix of Art and Science. 10.5 assumes about 40 minutes of music per hour, with songs that are just under 4 minutes in length.