HOT NEW RECORDS FROM BRITTNEY TAYLOR & BIG MAC

             EXECUTIVE CLUB WORLDWIDE        ENTERTAINMENT PRESENTS

BRITTNEY TAYLOR

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

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

https://youtu.be/G2JnF6dHi7I

Focus Potion featuring Brittney Taylor "Dirt Monkey"

https://www.sendspace.com/file/dlsh0h

Trina featuring Brittney Taylor "Like This" 

Clean: https://www.sendspace.com/file/2kscbe

Dirty: https://www.sendspace.com/file/885hr9

BIG MAC
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
http://www.vevo.com/watch/USUYG1076918

Big Mac featuring Bay Bay and Trony "Sausage"
https://www.sendspace.com/file/ehu4kd

 


FOR DJ DROPS, INTERVIEWS, FEATURES AND OTHER REQUESTS

Jullian Boothe
Jullian@theexecutiveclub.us

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

FOR IMMEDIATE RELEASE   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.

THE VALUE OF A SPIN… $0.0000955 PER LISTENER, TO SONGWRITERS ON US RADIO IN 2014

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)
or
$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).

NOTES:

*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.

SocialMediaSaturdays – How to Launch Your Porject/Release Using Facebook

#1: Before Pre-launch: Start Planning Early

You’ll want to map out your launch strategy at least two months ahead, and most likely even earlier than that. Plan what types of launch material you’ll have available to share on social media to get the buzz going. You may also need tostart designing some of these materials.

If you have an online product, you can use some great freebies to help get people onto your list. Some examples of great freebies or launch materials include:

• Images and infographics: Think about designing several versions of your images so they’re size-optimized for each social site. Also, if you’ll be using them in a Facebook ad, make sure the images are 1200 x 628 pixels and comply with the20% text rule.
• Free ebooks, reports or white papers: These freebies could be part of your final product or something valuable that will promote the final product.
• Free webinar or other educational content: If you’re launching an online product, you may want to host a webinar, telesummit or some other type of live event. Plan when that event will occur and when you’ll start promoting it.
• Sale or discount period: If you’re offering an introductory price, figure out how long that will last and how many posts you might have around that promotion.
• Facebook contests: If you’re having a contest to promote the launch or new product, plan the timing and determine what type of contest will work best for you.

Develop images to use for Facebook ads and share them with affiliates and partners.

Write a variety of social media posts for you and your affiliates to use.

#2: Pre-launch: Build Buzz

To start building buzz and generating excitement around your product or service,post teasers about it. If appropriate, use both your Facebook page and profile to let your Facebook fans and personal friends know that something is coming.

Add intrigue and consider using your personal profile to post about it.

Using video on Facebook to promote your launch will go further in the news feed. Make sure you’re creating a variety of content. You can see that this video post reached nearly 39,000 people and had over 8,000 views.

Use video to build buzz.

You can also give people a sneak peek into your process. Bathers Beach House in Australia started posting about their restaurant months before it opened. They shared the building process, gained the interest of potential diners and grew to over 4,000 fans before they even opened their doors. This led to a successful opening of their restaurant, and they continue to have high engagement and interaction.

Show the process behind your product or service launch.

If you have affiliates or promotional partners, consider co-creating material to launch the product, such as a webinar or live Q&A session. Gena Shingle Jaffe launched a legal course for entrepreneurs, and Natalie MacNeil had a perfect audience for the course. They co-created a webinar to give the audience some good tips and promote the online course.

Consider co-creating promotional material with your affiliates.

#3: Launch: Keep the Excitement Going

Your launch phase may vary in length and never be truly over in terms of promotion, but you likely will have an end date for the biggest promotional push. Figure out what types of things you can do to keep the excitement going.

A Facebook contest is a perfect fit for continued promotion. Goorin Brothers, a boutique hat designer, launched a new hat and decided to involve their audience by naming the hat after one lucky winner. In addition they gave away five custom hats to the runner-ups. They spent $70 on Facebook ads and $30 on the Heyo app. The contest got 8,404 email entries and built up a lot of awareness around their hats and their brand.

Find creative ways to involve your audience in your promotion.

You also need to have a Facebook ad planas part of your launch strategy.Consider focusing much of your ad budget on the pre-launch phase where you give away valuable content. But if you have a coupon or something special to offer, you can promote that with an ad campaign as well.

Use Facebook ads to get your message out to a wider audience.

#4: Post-launch: Thank Your Audience and Assess Results

After the launch is over, make sure you thank your audience and your affiliate and promotional partners, and tell people what’s next. Let your audience know that they’re appreciated even if they didn’t buy from you.

Thank your audience after your launch.

You also want look at your analytics and do a little research on which techniques worked the best for you. Did the webinar you held convert the most sales, or was it something else? Where did your new subscribers come from and which social site drove the most sales? Learn from this launch so you can improve the next one.

Conclusion

Facebook can be a great place to get the word out about your new product or service. And affiliates can help you make it look like everyone is talking about your product. To do your launch right on Facebook and help your affiliates sell, keep the key points in this article in mind.

Source:SocialMediaExaminer

Iindependent-labels-reach-digital-tipping-point-driven-by-streaming

Merlin, the global digital rights agency representing 20,000 independent labels including the likes of Beggars Group, Cooking Vinyl, Domino, Epitaph, Kobalt Label Services, Merge, Ninja Tune, [PIAS], Secretly Group and Warp Records, has released its annual report.

The document, a selection of slides from which you can see below, highlights four clear trends from Merlin members – who make up around 10% of the global market:

• Independent labels have crossed a digital tipping point. For the first time, more than half of respondents report that income from digital services accounts for over 50% of their overall business revenues. For one in three, digital income accounts for over 75% of their overall revenues.
  
• Streaming/subscription income is driving digital growth. One in three respondents report that income from audio streaming & subscription services now accounts for over 50% of their digital revenue – up from one in five in 2014.
• Total digital revenues increased in 2014 for almost 75% of respondents.17% reported their overall digital revenues increased by over 50%.
• The majority of Merlin members report overall business growth. Despite a fall in download sales, 65% of respondents reported an increase in overall business revenues in 2014 (compared to 62% in 2013). Only 16% of respondents reported a decrease in overall 2014 business revenues, compared to 18% the previous year.

Merlin also reveals that it saw a 43% increase in year-on-year revenues (April 2014-March 2015) to $137.8m.

In March 2015 alone, audio tracks by Merlinmembers were streamed more than 2.5bn times – an increase of over 1bn from the same period last year. 

Significantly, analysing over 9 billion audio streams (January-April 2015) usage ofMerlinmembers’ repertoire on audio streaming and subscription services was 35% higher on paid tiers compared to free ad-funded tiers.

86.6% of respondents stated that Merlinmembership was important to their business.

SOUNDCLOUD BRACING FOR MASSIVE COPYRIGHT INFRINGEMENT LAWSUITS

by: Paul Resnikoff -Digital Music News

Grooveshark said it wouldn’t happen to them, either.  But according to multiple executives close to the situation, Universal Music Group, Sony Music Entertainment, and the Recording Industry Association of America (RIAA) will soon be filing lawsuits against SoundCloud for ‘massive copyright infringement’.

The move comes ahead of an anticipated premium subscription launch… or not.  “They don’t like SoundCloud’s attitude, they don’t like the pace of the talks,” one source flatly told DMN, with particular reference to SoundCloud’s CEO, Alexander Ljung.

“I’m not saying this is another ‘legal jihad,’ but lawsuits will be filed.”

And what is SoundCloud’s ‘tude, exactly?  One issue is Ljung’s insistence on maintaining a free tier, similar to the ‘freemium funnel’ created by Spotify.  “There are 3 billion people online, you’re never going to all get those into subscription, it’s just not going happen,” Ljung flatly stated recently at Midem.  “Some people will come through ads, some through subscription.”

“That’s why I’m choosing to have both.”

But from the standpoint of mega-labels like UMG, that’s not necessarily his choice to make.   And neither are the terms of their contracts.

Meanwhile, uploading DJs are finding their content blocked based on stepped-up copyright claims from companies like Sony, a situation that spells more than inconvenience.  “The DJs are getting strikes for infringement, and that’s affecting their accounts,” one source noted.  “They’re trying to avoid that and thinking about other places to upload.”

The news comes just as indie label consortium Merlin has inked a significant deal with SoundCloud, a pact the ushers in potentially 20,000 label participants.  “I’m excited to announce our largest independent label partnership to date with Merlin, the global rights agency for the independent label sector,” Ljung said.

Sounds positive, though it’s not clear that Merlin signed a solid deal.  After all, this is the same consortium that signed a deal with Grooveshark, essentially validating the company right to the bitter end.

But wait: isn’t SoundCloud already signing major label deals?  Well, they have signed one deal with Warner Music Group, but that deal is already being written off as a “special case one-off” scenario driven by SoundCloud SVP of Business Development and Strategy Stephen Bryan, who recently worked at Warner Music Group.  That deal handed WMG a 5 percent share, which apparently just isn’t good enough.

Who is lethal ? Where did he come from ?

Lethal Corleone is a Southern born rapper hailing from the streets of Savannah, Georgia. Although Lethal was born in Charleston, South Carolina he has spent the vast majority of his life in Georgia. These southern roots mixed with a universal sound, has given this artist a deadly combination. This combination gave partiality to his name, and Lethal was created.

Lethal wrote his first rap at the age of 12, and began recording in studios at the age of 16. This early beginning has molded him into a seasoned artist. Lethal started with a group made up of family members and close friends known as C.E.P. His first underground release came at the age of 18, and gained him significant notoriety from his peers on the local scene. After a long awaited interval between his follow up, Lethal seems to be more focused than ever. His sophomore mix tape entitled Time Served enjoyed only relative success, but after being gone for so long he seems to be regaining his form. Lethal recently teamed up to begin a label called Mob Life Entertainment with his fellow C.E.P. group mate Nino Black. 

You may have seen him on YouTube videos of various local artists in Savannah called the C-Port ciphers. On these videos Lethal clearly demonstrates versatility and a ferocious flow. He also shot his first video for his highly anticipated single “Take Off”. Now trying to capitalize off of the momentum gained, he is working to release a project that will ensure him a top slot as one of the best. The future seems to be much more promising for the Savannah native.

Click here to hear the single 

http://bit.ly/1GxmaPc