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[percusski]

Excellent!

[Julián Fernández]

Talented bunch of guys... Funny thing is that the lead singer is a killer drummer!
btw, fucking drum replacent kills part of the excitement...

[amoergosum]

... >>>

Cop pulls into campsite, not to give anyone a hard time, he wanted to play the guitar and drums.

[Jim Richman]

This kid will be deaf when he's 20.

[amoergosum]

Jacob Collier >>>

Biografie
Born in 1994, Jacob Collier is based in London, England. Jacob is a largely self-taught multi-instrumentalist, and his interests encompass many styles and idioms: from jazz to folk, to electronic production, to gospel, renaissance and classical music and improvisation.

Jacob grew up in a world of continuous music making, surrounded by a musical family and a number of instruments lying around the house. He composed music from a young age, and as a boy had some experience as an actor and treble, including appearances as the role of ‘Tiny Tim’ in the Hallmark film adaptation of ‘A Christmas Carol’, and the role of ‘Miles’ in three separate productions of Benjamin Britten’s ‘The Turn of the Screw’ in Parma (Italy) Oviedo (Spain) and the London Coliseum: a musical experience that inspired a love for harmony. At 14, he was awarded the gold medal by ABRSM for attaining the highest result in the country for his Grade 8 Singing. At this point, Jacob joined the Royal College of Music Junior Department as a composer, and began to teach himself how to play the drums and the double bass. His love for improvisation brought him to discover jazz. In September 2010, Jacob joined the Royal Academy of Music Junior Jazz department, and the Purcell School, studying jazz piano, composition and singing, as well as for A-levels.

Jacob has been awarded the place for a jazz pianist at the Royal Academy of Music, a four-year course that he begins in September.

[amoergosum]

Jimmy Kadesch >>>

[amoergosum]

Green Day's 45 minute set is cut to 25 minutes by iHeartRadio to make more room for Rihanna and Usher [Usher's set went 20 minutes longer than it was meant to] so Billie Joe Armstrong stops halfway through Basket Case to play a new song only to realise that they have 1 minute left on the stage. He gets angry and complains before smashing his guitar and flipping the camera off during Green Days set at i Heart Radio music festival in Las Vegas.

[Julián Fernández]

Man, that pseudo-punk attitudes are hilarious to me.
To me, there´s very little difference between Usher, Rihanna and Green Day. Maybe I´m a little off? Not sure.

BTW, did you realized that someone muted the guitar before he smashes it? Lame

[amoergosum]

Man, that pseudo-punk attitudes are hilarious to me.

Well, the point is >>>

Green Day's 45 minute set is cut to 25 minutes by iHeartRadio to make more room for Rihanna and Usher

I'd be pissed off, too.

[amoergosum]

To me, there´s very little difference between Usher, Rihanna and Green Day. Maybe I´m a little off? Not sure.

Yes, you are off.
There's a huge difference between Green Day and this >>>

They wrote the lyrics to "Man Down" in about 12 minutes, Daniels says.

To get that twelve minutes of inspiration from a top songwriting team is expensive — even before you take into account the fee for the songwriters.

At a typical writing camp, the label might rent out 10 studios, at a total cost of about $25,000 a day, Daniels says.

The writing camp for Rihanna's album "had to cost at least 200 grand," Daniels says. "It was at least forty guys out there. I was shocked at how much money they were spending! But, guess what? They got the whole album out of that one camp."

A writing camp is like a reality show, where top chefs who have never met are forced to cook together. At the end, Rihanna shows up like the celebrity judge and picks her favorites.

Her new album has 11 songs on it. So figure that the writing camp cost about $18,000 per song.

The songwriter and the producer each got a fee for their services. Rock City got $15,000 for Man Down, and the producer got around $20,000, according to Daniels.

That's about $53,000.00 spent on the song so far— before Rihanna even steps into the studio with her vocal producer.

The vocal producer's job is to make sure Rihanna sings the song right.

When Riddick works with a singer, she'll say, "I need you to belt this out, I need you to scream this, as if you're on one end of the block and you're trying to talk to somebody three blocks away."

Or maybe: "Sing with your lips a little more closed, a little more pursed together, so we can get that low, melancholy sound."

Not only that, the vocal producer has to deal with the artist's rider. The rider is whatever the artist needs to get them in the mood to get into the booth and sing.

So, our rough tally to create one pop song comes to:

The cost of the writing camp, plus fees for the songwriter, producer, vocal producer and the mix comes to $78,000.

But it's not a hit until everybody hears it. How much does that cost?

About $1 million, according to Daniels, Riddick and other industry insiders.

"The reason it costs so much," Daniels says, "is because I need everything to click at once. You want them to turn on the radio and hear Rihanna, turn on BET and see Rihanna, walk down the street and see a poster of Rihanna, look on Billboard, the iTunes chart, I want you to see Rihanna first. All of that costs."

That's what a hit song is: It's everywhere you look. To get it there, the label pays.

Having hits is the business plan. The majority of songs that are hits — that chart high, that sell big, that blast out of cars in the summertime— cost a million bucks to get them heard and played and bought.

Daniels breaks down the expenses roughly into thirds: a third for marketing, a third to fly the artist everywhere, and a third for radio.

'Treating the radio guys nice' is a very fuzzy cost. It can mean taking the program directors of major market stations to nice dinners. It can mean flying your artist in to do a free show at a station in order to generate more spots on a radio playlist.

Former program director Paul Porter, who co-founded the media watchdog group Industry Ears, says it's not that record labels pay outright for a song. They pay to establish relationships so that when they are pushing a record, they will come first.

Porter says shortly after he started working as a programmer for BET about 10 years ago, he received $40,000.00 in hundred-dollar bills in a Fed-Ex envelope.

In any case, to return to our approximate tally: After $78,000 to make the song, and another $1 million to roll it out, Rihanna's "Man Down" gets added to radio playlists across the country, gets a banner ad on iTunes ... and may still not be a hit.

Source:
http://www.npr.org/blogs/money/2011/07/ ... ng?ps=cprs