Platinum Articles, Platinum Music, Platinum Videos, PlatinumVoice Listening Party

[Music Video] Zach Farlow- Solo| @ZachFarlow

Hey Y’all!

  It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing another Platinum Video to you! This young man hails from [my second home] Atlanta and I must say that I was sleep on him until my boss, Tony Neal told me about him. Take the time to listen to his joint and follow him on twitter! You can thank me later!

 

In Closing, You never know where I may be; bringing you the events of Chicago and other relevant topics, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com.  Until next time, See ya later Babies!

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(PlatinumVoicePR is the source for the events and has no legal bindings with associated parties)

(Music Videos and Links are for promotional use only)

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Platinum Articles

IS @SOULJABOY FACING PRISON TIME?

Hey Y’all!

It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing some celebrity news to you!

 

 

 

 

According to Soulja Boy’s manager, CEO Miami Mike, the rapper feels that authorities performed an illegal search during January 22 arrest. Upon being pulled over for running a stop sign in Los Angeles last week, Atlanta rapper Soulja Boy was immediately arrested when authorities found a loaded gun in his vehicle.

But according to the Southern musician’s manager, CEO Miami Mike, Soulja Boy was unaware of the loaded gun in the car. Miami Mike revealed the news to TMZ and added that it was a neighbor who left the gun under one of the car’s seats.

Soulja Boy’s manager also stated that his client never took responsibility for the gun and merely informed authorities that he was the owner of the car. As a result, TMZ reports that Soulja Boy is claiming that the search performed on his vehicle was not legal.

Contrary to Soulja Boy’s claims of an illegal search, authorizes say the search was authorized since the gun was in plain view. Soulja Boy was arrested on January 22 in the San Fernando Valley region of Los Angeles while reportedly traveling with fellow rapper Arab who was driving Soulja’s car at the time of the arrest.

During an interview with DJ Whoo Kid, he suggested that the amount of press his arrest has received over the past few days is the result of him “being young and being successful.”

“It’s just being young and being successful,” he said. “I feel like, if I was a regular person, it wouldn’t get promoted in the media.”

The rapper found himself in a similar situation in 2011 when he was arrested in Temple, Georgia after police found marijuana, guns, and cash inside of his car. He even went on to offer an apology to fans in a tweet sent on October 19, 2011.

“Thank you and i’m sorry. love you forever, seeing your letters and you standing outside that jail made me feel the love. my fans r the best,” Soulja Boy said via Twitter.

Source: Hip Hop News

In Closing, You never know where I may be; bringing you the events of Chicago and other relevant topics, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com.  Until next time, See ya later Babies!

Disclaimer:

(PlatinumVoicePR is the source for the events and has no legal bindings with associated parties)

(Music Videos and Links are for promotional use only)

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Platinum Music, PlatinumVoice Listening Party

Check out @YoungJeezy “Me Ok” produced by @DrummaBoyFresh

Hey Y’all!

It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing another”Banger” to you!

The track is called , Me Ok and it’s done by two of my favorite guys, Young Jeezy and that hot producer from the south, Drumma Boy! I’ve had the experience of being in the studio with Drumma and watching him work and when I say this man WORKS, believe me, He WORKS!

 

Check out this banga and let me know how you like it by commenting below! Thanks

 

Jeezy – Me OK

(Prod. By Drumma Boy)

Listen Here:

              Download here: http://www.sendspace.com/pro/v69u59 

In Closing, You never know where I may be bringing you the events of Chicago, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com.  Until next time, See ya later Babies!

Disclaimer:

(PlatinumVoicePR is the source for the events and has no legal bindings with associated parties)

(Music Videos and Links are for promotional use only)

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Music 101, Platinum Articles

See what a Licensed Radio Station should have in order to pay you: Read Licensing 101

Hey Y’all!

It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing another relevant topic to you! There are a lot of you out there that want to be on the radio, just any radio station. I’ve found that many of you don’t even know about the business in this aspect. For those who don’t know or for the pretenders, this is for you. You could be missing out on some royalties because you were not aware of these qualifications.

What is a statutory license?

The statutory licenses relevant to service providers can be found in sections 112 and 114 of the Copyright Act, 17 U.S.C. §§ 112 and 114. The rates and terms applicable to the statutory licenses for service providers can be found on their website. Currently, SoundExchange is the only entity authorized by Congress to administer the statutory licenses described in sections 112 and 114.

What kinds of services are covered under the statutory licenses administered by SoundExchange?

The section 114 statutory license covers public performances by four classes of digital music services: eligible nonsubscription services (i.e., non-interactive webcasters and simulcasts that charge no fees), preexisting subscription services (i.e., residential subscription services which began providing music over digital cable or satellite television before July 1998), new subscription services (i.e., non interactive webcasters and simulcasts that charge a fee, as well as residential subscription services providing music over digital cable or satellite television since July 1998), and preexisting satellite digital audio radio services (i.e., Sirius XM Radio). The section 112 statutory license covers ephemeral reproductions (i.e., temporary server copies) made by all digital music services covered by section 114. Additionally, business establishment services (services streaming background music into bars, restaurants, retail stores, etc.) are exempt from paying public performance royalties under section 114, but must still be otherwise eligible for section 114, as well as operate under section 112.

How do I know if their service is “non-interactive?”

Non-interactive services are very generally defined as those in which the user experience mimics a radio broadcast. That is, the users may not choose the specific track or artist they wish to hear, but are provided a pre-programmed or semi-random combination of tracks, the specific choice and order of which remain unknown to the listener (i.e. no pre-published playlist). For services which provide an interactive service or on-demand access to certain tracks or artists (e.g., YouTube), the statutory license does not apply, and a direct license must be obtained from the copyright holder.

How do they obtain a statutory license as described in section 112 or 114?

To obtain a statutory license, you must first notify sound recording copyright owners by filing a Notice of Use of Sound Recordings Under Statutory License (“Notice of Use”) with the Copyright Office. All services must file a Notice of Use prior to making the first ephemeral copy or first digital transmission of a sound recording to avoid being subject to liability for copyright infringement. An original Notice of Use with a $25 filing fee should be sent to the Copyright Royalty Board at the U.S. Copyright Office (address on the form). The Copyright Office will not give you any confirmation that it has received your Notice of Use. Once a service files its Notice of Use, it may begin making digital audio transmissions, provided that it complies with all the terms and conditions of the statutory license, makes all payments, and files all statements of account and reports of use when due. Services providing a Notice of Use are subject to the default rates and terms of the statutory license as set by the Copyright Royalty Board. Services wishing to operate under alternative rates or terms (e.g., pursuant to the Webcaster Settlement Act, etc.) should follow the instructions prescribed in those rates and terms.

How does a station qualify for a statutory license?

All statutory licensees must be eligible to operate under section 114, and the specific eligibility requirements are listed there. To be eligible, a service must be (in most cases):
a non-interactive service,
creating transmissions adherent to the sound recording performance compliment,
not allowing the listener a reasonable foreknowledge of the transmission of a specific sound recording at a specific date and time (e.g., by the use of a published advanced program, playlist, announcement, etc.),
not creating transmissions as part of an archived program (a) less than 5 hours in duration, or (b) for exceeding 2 weeks,
not creating transmissions as part of a continuous program less than 3 hours in duration,
creating audio-only transmissions (i.e. without the use of video imagery synchronized with the audio transmission),
reasonably cooperating to prevent certain kinds of selective transmitting and/or illegal copying of the transmission by the listener,
using an ephemeral phonorecord created from a copy of a sound recording that was authorized by the sound recording copyright owner for commercial release,
reasonably not interfering with technical copyright protection techniques, and
identifying on the receiving device, in textual data, simultaneous to the transmission, the following identifying elements related to the sound recording being transmitted: (a) the name of the featured artist, (b) the title of the sound recording, and, to the extent that one exists, (c) the title of the phonorecord embodying such recording.

What is the “performance complement?”


The performance complement (which limits the amount of times a service may send sound recordings from a specific artist or album during a specific period of time) is one qualification to which all webcasters must adhere to be eligible under the statutory license. The performance complement may only be violated if the service has received specific waivers from the owner of the sound recording copyright, and unintended violation of these limitations (if corrected) will not cause a service to be ineligible for statutory licensing.

The limitations are, specifically:
No more than 4 tracks by the same featured artist (or from a compilation album) may be transmitted within a 3 hour period (and no more than 3 of those tracks may be transmitted consecutively).
No more than 3 tracks from the same album may be transmitted within a 3 hour period (and no more than 2 of those tracks may be transmitted consecutively).

How are the rates and terms determined?

The Copyright Royalty and Distribution Reform Act of 2004 created a board of Copyright Royalty Judges (also known as the Copyright Royalty Board) to determine the rates and terms for the statutory license. Under the Copyright Royalty and Distribution Reform Act, “statutory rates” are set through either voluntary negotiations or trial-type hearings before the panel of three Copyright Royalty Judges. In negotiated cases, interested services negotiate rates and terms with SoundExchange and present those to the Copyright Royalty Judges for adoption. If the agreement is adopted by the Judges, it will be available for opt-in by any similarly situated parties. (In fact, the Webcaster Settlement Acts of 2008 and 2009 facilitated the adoption of several such negotiated agreements.) Any parties who have not negotiated agreements may present to the Copyright Royalty Judges, who will conduct a rate setting arbitration to establish royalty rates.

The station already pays royalties to ASCAP, BMI, and/or SESAC.

Why do they have to pay SoundExchange, too?


Every musical recording embodies two distinct copyrighted works. The first is the underlying musical composition, composed of the written notes and lyrics (a “musical work”). The songwriter and/or his or her music publisher usually own the copyright in the musical work. The second copyrighted work is the actual recording itself – the sounds, including the recording artist’s interpretation of the musical composition, and the creative efforts of the producer, sound engineers and background musicians (a “sound recording”). A copyright holder, whether a label or an independent musician, owns the copyright or  “master” to the sound recording. SoundExchange collects and distributes royalties associated with the sound recordings made by services operating under one of the statutory licenses. By contrast, ASCAP, BMI and SESAC collect and distribute royalties associated with the public performance of musical works. A digital audio transmission of a musical recording will usually require a license for both the sound recording and the underlying musical work.

What happens if it turns out the radio station not eligible, but they’ve been operating anyway?


It is the responsibility of each service provider to be confident about its eligibility and ability to be compliant with rates and terms before beginning operation under statutory licensing. Ultimately, SoundExchange does not confirm such eligibility or compliance: they accept payments, Statements of Account and Reports of Use, and distribute those payments to artists and copyright owners as instructed by those forms and reports, without waiving the rights of anyone they pay, or of anyone whose recordings were transmitted under such intended statutory licensing. Since artists and copyright owners are always free to protect their legal interests, they urge service providers with any questions in these regards to review their website for more information, and to contact them and/or legal counsel.

Source: SoundExchange

In Closing, You never know where I may be; bringing you the events of Chicago and other relevant topics, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com.  Until next time, See ya later Babies!
Disclaimer:

(PlatinumVoicePR is the source for the events and has no legal bindings with associated parties)

(Music Videos and Links are for promotional use only)

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Music 101, Platinum Articles

Artist Development Makes A Difference and Why

Hey Y’all!

It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing another relevant topic to you!

Artist development in the music industry has evolved over time, leaving most of the early progress to the artist themselves. For the most part, the days are gone when a record label developed up and coming talent. The question continuously arises for those young artists, “where do I start”? With the advent of the Internet, the possibilities are mind-boggling.

Many artists put in their mission statement, simply that they want a record deal, thinking that is all they need to succeed for career in music. Most don’t have a clue what it takes to get that deal, let alone maintain that career.

Artist development is a huge area overlooked by far too many artists and bands. Let’s explore the question, “What is artist development”?

A record label A&R rep once “discovered” fresh new faces in clubs, bars or word of mouth and would then support them, cultivate their creativeness, build up their fan base, and guide their direction with the intent of turning them into superstars.  All of this,  of course, was with the intent of selling those 45’s, LPs, cassette’s and CDs. Gradually, many labels moved more into product development, which meant they are focused more on the immediacy of sales of the latest CD (product) released, and not bringing the artist up to that point. And more often than not, naive artists were at the labels mercy.

In this Internet age, it is more the artist or band themselves that must build the quality sound that is ready as a commercially viable product. On top of that, they need to have an already established fan base, basic music business skills, perhaps even the early music sales of a well produced CD. Labels are looking for pre-packaged, very talented musicians that are already showing their value.

A music career is a charted path to follow. Artist development involves all the issues surrounding and arising from that charted path, and crosses into knowledge of product development – the ultimate sale of the music.

Checklist on what artist and product development need: 

*Exceptional vocals, musicianship and/or songwriting skills

*Continued education and enhancement of musical skills

*Quality equipment

*Performance ability

*Image creation and maintenance

*Plan of action, goal setting

*Exceptional promotion materials, including photographs, press releases and artwork

*Business management skills

*Marketing, publicity, and promotion knowledge, online and offline

*Professional management

*Basic knowledge of recording, producing, engineering, and mastering

*Basic knowledge of manufacturing, distribution, and sales online, brick and mortar and air-play

*Good choices in members, staff and advisors

*Physical and mental preparedness

*Basic knowledge of finances, accounting

*Law and legal issues: publishing, copyrighting, trademarks, and an attorney

*Alternative career options – even athletes need to have other options!

Tending to all areas of your music career may make the difference between a one hit wonder and longevity in this business. It’s been said, “If you think this is a piece of cake, you better go bake one.” The music business, again, is a business. Businesses need to make money. That’s worth repeating – the music business is a BUSINESS. Take the time to find out all you can about each of these steps in your journey.

That being said, an up and coming artist must begin somewhere…and if a career in the music business is the goal, then any naiveté must be addressed immediately! Knowledge is power. Power gives you leverage. And who knows…that entrepreneurial artist may just find they don’t need that particular record deal after all.

In Closing, You never know where I may be; bringing you the events of Chicago and other relevant topics, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com.  Until next time, See ya later Babies!

Disclaimer:

(PlatinumVoicePR is the source for the events and has no legal bindings with associated parties)

(Music Videos and Links are for promotional use only)

Source: electrogarden

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Celebrity News, Platinum Gossip

@RussellSimmons Launches All Def Music Label

Hey Y’all!

It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing some celebrity news to you!

031113-celebs-russell-simmons

Russell Simmons is getting back into the record label business, but with a new spin. Simmons, along with music executive Steve Rifkind and veteran film and TV producer Brian Robbins, is launching All Def Music, aimed at finding YouTube talent, the Los Angeles Times reports.

All Def Music will fall under the Universal Music Group umbrella, the same which holds legendary hip hop label Def Jam, founded by Simmons and Rick Rubin in the early ’80s.

UMG acquired Def Jam in 1999.

Simmons’ new label is the first of its kind “created specifically to sign, develop and promote artists on YouTube.”

Rifkind, founder of Loud Records, pointed to both labels’ marketing tactics as an outline for the new venture. “How [Simmons] built Def Jam and how I built Loud was through the streets and through grass-roots marketing,” he said. “Cut to 20 years later, we’re applying this same formula using YouTube as our street team.”

UMG CEO Lucian Grainge noted the “exponential growth of Internet-based video” in creating a “powerful new outlet for music and music-based content.” As such, the label is a component of a “broader strategy” involving partnerships with media and tech entrepreneurs.

The first artist signed to All Def Music is Asher Roth.

Source: BET

 (Photo: Charley Gallay/Getty Images)

You never know where I may be bringing you the events of Chicago, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com.  Until next time, see ya later Babies!

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(PlatinumVoicePR is the source for the events and has no legal bindings with associated parties)

(Music Videos and Links are for promotional use only)

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Celebrity News, Platinum Gossip, Sports

Dwyane Wade Comments On The Financial Settlement For Ex-Wife

Hey Y’all!

It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing some celebrity news to you!

072213-sports-Siohvaughn-Funches-dwayne-wade

Dwyane Wade‘s ex-wife and mother of his two children, Siohvaughn Funches, made a scene in front of a Chicago courthouse on Friday, claiming her NBA player ex left her destitute after their divorce, but D-Wade is finally ready to tell his side of the story.

The Miami Heat star has maintained a dignified silence about the drama with his ex, but finally lost his patience after Funches alleged that he left her homeless and broke after their split. Now, Gabrielle Union‘s man has released a statement clarifying that he and Funches reached a financial settlement and submitted it in court last week, “prior to Ms. Funches’ recent unfounded and erratic public display outside the courthouse.”

“Dwyane Wade has made several requests over the years to settle this matter, despite Ms. Funches having 16 different attorneys and 2 arrests throughout this process,” the statement from Wade’s rep continues. “Mr. Wade has provided a very generous settlement to Ms. Funches to continue to live a wonderful lifestyle for the rest of her life.”

Wade claims he has “provided income over $25,000 on a monthly basis, timely paid for her home mortgage, maintenance and security at the house, 4 cars, insurance, taxes and all of her attorney fees throughout this process.”

The statement continues, “Ms. Funches has made a mockery of homelessness which is a serious and personal issue for Mr. Wade as his mother was homeless for a period of time when he was a child.”

Wade was awarded full custody of their two sons in March 2011, yet he “continues to hope that one day he will have a civil relationship with his ex-wife for the sake of their sons.”

The couple, who had been separated since 2007, finalized their divorce in 2010 after an ugly split that involved allegations of infidelity. Funches had been arrested twice since their split for failure to appear in court, and even attempted to sue Wade’s girlfriend, Union, for emotional distress.

(Photos from left:  Courtesy Cook County Sheriff Office, Mark Davis/Getty Images)

Source BET

You never know where I may be bringing you the events of Chicago, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com.  Until next time, see ya later Babies!

Disclaimer:

(PlatinumVoicePR is the source for the events and has no legal bindings with associated parties)

(Music Videos and Links are for promotional use only)

 

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