From Camille Paglia/ The Sunday Times
Lady Gaga never saw it coming. After a relentless, mammoth, publicity extravaganza for her new album, ArtPop, she was upstaged by a comet seeming to swoop in out of nowhere — the release of Eminem’s The Marshall Mathers LP 2. Eminem’s sales boomed big, while Gaga’s embarrassingly fizzled, leading to quick deep discounts to keep ArtPop on the charts.
Eminem, now 41, did few interviews and personal appearances for this formidable double album. As with Adele sweeping the Grammys two years ago, his instant commercial triumph demonstrates the readiness of a discerning world public to respond to power and passion of voice rather than to manipulative gimmicks or exhibitionistic stunts. CONTINUE READING
From The New York Times
The Universal Music Group, the giant record company that sells almost 40 percent of the world’s music, is about to get a little bigger through a deal with the independent label behind Mumford & Sons.
Glassnote, founded by Daniel Glass in 2007, has struck a global distribution agreement with Universal for its music, starting March 1. The deal is a blow to Sony Music Entertainment, which had handled Glassnote through its Red distribution unit. CONTINUE READING
From NPR:
Last year, American Idol winner Phillip Phillips released the song “Gone, Gone, Gone” from his debut album The World from the Side of the Moon. The song went to #1 on the Adult Alternative and Adult Contemporary charts and peaked at #24 on Billboard‘s pop song chart, the Hot 100. For Gregg Wattenberg, one of three credited co-writers of “Gone, Gone, Gone,” the song’s chart performance was of particular interest because it translated indirectly into cash.
“U.S.-only hit songs — when I say ‘hit’ I mean like top five, not like No. 20 — can generate anywhere from one to two million dollars in ASCAP monies,” Wattenberg says. CONTINUE READING
For instance, Pharrell Williams single Happy had 36,159 paid downloads on iTunes within the last 24 hours. Katy Perry’s single Dark Horse had 29,265 paid downloads.
After a last-minute approach to NBC, the reality mogul heads back to Britain as insiders debate his “grumpy uncle” appeal in a changed TV landscape.
A version of this story first appeared in the Feb. 21 issue of The Hollywood Reporter magazine.
Weeks before Fox officially lowered the curtain on The X Factor, sources say its creator and star Simon Cowell quietly reached out to NBC to find a new home for his TV baby. “Simon himself was involved in this process,” says an executive familiar with the approach on behalf of Cowell’s Syco production company and partner FremantleMedia. (A Cowell source vehemently denies a pitch was made, adding, “Fox and Syco/Fremantle looked at plausible other options in the U.S. without him but decided these weren’t viable.”) But NBC already has The Voice and the Cowell-produced America’s Got Talent — and, more importantly, X Factor was damaged goods.
In fact, now that the show was canceled Feb. 7, observers are divided on Cowell’s future on U.S. television as well as the steps Fox will take to replace its failed franchise. CONTINUE READING
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