Calling all #Graffiti Writers!!! Introducing the CypherCircuit #GraffitiContest. Submit a single color outline with ‘Cypher Circuit’ written out in either a Handstyle, Throw-up, or Piece, and your artwork could become the next Cypher Circuit t-shirt and/or sticker. Multiple winners will be selected, but the grand prize winner will also receive a graffiti package courtesy of Split Divo’s #EastSideTattoo610 including: 7 Cans of Fresh Paint (Seafoam Green, Yellow Green, Eden Green, Sky Blue, Carrot Orange, Apricot Orange, Milk Coffee), 1 Molotow Coversall Dripstick, 2 Krinks (black and blue), 5 Hobo Markers (black yellow red silver and blue), a 3.5×5.5 Black Book, 1 ArtPrimo Stencil Kit, and 10 NY Fat caps. To enter the contest, simply post your artwork to Instagram with the hashtag #CypherCircuitGraffiti by August 15th. This contest is being sponsored by: @CypherCircuit, @marstenhouse, @splitdivoinkslinger, @multihop.tv, @610nly, @90shiphopjunkie and @MoeKnowsBest.
ARTICLE BY : by Rich Trenholm / C/NET
At Liverpool’s Sound City conference, record business insiders discuss the world’s biggest music platform and its “big scary lawyers”.
YouTube has over 1 billion people using it to watch videos, and 60 percent of those viewers are watching music. That makes it the biggest place in the world for finding and listening to music, making it a platform the record industry simply can’t ignore — but amid the ongoing controversy over how we pay for music in the digital age, some recording business insiders think YouTube’s sheer size allows it to get away with too much.
“Labels and publishers look at [streaming service] Spotify whenever any changes in the industry happen,” said Eric McKay, head of digital in Europe for music publishing body Warner/Chappell Music. “But every time we as an industry tell Spotify they can’t do something, Google goes ‘f**k off, we’re doing it anyway’ and they just do it. And we have to scrap around after them to make it work.”
McKay is one of the folks from bands, record labels, publishing companies, collections agencies and other components of the recording industry gathering this week at the UK’s Sound City 2015 music business conference in Liverpool. The hot topic debated as the river Mersey flows past outside is how digital services like Spotify, YouTube, Tidal and others pay the artists they rely on to fill their catalogues — and their coffers.
Spotify and streaming services are increasingly a target for artists like Taylor Swift, Radiohead’s Thom Yorke or Portishead’s Geoff Barrow, who are unhappy with the paltry level of royalty payments they receive from making their music available on streaming services.
Rival service Tidal even made the fair remuneration of artists its unique selling point when owner Jay Z recruited big-name mates including Kanye West, Rihanna and Coldplay for the outspoken launch. But while it’s not without faults, perhaps streaming is unfairly singled out.
YouTube claims it’s different from other music services and doesn’t have to pay copyright royalties to artists, labels and other copyright holders for the music its viewers enjoy. Yet after Taylor Swift pulled her music from Spotify last November in a tantrum over paltry royalties, her videos stay on YouTube where they earn advertising revenue but no royalties.
For a popular artist like Swift — whose “Bad Blood” video racked up 53 million views in a week while “Blank Space” is on 867 million and counting — the advertising moolah makes it worthwhile. “We’ve paid out more than a billion dollars to the music industry in the last few years,” a YouTube spokesperson told me. “We’ve separately paid out more than a billion dollars to copyright owners who’ve monetized their music through Content ID” (that’s YouTube’s system for earning money from videos containing your music that were uploaded by other people).
Gideon Mountford of Believe, a multichannel network that helps artists and labels work with YouTube, is pragmatic about the question of whether putting your music on YouTube draws people away from other outlets such as iTunes or Spotify that earn non-ad revenue on sales and streams.
“When YouTube launched everyone saw it as a promotional thing, like MTV or whatever,” he said. “Now it’s the biggest place for music discovery and consumption, and if you look at the revenue compared to potentially other services, is it in line with [that revenue]? That’s debatable. But if you don’t utilise YouTube, you’re not putting your content in the biggest place for people discovering and consuming music. You’re losing the ability to increase your audience size.
“It’s a tough question because for different labels and different rightsholders it’s going to be a different answer. What we find is effective is utilising YouTube to send people to Spotify or iTunes or whatever it might be, to increase revenue across all platforms.”
How does YouTube get away with not paying out royalties? “There’s an inequality in the marketplace where we have a piece of the legislative framework called safe harbour”, explained Mulligan. Safe harbour rules are designed to give legal protection to companies such as, for example, Internet service providers in case their users do something dodgy using the service they provide. YouTube claims it’s covered by this law because the service is only a conduit for people to post content. As a result, said Mulligan, “YouTube has got a far bigger catalogue than any other music service will ever have under the current framework, and it does so because it doesn’t have to license it on a work-by-work basis.”
YouTube’s owner Google stands by this argument, aided by, in Eric McKay’s words, “the biggest, scariest lawyers you’ve ever met.” But Mulligan believes Google is exploiting the law. “Safe harbour was designed to protect people from having users misusing their service. It wasn’t designed for big companies to make loads of money out if it.”
He believes YouTube’s excuses for not paying out royalties don’t hold up to scrutiny. “YouTube’s argument is that ‘we don’t know what’s going on in our network, so therefore we can’t be treated like everyone else.’ The strange thing is, if something like beheadings or child porn appear they can get rid of it really quickly, so YouTube has a proven ability to find content on its network. They’ve chosen not to find music content on their network.”
McKay argued that, “YouTube will just go and do it [offer music to viewers], because for YouTube it’s less about music and more about what their users want. They just do it and we as an industry need to adapt to it.”
YouTube has launched a service that counters the criticisms around remuneration from the industry:Music Key, launched in November last year. Music Key strips out the ads from YouTube videos, plays music in the background on your mobile device, and caches video to watch and listen when you don’t have Internet access — basically the same features included in Spotify premium subscription for the same price of £9.99 or $9.99 per month. If you’ve never heard of it, don’t worry: YouTube hasn’t drawn attention to the nascent service, which is still in beta.
“The YouTube Music Key beta participants have been a huge help in our goal of building the best subscription possible for both artists and fans,” a YouTube spokesman said Friday. “To thank them, we’re extending their free trial, and we look forward to bringing this service to everyone.”
“YouTube knows they’ve got this huge audience and they want to have a certain percentage to pay £9.99 a month,” said Mountford. But success isn’t guaranteed: “It’s a tough space. Look at Spotify: they’ve got 50 million subscribers now but look at how much revenue they’re losing. Look at how much revenue is going through to artists.”
Spotify’s 50 million active users still makes up just 5 percent of YouTube’s monthly audience — if YouTube can convert even a fraction of that audience into paying subscribers it’ll be onto a winner. But the big question is whether viewers will want to. “There’s got to be a value there,” said Mountford. In a contender for the understatement of the year, he says, “YouTube at the moment is great value for the viewer…why would they pay £9.99? What additional features have to be there for that to happen?”
If YouTube’s Music Key can convince people to start paying for music again, that will be welcome news for the rightsholders currently not earning from YouTube. “I think we all want the subscription service to work,” said Mountford, “because it’s essentially more revenue than what rightsholders have on YouTube now.”
Sat. May 23rd, 2015 Rane presents The 2015 DMC NEW YORK CITY Regional DJ Battle feat. 2x DMC World Champion: DJ SHIFTEE!
6-10pm @ Webster Hall 125 E. 11th St. (betw. 3rd & 4th) NYC. Ages 16+. *No Filming! Trains: N, Q, R, W, L, 4, 5, 6 to Union Sq/14th St. OR L to 3rd Ave OR R, W to 8th St./ NYU OR 6 to Astor Pl OR Buses: 101, 102, 103
Host: Lord Finesse (DITC)
DJ: Kool DJ Red Alert!
Judges: J-Smoke, Boogie Blind, DJ Shiftee & more tba!
$15 adv. $20 day
RANE: http://dj.rane.com/ – Presenting Sponsor!
UNUSUAL SUSPECTS: www.unusualsuspectsshop.co
SCRATCH DJ ACADEMY: www.scratch.com
SPECIAL TECH DJ: www.specialtechdj.com
BEAT JUNKIES RECORD POOL: www.beatjunkies.com
UNIVERSAL ZULU NATION: www.zulunation.com
THUD RUMBLE: www.thudrumble.com
DJ CITY: www.djcity.com
PHOTOS BY IGNACIO SOLTERO
More to be announced!! More are welcome!
This is DMC’s classic solo showcase style DJ battle: DJs will each perform a 2 min. routine for the elimination round. Judges will select the top 6 to advance to the final round. The top 6 will each perform a 6 min. routine. The champion of this battle will advance to the 2015 DMC US Finals (date and location tba)
For the 2015 DMC Regionals, we will use Rane Sixty Two mixers – but a Rane Sixty One mixer or Rane TTM 57 may be available upon request. Rane mixers will be supplied by DMC. DJs must bring their own headphones, slipmats, needles, records, laptops, cords, control vinyl and/or laptop stands etc. Promoter/sound will supply Technics turntables.
DJS MUST REGISTER TO BATTLE by answering EACH of the following questions and send them to DMC USA’s Christie Z-Pabon at firstname.lastname@example.org – no later than May 22, 2015.
First Name & Last Name
Complete Address, Apt or House
Which city/battle you are entering?
Website, facebook, twitter, etc.
Please answer honestly Yes or No to this question: Are you a US Citizen or have you lived in the US for at least 6 yrs and can prove it? DJs from Puerto Rico can enter US regionals.
1st Choice of Mixer: 62 or 57
2nd Choice of Mixer: 62 or 57
PRIZES for 2015 DMC Regional Battles
::::::::::::::::::::::::: 1ST PLACE PRIZES
CHOICE of a Rane 62 mixer dj.rane.com/products/
Custom Prize Package from 12inchSkinz + $50 gift certificate
Prize from Shure: SHR550 Headphones
Ortofon CC Twin Set Cartridges, slipmats and more
One month membership to the Beat Junkies Record Pool
Prize package from Thud Rumble
T-Shirt from Unusual Suspects
Prize from DJCity.com to be announced
Round trip flight and one night hotel to the 2015 DMC US Finals from your promoter – date and city to be announced!
::::::::::::::::::::::::: 2ND PLACE PRIZES
12inchSkinz $50 gift certificate
Shure Record Bag
New Ortofon DJ Bag, slipmats & more!
Prize package from Thud Rumble
::::::::::::::::::::::::: 3RD PLACE PRIZES
12inchSkinz $50 gift certificate
Prize from Shure
Ortofon OM Premounted Set of Cartridges, slipmats +
Prize package from Thud Rumble
OFFICIAL DMC World Youtube Channels
Classic 6 min. battles: http://www.youtube.com/
Supremacy aka Head to Head: http://www.youtube.com/
Classic 3 min. eliminations: http://www.youtube.com/
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