Music Industry
Watch: DJ Jazzy Jeff, A-Trak, and Craze Talk DJing on ‘Drink Champs’ Podcast
From left to right: Craze, DJ EFN, DJ Jazzy Jeff, N.O.R.E., A-Trak (Source: Instagram)
DJ Jazzy Jeff recently sat down with the Drink Champs podcast for a casual yet insightful interview. The Philly legend discussed a variety of topics related to DJing and hip-hop.
Later in the interview, co-host DJ EFN spotted A-Trak and Craze in the audience and invited them to join in. It was a rare discussion with three of the most influential figures in DJing.
Watch the full show below. (A-Trak and Craze come on at the 52-minute mark.)
Related: Watch: DJ Jazzy Jeff’s Q&A at Red Bull Music 3Style IX World Finals
J Balvin, Bad Bunny, Ozuna Announce Las Vegas Residencies
J. Balvin (Source: Facebook)
Latin superstars J Balvin, Bad Bunny, and Ozuna are bringing their flavor to Las Vegas with newly announced residencies at Palms Casino’s KAOS club.
Other newly announced residents include dance and electronic artists deadmau5, Eric Prydz, Armin van Buuren, Cheat Codes, Louis The Child, Gorgon City, Brooks, and Breathe Carolina, along with open-format DJs Vice and Politik.
Previously announced residents include Cardi B, G-Eazy, Marshmello, Skrillex, Jauz, Kaskade, Slushii, and Southside.
“We are incredibly proud to present the next generation of the Las Vegas nightclub and day club experience with programming that transcends so many genres of music,” said Jon Gray, manager of the Palms Casino Resort, in a press release. “Every performance at KAOS will be unique to each artist with next-level production and unique technology that we cannot wait to share with our guests.”
KAOS’ opening weekend will take place on April, 5, 6, and 7 with special performances by Travis Scott and Alicia Keys.
Check out the full list of dates from the newly announced residents below.
J Balvin
Nightclub: April 6, 26
Bad Bunny
Nightclub: April 25
Ozuna
Dayclub: April 28
deadmau5
Dayclub: April 14
Nightclub: April 20
Eric Prydz
Dayclub: April 26
Nightclub: April 13, May 11
Armin van Buuren
Dayclub: May 17, 26
Nightclub: May 16
Cheat Codes
Dayclub: April 19, May 12
Louis The Child
Nightclub: May 31
Brooks
Dayclub: April 12
Vice
Dayclub: April 7, May 10
DJ Politik
Nightclub: April 5, 6
Related: Sean Paul and J Balvin Connect for New Single, ‘Contra La Pared’
Marshmello’s Manager Moe Shalizi Shares Insights, Gives Advice to Artists and Managers
Marshmello and Moe Shalizi (Source: Instagram)
Marshmello‘s manager Moe Shalizi recently spoke with Music Business Worldwide as part of its “Greatest Managers” series.
The 28-year-old, who left Red Light Management to launch his own company in December, also represents Jauz, Ookay, Slushii, among others. He’s regarded as one of the brightest “next generation” managers in the industry (hence MBW’s feature).
Shalizi spoke with MBW about a variety of topics, including Marshmello’s groundbreaking concert on the hugely popular game, Fortnite.
His advice to independent artists:
“Play it slow. A lot of people get excited and go sign a label deal, but all of my guys [signed to Shalizi Group] are independent. That gives us the freedom to do what we want to do. What affects a lot of artists is that point when they start making a little bit of money. Everything changes, they go sign a deal and now they have a bunch of A&Rs telling them how their music should sound, following trends. Some artists need a label, they need that infrastructure, and some artists don’t. And for the artists that don’t, if you’re starting to bubble, you did that yourself, you know? So keep doing it.”
On Marshmello’s Fortnite performance:
“We were really nervous when it happened just ’cause we were just praying it would go successfully, especially with the voice of [‘mello] talking into the game for everybody to hear. But, in the end, it was amazing. [Mello] was in this room, geared up head-to-toe with a body-motion suit and everything, with maybe 30 or 40 people [surrounding him]. It was a crazy thing to be a part of. We’d worked on [it] for six months with [Epic Games]; those guys were and are completely ahead of the curve, big time. I think what they’re doing is going to be revolutionary for music.”
On building a core audience:
“The mistake people often make is they go way too quick into the commercial space. And once you’re there, you can’t really jump back. We look at other artists, other DJs that are now tied to corny pop single after corny pop single to keep them relevant, which is like, just whack. It’s easy to go and get a big feature [with a pop star], but we stay away from them. Everyone we’ve worked with – like Anne-Marie, Bastille or CHVRCHES – aren’t [pop megastars]. We’ve taken the position, even with the hip-hop stuff we do, to leverage our audience with the core audiences of these artists who are crazy loyal. That helps keep the [‘mello] brand cool, you know? To some people, Marshmello is as far from cool as possible, but it’s not like we ever went and did an obvious record with the biggest pop stars. That helps set us apart.”
On the traditional record label model:
“To me, the idea of owning other people’s music is weird. It’s like, if you were a painter and I was like, ‘Hey, paint a masterpiece for me, then I’m gonna own everything and give you 18%.’ You’d be like, ‘Where does the rest of the money go? Where does the 82% go?’ I mean, there is a lot of value that labels can add. But for artists, owning your masters is so important right now, ‘cause that’s your money in perpetuity. You can make money forever on those masters thanks to streaming. Streaming’s just growing, so not owning your own sh#t is crazy; just for an advance, you’re giving away everything. But then I’ve sat with artists [who signed major label deals] and they’re like, dude, I was at a place in my life where the $150,000 advance I signed allowed me to make the music I make now. I’m like, fair enough. We were lucky never to be in that position. But yeah, I get it; for some people, they need that peace of mind of having some money in the bank and being able to focus. But at what cost? A five album deal? That’s a lot of f#cking music.”
His advice to new managers:
“… the biggest thing for managers is that you have to really believe in what you’re doing. Management involves a lot of luck, and good management is really about what you do when that luck finally hits. If you have acts that are popping off but then they’re mismanaged, a week later, nobody’s talking about your act again. So have a strategy to build, for the next six months at least. ‘Cause it’s not easy when something big happens. And that fact gets forgotten.”
Related: A-Trak and Roctakon Address Twitter Debate on ‘R.O.A.D. Podcast’
A-Trak and Roctakon Address Twitter Debate on ‘R.O.A.D. Podcast’
Last Friday, A-Trak took to Twitter to share his thoughts about the struggles of open-format DJs in today’s industry. Inspired by his experience at DJcity and DJ Vice’s Beyond the Music Retreat, he commented on the lack of infrastructure in the open-format DJ community.
A-Trak’s tweets received praise from a lot of DJs, however veteran New York club DJ, Roctakon, was not one of them. Roctakon responded with his own series of tweets, starting by saying that A-Trak “should not speak on the issues modern open format DJs face” because “he’s never been one of us.” He went on to explain why he believes A-Trak’s commentary is wrong.
Roctakon’s criticism drew a lot of attention, including none other than Craze, who defended his long-time ally.
The back and forth has sparked a larger discussion in the DJ community, and on Wednesday, A-Trak and Roctakon addressed the exchange during separate interviews on Reflections of a DJ a.k.a. R.O.A.D. Podcast.
To help facilitate the interviews, R.O.A.D. recruited guest co-host Shecky Green, co-founder of the Source Magazine and former talent director at Las Vegas’ XS Nightclub.
Watch excerpts of both interviews below and listen to the entire episode here. A-Trak and Roctakon’s original Twitter threads are also below.
A-Trak’s tweets:
I'm realizing how much of a hole there is in the infrastructure for DJs in North America, specifically for open format DJs.
The whole DJ business changed DRASTICALLY in the last 10 years.. and there's pockets of the DJ scene that kind of got left out. (cont'd)— Basement Jacques (@atrak) March 8, 2019
Those changes happened with the explosion of EDM. Money brings change & infrastructure – like in any sector. When DJs started having huge hit records and the event space boomed (festivals, tours hitting ticketed venues), the business became legit.
— Basement Jacques (@atrak) March 8, 2019
DJs used to get known on the strength of their DJing (duh!). But then DJs started becoming known for their songs and that created serious draw to other markets. That also created a need for proper managers, lawyers etc. The social media boom happened at the same time.
— Basement Jacques (@atrak) March 8, 2019
The old school model was: most DJs had an agent-slash-manager. Which isn't ideal (church & state!). But most of us didn't need managers before. I was DJing for 10 years – multiple time world champion etc – before hiring my first manager.
— Basement Jacques (@atrak) March 8, 2019
That model worked all the way up to the DJ AM era, when bottle service clubs became more prominent and Vegas opened up to more DJs. But those types of venues and clubs don't respect DJs. So DJs need representation.
— Basement Jacques (@atrak) March 8, 2019
After that the music exploded and an entire industry was built… But what about the DJs who weren't producing records? who, truthfully, are better *DJs* than most of those getting known for their hits..? The club scene got caught in a bubble, a time warp.
— Basement Jacques (@atrak) March 8, 2019
And here's where it gets weird: then the EDM bubble burst. Club talent buyers started saying they were going back to booking open format DJs (for those who don't know that just means multi-genre DJs rooted in hip hop). But most of those DJs don't have modern agents, modern biz.
— Basement Jacques (@atrak) March 8, 2019
The DJ explosion that happened earlier in the decade created fast growth but now I find the scene needs some nurturing. And there's a lot of excellent DJs who still need representation.
It's wild: a celebrity DJ is more likely to have a legit agent than a GOOD open format DJ.— Basement Jacques (@atrak) March 8, 2019
I think part of the problem is also because of the handful of people in a position of power in that club scene, that open format scene: it's very clicky which imo hindered it from riding the big wave a few years ago. Some ppl were too self-content to even SEE the wave…
— Basement Jacques (@atrak) March 8, 2019
The end result is a bunch of very very good skilled DJs who don't have an infrastructure.
I went to the #BeyondTheMusic retreat last week, organized by @DJcity & @djvice. It's clear that there's a big demand for mentorship, leadership, guidance in the scene.— Basement Jacques (@atrak) March 8, 2019
It's a great start. We need more though. I don't understand why the main booking agencies aren't picking up more of these DJs. There has to still be a viable lane for DJs whose main focus isn't to produce music or be an Instagram personality, but just to be a great reliable DJ!!
— Basement Jacques (@atrak) March 8, 2019
Roctakon’s tweets:
A Trak should not speak on the issues modern open format DJs face.
— Roctakon (@Roctakon) March 9, 2019
That thread makes 0 sense. He doesn't speak for any of us. He's never been one of us.
— Roctakon (@Roctakon) March 9, 2019
there's no problem, if you can't put bodies in the club or sell tables you're a working stiff. That's fine, it's a respectable thing to be and you can earn a good living, but being good at DJing has NEVER been enough.
— Roctakon (@Roctakon) March 9, 2019
Enough to get you to the next level. Make great music, run a promotions company, be an instagram star, date a reality TV star, do whatever you gotta do to put bodies in the club, but if you can't sell tickets or create the illusion of selling ticks, shit, be happy you even work.
— Roctakon (@Roctakon) March 9, 2019
I've watched so many guys my age and a little older/younger struggle so fucking hard with 'why isn't being good enough' IT'S JUST NOT. NOT IN FUCKING VEGAS, NOT IN BOTTLE SERVICE LAND OF ILLUSION. YOU NEED A HOOK, A STORY, SOME BULLSHIT TO DRAW BECKY IN. HUSTLE. BULLSHIT.
— Roctakon (@Roctakon) March 9, 2019
People out here wishing clubs would start really caring about good DJing, wish in one hand and shit in the other, see which ones fills up first. Half these DJs people act like are good can't even fucking play.
— Roctakon (@Roctakon) March 9, 2019
Nobody is ever gonna give a fuck that you're good, nobody is ever gonna understand the craft for real. A few experienced club managers, a few DJs, a few fans, that's it.
— Roctakon (@Roctakon) March 9, 2019
You have to make them understand but doing stuff that has nothing to do with being a good DJ. It's a nightmare but it is what it is man.
— Roctakon (@Roctakon) March 9, 2019
If you're willing to do the work all the infrastructure is in place for you to succeed. If you can get bodies through the door you will win, I 100% guarantee it. Look at Harvey, he is one of the ultimate working DJ success stories. It took a long time and a lot of work, but…
— Roctakon (@Roctakon) March 9, 2019
…Harvey found a way to put bodies through the door all over the world. Yea some of it was being good, but some of it was his consistency, throwing his own parties, story telling, branding, etc.
— Roctakon (@Roctakon) March 9, 2019
Buncha babies out here mad cause they can play a couple records together and the clubs don't respect them. Yawn. Been there bro. Good luck to you. End Rant.
— Roctakon (@Roctakon) March 9, 2019
Well, one more thing, I will say you can totally build your core following around being a good DJ, a lot of people have done it, and I think it's a great place to start, but combining good with other salable concepts is where the rain comes.
— Roctakon (@Roctakon) March 9, 2019
tubby lil AM was doing well in LA before Nicole Richie, and if he had only been mediocre he still woulda had steam off her, but being dope and dating her changed everything. He used to act like he got booked cause he was good, but he was good and he was shrouded in celebrity.
— Roctakon (@Roctakon) March 9, 2019
Good is the foundation and mortar you can build a career with but it's not the entire house. Ok I'm done now for real.
— Roctakon (@Roctakon) March 9, 2019
Via @DjSalParadise "Other thing is a great DJ never gets mediocre crowds going. They murder a good night but a name with clout will make a mid room happen better almost always
Just because the crowd feels some pull to like oh yeah I’m here for this"— Roctakon (@Roctakon) March 9, 2019
I love my working DJs and want everybody to get money, but if we gonna get more out of these clubs we need hard evidence, clients that know our names, people that pay to see us, not some theoretical idea about who’s a good dj or what real DJing is.
— Roctakon (@Roctakon) March 9, 2019
honestly iconic: https://t.co/Hydx497F60
— Roctakon (@Roctakon) March 9, 2019
the fucked up shit is in the world i’m speaking on, i’m the OG and trailblazer. These guys were chasing dwindling dnb and turntablisim showcase money when I was 10-4 in NYC. Then bouncing around the hollerboard world while I was in NY, LA, Miami and Vegas getting money.
— Roctakon (@Roctakon) March 9, 2019
I forgotten about more residencies than they prolly ever had combined.
— Roctakon (@Roctakon) March 9, 2019
“I never wanted to be a good nightclub dj” end thread. https://t.co/7FFcAHJGut
— Roctakon (@Roctakon) March 9, 2019
he’s got me here y’all. I def haven’t learned anything from my mistakes, or 23 years in this thing. Not anything that could benefit an up and coming open format DJ. I am poor. Do not listen to me! https://t.co/VXtaEd57I8
— Roctakon (@Roctakon) March 9, 2019
today was fun y’all. My door is always open to up and coming dudes who want to talk about their future and place in this business. I’m not here to tear anyone down or keep anybody from getting money, but I will be realistic. roctakon at gmail anytime.
— Roctakon (@Roctakon) March 9, 2019
Related: Laidback Luke and A-Trak Talk Heart Hands, Jumping on DJ Booth
SoundCloud Adds Distribution Feature to Premier Program
SoundCloud announced on Tuesday that it has added a distribution feature to its SoundCloud Premier monetization program. The feature enables participants to distribute their music on all major music streaming services, including Spotify, Apple Music, Amazon Music, and YouTube Music.
Launched in 2018, SoundCloud Premier enables artists to earn money from their original music on SoundCloud. The program’s new distribution feature takes it a step further by opening up outside revenue streams. It means that SoundCloud is now a distributor in addition to a streaming service.
According to the company’s press release:
“Creators using the SoundCloud Premier distribution feature keep 100% of their rights, keep 100% of their distribution royalties from third-party services, and at no additional cost.”
SoundCloud is now the second major streaming service to enable artists to distribute their original music on other platforms. In October, Spotify announced that it had teamed up with DistroKid to offer distribution as part of its Spotify for Artists program.
SoundCloud’s distribution feature is currently in beta. Learn more about it here.
Related: SoundCloud Streaming Now Available in Serato DJ Pro
2019 Grammy Winners
Childish Gambino. (Source: Facebook)
The 61st annual Grammy Awards went down at the Staples Center in Los Angeles on Sunday. The night belonged to Childish Gambino, who walked away with four awards for his smash hit “This Is America.” The track made history by winning both Record Of The Year and Song Of The Year, becoming the first hip-hop song to win either category.
Below are the winners of the categories most relevant to DJs. Check out the full list on the Grammys website.
GENERAL FIELD
Record Of The Year
I Like It – Cardi B ft. Bad Bunny & J Balvin
The Joke – Brandi Carlile
This Is America – Childish Gambino – WINNER
God’s Plan – Drake
Shallow – Lady Gaga & Bradley Cooper
All The Stars – Kendrick Lamar & SZA
rockstar – Post Malone ft. 21 Savage
The Middle – Zedd, Maren Morris, & Grey
Song Of The Year (songwriter award)
All The Stars – Kendrick Duckworth, Solána Rowe, Al Shuckburgh, Mark Spears, & Anthony Tiffith, songwriters (Kendrick Lamar & SZA)
Boo’d Up – Larrance Dopson, Joelle James, Ella Mai, & Dijon McFarlane, songwriters (Ella Mai)
God’s Plan – Aubrey Graham, Daveon Jackson, Brock Korsan, Ron LaTour, Matthew Samuels & Noah Shebib, songwriters (Drake)
In My Blood – Teddy Geiger, Scott Harris, Shawn Mendes & Geoffrey Warburton, songwriters (Shawn Mendes)
The Joke – Brandi Carlile, Dave Cobb, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile)
The Middle – Sarah Aarons, Jordan K. Johnson, Stefan Johnson, Marcus Lomax, Kyle Trewartha, Michael Trewartha, & Anton Zaslavski, songwriters (Zedd, Maren Morris, & Grey)
Shallow – Lady Gaga, Mark Ronson, Anthony Rossomando, & Andrew Wyatt, songwriters (Lady Gaga & Bradley Cooper)
This Is America – Donald Glover & Ludwig Goransson, songwriters (Childish Gambino) – WINNER
Best New Artist
Chloe x Halle
Luke Combs
Greta Van Fleet
H.E.R.
Dua Lipa – WINNER
Margo Price
Bebe Rexha
Jorja Smith
POP
Best Pop Solo Performance
Colors – Beck
Havana (Live) – Camila Cabello
God Is A Woman – Ariana Grande
Joanne (Where Do You Think You’re Goin’?) – Lady Gaga – WINNER
Better Now – Post Malone
Best Pop Duo/Group Performance
Fall In Line – Christina Aguilera ft. Demi Lovato
Don’t Go Breaking My Heart – Backstreet Boys
‘S Wonderful – Tony Bennett & Diana Krall
Shallow – Lady Gaga & Bradley Cooper – WINNER
Girls Like You – Maroon 5 ft. Cardi B
Say Something – Justin Timberlake ft. Chris Stapleton
The Middle – Zedd, Maren Morris, & Grey
RAP
Best Rap Performance
Be Careful – Cardi B
Nice For What – Drake
King’s Dead – Kendrick Lamar, Jay Rock, Future, & James Blake – WINNER (TIE)
Bubblin – Anderson Paak – WINNER (TIE)
SICKO MODE – Travis Scott ft. Drake, Juicy J, & Swae Lee
Best Rap/Sung Performance
Like I Do – Christina Aguilera ft. GoldLink
Pretty Little Fears – 6LACK ft. J. Cole
This Is America – Childish Gambino – WINNER
All The Stars – Kendrick Lamar & SZA
rockstar – Post Malone ft. 21 Savage
Best Rap Song (songwriter award)
God’s Plan – Aubrey Graham, Daveon Jackson, Brock Korsan, Ron LaTour, Matthew Samuels, & Noah Shebib, songwriters (Drake) – WINNER
King’s Dead – Kendrick Duckworth, Samuel Gloade, James Litherland, Johnny McKinzie, Mark Spears, Travis Walton, Nayvadius Wilburn, & Michael Williams II, songwriters (Kendrick Lamar, Jay Rock, Future, & James Blake)
Lucky You – R. Fraser, G. Lucas, M. Mathers, M. Samuels, & J. Sweet, songwriters (Eminem ft. Joyner Lucas)
SICKO MODE – Khalif Brown, Rogét Chahayed, BryTavious Chambers, Mike Dean, Mirsad Dervic, Kevin Gomringer, Tim Gomringer, Aubrey Graham, John Edward Hawkins, Chauncey Hollis, Jacques Webster, Ozan Yildirim, & Cydel Young, songwriters (Travis Scott, Drake, Juicy J, & Swae Lee)
Win – K. Duckworth, A. Hernandez, J. McKinzie, M. Samuels, & C. Thompson, songwriters (Jay Rock)
R&B
Best R&B Performance
Long As I Live – Toni Braxton
Summer – The Carters
Y O Y – Lalah Hathaway
Best Part – H.E.R. ft. Daniel Caesar – WINNER
First Began – PJ Morton
Best R&B Song (songwriter award)
Boo’d Up – Larrance Dopson, Joelle James, Ella Mai, & Dijon McFarlane, songwriters (Ella Mai) – WINNER
Come Through And Chill – Jermaine Cole, Miguel Pimentel, & Salaam Remi, songwriters (Miguel ft. J. Cole & Salaam Remi)
Feels Like Summer – Donald Glover & Ludwig Goransson, songwriters (Childish Gambino)
Focus – Darhyl Camper Jr, H.E.R., & Justin Love, songwriters (H.E.R.)
Long As I Live – Paul Boutin, Toni Braxton, & Antonio Dixon, songwriters (Toni Braxton)
DANCE/ELECTRONIC MUSIC
Best Dance Recording
Northern Soul – Above & Beyond ft. Richard Bedford
Ultimatum – Disclosure ft. Fatoumata Diawara
Losing It – FISHER
Electricity – Silk City & Dua Lipa – WINNER
Ghost Voices – Virtual Self
PRODUCTION, NON-CLASSICAL
Producer Of The Year
Boi-1da
Larry Klein
Linda Perry
Kanye West
Pharrell Williams – WINNER
Best Remixed Recording
Audio – CID Remix (LSD)
How Long – EDX’s Dubai Skyline Remix (Charlie Puth)
Only Road – Cosmic Gate Remix (Gabriel & Dresden ft. Sub Teal)
Stargazing – Kaskade Remix (Kygo ft. Justin Jesso)
Walking Away – Mura Masa Remix (Haim) – WINNER
Related: 2019 Grammy Awards Nominees
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