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Music Posts Tagged as 'Business'
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U.S. Hispanics Spend 32 Hours a Week Listening to Music: Nielsen Report
Seventy percent of U.S. Hispanics follow artists on social media, a 43% higher number than that of the total population, according to “Descubrimiento Digital, the Online Lives of Latinx Consumers,” a new report from The Nielsen Company.
“Forty-four percent of U.S. Hispanics agree that they feel really good about seeing celebrities in the media who share their ethnic background,” Nielsen reports, adding that “Latinx consumers are gregarious by nature, engaging in social interaction and activities more than their non-Hispanic White counterparts.” U.S. Hispanics over-index for the amount of time they spend on social networking sites, with 52% spending 1 or more hour(s) per day (compared with 38% of non-Hispanic Whites) and 24% spending 3 or more hours per day (compared with 13%).
“Forty-four percent of U.S. Hispanics agree that they feel really good about seeing celebrities in the media who share their ethnic background,” Nielsen reports, adding that “Latinx consumers are gregarious by nature, engaging in social interaction and activities more than their non-Hispanic White counterparts.” U.S. Hispanics over-index for the amount of time they spend on social networking sites, with 52% spending 1 or more hour(s) per day (compared with 38% of non-Hispanic Whites) and 24% spending 3 or more hours per day (compared with 13%).
Damon Albarn Warned Paul McCartney Not To Work With Kanye West
Damon Albarn is apparently no fan of Kanye West. In a new interview with the French publication L’obs, the Gorillaz and Blur leader embarks on a bit of a tirade about Kanye, specifically his “abusive” creative relationship with Paul McCartney.
Although Albarn’s comments are a little jumbled after being translated from English to French and back, the tone and substance of the exchange are clear. After the interviewer brings up Kanye’s lengthy process of gathering samples for Pusha-T’s Daytona, Albarn responds, “I do not sample, I create music.” He then begins a tangent about Kanye’s relationship to McCartney: “Do not get me started on Kanye West … Kanye West trapped Paul McCartney.”
Although Albarn’s comments are a little jumbled after being translated from English to French and back, the tone and substance of the exchange are clear. After the interviewer brings up Kanye’s lengthy process of gathering samples for Pusha-T’s Daytona, Albarn responds, “I do not sample, I create music.” He then begins a tangent about Kanye’s relationship to McCartney: “Do not get me started on Kanye West … Kanye West trapped Paul McCartney.”
Without LGBTQ People, Modern Music Wouldn't Exist
VICE: What initially made you decide to write this book?
Darryl W. Bullock: I wanted to write a book about LGBTQ people making records, but to be honest, it was a bit dull. It was starting to look a bit like an encyclopedia, an A-to-Z of gay musicians. Then, maybe three or four months into the project, David Bowie died, and his death struck me really viscerally.
But it was while I saw how others reacted to his death, especially the stars I grew up with—the Boy Georges and the George Michaels and the Madonnas—that I realized I was going down the wrong track. I realized the book shouldn’t just be about LGBTQ people making records, but how they influenced each generation that followed. You start to build up this timeline, and it stretches back over 100 years, almost back to the birth of commercially available discs.
It was also a definite decision to include voices you don’t hear of. It would be easy to write a book just about Elton John, George Michael, Boy George, Freddie Mercury, those kinds of people. But I really wanted to document the lives of people like Patrick Haggerty, Blackberri and John “Smokey” Condon (pic above), people who have made incredibly important contributions to music and to LGBTQ lives but have been basically ignored by the mainstream media.
Darryl W. Bullock: I wanted to write a book about LGBTQ people making records, but to be honest, it was a bit dull. It was starting to look a bit like an encyclopedia, an A-to-Z of gay musicians. Then, maybe three or four months into the project, David Bowie died, and his death struck me really viscerally.
But it was while I saw how others reacted to his death, especially the stars I grew up with—the Boy Georges and the George Michaels and the Madonnas—that I realized I was going down the wrong track. I realized the book shouldn’t just be about LGBTQ people making records, but how they influenced each generation that followed. You start to build up this timeline, and it stretches back over 100 years, almost back to the birth of commercially available discs.
It was also a definite decision to include voices you don’t hear of. It would be easy to write a book just about Elton John, George Michael, Boy George, Freddie Mercury, those kinds of people. But I really wanted to document the lives of people like Patrick Haggerty, Blackberri and John “Smokey” Condon (pic above), people who have made incredibly important contributions to music and to LGBTQ lives but have been basically ignored by the mainstream media.
Fats Domino, Architect Of Rock 'N' Roll, Dead At 89
Fats Domino, one of the architects of rock 'n' roll, died Tuesday at his daughter's suburban New Orleans home. Haydee Ellis, a family friend, confirmed the news to NPR. Mark Bone, chief investigator for the Jefferson Parish coroner's office, tells NPR that Domino, who was 89, died of natural causes.
In the 1940s, Antoine Domino Jr. was working at a mattress factory in New Orleans and playing piano at night. Both his waistline and his fan base were expanding. That's when a bandleader began calling him "Fats." From there, it was a cakewalk to his first million-selling record — "The Fat Man." It was Domino's first release for Imperial Records, which signed him right off the bandstand.
In the 1940s, Antoine Domino Jr. was working at a mattress factory in New Orleans and playing piano at night. Both his waistline and his fan base were expanding. That's when a bandleader began calling him "Fats." From there, it was a cakewalk to his first million-selling record — "The Fat Man." It was Domino's first release for Imperial Records, which signed him right off the bandstand.