Honestly I’m ok with the idea of Sayu not coming back. Nacchi, Ai, Gomaki were all legends as idols but are “ex Momusu” before whatever else they do. Look at ex AKB who are struggling to achieve the same success as idols, even their ex centers get awful drama ratings and poor music sales. Sayu is smart, she left behind this “legacy” much like the idol Yamaguchi Momoe who retired and lived a life of privacy after her final concert and still maintains this “eternal” aura.

How much do music artists earn online?

I’ve just come across this article and had to share, working within different sectors of the music industry I get asked questions like this a lot: ‘How much would I have to sell to earn the minimum wage?’

“Recently, the UK government passed The Digital Economy Act which included many, perhaps draconian, measures to combat online music piracy (including withdrawing broadband access for persistent pirates). Much was proclaimed about how these new laws would protect musicians and artists revenue and livelihoods.

But how much money do musicians really get paid in this new digital marketplace?”

Read the full article over at Information is Beautiful


As the entertainment business expands year after year, things begin to change. Whether it be the audiences, new trends, or greater competitiveness, businesses have to find ways to adapt to the changing times. One industry has taken a bigger hit than most.

Over the past 10 years the music industry saw its sales figures cut in half. What can mainly be attributed to these numbers and statistic is the growing trend of music piracy and free downloads; not to mention being able to listen to any song on Youtube or Grooveshark

“As far as ‘making it’ it really varies for whoever you’re talking to,” said Ryan Andrews, lead singer/songwriter for a local band Arenem. “For me it’s just being able to express myself and do what I love on stage and share it…sounds cliche as shit but that’s why I do it." 

Unlike Television, where actors get paid per episode, and sports where athletes sometimes make millions of dollars in salaries if they play or not; musicians have to sell records to make their money. A local gig or show can help pay the bills, but the real money lies in record sales. 

Visualization Chart

-(Had trouble with the embed code…trying to fix it)

IFPI Publishes 2013 Digital Music Report

Today, IFPI (Int'l Federation of the Phonographic Industry) published their annual digital music report for it’s findings over the course of 2012. The organization represents the recording industry worldwide with over 1,400 members in 66 countries and affiliated industry associations in 56 countries.

According to IFPI, the global recorded music industry is on a path to recovery, fuelled by licensed digital music services and rapid expansion into new markets internationally. Recorded music is also helping drive a broader digital economy

Report highlights

    • Global recorded music industry revenues increased by an estimated 0.3 percent in 2012, the first year of industry growth since 1999, to US $16.5 billion.
    • Digital revenues increased by an estimated 9 percent to US $5.6 billion in 2012, now accounting for around 34 percent of global industry revenues.
    • Download sales increased in volume by 12 percent globally in 2012 and represent around 70 percent of overall digital music revenues
    • The number of people paying to use subscription services leapt 44 percent in 2012 to 20 million. Subscription revenues are expected to account for more than 10 percent of digital revenues for the first time in 2012.
    • Digital channels account for the majority of record companies’ income in an increasing number of markets including India, Norway, Sweden and the US
    • Digital retailers’ rapid global expansion is opening up the potential for markets such as Brazil and India, to become major sources of future industry growth. At the start of 2011, the major international services were present in 23 countries. Two years later, they are in more than 100 countries.
    • Digital music consumption has become mainstream, as shown by consumer research by Ipsos MediaCT across nine markets in four continents. Two-thirds of internet users (62%) have used a licensed digital music service in the past six months. Among younger consumers (aged 16-24) this figure jumps to 81 percent.
    • Consumer satisfaction with licensed music services is demonstrably high. 77 percent of users of licensed services rate them as excellent, very good or fairly good. Even 57 percent of those who use unlicensed services believe “there are good services available for legally accessing digital music.”
    • Many non-digital revenue channels are also increasing. Performance rights income increased in value by an estimated 9.2 percent in 2012 and now accounts for around 6 percent of overall industry revenues, up from 3 percent in 2007.

    • Album charts in most markets show that investment in local repertoire is alive and well. In many countries, local repertoire accounts for the vast majority of the top selling albums of the year. Five major non-English language markets illustrate this. In Italy, Spain and Sweden, eight in 10 of the top selling albums of 2012 were by local artists; in Germany, seven in 10, and in France six in 10.

Source: IFPI (


U.S. 2016 MID-YEAR MUSIC REPORT (Sales + Streaming)

  • Top 25 Album Projects: (15) Mind of Mine - 540,705 
  • Top 25 Songs Projects: (8) Pillowtalk - 2,457,525 
  • Top 10 Songs by Sales: (8) Pillowtalk - 1,339,189 
  • Top 10 Songs by Streams: (6) Pillowtalk - 289,514,448

The 58% gain in overall streaming was juiced by a 108% swell for audio streams, a category that saw a year -over -year growth of 97% in 2015. Audio stream plays in the first six months more than doubled those from the same period last year.

For the first time audio streaming services (like Spotify and Apple Music) exceeded video streams from Youtube and Vevo (114 billion audio streams to 95 billion video streams).

*Click on the pictures to enlarge.
GaGa's Fame Leads to Monstrous Downfall in Week 2 Album Sales

External image

ISH knows…WOW!  An 84% drop in its second week sales!  Yup, you heard that right.  GaGa’s 2nd album Born This Way only sold 174,000 copies in its 2nd week in the U.S.  So, I’ll give and did give her props for selling over a million in one week.  I even started questioning my belief that her over the top antics and ridiculous 24/7 publicity were finally coming to bite her back and lead to a decrease in her buzz.  But, if this trend continues, then, I think it’s safe to say her buzz is hurting. 

Why?  Because you have to seriously take into account those $.99 albums Amazon sold for 2 days last week.  What if they hadn’t done that?  How much less would she have sold? 

Also, one can look at the most recent million+ seller in Taylor Swift’s Speak Now to realize GaGa’s numbers do post a troubling outlook.  Swift’s album had more sustained and steady week-to-week sales.  In contrast, GaGa’s only in her second week and already saw a ridiculous decline of 84%.  And, she’s really been marketed like crazy.  Do you really want to do a quick remix or new single, thus, oversaturating the market w/ even more GaGa?  This article supports this point saying:

That is the biggest second-week cliff in recent memory, and a huge commentary on the effects of massive, over-the-top promotional media blitzes.  Indeed, the development follows an all-out, 24-7 marketing assault that traversed TV, radio, print, ecommerce outlets, and online channels like Twitter, just to name a few.  It was all-Gaga, all-the-time, though that approach has been criticized as being out-of-step, inefficient, and extremely expensive. 

Guess who’s been enjoying steady week-to-week sales and continues strong in the Top 5?  Yup, Adele.  She might even leap GaGa next week on the charts.  Talk about the irony.  Two very contrasting stars going in 2 very different directions.  Take note young up-and-coming artists. 

UPDATE: Speaking of the devil!  Adele’s 21 will be #1 on the Billboard charts next week. Haha!  Wow, funny how this popped up literally after I posted this.  Peep the article here.

anonymous asked:

Wow, it's very clear that Darren still sell more songs than the others.

TruFax, my friend.  There’s a reason Blaine keeps getting solos. Darren’s songs aren’t always the top sellers for the episode, but he does consistently sell very well.

Songs for the last four episodes that have made it into the Billboard Hot 100.

On My Way:

  • #56 “Fly/I Believe I Can Fly”
  • #65 "Cough Syrup”
  • #66 "What Doesn’t Kill You (Stronger)”
  • #73 “Here’s To Us”
  • #90 "Glad You Came”

Big Brother:

  • #26 "Somebody That I Used to Know”
  • #98 “Hungry Like the Wolf/Rio”

Saturday Night Glee-ver:

  • No songs charted because lol disco. (Though apparently it was just the third episode to do so, joining the esteemed company of Mattress and Acafellas. Ouch.) 

Dance With Somebody:

  • #65. How Will I Know
  • #92. It’s Not Right But It’s Okay

New Service Features

Hey, folks. We plan to start providing service introductions to our new followers and we’ll do that by posting easy-to-follow newsbites about all the little things that make ONErpm’s model pretty sick. Starting today, we want to share new customizable features musicians can do to edit their own pricing settings. Please note: these futures apply to our Facebook app as well.

1) Pay-What-You-Want Function

Remember when Radiohead pulled this move years ago? Well now, it’s pretty much the business model for Bandcamp, and now we’re bring it to ONErpm. We aim to provide flexibility for however you want to sell your music, on your own terms, whether that means flat rates or now pay-what-you-want models. It’s up to you, and that’s the point.

2) Sell by the Album Only

Again, we want to stress our flexibility by allowing musicians to sell not only by the track but also strictly by the album. It’s easy and self-explanatory, but worth noting.


Thanks, and have a great weekend. Please send us any questions at @ONErpm on Twitter.

anonymous asked:

it's such a shame that TD didn't do well in the charts. it's even Darren's arrangement. seems like people didn't support him enough and it's because of blaine.

I strongly disagree with you there, Nonnie. “The Scientist” was the only Glee song to chart this week, but all the music was strong and sold decently.  TD and Mine seemed to stay pretty even, from what I could tell. (And at least “It’s Time” remains the only solo song from this season to chart.) :-)

TBH, I was pleased that Teenage Dream 2.0 did as well as it did. A lot of the general audience probably bypassed buying the song because they had no idea the track for sale was a proper recording and just assumed it was the same as the tearful/crying version Darren sang live in the episode. Even times when Glee has used the a recorded version but cut it off in the episode, like Jake’s audition song from TNR or Tina’s solo from ANON, had a negative effect on it’s sales.

What’s way more exciting for me is all the critics and reviewers who have just praised his performance up, down, and sideways and listed it among Glee’s strongest. LOL, I can almost convince myself this dumb plot was worth it just because I love seeing Darren get all that praise. (Almost.)

Don’t say she didn’t warn us…

“Music is art, and art is important and rare. Important, rare things are valuable. Valuable things should be paid for. It’s my opinion that music should not be free, and my prediction is that individual artists and their labels will someday decide what an album’s price point is. I hope they don’t underestimate themselves or undervalue their art.." 

("For Taylor Swift, the Future of Music Is a Love Story,” The Wall Street Journal, July 7, 2014)