Farhan Akhtar To Perform Songs From His English Music Album 'Echoes' In A Concert – ABP Live

By: ABP News Bureau | Updated at : 16 Nov 2022 07:00 AM (IST)

Farhan Akhtar To Perform Songs From His English Music Album ‘Echoes’ In A Concert ( Image Source : Instagram )
New Delhi: Apart from being a good actor and director, Farhan Akhtar also has brilliant music knowledge. The audience has seen the magic of his writing and singing spectacle in films like ‘Rock On!!’, ‘Zindagi Na Milegi Dobara’, ‘Rock On 2’, and many more. While the audience looks forward to watching him bring some trendy and electrifying music, he is all set to come with a live music concert MUSICAL WEEKENDER, where the audience will experience some amazing music from his English album ‘Echoes’. 
While taking to his social media, the actor shared a poster of his upcoming MUSICAL WEEKENDER, FARHAN AKHTAR LIVE. While sharing the poster, he jotted down the details of the concert in the caption writing –  
“Kicking off something new on the 2nd of December. Will be the first ever performance of my original English songs from the album ‘Echoes’ plus some unreleased works. Also, couldn’t be happier that it’s happening in my hometown, Mumbai. ❤️ .. look forward to sharing an evening of music with you. It’s happening at the Courtyard, Phoenix Palladium 7pm onwards. See you there. 😊🤘🏽❤️ Ticket link in bio.” 
A post shared by Farhan Akhtar (@faroutakhtar)

Farhan Akhtar is constantly making waves with his live concerts across the world. Moreover, while he will be bringing some amazing English songs from his album ‘Echoes’ at MUSICAL WEEKENDER, FARHAN AKHTAR LIVE, it would be an exciting musical night to watch out for. Moreover, the actor has always shown the spectacle of his brilliant musical knowledge and has given some of the most popular music albums to the generation.  
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Planet Money started a record label to release a 47-year-old song about inflation – NPR

Erika Beras
Sarah Gonzalez
NPR’s Planet Money recently got ahold of a 47-year-old song about inflation that has never been released. They decided to start a record label to try to get the song out into the world.

You can listen to the story by clicking the play button above, and read more about the efforts in the Planet Money newsletter.
Earlier this year, our Planet Money podcast got their hands on a song about inflation that was recorded 47 years ago but never released. So to explain how the music industry works, they’re releasing it. From Planet Money Records, here’s Erika Beras and Sarah Gonzalez.
ERIKA BERAS, BYLINE: This is a song we became obsessed with.
EARNEST JACKSON: (Singing) Inflation is in the nation.
BERAS: “Inflation” the song was written and recorded by Earnest Jackson, backed by a Baton Rouge band called Sugar Daddy and the Gumbo Roux.
JACKSON: Yeah, Sugar Daddy and the Gumbo Roux (laughter).
SARAH GONZALEZ, BYLINE: Earnest Jackson has been making music since he was 14, but he’s never made it in the music industry.
JACKSON: I’ve never been signed by a label. That’s my hope and dream.
BERAS: Everyone from this band went on to be pretty successful musicians, playing with famous people. And when the keyboardist, Kinny Landrum, sent us the song, he said they wanted the same for Earnest.
KINNY LANDRUM: He’s one of the best singers I know.
GONZALEZ: So we decided to try to start our very own record label to understand the music industry.
BERAS: So we called up a lawyer to the stars.
DONALD PASSMAN: Well, I talked to Stevie not too long ago.
BERAS: This is Don Passman. And that Stevie is Stevie Wonder. Don negotiates record deals for a lot of big-time musicians like Taylor Swift, Quincy Jones, Stevie.
GONZALEZ: Wait. Can we be a label?
PASSMAN: Sure. Why not?
GONZALEZ: Like, what do we have to do to be a label?
PASSMAN: Say you’re a label (laughter).
GONZALEZ: All right. We’re a label – Planet Money Records. Don says a typical record contract, even for an established musician, is this – the musician gets 20% of what the song makes. The label gets 80%. So if we were acting like a real record label and we made $100…
PASSMAN: The artist would get 20% or $20.
GONZALEZ: And we get 80?
BERAS: That seems unfair.
GONZALEZ: Yeah. It seems like a bad deal for the artist, right?
BERAS: But Don says the label is the one doing all the behind-the-scenes stuff – marketing and negotiating contracts, taking the legal and financial risk.
GONZALEZ: So I think we’re, like, a nice record label.
BERAS: Oh, like he gets 80%, we get 20%?
PASSMAN: No, that’s – nobody would make that deal ever.
BERAS: Oh, no (laughter).
PASSMAN: I would go so far as to say, congratulations. That may possibly be the worst record deal I’ve ever seen from a record company point of view.
GONZALEZ: OK, our deal isn’t quite as bad as it sounds because in addition to acting like the label, we are also acting like a publisher. Both those things generate money in different ways. So if this song does make money, we have more pots of money to pull from.
BERAS: So we write up our deal, put it in a briefcase and head to Baton Rouge to hand-deliver it to our artist.
So we have something for you.
JACKSON: What is it?
BERAS: What do you think it is?
JACKSON: Oh, my God. I don’t have any idea. OK.
JACKSON: Oh, is that the contract?
GONZALEZ: We tell Earnest we are going to start by just uploading the song to every music streaming site there is and that making money is not going to be easy. To make money, lots of people need to listen to the song. They need to stream it. For every stream, the big music streaming sites like Spotify and Apple Music, they pay out between a third of a penny and a full penny per play. And not all of that always goes to the artist.
BERAS: There are actually online calculators where you can figure out across all the streaming sites how much money you can make hypothetically.
So I’m pulling out my little royalty calculator.
BERAS: So if a million people listen, we make $4,000. OK.
GONZALEZ: If a million people listen, you get 3,200.
JACKSON: Eighty percent.
GONZALEZ: You get the 80%.
JACKSON: I get the 80%, and y’all get the 20%.
BERAS: But however much we make, it’s going to have to be sliced and diced in more ways than we expected. Don Passman, our music biz lawyer, says normally, you do pay the other musicians.
PASSMAN: Now, they don’t have to get the same thing Earnest does. In fact, they shouldn’t.
GONZALEZ: Don says the singer gets most of it, especially because in this case, the singer wrote the song and the melody. Sugar Daddy and the Gumbo Roux was kind of like backup.
BERAS: So Don says the standard deal for them is a flat fee and waivers. They waive their rights to the song. So we created waivers for the band. But when they go out, some of them are not happy.
LANDRUM: Well, the contract, as written, is completely unusable.
BERAS: This is Kinny, the keyboardist, again. In case the song does become popular, he wants a real share in it. He wants royalties.
LANDRUM: The amount of income generated by this thing, which may not be – hell, I don’t even know if it’s going to generate $200. I don’t know, but I don’t care.
GONZALEZ: All right. There are a few ways to get royalties on a song. Like, you could have a copyright on the song. And within this copyright, there are two ways to get paid out. There is a songwriter share for the person who wrote the lyrics, wrote the melody. And then there is what is called a publisher share. Kinny is saying he wants the band to have a piece of this slice of the royalty pie, the publisher share – so not Earnest’s part.
LANDRUM: We’re not taking from the songwriter part of the money and only from the…
GONZALEZ: And you don’t want that.
LANDRUM: Right, and we don’t want that.
BERAS: And this part? This is the part artists in the know often want in on. This is the part that can conceivably make money. And Earnest thinks the band should get something.
JACKSON: Of course they should get something. I’m not saying they shouldn’t get nothing. Let them have it, and let’s get the ball game on, OK?
GONZALEZ: We should say it is really the band who should determine who gets what share of the song, not us. So they did that, and we ended up with a contract.
BERAS: There are many different royalties to divvy up. One is called the public performance royalty on the underlying music composition, and this one is pretty representative of the whole deal. On this royalty, Earnest will get 67.5% of the profit. The rest of the band splits 17.5%, and we get the remaining 15%.
GONZALEZ: Accountants will spend the next few years splitting up this little sliver of a song and that little sliver of a song. It is actually all very complicated. And Kinny, he’s kind of like, yeah, that’s the price of getting into this business.
LANDRUM: Well, I hope we have a hit. It’ll all be worthwhile if there’s a hit. If you don’t, it hadn’t cost anybody anything but a little bit of time at this point. So it’s…
GONZALEZ: Well, it cost us a fair amount.
BERAS: Yeah, we’ve spent some money.
We have already spent at least $10,000 on lawyers alone.
GONZALEZ: But we went all in on this song, and Earnest, he is ready.
JACKSON: It feels damn good. Going to see what happens.
BERAS: And we are happy to announce we have dropped our single. You can now hear “Inflation” the song in its entirety wherever you stream your music.
JACKSON: (Singing) People, stop what you’re doing and listen to what I have to say.
BERAS: We’re trying to see if we can make this song a hit, so we need people to listen to it.
JACKSON: Yeah. Stream it. You know, get it on – get it online. Pull it down, y’all. Listen to this song.
BERAS: The song is called “Inflation” by Earnest Jackson and Sugar Daddy and the Gumbo Roux, brought to you by Planet Money Records.
Erika Beras.
GONZALEZ: Sarah Gonzalez, NPR News.
JACKSON: (Singing) Inflation, why don’t you get…
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Taylor Swift's 'Midnights' breaks streaming, sales records – Los Angeles Times

It’s a good week to be a Swiftie.
Pop superstar Taylor Swift has toppled multiple sales and streaming records with the Oct. 21 release of her 10th studio album, “Midnights.”
In just the first three days of its release, “Midnights” has already become the top-selling album of 2022. On Spotify, “Midnights” tallied 88 million streams in the U.S. and 185 million worldwide in one day, besting Bad Bunny’s record of 183 million global streams for his album “Un Verano Sin Ti.” Swift also broke first-day records at Apple Music and Amazon Music.
Billboard reported that “Midnights” sold over 800,000 copies in the U.S. in its first day, including streams, digital downloads, and CD, vinyl and cassette sales. By comparison, Harry Styles’ “Harry’s House,” released in May, sold 521,500 equivalent album units in its first week; week-one sales for Beyonce’s “Renaissance” were 332,000, and “Un Verano Sin Ti” racked up 274,000 album-equivalent units sold. Adele’s “30,” released in November 2021, sold 839,000 equivalent album units in its first week of release.
With “Midnights,” Swift claims the biggest sales week for any artist since the 2017 release of her sixth studio album, “Reputation,” which sold 1.216 million copies in its first week.
Trade magazine Hits projects that “Midnight’s” first-week sales figure could end up between 1.4 and 1.6 million units.
After two rootsy pandemic albums, ‘Midnights’ picks up right where 2014’s ‘1989’ and 2017’s ‘Reputation’ left off.

“Midnights” also broke existing vinyl sales records, having sold nearly 500,000 copies in one day. “Harry’s House” held the one-week record, with 182,000 12-inch copies.

Swift will appear as a guest on Monday night’s episode of the “The Tonight Show With Jimmy Fallon.”
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Suzy Exposito is a music reporter at the Los Angeles Times. She previously spearheaded the Latin music section at Rolling Stone, and has written for NPR, Pitchfork and Revolver.









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What Is the Role of a Record Label in Today’s Music Business? – Rolling Stone

By Milan Kordestani
As little as 10 years ago, getting a deal with a major record label was the ultimate dream for a hopeful artist. While the hype still resonates, the landscape of today’s music industry has largely centered on the decline of the prestige and dominance of powerhouse labels. The trend of smaller boutique labels and independent artists rising to prominence in today’s music scene, without the help of major labels, begs the question: What is the real value of a record label in today’s music business?
In the past, major labels were responsible for developing, distributing and marketing artists. Without them, artists would have very few avenues to succeed unless they wanted to handle all of the technical, marketing and business aspects on their own. For a starting artist, that was practically impossible. These were insurmountable challenges for anyone who did not already have a significant foothold in the industry or have a lot of cash to invest in their career.

But today, the game has changed, and record labels don’t have the impact they used to. We’re often told that “Bold managers are the greatest threat to record labels.” Why? Because developing, distributing and marketing music have all become tasks that no longer always require a huge team or an interconnected network. Instead, the right manager can oversee the business operations, outsource production and negotiate distribution. With so much creative and marketing centered on social media, managers and artists can handle all aspects of creative and community management.
Still, record labels play an important role in artist development, fostering a body of work and individual growth while maintaining a focus on profitability and data-driven results. Many musicians fail out of the industry because they lack proper guidance in finding a niche, opportunities to make money or the right path for them. Musical patronage — which is essentially what record labels provide — still has value in today’s evolving music industry.

From my perspective as the co-founder of an independent record label, we’re in a musical period similar to the Italian Renaissance. Sure, pop music is constantly evolving both sonically and lyrically, but, just like the Renaissance of the 15th and 16th centuries, we are also living through an era when the very way music is created, consumed and shared has changed dramatically. 
Comparing the Renaissance to today’s music landscape elucidates that record labels, big and small, are essentially profit-seeking patrons of the arts. During the Italian Renaissance, the Catholic Church and many of its Popes were patrons in the history of humanity — funding art, construction, industry, trade and more. Similarly, the Italian Renaissance saw an increase in “angel investors,” families with massive wealth and specific tastes: the Medicis, the Sforzas, the Borgheses or the Barberinis.
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We can reimagine the major record labels of today acting in a similar fashion as the Catholic Church during the Italian Renaissance: commissioning great works on easy-to-sell themes that are popular with the masses. This means that major record labels can still help relatively unknown artists become household names and get much larger paychecks in a short amount of time, sometimes at the expense of an artist’s preferred terms. In short, they help artists who really want to commercialize themselves as quickly as possible, just as the Catholic Church did for Michelangelo or Raphael. 

Beyond selling a fast-tracked dream to artist success, major record labels have their own captive audience. There is a true value to that kind of rapid exposure, which is why major record labels don’t need to be completely eliminated from the equation as a patron of musical talent. But their singularity and necessity have been greatly reduced as alternative paths to success become available.

Some of today’s best labels are more niche precisely because this allows them to provide tailored resources to every artist under the label. With many of today’s rising artists wanting to retain as much control over their music as possible, it’s important that smaller labels recognize this. Niche labels today can fill the same space as the individual patrons and famous families of the 15th century Renaissance, who commissioned a wider variety of non-religious themes and allowed for more artistic freedom. When smaller labels craft a more personalized feel to develop a direct connection with their artists, they offer artists the prioritization they want, while also getting the early capital investment and important connections needed to expedite their career. 


The Renaissance was a period of such artistic flourishing that there was plenty of room for a variety of patrons, from the Catholic Church and its Popes to Italy’s most politically powerful families. Both patron classes sponsored artists, and in the same way, it’s worth acknowledging that independent labels and major labels are just playing very different games. Major labels might tend to prioritize their return over an artist’s longevity, just as the Church did with Michaelangelo’s Sistine Chapel or da Vinci’s Last Supper. Rather than functioning as a partner investing in long-term careers, or benevolent patron of the arts, major labels prefer to bet on later-stage artists who are on the verge of a hit that the label can sink its teeth into owning. 
We are truly in the midst of a musical renaissance, where we are not only experimenting sonically but also democratizing the way music is produced, marketed and distributed. Offering artists greater control over their music, brand and career trajectory are important in today’s business environment when it comes to independent or boutique record labels. If there’s anything the Italian Renaissance can teach us, it’s that there’s room enough for the behemoth labels and the smaller niche outfits — as long as there’s no shortage of talented musicians capable of building and monetizing large audiences.

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Drake's Dance Album Shatters Apple Music First-Day Streaming Records – EDM.com

The Come Up Show
It only took one hour for "Honestly, Nevermind" to become the biggest dance album in the platform’s history.
Break out the champagne, Champagne Papi.
Drake's newest and seventh studio album Honestly, Nevermind has broken Apple Music's record for the most first-day streams for a dance album. And it only took one hour.
Since the 35-year-old hip-hop superstar only gave one day's notice before he released the album, achieving such a record is quite impressive, even considering Drake's prominence in the contemporary music landscape.
A departure for Drake, Honestly, Nevermind has been simmering in a melting pot of mixed reviews since its surprise release on Friday, June 17th. Executive-produced by Grammy-winning house music artist Black Coffee, the album is dominated by electronic-focused production from the likes of Coffee, Carnage, Rampa, &ME and Alex Lustig, among others.
It's the Grammy-winning band's first-ever performance in Romania.
DJ sets from Eric Prydz, Carl Cox, REZZ, Hardwell and many more electronic music superstars have also been confirmed.
The Lost Lands team have also hinted at a reveal surrounding their virtual festival, "Couch Lands."
According to Billboard, Drake's sixth album Certified Lover Boy, which was released in September 2021, broke Apple Music's record for most first-day streams worldwide. It also currently holds the record for the biggest album in the platform's history. 2018's Scorpion currently has the second most first-day streams on Apple Music, per Billboard
It seems Honestly, Nevermind was an attempt by Drake to step out of his comfort zone during a difficult time in his personal life. When he dropped the album, he shared an intimate note with fans via Apple Music, which you can read in full below.
I let my humbleness turn to numbness at times letting time go by knowing I got the endurance to catch it another time

I work with every breath in my body cause it’s the work not air that makes me feel alive

That’s some real detrimental shit but that’s that shit my perfectionist mind doesn’t really mind because no one knows whats on my mind when I go to sleep at 9 & wake up at 5 – unless I say it in rhyme

I can’t remember the last time someone put they phone down, looked me in the eyes and asked my current insight on the times

But I remember every single time someone shined a light in my eyes

I purposely try to forget what went on between some ppl and I because I know I’m not a forgiving guy even when I try

My urge for revenge wins the game against my good guy inside every single fckn time

I got plans I can’t talk about with more than like 4 guys because the last time I shared em with someone on the outside…well that’s another story for another night

I was tryna get thru that statement to get to saying I’m not @ a time in my life where pats on the shoulder help get me by

I’ll take loyalty over an oh my & emoji fire

I know if it was a dark night where all the odds were against my side & my skill went to whoever took my life they’d done me off with a big smile & maybe evn post it for some likes

I know everyone that tells me they love me doesn’t love me all the time especially when im doing better than alright & they have to watch it from whatever point they at in their life

I got here being realistic

I didn’t get here being blind

I know whats what and especially what and who is by my side




Lennon is a music journalist who has contributed to EDM.com for over five years. A seasoned music business reporter, his writings bridge the gap between education and technology through a musical lens. He is also the host of the music business podcast When Life Hands You Lennons and founder of his own electronic music website, EDM In A Soda.
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South Bend Record Show holds last event of 2022 – WNDU

SOUTH BEND, Ind. (WNDU) – If you’re looking for treble, you found it as The South Bend Record Show holds its final event of 2022.
Vendors from five Midwestern states filled 88 tables with thousands of vinyl records, CDs, memorabilia, and more at the Gillespie Conference Center in South Bend.
From 11 a.m. to 5 p.m., hundreds of people came to talk about music, add to their collection, or find a music lover’s perfect holiday gift.
Event organizers tell 16 News Now they love helping people start and add to their growing collections.
“We have people who come here who have thousands and thousands of records, getting to the point where it’s really hard for them to find something they still need, and we get people who walk in the door for the very first time,” South Bend Record Show Owner & Organizer Jeremy Bonfiglio said. “They just got a turntable. They’re just learning about what it is to have vinyl and how to play it, who are buying their very first records, and everything in between. So, it’s a really wide mix, which makes it a lot of fun.”
The South Bend Record Show has been selling music items and memorabilia in Michiana for over 30 years, and music experts say music sounds best on vinyl.
The South Bend Record Show will be back at the Gillespie Conference Center on February 12, 2023.
Copyright 2022 WNDU. All rights reserved.