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Thursday, August 2, 2018

Ahem... Apple is now worth $1 Trillion


Written by Sam Ro — At about 11:48 a.m. ET, Apple (AAPL) became the first U.S.-listed company to be worth $1,000,000,000,000.00.

The price of a single share of Apple crossed $207.0425 for a moment. Multiply that by 4,829,926,000 shares outstanding and you get a trillion bucks.

Some might argue that $1 trillion is just a random round number. But whether it’s a trillion or $999 billion, the point is that Apple is an incredibly massive company, with an incredible reach, and with an incredible amount of profits (In 2017, Apple earned $48 billion on $229 billion in sales).

In a press release earlier this year, CEO Tim Cook disclosed that Apple’s active installed base of devices reached 1.3 billion in January. While growth in its hardware like iPhones and iPads could be leveling off, the company’s booming services offerings could fuel massive profits for years.

“The fact that you have a billion and a half people with Apple devices around the world in a sense gives them a user base that if they can figure out other ways to make money off that user base,” NYU professor Aswath Damodaran said on CNBC. “I think you could get a bonus on that growth rate.”

Is it really worth it?
Apple’s prospects at this juncture are critical since stock prices are theoretically just the present value of all of a company’s future cash flows.

“[I]t’s still trading about 17 times next year’s earnings estimates,” said Damodaran, who is also known as the Dean of Valuation. “I mean, compare that to some of the other FAANG names— Alphabet 53 times, Amazon 162 times.”

History is riddled with companies that saw outsized valuations on speculation that these businesses were the next big thing. During the dotcom bubble, companies with no profits but lots of prospects regularly saw billion-dollar valuations.

But Apple is different because it’s actually earning a ton of money.

“You don’t need a +20x price earnings multiple to get to $1 trillion valuation,” Datatrek Research’s Jessica Rabe said in an email on Thursday. “It would be logical, but wrong, to think a huge valuation must stem from a sky-high PE ratio. Apple trades for 17.3 times next year’s consensus estimate, even before you exclude cash. That’s barely above the market multiple of 16.7 times.”

Click here to read more from this article's source.

Tuesday, July 31, 2018

The 13th Annual Lincoln Park Festival Supports The Library Music Sessions


The 13th Annual Lincoln Park Festival Supports
The Library Music Sessions at the Newark Public Library!

Join D. Wild Music Radio every Friday until August 31

The Library Music Sessions continues with
DJ HUTCH (Washington Park Sessions)

Newark Public Library
5 Washington Street, Newark NJ
6-11pm FREE

Don't miss this fantastic summer party
with DJs Dennis Gregory, Duce Martinez, Adam Cruz and special guests!
npl.org  | dwildmusicradio.com | mixtapesessions.com

Friday, July 13, 2018

Mixtape Sessions Label Night TONIGHT at the Newark Public Library 6-11pm FREE


The Library Music Sessions are not to be missed!

Join us every Summer Friday until August 31

The Library Music Sessions continues with the
MIXTAPE SESSIONS LABEL NIGHT
featuring Mixtape Sessions recording artists and more!

D. Wild Music Radio Presents: Friday night Library Music Sessions
in collaboration with Newark Gay Pride

Newark Public Library
5 Washington Street, Newark NJ
6-11pm FREE

Don't miss this fantastic summer party
with DJs Dennis Gregory, Duce Martinez, Adam Cruz and special guests!

Friday, June 29, 2018

Join us TONIGHT for The Library Music Sessions Newark NJ 6-11pm FREE


The Library Music Sessions are not to be missed!

Join us every Summer Friday until August 31
That's right, we're back Friday and all summer long!

D. Wild Music Radio's own DJs:
Dennis Gregory, Duce Martinez, Adam Cruz
& special guest DJ La Club

Newark Public Library | 6-11pm | FREE
5 Washington Street, Newark NJ

click here for the FB invite!

Wednesday, June 27, 2018

Join Jacquelyn Graham & friends on Friday July 20th in Montclair!

JaQueen Entertainment, Mixtape Sessions and Dek Musique Imprints Present:
An evening with Jacquelyn Graham and Friends!
click here for tickets

Friday, July 20, 2018
Tierney's (upstairs)
138 Valley Rd
Montclair, NJ 07042

Price $25 (at EventBrite.com)
$30 at the Door
9pm

Some of the proceeds will benefit:
IHN - Interfaith Hospitality Network - a Network of places of worship that house homeless families in Montclair and Essex County NJ.
This was the organization that helped Jacob and I when we were in need of assistance. This is also their 30th Anniversary!

Host: Eddie Nicholas
DJ: Adam Cruz
Media Relations: Tony Ciavolella
Decorations/Vendor: Renau Daniel

Special guests: Bonita Hamilton-Caesar (from Disney's The Lion King on Broadway,) Jeannette Wehye (from Rocktopia The Musical on Broadway,) Mixtape Sessions Recording artists Eddie Nicholas and Adam Cruz, Cynthia Tucker, Omisanya Karade and more!

JaQueen Entertainment
Follow @JaqueenMusic on Facebook, Instagram and Twitter

*** available everywhere now ***

Also check out:

click here for tickets!

Monday, June 18, 2018

Sony's Equity Payout Policy after selling 50% of Spotify Stock


Written by Rhian Jones — The UK-based Music Managers Forum has applauded Sony’s Spotify equity payout — the details of which were revealed last week.

The terms under which Sony will share its spoils from the sale of 50% of its Spotify stock – amounting to around $750m – have been deemed a “progressive move” by MMF CEO Annabella Coldrick.

Sony will pay out its Spotify money to all eligible artists and partner labels, regardless of what is decreed in their individual contracts.

In addition, the major label has committed to ignoring all unrecouped balances (for both artists and labels) in relation to its share money payouts.

Coldrick said: “The Music Managers Forum has long campaigned for the income from Spotify equity to be shared with artists whose music the labels traded.

“We’re very pleased to hear from Sony that they will be doing this both directly and with artists signed to distributed labels, and not off-setting it against recoupment.

“This is a progressive move which we hope to see reflected more widely in the industry and across other non-attributed income such as Facebook.

“The music industry is changing and the future will be different from the past. Labels will work increasingly in partnership with artists and not be “owners” of their rights.

“This shift should see more equitable shares of all revenue going to the artists and songwriters, not just on a royalty basis.”

Click here to read more from this article's source.

Tuesday, June 12, 2018

Can this new streaming service help listeners play fair?


Written by Isabelle Morrison, for Yes! Magazine — Music subscription service Resonate gives artists both money and power over content with a stream-to-own model.

Jon Davies has set out on a career creating experimental music about the exploitation of people and the environment. Like many independent artists, Davies doesn’t expect to earn much profit from digital downloads or streams of his music, so he relies on a handful of side hustles to make a living.

He works five days a week as an usher at a local music venue in Liverpool. He also seeks out freelance writing gigs and performs at Cafe OTO in order to scrape together the £500 needed to pay his monthly rent and bills. Making money off his music online just isn’t in the picture.

“From my own experience, I tend to just not make any money from streaming [services],” Davies says.

He has been making music under the alias Kepla for around three years. He was searching for an alternative to big streaming platforms like Spotify, which pay artists tiny amounts of royalties per stream, when he came across Resonate.

Resonate, based in Berlin and established by founder and CEO Peter Harris in 2015, aims to put the money and power in the hands of the artists. It does this through three main selling points: an alternative to a monthly subscription service, an innovative technology that allows for a more transparent and efficient way of paying artists, and its cooperative model.

“It’s a protest against capitalism, it’s a protest against the Silicon Valley model of startups and platforms and, in some sense, it’s a protest against the way music is now being distributed and consumed,” Harris says.

Is Spotify really worth $20bn?
Read more
Harris is a musician and electronic artist. After trying out his music on various streaming platforms, he realized that none could offer him the experience he wanted – so he created his own.

According to the Trichordist, each time a song is streamed by a listener on Spotify, the artist earns an average of $0.00397 in royalties – less than four-tenths of a cent. And yet, Spotify is the second most popular music streaming service, behind Apple Music, with 70 million paid subscribers worldwide.

“Many independent record labels have refused to go on record because they’re afraid that if they criticize Spotify, they’re somehow going to get blacklisted,” Harris says. “That’s a really dangerous power dynamic, and it also reveals that there’s a strong desire for something different.”

He says comparisons to Jay-Z’s Tidal, which also claims to give more power and profit to the artists, are off the mark.

“If they had gotten up onstage at [Tidal’s] big announcement and next to every one of those stars was someone totally unknown, and they’d said: ‘We’re going to build a service for the big names and people you haven’t heard of,’ then maybe Resonate would have never needed to exist,” Harris says. “The reality is, the artists who own it are a very small handful of extremely rich stars. We contrast that against Resonate, where every single artist and member owns it.”

According to a 2014 report from MIDiA Research, 77% of recorded music revenue goes to the top 1% of artists.

“I’ve experienced firsthand how hard it is for artists from these backgrounds to actually make money,” says Natalia Linares, a board member for Resonate.

Linares worked in the music industry for 12 years as a publicist and manager for independent artists, experiencing how unfair the business is, especially for artists from minority backgrounds.

“It’s very exploitative, and models like Spotify and iTunes aren’t built to sustain a class of artists,” she says. “If [Resonate] can work, and we can build this and show that it is possible to build a platform that artists and listeners actually share and benefit from, that would be a huge contribution. It’s something worth fighting for and being a part of.”

Resonate is a cooperative, and because of that artists, board members and listeners all have stake in the company and participate in decision-making. According to its website, 45% of Resonate’s annual profit is distributed to artists, 35% to listeners and 20% to paid staff.

Resonate’s alternative to a monthly subscription service is based on a stream-to-own model. Listeners pay a cheap price for streaming a song for the first time, which doubles with each play until it is comparable to the price of a regular iTunes download, $1.29. After nine plays, the song is completely paid for, and the listener can download it from the service.

“It takes somewhere between 150 to 200 plays on Spotify to reach the price of an [iTunes] download, and we do that in nine,” Harris says.

Resonate also uses blockchain, the online ledger technology behind bitcoin and other cryptocurrencies, to create a more transparent way of tracking and distributing payments as well as more user privacy and power over personal data and interactions on the service.

Blockchain allows for the use of “smart contracts”, which could be a more efficient and seamless method for paying artists.

“You can have a smart contract that says send 30% to the singer, 25% to the guitar player, and split up the rest among the other four members of the band,” Harris says. “The smart contract will receive the money then distribute it out instantly.”

Davies says the blockchain aspect is one of the main factors that drew him to Resonate.

“As an underground artist, [I think] it’s not good politics to be dismissive of a technology like the blockchain, which looks like it’s going to be – sooner rather than later – a very important way we not only approach things like currency, but also the way we approach contracts and agreements and the documentation of digital goods,” Davies says.

He believes Resonate will be more beneficial for artists once it catches on and as more people start to use it for streaming. Harris says the service has almost 5,000 total members, 1,000 of whom are listeners.

In March, Resonate received a $1m investment from RChain, a Seattle-based blockchain system cooperative, to further develop its technology.

Click here to read more from this article's source.

Friday, May 25, 2018

The Library Music Sessions are back TONIGHT!


The Library Music Sessions are back!

Join us TONIGHT and every Summer Friday
That's right, we're back!

Starting TONIGHT Friday May 25th,
D. Wild Music Radio Presents: Friday night Library Music Sessions

Newark Public Library | 6-11pm FREE | Every Friday all summer long!

Don't miss our Summer Season 2 premiere!
5 Washington Street, Newark NJ

click here for the FB invite!

Tuesday, May 22, 2018

Sony becomes world's biggest music publisher in $2.3b EMI deal


Written by Makiko Yamazaki — Sony Corp said on Tuesday it would pay about $2.3 billion to gain control of EMI, becoming the world's largest music publisher in an industry that has found new life on the back of streaming services.

The acquisition is the biggest strategic move yet by new CEO Kenichiro Yoshida and gives Sony a catalogue of more than 2 million songs from artists such as Kanye West, Sam Smith and Sia.

The deal is part of Yoshida's mission to make revenue streams more stable with rights to entertainment content - a strategy that follows a major revamp by his predecessor which shifted Sony's focus away from low-margin consumer electronics.

"This investment in content intellectual property is a key stepping stone for our long-term growth," he told a news conference.

The spread of the internet led to a shrinking of the music market from around 1999 to 2014, Yoshida said, but added that has turned around with the growth of fixed-price music streaming services.

"The rise in digital streaming is also expanding songwriter royalty revenues, with Sony capturing value as manager of the copyrights backed by direct deals with the likes of Spotify, Apple Music, Google Play, SoundCloud and YouTube," Macquarie analyst Damian Thong said in a report.

The deal values EMI Music Publishing at $4.75 billion including debt, more than double the $2.2 billion value given in 2011 when a consortium led by Sony won bidding rights for the company.

Sony, which has run the business since then, will buy a 60 percent stake owned by Mubadala Investment Company, lifting its ownership to around 90 percent from 30 percent currently.

EMI currently commands 15 percent of the music publishing industry which combined with its Sony ATV business would make the Japanese giant the industry leader with market share of 26 percent, a company spokesman said.

Other major players include Universal Music Group and Warner Music Group although their market share figures were not immediately available.

Yoshida, who took the helm in April, also beefed up Sony's content offerings this month with a $185 million deal to take a 39 percent stake in Peanuts Holdings, the company behind Snoopy and Charlie Brown.

Also unveiling a new three-year business plan on Tuesday, Yoshida said on Tuesday that his strategy was to prioritize stable cash flow while minimizing the impact of volatile sales cycles of game consoles and other electronics gadgets.

The company said it aims to generate a total of 2 trillion yen ($18 billion) or more in cash flow over the next three years, up by at least a third from the previous three years.

Image sensors, a pillar of growth for Sony as it restructured in recent years, as well as gaming are set to be biggest profit contributors.

Operating profit at its semiconductor business, which includes image sensors, is expected to grow to 160-200 billion yen in the financial year ending March 2021, compared with a prediction of 100 billion yen for this year.

Extending the sensors' applications beyond smartphones into automotive areas would be key, Yoshida said, adding that investment in sensors will account for the biggest proportion of a planned 1 trillion yen in capital expenditure over three years.

But operating profit at its video games unit is expected to fall to between 130 billion yen and 170 billion yen, down from 190 billion yen forecast for this financial year. At that time, its PlayStation 4 would be nearing the end of a game console's typical life cycle.

Sony's shares finished 2 percent lower, hurt in part by the expected decline in profits for its gaming business.

(Reporting by Makiko Yamazaki; Additional reporting by Sam Nussey; Editing by Edwina Gibbs)

Click here to read more from this article's source.

Wednesday, May 16, 2018

Shonda D. Nicholas Celebrates her Birthday & the Spirit of House with 'Get My Life'




Click on the link below to listen + buy "Get My Life" today! :)
mixtapesessions.bandcamp.com/album/get-my-life


DESCRIPTION:
Mixtape Sessions is extremely proud to present "Get My Life," the exciting new single from Mixtape Sessions recording artist Shonda D. Nicholas! "Get My Life" is a track that combines soul, house, funk and house - a perfect storm for the dance floor! For her Mixtape Sessions debut, Shonda wrote a gut wrenching song about spiritual salvation and personal progress, in the face of seemingly insurmountable obstacles. She both sings and preaches, putting out the clarion call for dance floor denizens around the world to celebrate the redemptive spirit of House. "Get My Life" liberates as much as it electrifies with pulsating rhythms and a killer horn section, courtesy of Mr. Dave Watson of Chops Horns. Enjoy this incredible jam!


MUSICAL CREDITS:
(S. Nicholas, A. Cruz)
Lyrics written by Shonda D. Nicholas.
Music written and produced by Adam Cruz.
Lead vocals performed by Shonda D. Nicholas.
Background vocals performed by Shonda D. Nicholas and Adam Cruz.
Vocal arrangements by Adam Cruz.
Horns performed by Dave Watson.

Recorded, mixed and mastered by Adam Cruz at EbbnFlow Studios in Bloomfield, NJ.
Published by Shonda D Nicholas (ASCAP) and Mixtape Sessions Music (ASCAP).
Executive Produced by Adam Cruz.

Dave Watson appears courtesy of Chops Horns at: chopshorns.com
Cover photo used by permission, courtesy of Shonda D. Nicholas Photography.
Cover art design by Adam Cruz.

©2018 Mixtape Sessions Music, LLC. All Rights Reserved.
Distributed by The Cruz Music Group, a Division of Mixtape Sessions Music, LLC.