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Make Money From Your Music On Social Media And Streaming Sites

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I made a video w/ additional info about this subject here - https://youtu.be/Nhp-AbhkPgo The title says it all. I show you 2 sites that will help you collect royalties anytime someone streams your music on internet radio, youtube, and most other sites that sell advertising and plays your music.

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To be picked as the Best Game of 2015, with the thousands of mobile games out there, is a feat that is worth bragging about. Even if it's just in 13 countries, that is still quite an achievement. Piano Tiles 2 can lay claim to that, and now that they can lay claim to this achievement, then maybe you should try it out if you haven't yet. You don't need to know how to actually play piano though, but an appreciation for the instrument will come in handy.

What you do need to play this game is quick reflexes and nimble fingers. Compared to its predecessor, the sequel has new gameplay and visuals, plus new songs and more challenges. The mechanics is simple enough, but actually doing it, especially at the higher levels, is another thing. All you need to do is tap the black tiles in time with the music but if you touch any other items on the screen, it's over. This is just like Dance Dance Revolution but with your fingers and not your feet. And it gets faster and faster of course, so your reflexes better keep up.

The game is now multicolor instead of the black and white from before. You also get to compete with other "pianists" from around the world and see which is the fastest who can keep up with the rhythm too. You can also share your performances with other people, if you think you can pass off as the next Beethoven or something.

You can download Piano Tiles 2 from the Google Play Store for free. There are in-app purchases available as well.

VIA: PocketGamer

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Google says Piano Tiles 2 is the "Best Game of 2015" (in 13 countries)

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To be picked as the Best Game of 2015, with the thousands of mobile games out there, is a feat that is worth bragging about. Even if it's just in 13 countries, that is still quite an achievement.

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http://www.cikgushida.co.cc dapat koleksi penuh, video daripada Cikgu Shidah di http://www.cikgushidah.co.cc

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Martin Garrix - Animals (R!OT Drop Edit Official Video) ft Mario Bros

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Singers: Martin Garrix ft R!OT Music: Animals ft Mario Bros Genre: Electronica

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Animaniacs - Yakko's World - HIGH QUALITY

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The first time Marina Abramovic heard Antony Hegarty sing, she says, she burst into tears. "It was at a concert of Rufus Wainwright," explains the woman who sternly minds you not to refer to her as "the grandmother of performance art", despite a 40-year career that's variously involved inhaling carbon dioxide until she passed out, scrubbing the blood from 1,500 cow bones and sitting in the atrium of New York's Museum of Modern Art for 736 hours while visitors formed an orderly queue to stare at her. "He invites special guests - Lou Reed, Laurie Anderson - but in the middle of all this, Antony opens his mouth and sings one song called Snowy Angel. I stood up from my chair and burst out crying. His voice is an emotional hologram of my soul."

The pair are currently collaborating on The Life and Death of Marina Abramovic, a play that examines her life from her childhood in postwar Yugoslavia through her performance work to a staging of her death. "When it came to do the play I said to Bob [director Robert Wilson], the only person in my life who can do the music is Antony, because it really corresponds," she says. "One of the similarities between Antony and me is that in the moment of performance you really step to your higher self. You create another type of reality for the audience to enter. That's why it's so emotional. It's so funny, everybody is crying at Antony's concerts and everybody was crying in Moma when they were sitting opposite me."

Indeed, there seems nothing at all unusual about Hegarty collaborating with a performance artist. For one thing, his roots are in experimental theatre, and for another, the relationship between rock and pop and performance art appears to be blossoming as never before. In 2011, the biggest pop star in the world is Lady Gaga, a product of the same downtown New York club scene that spawned Hegarty, where what Gaga describes as an "interesting hybrid of performance art meets singer-songwriter-meets-drag-meets-theatre-meets-rock" is the common currency.

"When I was really young, I was fascinated with performance artists," Lady Gaga says, on the phone from Taiwan. "Leigh Bowery, Klaus Nomi. And when I got older I became fascinated with Yoko Ono and Marina Abramovic. I grew up with them, and sort of naturally became the artist I am today. It wasn't until I started to play out in New York and my friends said, 'Look how much this has influenced you,' that I realised it. The one thing there wasn't on the Lower East Side was pop music. So as a pop songwriter, I thought that would be an interesting way to make a name for myself in this neighbourhood. I figured if I could play the grocery store around the corner as if it was Madison Square Gardens, maybe some day I can assimilate pop music into performance art in a more mainstream way."

Looking at her sales figures, you have to say Gaga has succeeded beyond her wildest dreams: you wonder how the record labels who she says turned her down because they felt a mainstream audience couldn't stomach the more outré aspects of her performances feel now. Equally, you can see their point: pop and performance art traditionally have a very strained relationship. One theory is that rock and pop audience's negative reaction to anything that smacked of performance art was simply a legacy of public animosity towards Yoko Ono, the first performance artist to take her work to a pop audience: even before she met John Lennon, she performed Cut Piece, during which the audience were invited to attack her clothing with scissors at 1967's 14 Hour Technicolour Dream event at Alexandra Palace in London. "I thought what we were doing was high art, and there was a big difference between high art and pop music," Ono says. "High art inspires the human culture, pop music is entertainment. The mixture of high art with entertainment, which you needed to do so that people would accept it and understand what you were trying to do, was very challenging and interesting to me."

But her association with Lennon and her move from performance work into making music - "it was easier to go into the studio and make music with John rather than say to him I was going to do a big performance piece in Paris. It was about us being together, using the situation" - was, initially at least, met with derision and outrage. "Before I started working with John, I felt I was communicating pretty well, actually. When I got together with John, I thought that I was doing the same thing, but suddenly the hostility was there. High art is never accepted by the masses," she says. "I accepted that a long time ago. I had a great time with John. There was great love between us. Those things counted more to me than being accepted by the people."

There's an argument that the public's dim, if deeply unfair view of Ono - the woman who was held to have ruined the Beatles - tainted their attitude to performance artists who dared to dabble in rock music for years to come. Others feel the reasons are less straightforward. Abramovic thinks music and performance art fit perfectly together ("they're the highest forms of art because they're the most direct and the most immaterial"), but Laurie Anderson, who found herself catapulted from the New York performance art scene to pop stardom with the release of her 1981 single O Superman, initially felt the two worlds were entirely opposed to each other: performance art was by definition ephemeral, existing only in the moment of performance, which is the antithesis of making a record, something she only did because she got a grant of $500 and a friend argued she was being elitist. "Records were part of pop culture and I was a snob," she says. "Pop culture was for 10-year-olds. Nothing against 10-year-olds, but I was part of the avant garde, and we didn't want to be part of pop culture."

She subsequently revised her opinion and entered into the world of rock wholeheartedly, but still feels performance artists are a difficult fit in the music business. "It's odd because people from record companies used to feel they could come into the studio and sit back and go: 'Think this needs more bass.' I wasn't really using bass. I was using things like a lot of birds. And I think those guys would have felt silly saying: 'I think you need more birds.'" She laughs. "I guess I was one of their vanity artists or something."

Dan Fox, senior editor of art magazine Frieze, thinks the problem may have lain with mainstream antipathy to the visual arts in general. "We're suspicious of the visual arts because it's seen as somehow pretentious or a con job: if it's about the intangible and the ineffable, the idea that art can exist as an idea as much as a physical object that shows some degree of manufacturing or technical prowess, people are suspicious, and that's also fed by the connotations of the art world: big amounts of money, exclusivity, elitism. In rock music you have all these debates about being real and authentic, you know, three chords and the truth, that kind of thing. There's an idea that having some kind of different approach to performance is somehow antithetical to rock, because it's not about paying your dues."

Whatever the reason, when three members of the confrontational performance art collective Coum Transmissions decided to form Throbbing Gristle in 1976 - "We were disgusted and disillusioned with the art world, it was too formalised and institutionalised for us, and we were excited by sound" says TG's Cosey Fanni Tutti - they seemed to succeed in upsetting everybody: not just the kind of people who were upset by punk, but the punks as well. They meticulously documented the reactions, which means you can hear the audiences howling in anger and dismay at their early shows on the live box set TG24 and the answering machine message from the music journalist baldly threatening to kill them on the 1978 album track Death Threats. In fairness, if you deal in churning grey noise topped off with lyrics about serial killers and concentration camps, you should probably expect people to get upset, but there's a sense that the objection wasn't merely to what Throbbing Gristle were doing, but to their artistic background.

Tutti says the band were unbothered by their rockist critics: "I didn't even think about them to be honest, anybody else just didn't cross my radar. Why would I be interested in what the rock world thought about me?" Besides, the animosity had a positive effect. Ignored or vilified, Throbbing Gristle were forced to carve out their own niche, with lasting effects both on music - singlehandedly inventing a genre, industrial, that endures to this day - and the music industry. "We thought it would be fun to see how their business model worked, how we could subvert it, which we did. Rough Trade kind of came off the back of our label, Industrial Records. The whole independent scene kind of fell into place after that."

Thirty-five years later, a musician spawned by performance art is adored rather than despised. Lady Gaga describes her appearance at the 2009 MTV Awards, during which she appeared to bleed to death from a gash on her stomach while singing Paparazzi as "a performance art piece that re-enacted the death of celebrity in front of all America". Cosey Fanni Tutti - not a fan - probably wouldn't thank you for pointing it out, but it doesn't seem too distant from Coum Transmissions' 70s experiments with fake blood and wounds and simulated suicides. Gaga's interest in performance art seems to have had an unexpected effect on the mainstream audience: when she mentioned Abramovic in an interview, the artist says, her Moma retrospective was suddenly flooded with "this enormous audience of kids between 12 and 18 spending hours there". Abramovic adds: "She's really a phenomenon. With the costumes, the blood, everything, she's really looking to art, and she's generous enough to say where the interest is coming from, which Madonna will never do."

It could be that Lady Gaga has lured a mainstream audience with some pretty straightforward pop music, but there's always the chance her success indicates a shift in the mainstream audience's perception of performance art. Ono thinks that could be down to the cumulative effect of her forebears: "I think what we were doing was kind of a like a stepping stone, on a subconscious level. Maybe it was the preparation. This is happening now on a very big level."

Back in Taiwan, Lady Gaga is musing on her success in balancing pop with performance art. No, she says, she never worries that the spectacle of the latter detracts from the former. "I'm both. I'm musician and pop singer and performance artist. I could conversely argue to you that sometimes the music takes away from the performance art," she laughs, and heads off, to perform a gig in front of 44,000 people.
* The Life and Death of Marina Abramovic runs from 9-16 July at the Lowry as part of the Manchester International Festival:

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From Yoko Ono to Lady Gaga: how pop embraced performance art

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The first time Marina Abramovic heard Antony Hegarty sing, she says, she burst into tears.

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Social media has become a megaphone for the masses. As music artists and producers we recognize the value that it holds for getting our talent to the ears of people who will enjoy it.

Chances are, you're connected with others in the industry and have witnessed the various tactics employed to get people to listen.

Some strategies work well for some people, while others...not so much.

Every artist is unique and has a unique fan base, therefore a variety of strategies tailored to your personality and those you are trying to reach is important.

No matter what your style is, make it work for you. Below I will point out 7 types of social media music promoters.

You fear being lost in the shuffle and want to guarantee that people see your newest release so you post and tweet, almost incessantly, to force your way into your friends and followers feeds.

Potential Upside: The likelihood of people noticing your music is higher.
Potential Downside: You may annoy people and cause them to hide, mute, unfollow or unfriend you, diminishing your reach.

How to Make the Most of This Method: Spread out your sharing a bit. Too much chatter makes it easy to be overlooked. Take advantage of commenting on likes, comments, retweets and shares at various times to keep your music visible but in a less commanding way.

You want to be certain that friends and followers take notice of the music that you want to share so you tag or mention them to make sure that they see it.

Potential Upside: They will see it and like, share or retweet it causing it to be visible to potential fans outside of your network.
Potential Downside: You may annoy people and cause them to become frustrated with your promotional tactics, creating resistance to future promotions.

How to Make the Most of This Method: Be thoughtful with your tags and mentions. Only tag people that you regularly interact with, have directly contributed to your work or have a specific interest in your music.

You have meticulously thought through who you want to know you have new music so you visit the timeline of each individual to post your links. You feel that they may enjoy it and will be delighted that you took the time to address them personally, therefore they will be more likely to listen and share.

Potential Upside: They may be glad you took the time to send it to them and be more likely to listen and share.
Potential Downside: They may not appreciate you posting your work on their timeline and hide or delete it, diminishing your reach.

How to Make the Most of this Method: Carefully select whose timeline you chose to share your music to. Pay attention to what they share and consider if your post would be something they would want people who visit their timeline to view.

You believe you have a slightly more subtle approach. You watch for posts that may draw people that would have an interest in your endeavors and you share your information in the comments section.

Potential Upside: You may attract people to your link and gain new fans.
Potential Downside: You may annoy people, specifically the author of the original post and get your comment removed and/or be blocked.

How to Make the Most of This Method: Be considerate to the original "poster". Create a dialog that warrants a reason for you to share your work. If that does not occur and it is not directly related, save it for another time.

You don't want to be blatant with your advertising so you inbox your connections...a LOT...to make sure they are aware that you have music you want them to hear.

Potential Upside: This approach is a bit more personal than some of the alternatives and may make the receiver more likely to listen and share.
Potential Downside: Too many inbox messages may turn-off potential fans and cause them to ignore you.

How to Make the Most of This Method: Space out your messages. Generate conversation that is not self-serving to let the receiver know that you view them as a person, not just another view or play.

You're afraid of annoying people. You've witnessed and possibly have been annoyed with all of the other tactics you've observed or been on the receiving end of, so you rarely post your music and when you do it is with an incredibly shy premise.

Potential Upside: People don't see you post that often so they are more likely to engage with you when you do.
Potential Downside: People may be more likely to miss your posts, limiting your potential audience.

How to Make the Most of This Method: Plan a variety of posts that allow you to share information more frequently in a less redundant manner. Experiment with text, photos & videos to get more mileage out of the content you wish to share.

The Privileged Panhandler
You've worked hard to build a significant social network connection. People love what you do and so it's only natural that they are waiting to hear what's next from you. Instead of asking people to listen to your new music you tell them to, and you already know they're going to like it so you tell them to share because it's all a form of support.

Potential Upside: Your core fans may feel compelled to follow instructions and honor your decree.
Potential Downside: You may lose said support from fans who feel that you don't recognize their time is valuable and that you believe they owe you something.

How to Make the Most of this Method: Confidence in your talent is great, but be cognizant of the fact that your fans have other things that demand their attention. Throw in a "please" as an acknowledgement that they could be doing other things with their time but you hope they choose to spend it with you.

So now that you've familiarized yourself with the various types of Social Media music promoters there are, which group would you say that you belong to?

It's important to recognize that there are pros and cons associated with each method, but as long as you take the time to build relationships with your audience, your style can provide the results you desire.

Keep in mind that just as you don't want to be viewed as "another artist" your fans don't want to be viewed as just "another consumer".

Initiating dialogue between you and your audience is the best way to lessen the effects of the cons commonly linked to various social media marketing strategies.

Have you noticed additional pros or cons with your promotion technique? Please share your thoughts in the comments below.

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7 Types of Social Media Music Promoters - Which One Are You?

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Social media has become a megaphone for the masses. As music artists and producers we recognize the value that it holds for getting our talent to the ears of people who will enjoy it. Chances are, you're connected with others in the industry and have witnessed the various tactics employed to get people to listen.