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  • business Leaders Partner with Google and Other Companies to Inspire Students with Tickets to Hidden Figures

    New York City African-American business Leaders Partner with Google, Facebook, AT&T and 20th Century Fox to Inspire 25,000 Students with Tickets to Hidden Figures Hidden Figures tells true story of critical contributions made by three African-American women working at NASA during Space Race in the 1960s

    – Initiative follows 2015 schools program offering free screenings of Selma 

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    New York City African-American business leaders, in partnership with 20th Century Fox, Google, Facebook, Infor and AT&T, have launched an initiative to offer free admission to the critically-acclaimed feature, Hidden Figures, for over 25,000 students in New York.

    New York schools are the first to benefit from the project. Like the 2015 project to screen Oscar-winner Selma – which reached 300,000 students across the country – the expectation is that other cities will join this important program as it rolls out in theaters nationwide.

    Hidden Figures is the incredible untold story of Katherine G. Johnson (Taraji P. Henson), Dorothy Vaughan (Octavia Spencer) and Mary Jackson (Janelle Monáe)—brilliant African-American women working at NASA, who served as the brains behind one of the greatest operations in history: the launch of astronaut John Glenn into orbit, a stunning achievement that restored the nation’s confidence, turned around the Space Race, and galvanized the world. The visionary trio crossed all gender and race lines to inspire generations to dream big.

    The screening program will educate students about the many contributions made by African-Americans to science, technology, engineering, and math, and inspire more students to enter those fields. Charles Phillips, Chairman and CEO of Infor, William M. Lewis, Jr. Co-Chairman of Investment Banking at Lazard, and Ken Chenault, Chairman and CEO of American Express, lead the group of African-American business executives driving the opportunity.

    “On behalf of the African-American business community members involved today, I would like to thank the great organizations that have joined this effort,” said Ken Chenault. “Hidden Figures spotlights our unsung communities’ long lineage of shaping our nation. It serves as a wonderful opportunity to inspire the next generation to carry that torch forward.”

    I’m deeply moved that my work is being used to educate and inspire students in this way. Programs like this are vital to sharpening our collective memories and enlightening young people about their history and exciting them about their future,” said Margot Lee Shetterly, author of the #1 New York Times bestseller nonfiction book Hidden Figures, on which the film is based.

    The New York Public School System has already signed up for 10,000 tickets. They have been joined by the Knowledge is Power Program (KIPP), Eagle Academy for Young Men, De La Salle Academy, Harlem School of the Arts, Big Brothers Big Sisters of NYC, Harlem Children’s Zone, Harlem Village Academy and the East Harlem Tutorial Program. NY Public Library will assist with ticket distribution.

    Dovetailing with this initiative, Google has announced that it will be inviting teenage girls and students to participate in a new online Made With Code project. Participants build an interactive graphic capturing the triumphant themes of the Hidden Figures movie. In partnership with AMC theatres and local school districts, Google will also be hosting coding workshops along with viewing parties of the movie, where students can watch and discuss the film, and learn introductory coding skills.

    Dr. Linda Curtis-Bey, Executive Director of STEM, New York City Public Schools, said: “Hidden Figures provides an important platform from which teachers and students, especially girls, can engage in discussions about STEM, the role of women in the workplace and the contributions of African-Americans.”

    In January 2015, New York City African-American business leaders sponsored free tickets for schoolchildren to see the movie Selma – which retold Dr. Martin Luther King’s famous voting rights march from Selma to Montgomery. The project eventually funded free screenings for more than 300,000 students across 28 cities. It resulted in expanded school curricula and special showings at the Abyssinian Baptist Church and other historically important venues.

    New York City business leaders contributing to the initiative:

    • Amsale Aberra and Neil Brown
    • Scott and Iva Mills
    • Gerald and Gwen Adolph
    • Steve and Beverly Mills
    • Bloomberg Diversity and Inclusion Team
    • Morgan Stanley African American Partners
    • Valentino D. Carlotti
    • Laurence Morse and Pamela McKoin
    • Tony Chase and Dina Alsowayel
    • Adebayo Ogunlesi and Dr. Amelia Quist-Ogunlesi
    • Ken and Kathryn Chenault
    • Clarence Otis and Jacqui Bradley
    • Dr. N. Anthony and Mrs. Robyn Coles
    • Deval and Diane Patrick
    • Edith Cooper and Robert Taylor
    • Luis R. Penalver and Elizabeth Davis
    • Frank Cooper and Nina Whittington-Cooper
    • Charles and Karen Phillips
    • Don and Saundra Cornwell
    • Jonelle Procope and Frederick O. Terrell
    • Ken and Andrea Frazier
    • Tamara Harris Robinson
    • Bruce Gordon and Tawana Tibbs
    • Marva Smalls
    • David and Tammye Jones
    • Jose Tavarez and Holly Phillips, MD.
    • Vernon Jordan
    • Reggie Van Lee
    • Debra Lee
    • Ted and Nina Wells
    • Bill Lewis and Carol Sutton Lewis
    • Greg and Michelle Weston
    • Edward and Carolyn Lewis
    • Anré and Paula Williams
    • Michael and Charise Littlejohn
    • Janice and Chris Williams
    • Tracy Maitland and Kimberly Hatchett
    • Deborah C. Wright
    • Crystal McCrary and Raymond J. McGuire
  • NIELSEN MUSIC RELEASES 2016 U.S. YEAR-END REPORT, R&B and HIP HOP LEADS

    NIELSEN MUSIC RELEASES 2016 U.S. YEAR-END REPORT

    Highly Anticipated Report Provides Comprehensive Coverage of the Year in Music

    Nielsen Music released its 2016 U.S. Year-End Report for the 12-month period ending Dec. 29, 2016. This highly anticipated report provides comprehensive coverage of the year in music from the coveted Nielsen Music Year-End charts, presented by Billboard, to insights on the most important industry trends from sales and streaming to social media and overall consumer engagement across today’s most popular platforms.

    The Nielsen Music U.S. Year-End Report confirms that the music industry experienced steady and consistent growth in 2016, with overall volume up 3% over 2015, fueled by a 76% increase in on-demand audio streams compared to last year. On-demand audio streams surpassed 250B streams in 2016, and overall on-demand streams (including video) have reached 431 B. The industry did experience sales decreases in nearly all formats, particularly digital sales. However, the growth in streaming was more than enough to offset the declines, which resulted in a positive year for the music business.

    “The music industry continues to grow at a healthy rate, and 2016 showed us that the landscape is evolving even more quickly than we have seen with other format shifts,” said David Bakula, SVP of Music Industry Insights. “Thanks to the rapid emergence of new technologies and channels for discovery and engagement, consumers are finding and listening to more music in new ways.”

    Drake’s Views release was the leader in total volume (albums + track equivalent albums + audio on-demand streaming equivalent albums) this year, followed by Adele’s 25 and Beyoncé’s Lemonade.  For the second year in a row, Adele’s 25 led the year’s album sales in the U.S., marking only the second time in history that the same album has been the top seller in two consecutive calendar years (the first being Adele’s 21 album in 2011 & 2012). Vinyl LP sales, which have reached an all-time Nielsen Music-era high volume of 13M units, increased for the 11th consecutive year in 2016.  The top vinyl LP of the year was Twenty One Pilots’Blurryface, with David Bowie’s star and Adele’s 25 finishing close behind.

    The biggest song of the year in terms of total activity (sales + audio streaming equivalents) was Drake’s “One Dance,” followed by “Closer” by Chainsmokers (feat. Halsey) and “Work” by Rihanna (feat. Drake).

    Topping the Digital Songs Sales charts this year were “Can’t Stop the Feeling!” by Justin Timberlake, “Closer” by The Chainsmokers (feat. Halsey), and “My House” by Flo Rida. See the Nielsen Music Year-End charts (attached) for more information. 

    Other notable insights and trends from the 2016 Nielsen Music U.S. Year-End Report, include:

    ·        On-demand audio streaming has now grown to 38% of total audio consumption (albums + track equivalents + on-demand audio streaming equivalents) to become the largest share of consumption.  

    ·        The on-demand audio streaming share has now surpassed total digital sales (digital albums + digital track equivalents) for the first time in history.  

    ·        Rock continues to be the dominant genre in terms of album sales (both physical and digital), but the streaming landscape is led by R&B/Hip-Hop, which garners the highest share of on-demand audio streams with heavily streamed artists like Drake, The Weeknd, Kanye West, Rihanna and J. Cole. 

    ·        Digital continues to be the dominant sales platform, but digital sales are declining much more rapidly than physical sales as tech-savvy consumers move onto streaming platforms. 

    ·        For the first time in over a decade, physical albums actually became a larger share of total album sales than they were in the prior year.

    ·        Vinyl LP sales grew to over 11% of total physical album sales in 2016. This marks 11 years of year-over-year increases for vinyl LPs, reaching a record sales level in the Nielsen Music era (since 1991) with over 13 million sales this year.

    ·        For the first time in history, the internet/mail-order/venue store group, led by Internet retailers and concert ticket bundles, has become the largest share of physical sales, ending a nine-year period where mass merchant outlets were the leading driver of physical album sales. 

    ·        This was an extremely successful year for Drake, who had the most overall volume; the most digital song sales; the most streams (by a huge margin); and the most heavily consumed album of the year with Views. In its debut week, Views became the only album to surpass 1M in weekly total volume (albums + track equivalents + on-demand streaming equivalents), and set an all-time record for most streams from an album with over 245M. 

    ·        In 2016, there were 12 occurrences where an album’s songs had over 100M audio streams in a week.  This was led by Drake’s Views, which accomplished that feat an amazing 8x, but also included J. Cole’s 4 Your Eyez Only (with the second highest debut week stream volume in history) , The Weeknd’s Starboy (2x) and Beyoncé’s Lemonade

    ·        Only 6 albums debuted with over 200K in album sales in their first week in 2016 (there were 13 such cases in 2015), led by Drake with 852K first week sales for Views.  Other albums to surpass the 200K mark in their first week include Beyoncé’s Lemonade (485K), J. Cole’s 4 Your Eyez Only (363K), Metallica’s Hardwired…To Self Destruct (282K), Frank Ocean’s Blonde(232K), and The Weeknd’s Starboy (209K). 

    ·        Chance the Rapper’s album Coloring Book became the first to surpass 500K with only streaming album equivalents.  Since its debut in May, the album has stayed on the Billboard 200 chart for 33 consecutive weeks, peaking at #8.  The album is the 58th highest volume album of the year without the benefit of a single sale, which is truly a historic accomplishment. 

    ·        While song sales showed steep declines (-25%) vs. last year, song consumption (sales + audio streaming equivalents at a rate of 150 streams to 1 song sale) continues to be strong with growing contribution from audio streams.  In 2016, 15 songs eclipsed the 3M volume mark (song sales + audio streaming equivalents), despite only 5 songs reaching over 2M in sales.  The song with the most volume for the year was Drake’s “One Dance,” which had over 5.5M song sales + audio streaming equivalents and 64% of that volume came from audio streams.  In fact, the top 5 songs of the year all had a greater share of volume coming from streaming than from sales.

    ·        For the second straight year, Adele’s 25 tops the Album Sales chart.  25 becomes only the second album in Nielsen Music history to lead the Album Sales chart in two consecutive calendar years.  The first album to accomplish that feat was Adele’s 21 albums in 2011 & 2012.

    ·        Despite the fact that Adele’s 25 was the best-selling album of the year, Adele was only the second best-selling album artist of the year.  The best-selling artist in terms of album sales was Prince, who passed away suddenly in April.  Prince’s albums sold over 2.2M units in 2016, and he was the only artist to sell over 1M digital and physical albums this year.  Prince also sold 5.4M digital songs, giving him the highest sales volume of the year (albums + track equivalents), just out-selling Drake and Adele.  The day after his death was announced, Prince sold over 1M digital songs and over 200K digital albums.  Prince’s catalog was very tightly controlled on streaming platforms and the gains that were seen after his passing were far more evident in the sales numbers than what we saw from some other comparable artists that passed this year.

    ·        Social media continued to drive song sales, particularly in cases where a viral visual component became a driver for the song.  Rea Sremmurd’s “ Beatles” was on its way to being a hit when it became the unofficial soundtrack of The Mannequin Challenge.  A-list celebrities, sports stars, and political figures took part in the challenge, which helped the song to receive the 28th highest volume (sales + audio stream equivalents) this year.

    ·        The number of titles reaching milestones in 2016 exemplified the industry as a whole.  Streaming milestones were hit with record numbers. There were 27 songs that surpassed 200M on-demand audio streams, while in 2015, only two songs hit that mark.  Also, 12 songs surpassed 200M on-demand video streams for the year vs. only seven last year.  In 2015, only three songs surpassed 500M total on-demand audio streams, led by Fetty Wap’s “Trap Queen” with 617M.  In 2016, six songs surpassed 500M, with two (Desiigner’s “Panda” and Rihanna’s “Work”) surpassing 700M.

  • FIRST PODCAST SITE DEDICATED TO THE AFRICAN AMERICAN EXPERIENCE PREMIERES

    FIRST PODCAST SITE DEDICATED TO THE AFRICAN AMERICAN EXPERIENCE PREMIERES

    Radio Facts’ New Podcast Port Accepting Both Established and New Shows

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    LOS ANGELES, Dec 23, 2016 – The first all-urban podcast site, PODCAST PORT, featuring a range of topics pertinent to African Americans, continues to expand in 2017. The portal gives listeners a choice of broadcasts available from a single platform, and gives producers and hosts an opportunity to expand both their listenership and their production expertise. The unique portal is produced by the long-running radio trade organization Radio Facts.

    “Our Radio Facts Radio Show Podcast on Podbean received close to 1.5 million downloads,” says Kevin Ross, CEO of Podcast Port. “I realized we had the potential for a much greater audience on a site dedicated to African American concerns and topics. While there are a lot of amazing podcast shows out there, it’s a lot of work to find the shows that are of specific interest to African Americans.”

    Podcast Port is actively looking for new and established shows targeted to African Americans, which will be premiered and promoted directly to the broadcast industry as well as radio listeners. “We are not married to commercial radio concepts,” says Ross, who hosts the podcasts “Pennies from Kevin” and “Radio Facts Radio Show,” which have garnered more than 1 million downloads on an independent site. “We want shows from all walks of the black experience,” he says, adding that podcasts focusing on problems should discuss solutions, while listeners will sign online consent to access adult content.  

    Podcast Port will consider podcasts based on the following topics: Tech * Commercial Radio * Syndication * Education * Media * business * Politics * Health * Food * Real Estate * Money * Psychology * LGBT Subjects * Mental Illness * Social Media * Life after 40 * Hip Hop * Jazz * World Issues * Show business * Women * Advertising * Law * Crime * Love and Relationships * Music * and more.  Interested parties can submit podcasts right now at this link: 
    http://podcastport.com/podcast-port-submission/ .

    The Podcast Port website will also post blogs, news, and tips about the podcasting industry. Subscribers will also gain access to content with advice on production and hosting techniques to create compelling podcasts. Follow Podcast Port on TWITTER at @podcastport; FACEBOOK at facebook.com/podcastport; and Instagram at @podcastport.

    ABOUT KEVIN ROSS AND RADIO FACTS: 
    Kevin “KevRoss” Ross is a music industry pro with stints in radio programming, on-air hosting, marketing and promotion, record promotion, magazine editing, and black entrepreneurship.  Ross started Radio Facts as an industry trade magazine in 1995. Targeted to radio programmers, DJs, members of the music industry and consumers, RadioFacts.com offers up-to-the minute news and information about the radio and music industries. Additionally,  Radio Facts news is delivered daily to subscribers via email; and a print edition appears quarterly. Radio Facts is also an aggressive online marketing and promotions company that caters to Urban, Urban AC, CHR and Rhythmic stations as well as consumers, niche markets, clubs, DJs and specific industries.

    For more information, contact:
    kevin ross at [email protected]

    Podcast Port Site www.podcastport.com * Radio Facts www.biztipper.com * Rhythmic Radio Site  www.rhythmic.fm

  • Bounce TV Acquires The Trumpet Awards Star-Studded Annual Event

    Bounce TV Acquires The Trumpet Awards Star-Studded Annual Event Set to Celebrate 25th Anniversary, World Premiere Sun. Jan. 29 at 9:00 p.m. (ET) on Bounce TV

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    Bounce TV has acquired all assets of The Trumpet Awards, the prestigious annual event celebrating African-American achievements and contributions, in an agreement with The Trumpet Awards Foundation announced today.

    Bounce TV, the fastest-growing African-American network on television, will now own, produce and world premiere the star-studded event annually. Bounce TV will also syndicate The Trumpet Awards to television stations around the country as well as internationally for broadcast after the Bounce premiere.

    Set to celebrate its 25th Anniversary in 2017, The Trumpet Awards will world premiere on Bounce TV on Sunday, Jan. 29 at 9:00 p.m. (ET).  The black-tie ceremony will be held at the Cobb Energy Performing Arts Centre in Atlanta, Georgia on Saturday, Jan. 21.  Hosts and talent will be announced shortly. 

    Xernona Clayton, Founder and Executive Producer of the Trumpet Awards, will become Chairman Emeritus of the awards and continue to play an active role in the event.  Ms. Clayton will remain President and CEO of the Trumpet Awards Foundation, Inc.

    Ms. Clayton commented, “After 25 years, I felt it was a good time to find a strategic partner to take The Trumpet Awards into the future. Bounce TV is the ideal custodian to continue to enhance the level of excellence that is our standard. I am thrilled to have my beloved Trumpet Awards become part of Bounce TV.”

    Ambassador Andrew Young, co-founder of Bounce TV and a board member of The Trumpet Foundation, commented, “Bounce will continue the legacy of the Trumpet Awards and everything Xernona has lovingly created, while driving growth and scale across the next 25 years and beyond.”

    The Bounce acquisition is the next chapter for the venerable and meaningful Trumpet Awards. Originally presented by Turner Broadcasting in 1993, The Trumpet Awards were created to herald the accomplishments of Americans who have succeeded against immense odds.

    Bounce TV (@BounceTV) airs on the broadcast signals of local television stations and corresponding cable carriage and features a programming mix of original and off-network series, theatrical motion pictures, specials, live sports and more.  Visit BounceTV.com for more info.

  • The Hollywood Reporter-Billboard Media Group To Acquire SpinMedia\’s Iconic Music Brands

    The Hollywood Reporter-Billboard Media Group To Acquire SpinMedia’s Iconic Music Brands, Including Spin, Vibe, And Stereogum Combined entity of music and entertainment properties will reach 45 million unique visitors and one in every three U.S. millennials

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    The Hollywood ReporterBillboard Media Group today announced that it has signed a definitive agreement to acquire SpinMedia’s storied music assets Spin, Vibe, and Stereogum, establishing the world’s largest music brand by digital traffic, social reach, and audience share.

    “In recent years, we set out to own the topic of music online, and the acquisition of these incredible music assets helps us do just that,” said Media Group co-president John Amato. “By making these brands part of our family, The Hollywood Reporter-Billboard Media Group will be able to fully capture the value of millennials and music, and continue to strengthen its leadership position in this critical arena.”

    “Bringing in these historic brands under Billboard allows passionate music audiences to enjoy rock to urban to pop in one massive portfolio,” said Media Group co-president Janice Min. “The power and scale of these combined, complementary digital assets will deliver more ways to reach our audience through TV, video, live events, social and online through these brands.” 

    SpinMedia CEO Stephen well will be named Chief Strategy Officer of the newly acquired company and will oversee revenue, digital growth, and product, reporting to Amato.

    The deal expands The Hollywood ReporterBillboard Media Group’s online audience to 45 million readers a month, strengthening its reach among social-media savvy millennials who value listening to music digitally and live experiences in equal measure. The Hollywood Reporter and Billboard both launched aggressive moves into video earlier this year, with the brands currently delivering over 100 million video views monthly. The Media Group has also partnered with Facebook to create custom content for the recently launched Facebook Live. In all, the acquisition will boost the Media Group’s revenues to more than $100 million a year, two-thirds of which will come from digital and video.

    SPIN magazine became fully digital in late 2012 after BuzzMedia acquired the 27-year-old publication and rebranded it as SpinMedia. It bought the hip-hop and R&B magazine VIBE and its digital properties the following year, growing its footprint in music and entertainment.

  • RICK ROSS DEFEATS TRADEMARK SUIT OVER ALBUM ANNOUNCES NEW business VENTURES

    RICK ROSS DEFEATS TRADEMARK SUIT OVER MASTERMIND ALBUM

    Targets Further Expansion Into Food Industry Through Checkers Acquisition

    Announces New business Partnership With Luxury Hair Care Line Rich Hair Care

    Rick Ross

    It has been a year of successful turnovers for Grammy nominated recording artist and expanding black entrepreneur, Rick Ross. The Maybach Music Group CEO and Universal Music Group won a Motion for Summary Judgment in the United States District Court for the Central District of California in a trademark suit brought against them by a hip-hop artist that owned the trademark “Mastermind.” The Plaintiff sought millions of dollars in damages claiming Ross and Universal had infringed on his trademark by using the Mastermind name in Ross’ sixth studio album released in 2014 entitled “Mastermind,” the ensuing “Mastermind” tour as well as Ross’ taking on the persona of “Mastermind.”

    When asked for a statement, Rick Ross’ attorney Leron E. Rogers states – “when claims are made against our clients, we litigate them very aggressively. We are happy that the court not only ruled in Ross and Universal’s favor, but also took the extra step to cancel Plaintiff’s trademark.

    Broadening his ever-expanding portfolio of business ventures, Rick Ross has also just announced two very special new partnerships. The boss is partnering with his sister Tawanda to join the Checkers & Rally’s restaurant “Flavorhood,” by purchasing his favorite hometown hangout in Miami Gardens, FL. Most recently,

    Rick Ross has announced what is perhaps his most unforeseen business venture – a close partnership with luxury hair care line RICH Hair Care. Known to have coined the “Rich” term as the title of one of his most successful mixtapes Rich Forever, Rick Ross will now use the word association to help further develop the RICH Hair Care brand. 

  • Radio One Approved for Entertainment Complex

    Radio One, Inc. Finalized $40 Million MGM National Harbor Investment

    Radio One

    Radio One, Inc. announces the completion of its $40 million investment in MGM National Harbor, LLC. On November 17, 2016, Radio One Entertainment Holdings, LLC, a wholly owned subsidiary of Radio One, Inc., received approval from the Maryland State Lottery and Gaming Control Commission to become a Principal Entity of MGM National Harbor, LLC.

    Following this approval, on November 30th, Radio One Entertainment Holdings, LLC contributed $35 million to MGM National Harbor, LLC, bringing its total investment to $40 million, as planned. The $1.4 billion MGM National Harbor property successfully opened to the public on December 8th.

    Radio One, Inc. CEO Alfred Liggins said, “I congratulate Jim Murren, Bill Hornbuckle, Lorenzo Creighton and the whole MGM team on an outstanding job. MGM National Harbor is a world class facility that brings the very best in luxury, glamour and entertainment to our nation’s capital. We could not be happier about, or more proud of, how the project has turned out.” The investment by Radio One, Inc. in the non-voting economic interests in MGM National Harbor, entitles it to an annual cash distribution based on net gaming revenue and further diversifies the business away from dependence on advertising revenues.

  • DJ Khaled Collabs with Skin Care Favorite, Palmer’s Cocoa Butter Formula

    Major Key Alert: DJ Khaled Collabs with Skin Care Favorite, Palmer’s Cocoa Butter Formula! Snapchat Star to Launch Capsule Collection with Trusted Cocoa Butter Brand 

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    This holiday season, music mogul and “King of Snapchat,” DJ Khaled is dropping “another one” of his major keys for his fans. Teaming up with classic skin care brand, Palmer’s Cocoa Butter Formula, DJ Khaled is launching his own standout capsule collection for fans to “live life smooth.” From the masterful mind of DJ Khaled, the DJ Khaled x Palmer’s capsule collection will offer three different collectible varieties of Khaled catchphrases, including “We The Best Glow,” “Live Life Smooth” and “They Block” and will also feature DJ Khaled’s trademark gold key and signature on the packaging.

    For more than 15 years, Palmer’s Cocoa Butter Formula lotion has helped DJ Khaled to #BlessUp his skin during his extensive career. In 2015, Khaled called out his love for the brand in a tutorial on his wildly popular Snapchat channel, pegging the brand’s trademark lotion as a “major key” to his glowing skin. The video quickly went viral leading to frequent fan requests for Khaled to sign their Palmer’s Cocoa Butter Formula products. Palmer’s took notice of the social media frenzy and an organic partnership followed. 

    I only work with brands that represent my lifestyle and Palmer’s Cocoa Butter Formula is a product I’ve been using for 15 years,” said DJ Khaled. “The DJ Khaled x Palmer’s capsule collection is a passion project of mine because my fans can now have a piece of my ‘glow’ thanks to Palmer’s and our collaboration.”

    A favorite of celebrities and consumers alike, Palmer’s is the No. 1 Cocoa Butter brand in the world, available in 80 countries.  Formulated with Natural Cocoa Butter and Vitamin E, the Cocoa Butter Formula Lotion provides skin with 24-hour moisture to heal rough, dry skin. The classic daily moisturizer is a winter skin care must-have that softens, smooths marks, and tones skin. 

    “We’re so excited that DJ Khaled is joining our Palmer’s family as a partner in the new DJ Khaled x Palmer’s collection” said Paul Carpino, E.T. Browne Director of Marketing. “With this limited edition line, we’re thrilled to give millions of DJ Khaled fans his signature Cocoa Butter ‘key’ for smooth skin.”

    The DJ Khaled x Palmer’s capsule collection will be available to consumers in both the 8.5 oz. bottle and 13.5 pump bottle beginning on December 13, 2016 on both www.palmers.com and DJ Khaled’s online marketplace, www.WeTheBest.com for a price of $6.50 (8.5 oz.) and $7.95 (13.5 oz.).

    To learn more about Palmer’s, visit www.palmers.com or Facebook, Twitter or Instagram – #DJKhaledxPalmers! For a special sneak peek at the collection, don’t miss DJ Khaled’s teaser videos for They Block, Live Life Smoothand We The Best Glow at his Instagram handle, @DJKhaled!

  • RICK ROSS ANNOUNCES NEW business PARTNERSHIP WITH LUXURY HAIR CARE LINE RICH HAIR CARE

    RICK ROSS ANNOUNCES NEW business PARTNERSHIP WITH LUXURY HAIR CARE LINE RICH HAIR CARE 4d988309-8056-4b90-9e73-fdc0f253d4b2

    L to R: Indrek Lohmus (CEO, RICH Hair Care), Will Kurik (CCO, RICH Hair Care), Rick Ross, Erkki Lohmus (CFO, RICH Hair Care), Toivo Promm (Logistics Director, RICH Hair Care)

    (December 13, 2016 – Atlanta, GA) – Music mogul and expanding black entrepreneur Rick Ross has announced another new and exciting business partnership. His most recent business venture and perhaps the most unforeseen one is a close partnership with luxury hair care line RICH Hair Care. Rick Ross, also known as The Boss, has coined the “Rich” term as the title of one of his most successful mixtapes Rich Forever, his Instagram handle (@richforever) and will now use the word association to help further develop the RICH Hair Care brand. The news comes shortly after Ross announced his debut studio album under Epic Records, titled “Rather You Than Me” and his investment in the burger industry with Checkers/Rally’s restaurants. For more information, visit www.us.RichHairCare.com Last night, Ross held an intimate event titled “Beauty & Belaire” in Atlanta, Georgia to officially make the special announcement.

    The event was presented by Maybach Music Group and took place at Ross’ massive 235-acre home. The night was hosted by Tahira Joy, co-founder of The Cut Life with cocktails courtesy of none other than Ross’ signature champagne, Belaire Rosé. The room was filled with Atlanta’s top beauty influencers, press, and bloggers. “We are extremely excited to partner up with such an icon as Rick Ross. He’s a master of blurring the lines between commercial and entertainment worlds, not to mention his ability to generate a brand halo,” said, Indrek Lohmus, CEO of RICH Hair Care. “This is an amazing new venture for me, and one that I am most excited about. Beauty and Hair care are both huge markets” says Rick Ross. “I appreciate and understand quality products, especially when those products are used to enhance your overall personal health and appearance.

    Being a supporter of men’s grooming and healthy facial hair in specific, I was more than pleasantly surprised with RICH Hair Care products and had personally used them before this partnership. I’ve always been asked about my beard, hair care and what I use to take care of myself. It was something that I always overlooked until I sat down and really thought about the benefits and the message that could be created by partnering with the great guys at RICH Hair Care. I am excited to build a global network around this new RICH Hair Care venture, continue the black entrepreneurial conversations and offer additional exposure to an incredible brand.” Ross has previously invested in Belaire champagne, Wingstop, Checkers/Rally’s, and now RICH Hair Care. Please see more photos of last night’s intimate cocktail event “Beauty & Belaire” below:

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  • Legendary Artist’s Lack of Radio Airplay, Catalyst to Entrepreneur and Direct to Consumer Concepts

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    Over the past year, 2016, we have seen many older R&B artists take advantage of tech and direct to consumer incentives to keep their brands going and to garner revenue in what would otherwise be a dead career. Diddy’s reunion tour, as well as groups like New Edition and BBD are nothing less than genius in an industry that has largely eliminated airplay and current influence over their fanbase. On the other end of that spectrum, legendary groups like A Tribe Called Quest to continue to prove fans, both past and present, still have an appreciation for established artists on commercial radio in lieu of what research companies have been telling radio for years which is often the opposite. These artists are not only making new music and doing deals with (mostly) independent labels for distribution, they have also gained astute business acumen that gives them a much higher return on their self-investment. Now it’s being announced that Mariah Carey and Lionel Richie are about to combine forces and hit the road, neither of which gets substantial airplay in today’s commercial radio climate.

    It’s a Whole Old/New Industry

    Social media has played an integral role in today’s new never-say-die (unless you want to) industry. From a business standpoint, It’s also easy to understand where radio is coming from. By having a very tight playlist, the station creates a huge demand for a very small supply. That, in essence, is the nature of any great businesses bottom line but it also opens the door for opportunity for those artists who are ignored. You’re not going to survive if you have a huge supply as the demand will almost be nonexistent. While content is paramount, without question, supply and demand is the first lesson in creating “value.” So remember that the next time you complain about hearing the same songs over and over. It’s just business.

    We can’t leave out that many stations that have adopted the “BOOM” format which is bringing new life into the careers of older hip hop artists. The format is not working in all markets yet doing exceptionally well in others. The question that the industry is constantly asking is, is there enough product (music) to keep this format going? Considering Hip Hop is 40 years old, the answer is yes and stations would be foolish not to take advantage of some of the smash R&B hits heavily influenced by the hip hop era. It would behoove older hip hop artists to take advantage of renewed interest in their brands, surround themselves with the right team (those who truly KNOW their legacy, culture, influence and understand business) hit the road and collect. Tech has given them a second chance at an extended career.

    To understand today’s music industry, one also must understand business, the middleman, marketing and promotion, branding and over-all black entrepreneurialism. While that may seem like a lot, what it really boils down to is how much an artist has learned during his tenure in the industry, and how much he depended on others to handle his business. Obviously, the ones that learned the business and understand their leverage will benefit the most.

    Watch the Youngins

    A wise older artist has his or her eyes open to what today’s artist is doing, especially with social media. They’re seeing huge endorsement deals and the artist communicating directly with fans, something that was completely not available during their tenure. The difference between today’s artist and yesterday’s artist is legacy and relationship which is actually a greater benefit to the older artist.  The post 40 consumer, is quite often ignored by the middlemen (as in marketing, promotion and ad agencies), but the question becomes do people over 40 really stop buying product or are they rarely measured or marketed to? I would venture to say it’s the latter, As older consumers are rarely viewed as”Sexy,” the look of money remains consistent.

    While it is true that there are industry people over 40 that shun current technology models such as social networking, there are still many consumers over 40 who are elated at the second chance to learn, grow, run their own businesses and reach a worldwide audience with their brands that were previously unavailable to them unless they hired an outside company and paid enormous fees. Social media has changed ALL the rules and it’s hard to fathom people ESPECIALLY black creative people resisting it.

    In today’s music industry, there is the direct-to-consumer approach, easily utilized, that obliterates the middleman. In business, the middleman is the one who controls the connection between an artist and his fans who have often been motivated by monetary gain only, no passion, no emotional connection, no motivation and no inspiration all of which an artist is much more capable of delivering.

    Previous poor and biased research, based on samples of the population (if at all) instead of the population itself are being shattered right before our eyes. Many marketing companies over the years that served urban radio, for example, didn’t/don’t have any black employees who manage or measure the black audience? They have ALWAYS second-guessed. Marketing companies must have a disdain for social media as it continues to allow us to get closer to the population itself and biased research is getting harder to manipulate, present, discriminate with and explain.

    In 2016 we have seen some brilliant moves by older artists, who could have faded into the history books I mean history SITES, but for those older artists who have a tight grasp on their industry legacy and most important… THEIR VALUE, it’s not over until THEY say it’s over in today’s industry.  The older artist has become the black entrepreneur and he is finally learning how to market himself as long as he still has the energy to work.  Any black entrepreneur knows that running your own business model and creating and understanding your value is what allows you to generate and maintain well-deserved income. Social media and tech has changed the landscape making the end of a career the artist’s option instead of the industry’s.