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Top Earning American Idols In Focus

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What does this week’s American Idol winner have to look forward to? Far less than in the past. The pop music market, now saturated with close to 100 of the show’s alums, is showing signs of Idol fatigue. Earnings for some of Idol’s top vocalists have nosedived over the past year. The show that reshaped television and the music business just isn’t minting cash for its stars like it once did.

Kris Allen, the 2009 Idol winner, has sold just 300,000 albums, according to Nielsen SoundScan. In the past year his music and touring sales have delivered an estimated $748,000—nothing much to sing about. He places 10th on our annual list of the top-earning stars launched by American Idol.

Jennifer Hudson’s light touring schedule and the end of her lucrative role as Avon spokeswoman hit the Oscar winner in the pocketbook, too. Forbes estimates that she earned $3.5 million in the year from June 1, 2009, to the end of this month, compared with $5 million the previous year. That dropped her to sixth place from second on last year’s list. Carrie Underwood, No. 1 on our list, earned an estimated $13 million over the past year—$1 million less than the year before. One Idol star, Taylor Hicks, didn’t earn enough to remain on our list.

Plenty of the show’s alums, including Hudson, have made money on Broadway. Among them: Clay Aiken, Fantasia Barrino, Ace Young and Constantine Maroulis. But Broadway shows are paying less, too. The salary of a starring theatrical role is now as little as 10% of what a newly crowned Idol winner grosses on a debut tour, typically about $300,000.

However, not all Idol stars are taking it on the chin. Kelly Clarkson and Kellie Pickler are in the midst of high-grossing, nationwide tours. Clarkson, No. 2 on this year’s list—and the very first Idol winner—made an estimated $11.7 million over the last year, more than double the year before thanks to a heavy touring schedule. Clarkson was one of the most frequently played artists on radio in 2009, according to Nielsen SoundScan. Pickler, No. 4 on our list, has played 100 concerts in the past year, bringing in $7.6 million.

But this season’s stars probably won’t do as well. If there’s one thing lacking among Idol contestants this year, it’s an “It” factor. Neither of the final two vocalists—24-year-old musician Crystal Bowersox of Toledo, Ohio, and 24-year-old paint sales clerk Lee DeWyze of Mount Prospect, Ill.—have the personality draw of, say, an Adam Lambert. And so far there has been little personal drama in their rivalry, unlike David Cook and David Archuleta (season seven), who battled each other like musical gladiators.

Adding to this lackluster season may be an Idol backlash, of sorts. Blogs that cover the show suggest its aggressive product promotions are turning off fans (a recent episode plugged Ford and the latest Shrek movie in back-to-back video segments). There is less behind-the-scenes action to chatter about. Gone are the wacky, off-camera antics of former judge Paula Abdul, who left the show last year. Idol’s creator and its central personality, Simon Cowell, is also leaving after the show’s finale Wednesday night.

Idol now averages 24 million viewers a broadcast, down from its high of 31 million in 2006. A Frank Sinatra-themed episode in early May that featured a special appearance by Lady Gaga drew one of the show’s lowest ratings ever, dipping to 17.5 million viewers. Worse, Idol was recently overtaken in the ratings for the first time by ABC’s Dancing With the Stars.

All that said, Idol is still among the most lucrative shows on television. During the upcoming finale, Fox is believed to be charging $1 million for a 30-second spot. The network reportedly pays Cowell $30 million annually for his judging, far more than any Idol contestant has ever made in a year.

Celebrity performers who appear on Idol do so to tap what is still a powerful promotion machine. In May, after Lady Gaga performed a new song, “Alejandro” (wearing a black thong and fishnet bodysuit), sales for the single jumped, says Nielsen SoundScan Vice President Chris Muratore. “The airplay Gaga got of that single was astounding. Digital sales of “Alejandro” went up 70% after her Idol appearance, from 78,000 to 133,000 per week,” he says.

Bowersox and DeWyze will no doubt be signed to record deals, but no one is betting either will be the next Carrie Underwood. That leaves viewers to ponder the show’s only true dramatic storyline this year: Can Idol survive the departure of Simon Cowell, its most recognizable presence?

One viewer believes so. “I think Simon is a kind of love-to-loathe character who revels in his ambiguous popularity,” says Ellis Cashmore, author of Celebrity/Culture and a professor at England’s Staffordshire University. “But American Idol is too robust to suffer from the loss of one individual.”

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Artiste Decries  High Cost Of Music Production

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A  Port Harcourt based artiste  and song writer Reginald  Bekinbo  popularly known as JahReigns has lamented the high cost of music production in Rivers State.
Bekinbo who  is also the acting chairman of  the Performing Musicians Employers Association  Of Nigeria (PMAN) Rivers Chapter made this known in an interview with The Tide Entertainment yesterday.
According to him, the cost of music production in the State is becoming alarming.
He explained that  for one to get a music done you will have to pay twenty-five thousand naira (#25,000) for a track and pay an extra amount for fuel where there is  no power, saying  that   this does not get the work done, as  the 25,000  fee covers the voiceover only.
“ It is quite disheartening  that  you pay such an amount for just a track’s voiceover, then you take to another Studio for the Mix and master of the song, which would cost you not less than #20’000 for upcoming artistes at my level. It does not end there each time you go for mixing you have to buy fuel for the mixer which does not include promotion and videoing of the song,”  he  lamented.
He said that as an artiste, he also has a clothing store just to support his career, saying most singers have chosen the brain drain for themselves and you can not blame them because it is difficult to excel as an Artiste here in the State.
“ It is clear why people go to Lagos to establish their career. Just imagine a situation where someone heard my song and wanted to meet me and some other person told him that if he wanted to see me he should come to Victoria Street, the young man said he thought l should be in Lagos and they eventually found me at Victoria Street in Port Harcourt. Where l have my clothing  store. What could be more degrading? Situation like that devalues your person  as an Artiste, l mean, it depreciates your worth,” he added.
Bekinbo who recently released a video on one of his singles titled “Ngwanu”  said that though the video has not been played in a cable station,  could be downloaded from the internet, noting that the cost of shooting and promoting a video or song is alarming.
“ It is not easy at all,, I met the cable guy and he said that for  International and Local  promo for the video  is eight hundred and fifty naira(850,000) while for local, here   would cost me four hundred and fifty naira(450.000).
I am yet to afford the fee. If you go to Redem  Station to play your audio you will pay not less than two hundred naira, so what we do is to befriend DJ’s and in a studio you have up to three DJ’s you will give them  #20,000 and then,  make sure to send them callcard at least three times in a month.
He said that if well-meaning individuals in the State would do well to extend helping hand or support the music industry it will go a long way to motivating Artistes in the State.
He however mentioned king of Okochiri, Kingdom, His Royal Father Ateke Tom as an individual and Gravings Records as  an organization that have been supportive, saying that each time they to perform for them they made sure to at least take care of them.
“ If the needed motivation is given l tell you, with a million naira we could realize five Million in three months,”  he assured.

By: Nancy  Briggs

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Pheelz, BNXN, Others Make FIFA 23 Soundtrack

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Pheelz’s ‘Finesse’ featuring BNXN FKA Buju and Bad Boy Timz’s ‘Skelele’ featuring Olamide, Seun Kuti’s Ku ku Kee Me ft. American rapper Black Thought as well as 2022 Qatar Official world cup song, Hayya Hayya (Better Together) by Davido ft. Trinidad Cardona, & Aisha have been included in the soundtrack for FIFA 23 console game.
The full FIFA 23 soundtrack has been officially confirmed by EA, with over five hours of music in the game in total across its different modes.
The  Tide Entertainment reports that the Afrobeats stars will join a long list of other artists spread across the world to make up the Soundtrack of one of the highest-selling video games.
Fireboy DML’s ‘Scatter’ and Rema’s ‘Beamer featured on EA Sports, Fifa 21 official soundtrack.
Introducing the FIFA23 Soundtrack.
Featuring over 100 songs from artists representing 34 countries. Listen now on Spotify.
The VOLTA soundtracks were introduced from FIFA 20. The songs on that mode drive street action with the latest and greatest in grime, electronic, and hip-hop.
With artists including Labrinth, Role Model, and Odesza, the full list of songs in FIFA 23 is something of an eclectic mix.
These customised kits – which are designed to personify each artists’ personality – will be available for players to unlock through certain objectives from 27th September when early access for the game mode launches.

Pheelz and others also designed Custom FUT kits for FIFA 23.

In a press release on Thursday, EA teased: “The carefully curated mixture of hip hop, alternative, electronic dance and pop music transports players directly into the game of street football.”

Artists such as Jack Harlow, ROSALIA, Pheelz and Central Cee have also played a bigger part in the game, designing their own FIFA Ultimate Team kits.

FIFA 23 was released worldwide on PlayStation 5, Xbox Series X|S, PC, Stadia, PS4, and Xbox One on /

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Afrobeats Category May Soon Be Added To The Grammy Awards

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The Chief Executive Officer (CEO) of Recording Academy, Mr Harvey Mason Junior has disclosed in a press conference in Ghana that the institution is considering the addition of an Afrobeats category to next year’s 65th Annual Grammy Awards.
The Tide Entertainment Reports that TurnTable Charts, a Nigerian chart analytics platform and magazine, tweeted a segment of the conference captured on video, in which Mason says he and other Recording Academy brass “just had a meeting literally about six or seven days ago with leaders from the Afrobeats community” to discuss the potential move.
“We had a virtual listening session where we heard from Afrobeats creators and just talked about ‘What are the different subgenres? What are the needs? What are the desires?,’” he adds. “And my goal is to represent all genres of music, including Afrobeats, at the Grammys.” he said.
Mason makes it clear in the video, however, that the decision is far from final.
“I don’t decide categories,” he explains.
“The categories are decided by proposals submitted by members.
“The members can say ‘Harvey, I want an Afrobeat category…’ So that process has started now. I think the listening session last week was very important, very valuable, and a step towards that path.”
The Recording Academy is now considering an Afrobeats category at the annual Grammys ceremony .
Harvey Manson Jr., the CEO of The Academy, revealed in an interview with the press in Ghana over the weekend.
The Afrobeat music genre was established by the legendary Fela Anikulapo-Kuti in the late 1960s and early 70s, however, it gained international appeal in the late 2010s due to the influence of the genre’s flag bearers- Wizkid, Burna Boy and Davido.
It has become one of the most influential genres across Africa and the rest of the world.

 

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