The 90s represented for Latin American music the emergence of new music stores such as House of Hit for new Caribbean music and Carlos Vives had that sixth sense to understand that the dialogue between the local music, tradition and modernity could be new music.
He was there his genius, and that ability was held yesterday at the Lo Nuestro Award with a tribute sense in which great music celebrities like J Balvin, Juanes, Fonseca and Choc Quib Town sang their songs and celebrated their award for excellence.
From the beginning, works of authorship as classics of the provincial and the land of forgetfulness, marked a new direction for Colombian music, because they gave life to some sounds that young people do not have much meaning, and that generated a rising sense of identity.
“Do not forget that just in that decade, exactly 1991 in the new Colombian Constitution we identify as a multiethnic and multicultural society, and that had a lot to do with that first we began to understand who we were.”
That’s according to the musician and Ivan Benavides Colombian producer who has worked closely with Carlos Vives throughout its history.
“So the most important of the proposed Carlos Vives is that it has not only created music to stick on the radio, but has a sense of identity and therefore does not only be fashionable but generates memory, and that is something that does not make almost any music, “Benavides said.
In 1995, working together, Carlos Vives and Ivan Benavides spoke of the connection between the Magdalena River and the River Mississippi, roads that came together to rock with soul, blues and salsa and how the Caribbean was formed from the south US to northern Colombian coast.
- These conversations allowed them to create invisible connections between very different music and watch several Norths in the composition then entered in the new jobs that Carlos Vives sang the world and not limited to vallenato.
- “The strength of the proposed Carlos Vives is so evident that remaining in force after 25 years of work. Garcia Marquez had already said: talk about your people and you will become universal, says Benavides.
- So you have to celebrate Premio Lo Nuestro has made “this remarkable tribute being sounded more than ever because I always wait until the artist is decadent to celebrate its merits.
- His music is alive, and he is exploring more global languages that I hope also give results in the future, “says the producer and close friend of the singer.
- Spaniards increasingly buy fewer physical disks but consume more music in digital format.
- That is the main conclusion of a report just published by Promusicae and has the information provided by the main shops and record companies.
Does the main responsible for such growth? Yes, you guessed it: streaming music services like Spotify, Deezer, YouTube, and company.
During the first six months of 2015, he reported to the record streaming in Spain revenues of 30.636 billion euros, compared with 21,918,000 achieved through these same services in the same period last year. The increase was almost 40%.
The music streaming and generates 80% of total revenue generated by digital formats, with purchases of songs and albums (17.8%) and mobile products (1.76%) down more and more.
In fact, there is another important figure: streaming music alone already generates almost as much revenue as record sales in Spain. According to figures of Promusicae, the physical audio market (excluding videos) meant 31.573 million euros in the first months of 2015, while the streaming is increasingly closely with 30.636 million mentioned before.
The Streaming is Fashionable
That digital music, and especially the streaming, is booming is nothing new. In 2014, for the first time in history, the streaming generated more revenue in the United States that the sale of traditional CDs according to the RIAA and generalizing internationally, the digital matched in revenue to the physical format last year, according to IFPI data.
In other countries, the difference is even greater. Known is the case of Norway, where 81% of the total profits of the music market correspond to those generated by the streaming.
Gone are the physical sales (12%) and digital sales (7%). In fact, as we speak here how the IFPI says that fashion is killing streaming downloads without permission of music protected by copyright.
However, not everything is a bed of roses for music streaming services. To the criticism from some musicians they have recently joined the criticism from many record companies, who do not consider that offering free unlimited music, a lot of publicity have them profitable.
When a few weeks ago we talked with House of Hit, and although almost all they stressed how important it was Spotify to be known, acknowledged that they had not seen a penny.
The reality of streaming services is another: lose money. In the case of Spotify, it entered 1,080 million euros in 2014. However, after paying royalties and other expenses, in the end, ended the year with record losses: over 165.1 million (as a reference, 91, 2 million lost in 2013). See also influences how is the recent arrival of Apple Music to the sector.
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