Ole signs Haley to New Worldwide Deal! New EP!

[Tusk]

In some of our thoughts here we are, undestandably, mixing a lot of things together, because of course they are interconnected. But I think we might distinguish four aspects that are not really the same:
1. Haley as her own artist (LU, EP etc. ... for the enjoyment of her as a musically creative person who can also perform their own material top class)
2. Haley as a great singer (NOJO, PMJ, much of Caley ... just for the entjoyment of a great voice, great singer, great interpretations ... singing great songs by others)
3. Making a living, being a artist to pay the bills (placements, ads, Cancun etc.)
4. Haley as an artist in more than music (acting, voice-over, artistic video shoots ...)

Each of these has their particular aspects and tie-ins. Right now we are hoping that (2) might help with (1), but we're not certain. Certainly (3) is a requirement to get (1) going big-time (e.g. a self-managed tour), and (4) helps with (3) perhaps.

Down the road it should all mesh, and my impression is that Haley is not just randomly grabbing at opportunities that happen to come by her through acquaintances and people she meets, but that - while of course much happens through her networks and circles, as these things do happen - she is very conscious of where she wants to go and how she wants to go about it. I don't think she is mainly reacting opportunistically to what becomes available, which I think many others out there do, but is using the opportunities as part of her "plan for herself".

Yup... that's why it's taken 'so long' ... she said as much in the UK, it was tough being patient, but relieved that the ball's started rolling.

We all knew it was impossible she was getting no offers... most likely is she knew the line that had to be met as far as a freedom and contract balance, as well as how any deal would help her grow, before she signed the dotted line

[30CamdenSquare]

Down the road it should all mesh, and my impression is that Haley is not just randomly grabbing at opportunities that happen to come by her through acquaintances and people she meets, but that - while of course much happens through her networks and circles, as these things do happen - she is very conscious of where she wants to go and how she wants to go about it. I don't think she is mainly reacting opportunistically to what becomes available, which I think many others out there do, but is using the opportunities as part of her "plan for herself".

Yup... that's why it's taken 'so long' ... she said as much in the UK, it was tough being patient, but relieved that the ball's started rolling.

We all knew it was impossible she was getting no offers... most likely is she knew the line that had to be met as far as a freedom and contract balance, as well as how any deal would help her grow, before she signed the dotted line

I agree. I think after Haley was dropped by Interscope, she put a lot of her efforts into getting herself established at Ole, which was a very smart move, on her part IMO.

Not only has she been able to improve her abilities as a songwriter & meet a lot of different songwriters, working on songs for other artists, but she probably has something like an EP + a full albums worth of material written for herself. Which means any momentum she gains going through the promotional period for the EP, won't be put on hold while she writes new songs for an LP, and they can go almost seamlessly from promoting the EP to promoting an album.

Btw, I hope no one is thinking that Haley's new EP (or her next album for that matter) needs to perform as well on the charts as "Listen Up" did in the beginning, for Haley to be able to tour, or for Ole to get behind promoting it. I follow quite a few new artists & most of their albums don't spend much, if any, time in the BB Top 200. I'm not saying that isn't important, but all of them have a big enough fanbases to make $$ touring (& so does Haley) some of them even as headliners at mid-size venues. Most of them have appeared on TV at least a few times, get song placement in shows AND get some radio airplay. So I don't think the Idol's contracts w/ Interscope were the industry norm. I think they were much worse. It won't be like that w/ Ole.

One last thing, there are plenty of radio stations (especially in the AAA format) who play songs by lesser known artists over a good chunk of their overall airtime everyday. Some Alt. Rock & HAC stations are good that way too, but it varies quite a bit station to station.

[Kevin]

For "Free," Haley did a promo tour where she performed at radio stations. In retrospect, that may have been more about the label solidifying their relationship with the stations than promoting the album.

Book a couple of more flights, and a couple more rooms - and some real venues -- and you would have a real tour.

Now, that might not be feasible given the ticket sales for an unknown artist. But coming off of Idol back in the day? It might have worked if they coupled radio station interviews in advance to promote the event.

If it enjoyed only modest success, it might not cost them more than the more limited radio-station tour.

Well, she seems to have a relationship with House of Blues. There is at least one in every major market. I can see her playing there.

[Tusk]

ole (oh-lay) ‏@olemajorlyindie 3m3 minutes ago
We are seriously excited here people! We're about to hear @haleyreinhart's new EP y'all! #newmusic… https://instagram.com/p/2UVCAODPbF/

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Tusk ‏@HaleysTusk 15m15 minutes ago
Tusk retweeted ole (oh-lay)
Is that the project @EIGHTYEIGHTFILM @WestlakeStudios was working on on the screen?
#HaleyReinhartMakingTheEP

[john]

This looks like the place #hitfactory #miami #studioA




Among the songs recorded there

[Tusk]

DanielWillsMEDIA ‏@dwillsmedia 2m2 minutes ago Golden Glades, FL
@haleyreinhart and I just absolutely rocked a show in front of @olemajorlyindie! Toronto in the… https://instagram.com/p/2UanIBpz28/

danielwillsmedia
4 minutes ago · The Hit Factory of Florida
@haleyreinhart and I just absolutely rocked a show in front of @olemajorlyindie! Toronto in the house! So honored to perform with such an amazing singer! Stay tuned for Haley's new album...it's AMAZING!!!! #haleyreinhart #ole #newmusic

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DanielWillsMEDIA ‏@dwillsmedia 4h4 hours ago
Photo: In Studio A of The Hit Factory tonight rocking a show on guitar with Haley Reinhart…this control room has recorded more hits than possibly imaginable…I’m in my seventh heaven in a place like this. ??❤️ (at The Hit Factory of Florida) http://tmblr.co/Z_bxxx1k6ZUgd

[Rachel]

CANNOT CONTAIN MY EXCITEMENT.

[Miguel]

Daniel describes himself:

"I work for Chrome Hearts, I'm head sound engineer at the Gibson Guitar Showroom Miami..."

Response on Instagram to his pic with Haley:

Wow! She is impressive! She did a cover of creep that's is amazing!

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Ole's from Toronto. Haley calls Los Angeles home.

So, why Miami, Florida?

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I discovered Ole is hosting a corporate event.

jinglejared
1 day ago
Miami #day1 @olemajorlyindie #oleallday #jinglealltheway #jackdaniels

jinglejared
35 minutes ago
Hit Factory Miami

Fast Company:

Jared Gutstadt likes to paraphrase a quote he heard about the nature of randomness: "You hope to bump into a genius, and if you’re lucky, that genius will make you a lot of money."

Gutstadt knows that business succeeds for a lot of reasons, hard work and big ideas chief among them. But a central reason Jingle Punks—a music composition and licensing service—has succeeded has little to do with work or ideas. It has to do with meeting the right business partners at the right time—collisions that often came down to chance, randomness, or just plain luck. Even Jingle Punks’s recent acquisition by William Morris Endeavor stemmed from a random encounter: On a patio at an L.A. club, Gutstadt chatted up a woman who turned out to be the daughter of a prominent music agent, which led to a meeting with a colleague of his, who wound up joining WME.

Sometimes, when partners ask Gutstadt about his business plan, he simply replies: "I’m going to continue to collide with people outside in the universe." Through traveling, through being open, through getting out the door, Gutstadt has continually made chance encounters that have taken his business to the next level (or given birth to it to begin with). "The lesson has been: Don’t stay at home."

Gutstadt has mastered the art of maximizing a chance encounter. Interested in emulating his success? Here are just a few of his stories.

The Encounter That Set The Stage

Jingle Punks wouldn’t exist at all were it not for a chance run-in Gutstadt had about seven years ago. He was dating a woman (now his wife) who had a friend, who had a boyfriend, and one night—later dubbed "the Big Kahuna"—Gutstadt met this girlfriend’s friend’s boyfriend, Dan Demole. The night began with a few drinks in Gutstadt’s yard on New York’s Lower East Side. Gutstadt instantly felt a quick bond, and confided to Demole—a computer engineer—a business idea he had around a music licensing database.

The group then made their way to Brooklyn for a Black Keys concert. After, at a Mexican restaurant, he and Demole got in a playful "margarita fight" (what it sounds like; they were soon thrown out of the restaurant). Gutstadt changed, they moved to another bar, and the night ended up with Gutstadt "wiping out through a set of bar stools at Beatrice Inn." In short, he recalls, "it was one of those nights that you usually have with someone you’ve been friends with for five years."

The next morning, Demole showed up at Gutstadt’s place. "Remember that idea we were discussing?" he asked. The next day, they wrote an informal equity agreement on the back of a napkin at a Chinese restaurant. Six months later, Jingle Punks had MTV as a client.

Nas On A Plane

As a side project at Jingle Punks, Gutstadt developed something called the Hipster Orchestra through which he would orchestrate songs by the Strokes, Coldplay, and the like. A few years ago, at Cannes, Gutstadt went to see Nas. Swigging whiskey for courage, Gutstadt made his way near the stage, and was able to grab a quick moment with the rapper as he got off the stage. "I have an orchestra, I’m a huge fan, I’d love to work with you," he said. It was a risk, Gutstadt knew, but so are all good collisions with the universe. Nas was surprisingly receptive, giving Gutstadt the name of his manager. Gutstadt followed up with the manager, who showed some interest, but then months passed, and nothing happened.

Until the universe intervened. A few months later, Gutstadt was on a plane to Las Vegas to meet his wife for the weekend, and it turned out the person sitting next to him was . . . Nas. "I was like, Oh my God, this cannot be real." Gutstadt asked Nas if he remembered their meeting at Cannes, and Nas said yes, and that he and his manager had discussed the potential partnership.

Gutstadt then gave Nas some space, turning to do some reading. Gutstadt had been making his way through the 33 1/3 book series on landmark albums and artists (he had recently read a book on Nas’s "Time Is Illmatic"), and he happened to be reading the book on Celine Dion at the moment. Nas, who was reading political nonfiction, seemed to find Gutstadt’s reading choices amusing. The two started talking more organically, and developed a rapport. "By the end of the flight, we were vibing well," he recalls.

In 2014, Gutstadt’s wish came true, with the Hipster Orchestra accompanying Nas at a concert in South Africa. "If I had written down on paper, ‘Do a concert with Nas,’" it couldn’t have happened, he muses. "The way we got there was so wonky, there could never have been a plan."

From Turkey With Vice

About two years ago, Gutstadt took a meeting at the "stuffy office" of an advertising conglomerate in London. This wasn’t really Gutstadt’s scene; his ample-haired Lynyrd Skynyrd look didn't quite fit in with all the suits. A woman who worked at the office approached Gutstadt and said, "You look interesting. What do you do?" Gutstadt told her, and she invited him to a corporate retreat that would take place a few months later in Turkey.

It didn’t feel like a fit for Gutstadt. He threw the event on the calendar, but as the date approached, he felt he wouldn’t go. "I kind of say yes to everything, but because I’d been traveling so much that year, I was inclined to say no," he recalls. He also gets skittish about traveling to new countries. "I have a lot of hang-ups and phobias for someone who travels as much as I do," he says.

Nevertheless, adhering to his philosophy of colliding with the universe, Gutstadt hopped a plane for Turkey. He walked into the conference, stuffed to the brim with folks in "regular-people clothing," but almost immediately he met the other person who stuck out like a sore thumb: Vice Media’s Shane Smith. "We hit it off," says Gutstadt. They spent two days kicking back drinks. And while the conference organizers warned that participants shouldn’t leave the site, Smith and Gutstadt snuck out, taking a car into the hills "to a bizarre bar." One of Jingle Punks's most fruitful business partnerships was soon formed: The company now supplies music for Vice’s HBO show.

As if he needed it, the encounter reaffirmed Gutstadt’s philosophy of opening himself to the universe. "Every time I walk out the door, something amazing happens—mostly because I’m open to it."

http://www.fastcompany.com/3043703/my-cr...and-profit

jinglejared
6 days ago
Ole and Jingle Punks re-writing music history. Starts with a co-branded door and next stop the moon @olemajorlyindie

March 25 press release:

Toronto-headquartered rights management firm Ole has acquired music agency Jingle Punks in a deal that will merge the companies’ production music libraries.

According to a release from Ole, the acquisition folds the company’s production music repertoire into Jingle Punks’ existing catalog, doubling the latter New York-headquartered music shop’s offerings.

The transaction “creates one of the world’s largest production music libraries and underpins Jingle Punks’ juggernaut brand with global reach via Ole’s distribution network and world-class infrastructure,” reads the release.

In addition, through the deal, Jingle Punks gains access to Ole’s global digital rights collection and over-the-top (OTT) rights capabilities, opening “cross-platform business development and services opportunities for both companies.”

The financial terms of the deal have not been disclosed.

Jingle Punks’ offices in New York and LA will continue under the leadership of founders Jared Gutstadt (pictured, left) and Dan Demole (right), while the company’s Nashville outpost is to be folded into Ole’s local operation.

“Ole looks forward to working with Jingle Punks towards a future that combines our respective strengths to great advantage and for the benefit of our clients,” said Robert Ott, CEO and chairman of Ole, in a statement. “Jared and Dan are great entrepreneurial talents who have built the most exciting brand in production music history, and we look forward to increased profitability together.”

Demole, COO and founder of Jingle Punks, added: “This is the kind of deal we’ve dreamed of since our founding in 2008: working with an independent and entrepreneurial company such as Ole that, like Jingle Punks, has asserted itself as a leader in their space by aggressively breaking conventions.”

Gutstadt added: “Ole’s sensibilities are keenly matched with ours. We continue to focus on the core assets and core capabilities of our business and grow.”

[john]

Translation (#letsgetreal)

DanielWillsMEDIA ‏@dwillsmedia 2m2 minutes ago Golden Glades, FL
@haleyreinhart and I just absolutely rocked a show in front of @olemajorlyindie! Toronto in the… https://instagram.com/p/2UanIBpz28/

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Jared Gutstadt ‏@jinglejared 3m3 minutes ago
@haleyreinhart killing it! https://instagram.com/p/2Uf9BkigqD/

[riley]

Good find... More idol wear being recycled? Purple boots are missing - I loved that outfit