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2026 Marketing packages offered by Julianspromos_
| Service Package | Features | Price (USD) |
|---|---|---|
| Singles Project and DJ Mixes | Upload to YouTube channel of a single, DJ mix, or music video project. | $99 |
| Riddims and EP Projects | Upload to YouTube channel of a riddim project (compilation) containing 2–4 tracks. | $160 |
| Singles Project and DJ Mixes | Upload to YouTube channel of a single DJ mix or music video project. Also includes a radio station and DJ blast. | $199 |
| Riddims and EP Projects | Upload to YouTube channel of a riddim project (compilation) containing 2–4 tracks. Also includes a radio station and DJ blast. | $250 |
Upload strategy matrix comparing control of engagement signals, monetization, and brand/algorithmic effects_
| Strategy | |||
|---|---|---|---|
| Artist-owned upload | MBS-owned upload | Co-branded / mirrored | |
| Where the video lives | Artist channel | MBS channel (e.g., Julianpromos) | Both artist & MBS channels |
| Who gets the engagement views | Artist | MBS channel (not the artist) | Split across channels (cross-link with end screens/pins) |
| Who gets Ad Revenue | Artist (via aggregator) | Typically, the artist (if MBS does not monetize) | Artist (via aggregator on both) |
| Algorithmic momentum accrues to | Artist channel (authority, watch-time) | MBS channel (not artist) | Both (if coordinated metadata/timing) |
| Brand equity accrues to | Artist | Mixed (MBS “official release branding” & artist web/social handles) | Both |
| Pros | Full data sovereignty; long-term channel growth; cleaner reporting for grants/brands | Immediate reach to niche/diaspora; seasonal amplification (Carnival) | Combines reach with retained analytics; better evidence for funding/brands |
| Risks | May lack initial reach without audience; requires consistent upload cadence | Metrics displacement; diluted artist analytics; weaker sponsor/A&R signals on artist profile | Requires coordination; risk of view cannibalization if poorly executed |
Pedagogical applications of the Music Blasting Service (MBS) model in music industry education_
| Pedagogy Focus Area | Example Teaching Application | Intended Learning Outcome |
|---|---|---|
| Digital Intermediation & Platform Capitalism | Analyze the Julianspromos case to map out how YouTube algorithms, data policies, and monetization systems shape artist visibility. | Students understand platform dependency and informational asymmetry in digital ecosystems. |
| Entrepreneurial Strategy in the Global South | Develop a mock business plan for a regional Music Blasting Service, considering cultural, financial, and policy constraints. | Students gain insight into how local innovation can address gaps in cultural infrastructure. |
| Gatekeeping and Access Models | Compare traditional radio gatekeeping with digital “pay-to-play” promotion models using case data from JulianPromos and Worl Blast Music. | Students evaluate how gatekeeping shifts from institutions to transactional systems in digital promotion. |
| Data Literacy and Metrics Displacement | Conduct a workshop simulating artist release metrics on YouTube, with comparisons to aggregator dashboards to demonstrate how visibility data is fragmented. | Students develop critical data-literacy skills to interpret analytics across multiple platforms. |
| Cultural Policy and Creative Ecosystems | Debate how Caribbean governments could support fair digital exposure through grants or national promotion schemes. | Students connect creative entrepreneurship with policy design for sustainable industry development. |
| Curriculum and Global South Inclusion | Design a short module comparing MBS with influencer-driven marketing in African or Pacific contexts. | Students appreciate diverse models of digital creativity and transnational market logic. |