Figure 1.
Key codes derived from all data sources.
Figure 2.
The structure of Music Blasting Services (MBS) in the Caribbean.
Table 1.
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 |
[i] Source: Julianspromos 2026 Soca Marketing Services, https://Julianspromos.com/services/soca-music-marketing/
Figure 3.
Integration of platform capitalism, economic gatekeeping, and reintermediation in the Music Blasting Service (MBS) model. Arrows indicate how informational asymmetry, infrastructural dependence, pay-to-play access, and new intermediaries interact to shape artist outcomes and educational insights.
Table 2.
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 |
Figure 4.
Data flow and revenue map in a Music Blasting Service (MBS) release, showing artist payments to intermediaries, royalties returning via aggregators, and data asymmetries concentrated on the MBS Channel (YouTube).
Table 3.
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. |