#music publishing

[teach-or-trav]

Studying 📚 the craft and learning about the music business, and music publishing.

How yall like my study aesthetic? 🤔💯

[tagohd]

You know what I just realized is really fucked up about Spotify's decision to demonetize most of the tracks on their platform (aside from the fact that that alone is really fucked up to begin with)? You have to pay to get your songs on there in the first place*! And, on top of that, they already pay less than other streaming platforms: between 0.01¢ and 0.28¢ per stream, compared to 0.42¢ to 0.8¢ from Apple Music (and, yes, that is fractions of a cent, not a typo; streaming royalties are tiny). Just think about that. I had to pay $50 for the privilege of getting some pocket change from Spotify.

I'm tempted to say that I won't be uploading any of my future releases there, but I guess that kinda contradicts my previous post of, "I don't really care about the money. I just want people to be able to listen to my music." But, at the same time, I kinda don't see the point of paying them anymore. If I wanted to make my music widely available without making any money from it, I could just put it on SoundCloud and YouTube for free.

*To be fair, I didn't pay Spotify itself. To my knowledge, there's no way to upload your music directly to Spotify. You have to go through a distributor, and that's who I paid (CD Baby, in my case). But, I assume at least some of that money went to Spotify, as well as all the other streaming services they sent my song to. Bandcamp, on the other hand, is free; they just take a cut of your sales.

[syrodigital]

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[protoslacker]

At work there was a task to take down a row of plant tables. The tables are made with stacked concrete blocks which support metal table tops. Taking them down means stacking a bunch of block on pallets. It was an opportunity to chat with a young colleague. He told me he likes Country Music, Toby Keith in particular. He also opined that country music has gotten too "pop" and needs to get back to the roots.

I told him that my preferences leaned more to the Americana than Country He seemed to understand. At least I got the feeling that the distinction signaled political differences. But I was surprised he didn't know what Bluegrass is and had never heard of Hank Williams or Dolly Parton--he did know the song Jolene. I was happy to know he like Tyler Childers a lot.

That preference got me looking for this article by Emily Nussbaum. I knew about the article, but thought it was in The Atlantic with its paywall. The New Yorker still lets readers read a few free articles. It's a great article. Nussbaum is a Country Music fan, so she's genuinely interested. The article reinforces the salience of Country/Americana divide and the hard-right politics that forks them. But it also points to music collectives emerging across Nashville thatcould engender change.

The article introduced some new artist to me. I enjoy using Music Map a Website to find similar music. It seems from searching names that many of the Americana artists mentioned in the article show up as being more connected on the maps than Music Row artists are. Perhaps these connections won't pan out for much. Still, organization among artists and solidarity with each other and audiences strikes me as exactly the way things could change. That's true not just for the Country Music scene but in response to authoritarian politics too.

[kenyatta]

The rise in catalog acquisition helps to explain how we’ve arrived at a moment when the pop charts are littered with chunks of old intellectual property. Nicki’s “Super Freaky Girl” and Yung Gravy’s “Betty” are just two high-profile examples; you don’t have to look far for more. The Santa Clara, California rapper Saweetie’s “P.U.S.S.Y. (Powerful, Utopia, Supreme, Sacred, Yummy)” samples Mtume’s “Juicy Fruit,” the basis for Biggie’s “Juicy.” Atlanta’s Latto double-dipped Tom Tom Club’s “Genius of Love,” famously sampled on Mariah Carey’s “Fantasy,” for her song “Big Energy,” bringing in Mariah herself for bonus points. Samples don’t even need to be universally regarded classics to break through, a point Jack Harlow proved when he reused Fergie’s “Glamorous” for “First Class.”

The echoes have grown so constant that self-described music theorists have found fruitful sidelines in doing side-by-side comparisons of the plagiarism charge of the day, game-show style. Lil Nas X’s “That’s What I Want” contains a sly nod towards OutKast’s “Hey Ya” that almost seems like a dare to copyright lawyers or red meat tossed to TikTok detectives; typing the words “Lil Nas X Hey Ya” into Google unleashes a hurricane of conjecture, as well as citations by The Guardian and L.A. Times. Pop-star fashion plate Harry Styles’ “As It Was” so nakedly recalls a-ha’s “Take On Me” that fans did mash-ups of the two tracks, and Genius even lists “Take On Me” as a “sample” on “As It Was,” though it isn’t technically credited in the proper liner notes.

Peering at the pop charts with this mindset, every song becomes a potential whodunnit, rife with potential red herrings. When the brash British pop singer Raye sings “I don’t wanna feel how I did last night” on “Escapism,” is that an intentional reference to a certain Red Hot Chili Peppers classic? In some ways, the Hot 100 right now feels as recursive, all-encompassing, and allergic to new input as the Marvel Cinematic Universe.

Perhaps some of this recursion is a reflection of a changing guard. Gen Z grew up with even more media at their fingertips than previous generations, and a cohort for whom TikTok is the dominant medium might have fewer hang-ups about repurposing looks and ideas wholesale. But just as with the MCU, once you tune out the parade of surface nostalgia, it’s easy to hear the massive engines of corporate consolidation whirring beneath, and they’re being fed by companies like Primary Wave and Hipgnosis.

[cantquitu]

Can you explain what this means for any of Harry's songs? Does Harry get some of this money?

https://www.billboard.com/pro/harry-styles-songwriter-sells-catalog-influence-media/

Harry Styles Songwriter Tyler Johnson Sells Partial Catalog to Influence Media

The deal covers 67 songs Johnson wrote for Styles, Meghan Trainor, Sam Smith and more between 2012 and 2020.

Thanks.

x No, this deal is for Tyler's share of publishing rights for the songs he has written for artists including Harry. This means that Tyler's future publishing income will go direct to Influence Media. Tyler hopefully made a lot of money from the sale.

Harry won't have made money directly from the deal (his share of publishing isnt affected). Influence Media will seek to exploit their publishing rights in the future. If they do their job well, Harry may benefit inadvertently.

[mubutv-blog]

Top A&R Executive REVEALS What Makes an Artist Successful

📢 Insiders! 🎤 Dive into the MUBUTV Music Business Insider Podcast today with us as we welcome Brett Sweeney, the visionary A&R executive at Empire Music. Discover insider secrets on how to balance creativity and business skills for ultimate success!

⚡️In this episode, you'll learn ⚡️

👉 Practical advice for aspiring music publishers 👉 The importance of environment on productivity and creativity 👉 How to build a strong, passionate team

Insiders! Are you in?

#musicindustry #musicbusiness #A&R #EmpireMusic #BrettSweeney #podcasts #musicians #songwriters #creativebusiness

[tefo-lerumo]

a day in the life

[music-matters20]

"For a talented songwriter, working with a good publisher comprises a very rewarding career option, because it creates a career-path that has a clearer horizon and much greater longevity."

David Alexander - Sheer publishing Africa

[dcider]

"Gratitude to MTN Bushfire & Africa Rising Music Reference: A Journey of Inspiration and Growth"

MTN Bushfire and Africa Rising Music Conference

I extend my deepest gratitude for the incredible experience and invaluable insights gained during the recent event. This platform provided an exceptional opportunity to connect, learn, and grow within the vibrant musical landscape.

To the esteemed speakers whose wisdom illuminated our paths:

Juan Aguilar: Your expertise as a composers manager in Paradise Worldwide (Columbia) was enlightening. Your guidance on navigating the intricacies of the music industry is invaluable.

Sarah-Jane Nicholison: As the visionary Founder of Africa Rising Music Conference, your dedication to empowering musicians across the continent is commendable. Your leadership inspires us to reach greater heights in our musical endeavors.

Sizo Hlophe: As Co-Founder of Antidote Music Eswatini, your insights into the industry's dynamics were invaluable. Your contributions have been instrumental in shaping the music scene in Eswatini.

Naimah: Your multifaceted talents as a Singer, Songwriter, DJ, and Mental Health Advocate from Zambia are truly inspiring. Your advocacy for mental health awareness within the music industry is commendable.

Your collective wisdom, shared experiences, and dedication have left an indelible mark on us, igniting our passion and steering us towards excellence.

As the Founder and President of Riska_D_Rollaz Records, this event has been a pivotal moment in our journey. The knowledge gained from these distinguished speakers will undoubtedly shape the future endeavors of our label.

Organizing such a transformative event would not have been possible without the collaborative efforts of MTN Bushfire and Africa Rising Music Conference. Your commitment to nurturing talent and fostering growth within the African music industry is commendable.

This event has not only enriched our professional lives but has also fostered meaningful connections and friendships within the music community. The bonds forged during this time are invaluable, and I am profoundly grateful for these connections.

With sincere thanks and warm regards,

Thabiso Njoko Founder And President Riska_D_Rollaz Records

[audiopublishing]

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[syrodigital]

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[if-you-fan-a-fire]

"PAROLED MAN HOPES TO RESTORE MONEY," Toronto Globe. December 27, 1930. Page 2. ---- J. X. Hearst Says He Will Re-pay Those Who Lost Through Him ---- (Canadian Press Despatch.) Winnipeg, Dec. 26. - Out on parole, after four and a half years at Stony Mountain Penitentiary, Joseph X. Hearst, former President of the Hearst Music Publishers of Canada, the collapse of which sent him to prison on July 26, 1926, plans to repay shareholders who lost small fortunes in his music-publishing firm. Hearst's release from the penitentiary came as a Christmas gift. He was given his freedom Christmas Eve. The song-writer and publisher plans to run a music-publishing concern here, and as a start has 102 song melodies he composed while a prisoner. One is a new prison song. The profits from his publishing firm he intends to put into a trust fund to repay the losses of his old) company.

[brevemusicstudios]

Popular Music Industry Careers (2023)

Looking for an overview about roles in the music industry? Here it is!

IntroductionUnderstanding the Music IndustryThe Music Industry LandscapeThe Songwriters and ComposersThe PerformersMusic ProducersSound EngineersMusic Agents and ManagersMusic DistributorsRecording Industry Job ProfilesRecord Producers: The Musical Conductor Behind the ScenesAll About Sound EngineersMeet the Music MixersMusic Promotion and Management JobsJobs in Music Promotion and…