Wednesday, July 10, 2019
In this video, I talk about artists and labels buying fake views, fake followers and fake streams. I also explain why Walmart is the number one brick and mortar retailer in the whole World. We also discuss why independent artists should create cover songs for free promotional purposes while they build their obscure brands. This is a clip from a consultation session that I had last week with a talented producer / artist manager / record label executive. I also attempt to explain that success does not come overnight and what you will need to do to maintain success over a long period of time. We had a great conversation and I'm happy to be able to share some of the clips from our session with you all. Feel free to leave your comments below and make sure you Subscribe and Like the video.
Tuesday, July 9, 2019
Happy to be a part of this FADER documentary about Atlanta rapper / songwriter Key! aka Fatmankey. I worked with Key! a lot in 2014 while developing the iLoveMakonnen project and have lots of unreleased footage with him. Last month The Fader magazine reached out to me to ask if they could use some of my archival footage in their new documentary. Here's the finished documentary "Spectacular, Immaculate".
Friday, July 5, 2019
In this video, I speak about music publishing, setting up a publishing company and being a co-publisher to a songwriter / composer / producer. When your song or album begins to get streams, downloads, plays on the radio, played on television, or synced, you will start to receive royalties for your music being played (performed). Royalties come from various sources and it is your job as a publisher to be on top of all of the various royalty sources, so that you and your partners will be paid (especially in a timely fashion). A good co-publisher will have various roles within your career as a musician. As a publisher, I usually also take on the role as an artist manager. I do that because, if you aren't a successful artist, then your publishing most likely will not be worth any money. I invest in developing artists, as a record label would (and should). I also manage the artists, that I develop. I am also the co-publisher to these artists, because I find myself responsible for making sure that my artists get paid, all around. In my case, being a co-publisher, is a job where I wear many hats. It is a difficult job because my success is usually dependent on someone else. I speak about music publishing, from my own personal standpoint and I also give my reason for reconsidering signing a co-publishing admin deal with a major publishing company, almost five years ago. Credit to ASCAP for supplying the text info that I use in the video where I discuss publishing recoupment. In 2015, I was Nominated for a Grammy Award for my Co-Publishing and Songwriting efforts.
Wednesday, July 3, 2019
If you are interested in becoming an artist manager, then you should watch this video. In this video, I talk about my experiences as an artist management and how you can come out ahead. I've managed artists for years with much success. I discuss what type of agreements that you may want to have your artist sign and I also discuss management issues such as tortious interference, copyright, publishing and more.
Tuesday, July 2, 2019
In this video, I explain what a "Master Recording" means and what it means to "own your masters". A master recording refers to the actual original recording of a song or album. There are multiple ways to earn money from a song or album in the music industry and royalties derived from master recordings are a huge one. So, if you're streaming Taylor Swift's "Fearless" from Apple Music or buying it on vinyl at your local record store or hearing it in a movie or TV show, you can do that because Big Machine Music (her label) granted a license using their "master" rights. Just because you wrote a song, doesn't mean that you own the master recordings. You may own 100% of the copyright of the actual composition, but if you do not have the original session files from that recording, then you do not have possession of your masters. When labels control the master rights to an album, they agree to give a certain percentage of the royalties from sales to the artist. We don't know what that royalty percentage or Taylor Swift's advances were on Big Machine Records, as her deal with Borchetta is private. The record label keeps the fee for that master recording use every time a Taylor Swift song is performed on TV, played in a movie, streamed on Spotify, etc. Swift would only begin being paid her share on the master side after she earned back her advance money. Credit to Courtney E. Smith for coverage of Taylor Swift's "master recording" feud against Scooter Braun.