A friend of mine sent me a link to unique perspective on Artists vs. Broadcaster debate over the Performance Rights Act.

Cathy Hughes Attacks John Conyers for His Support of Performance Rights Act



Another valuable perspective. Check out who else she’s attacking.

It occurs to me that it is an outright battle just to find the other side of this story. The general public only hears about the PERFORMANCE “TAX” fight, which in itself is a blatant misrepresentation. (The Government will not be involved in the payment system for the peformer’s royalties... no tax collected) The reason is that the media outlets that can spread the news are biased on the issue.

The only reason I even questioned the first news I heard on this was because of a funny feeling in my gut. I had to do some serious digging to get another perspective.

Always Follow the money.

The King Is Dead.

Michael Jackson was an Icon with a capital ‘i’. He took his work seriously and never produced a sub-par piece of work. Whether you like his style, or not, you cannot deny his consistent level of excellence. I remember waiting to watch a new video or listen to a new song when he would be working. My expectation was that it was always top shelf. I don’t remember being disappointed.

His personal life, of course, was a freak-show. There was a sweet innocence about his demeanor. Personally, I prefer not to think he was perverted, that he was trying to go back to another time when everyone wasn’t suspect. I may be wrong, but I prefer not to have to rectify that type of perversion with the art and message that his art portrayed. Some know the truth, but in this day and age you don’t know who’s telling the truth.

It was obvious he was trying to fill a bottomless hole. His plastic surgery, skin color, Neverland. Deep down, I think he was longing for acceptance. Perhaps, from his father. Perhaps from his fans. Perhaps from the press. Perhaps from himself.

Surely he got glimpses of it when each of his projects were released... Thriller had no critics... but I sense it was never enough.

I cranked up BLACK OR WHITE last night. I love that song.. mostly I love the performance. There is so much energy in that performance and so many other MJ creations.

I never idolized Michael Jackson, but I bought his stuff. It was always worth the money. I did my part to contribute to his acceptance, but I’m only human, and in the end, its not the acceptance of other humans that ultimately fulfills.

“If you’re wantin’ to be my brother it don’t matter if you’re black or white.”

Performance "Tax" on Broadcast Radio. VOTE YES! Here's why...

There’s a fire storm raging about the new performance “tax” that is being presented to Congress.

Now, I’m the first to bristle at new taxes, but I got a bad feeling in my stomach when it was the radio stations and NAB pushing to stop it in its tracks. Keep in mind that it was the broadcasters who formed BMI to limit performance royalties paid out to composers and songwriters... (competing with ASCAP) I kept hearing things like greedy record labels.. so I looked into it.

First off, the word TAX... the broadcasters came up with that.. there is no mention of the word in the bill.

Seems that performers are not paid performance royalties in the US. Writers and publishers are, and have been since 1909 or some such year.. but for 80 years, performers are not and have not been paid. The excuse the broadcasters have used for years is the music business is paid via sales as a result of radio air play. Of course, with the advent of illegal downloads, most of that revenue is gone. Additionally, as the major labels dominance continues to wane, smaller labels get more airplay, but continue to get no compensation.

NAB is arguing that it will cause less music to be played on the radio. Like there’s a lot now? Demand will dictate how much music is played on the radio, and having to pay another 1/2 cent royalty to the performer is not going to eliminate profit for the broadcasters.

Music is the reason people listen. Artists should be compensated for their work.

Furthermore, as most are unaware, there are millions collected world wide for US artists on foreign stations, but because the US does not pay, those royalties are not distributed to US artists. That would open those funds up for artists as well.

Get on your horn. Let your congressman know that we want artists to be paid, just like publishers and writers are paid.

Remember, the Big labels.. well when their gone, its just us small labels and musicians left.. and how are we going to change the laws, then?

So, unless you’re not for artist getting paid for performing their works, you should be FOR this bill, not against it.

The House Bill in question is H.R. 848. Check into it, and spread the word. Call your Representative.

Great Songs Will Prevail!

Great songs will prevail and open doors.

However, I think there's an ongoing, basic misunderstanding on who the audience is for a demo. I believe this, because I misunderstood it for years. (Not to mention tens-of-thousands-of-dollars in demos)

There’s a lot of talk about those who can’t hear a song in the raw form. Fact is, there’s a lot of people who can’t, but that’s not the point. The real question is this; Where, in the music business food chain, are you presenting your work? This will determine the level of quality you at which you need your demos recorded.

For instance, if you want to pitch to major artists and labels, you had better walk in with the full guns blazing (master quality demos). It takes time or providence even to get the chance to compete in this arena. Once you've gotten that chance, you have to present relevant and excellent work everytime, or your chance to even have an audience to listen in the future will wane quickly.

When pitching to major labels, you're in the lineup with the best of the best and rest assured, they are putting their best foot forward. The assumption will be that you, too, are submitting the best you can produce. That's a tough, (and expensive) field in which to play. The silk-purse-from-a-sow's-ear illustration applies, big time. If your song isn't ready, no amount of production is going to make it a hit... and the very act of presenting it may ruin your chances (credibility) to be in the first string of presenters in the future.

If we represent our wares in that field, you are in a real sense making yourself the publisher, and the investment of time and resources need to be commensurate with those you’re competing with. The list of great competitors cannot be adequately listed here... its huge.

If you’re presenting your songs to publishers, however, the game should be very different. I say “should”, because it doesn’t take much to “call” yourself a publisher. To make that point short, lets just say that if you sense a publisher can’t “hear” a song in raw form, move on. Find one who can.

As a writer, establish relationships with those who are connected in the industry, and can HEAR a song, through the rough as well as the polished demos. As with everything, there are those can be trusted, and those who can't. Those who are looking to make money from the bottom up (from writers), and those who want to make money the real, legit way (from hit songs) When you find the latter, however, and develop a relationship and trust with them, the game changes in your favor.

You still need to be great at what you do. You still need to be an excellent craftsman. You still need great ideas and the skills to change those ideas into great melodies, hooks that tie those ideas together, etc. But now you have the freedom to do that without spending good money on mediocre/half-developed ideas. That trusting relationship has the potential to give you a perspective you rarely get on your own. A second eye that can see the forest for the trees when you’ve been banging out the same notes and words to the point of insanity. The trusting voice who says “Hey, you said the same thing in Verse 2, that you already said in verse 1”, or, “that’s been said before, but much better than what you’ve written here”. A tough voice of truth that you can trust.

Developing relationships is one of the keys in this business, and I'm not talking about the old its-all-in-who-you-know-good-old-boys-network cliche'. I'm talking about publishers or pluggers who believe in your ability to write and/or those who want to develop you into a great writer. There are few of them still out there. You may have to present some material in "finished" form to open those doors, but once open, those relationships will allow you to grow without spending your life-savings in the process.

The long story short, when you get the idea of all ideas, for the song of all songs, it may be too late to develop the relationships that will get that song heard by the right people, in a timely basis (while the song is still relevant). Develop the relationships now, without ulterior motives. Develop them without the intention of making the best song in your catalog a hit. Go in with the frame-of-mind that thinks that the best song you can write hasn’t been written yet, so when you do write it, you’ve already established the relationships with the right people who are ready to listen.

Yes. Great songs will prevail and open doors. But they have a much better chance if the doors have already been opened and you can just walk through.

TC

Got an iPhone? This might be the reason buy one.

New to the iPhone is Fourtrack, a multitrack recorder of the iPhone. At $10 its a pretty good deal. It creates multiple mono 44.1k audio files and has a slick wireless app to sync each of the audio tracks to the desktop, where they can be used in standard DAW applications. This is a slick easy way for songwriters and musicians to easily capture ideas.

Reminiscent of the old portastudio cassette recorders, the Fourtrack is considerably easier to use, and fits in your pocket.

Check it out. Well worth the investment!

Do You Write or Perform Songs?

If you’re a songwriter, or if your an artist who is looking for great songs to sing, check out Songnation.com

SongNation™ is dedicated to the promotion of Songs and Songwriters.

In their words:

“Music Publishers, Songwriters, Independent Song Pluggers and Authorized Representatives can all take advantage of our system to upload songs. In addition, Pro and VIP accounts have the ability to "Password Protect" songs so that only the people they choose can view their material. Record Companies, Recording Artists, Music Managers, Advertising Agencies, TV and Film Professionals and Others can search our system to find the perfect song for your project.”

Its a fairly new site, but it is beginning to grow. So if you’re a songwriter, you can get in on the new phenomenon. If you’re an artist looking for the right song to showcase your talent, check it out, and keep an eye on it as it grows and attracts new writers.

TuneCarver Music

So. What's A Songwriter To Do?

I started writing songs when I was 13. Learned to play piano for real in the 10th and 11th grade. Played in bands through high school, college and single life. Kept writing and recording. Got married and lost the band gig. Kept writing. Raised kids, kept writing, even for them for awhile. Started writing professionally. Studied the model. Write. Cowrite. Get a publishing deal. Get cuts. Get airplay. Make boat-loads of money. Retire.

Side stories: Napster, mp3 format, broadband, Clear Channel, Record companies alienate (and criminalize) consumers, Major record company model collapses. Goodbye publisher-paid demo. Hello songwriter-paid demo. Hits don’t pay writers $500K anymore... or at least few and far between.

Bands aren’t discovered anymore. They have to build an audience, and then they can bargain for a deal. Trouble is, the deal they’re bargaining for isn’t such a deal anymore. CD sales are going away and the only way to monetize track sales is online.. which the record companies still haven’t figured out.

So where’s the future? Who the heck knows. If the rate of change continues, the industry will look completely different in 2 years, and then again in a year and a half. NSAI is battling in Washington for songwriter rights, and the record companies are battling for theirs at the expense of the artist and the songwriter.

The model has changed and will continue to change. Music sales may never come back to the levels they were, and because of that the major labels may lose their hold on monopoly and distribution (if they haven’t already).

On the bright side, the promotional playing field is leveling. Satellite radio is broadening the venues to hear cool stuff. Indie musicians seem to be making a living, better than before this all came down. Big stars, not so much. Sure, there’s Coldplay, but they could probably do what they did on the latest release without a label, next time.

So what’s a songwriter to do?

Let’s see... Figure out what’s next? Lobby Washington or champion those that do? Worry? Find cheaper demo studios and/or get more efficient at producing them? Network. (trying to replace all the people we knew who’ve left the industry)

I don’t think so. Sure we may need to spend some times in those areas. For some of us, more than others. For some none at all.

Some of these things might be good. Some of these things might give you an edge. Get you in the door. Break through the noise. Grease the palms.

But all of these things add up to squat, if you aint got at least one thing....

Great songs.

Write on.