“Corgan, who’s no stranger to controversy, believes that the music industry is currently structured to prevent artists from achieving the type of success his band enjoyed. In fact, Corgan doesn’t believe the Pumpkins could achieve the success they have, or anything close to it, if they debuted now.”
“SoundExchange has been collecting performance royalties for sound recordings since 1995. To give a little background, most people in the U.S. are aware of entities like ASCAP, BMI and SESAC. For decades those groups have collected performance royalties for musical works [or songs] — the actual musical notes and lyrics that a songwriter creates. Until 1995, the sound recording side of the business, meaning the recording most people would recognize on the radio or on the internet, did not have performance rights in this country.”
“What most bands do not know is that the CD packaging can be a good marketing tool. If you believe in the marketing power of the CD and you want to exhaust its marketing potential, here are the things you should include in your packaging to enhance its marketing power:”
“As the Justice Department presses forward with its lawsuit filed last week against Apple and two publishers for allegedly colluding to raise prices and manipulate the evolving market for digital books, the nation’s other antitrust regulator is weighing whether to approve a transaction that could dramatically impact the development of another digital market: music.”
There is a new phenomenon in the music industry where writers are signing other writers. Moderator (Sue Drew-ASCAP) of “The New Publishers: Writers Signing Writers” panel asked Toby Gad (Songwriter, “If I Were A Boy”) why would a writer decide to sign with a writer’s publishing company rather than a large publisher such as Universal Music Publishing or BMG Chyrsalis? He responded that the advantage is that they get his full attention. He helps them with the process, gets them other projects, and helps them grow. Other large publishers may have 500 writers and a writer may get lost in a large entity and their bureaucratic structures.
When touring, even smaller artists and bands should really think about buying insurance coverage. Demille Halliburton (Managing Director – Music Pro Insurance) indicated that artists should definitely make sure their equipment is covered because stolen or broken equipment could potentially be the end of a tour. In addition to equipment coverage, artists should carry a policy that covers crew injuries as well as injuries to third parties in connection with a performance. For instance, if a band member throws a drum stick into an audience and injures a person, the band may be held liable in connection with the fan’s injury.