Foundation for Musicians and Songwriters

Representing the artist that would otherwise not have a voice

Taylor Swift’s ‘Look What You Made Me Do’: A Complete Timeline

Last week was a big one for Taylor Swift. From swiping her social media accounts clean on Aug. 18 to shattering records across the board with her newest single “Look What You Made Me Do,” the evolving pop star’s road to Reputation has been a mix of suspense, excitement, and controversy.

With such a jam-packed 10-day period for one superstar — and the potential for another No. 1 Taylor Swift hit — Billboard wanted to lay out everything that’s happened with Swift in the midst of her latest release. Find a complete timeline below.

August 18: Taylor Swift wipes her social media accounts clean, with all photos and posts on her Twitter, Instagram, and Tumblr deleted. The singer also deletes the avatar picture and header for her Twitter and Facebook pages, which she later replaces with promotional pictures for Reputation.

It’s also on this day that a visit to her official website reveals a blank, black screen in place of her usual promotional and tour information. Fans note that it was exactly three years ago on this date that Swift released her single “Shake It Off” and announced the release of her fifth album 1989, igniting further speculation that new music was on the way.

August 21-23: Over the span of three consecutive days, Swift begins posting ominous short video clips of snakes to her social media accounts, with none of the posts offering more information with a caption. Fans immediately find the snakes to be an allusion to the Kardashian-Swift feud that became public on National Snake Day (July 17) last year. The initial post included only an image of a snake-like tail, the second featuring a coiled snake body, and the third finally revealing the animal’s face.

August 23: After more than a week of mysterious signals, Swift officially announces that the first single from her upcoming album will be released the following night, simultaneously announcing the official release date to be Nov. 10. Her Instagram posts reveal the grungy cover art for her album.

August 24: Kim Kardashian seemingly blocks the snake emoji from her Instagram accounts as Swift’s impending release triggered snake-filled comments on her tweets and Instagram posts.

August 25:  “Look What You Made Me Do,” the first single off of Reputation, is released along with an animated lyric music video. The lyric video, which parodies the animation style of the opening credits for Ryan Murphy’s FX anthology Feud: Bette and Joan, breaks the record for the most-watched lyric video within 24 hours of its release. The video breaks the record previously held by The Chainsmokers and Coldplay for “Something Like This,” with an initial 19 million views. The video has now amassed more than 48 million views at press time.

August 27: Swift debuts the official music video for “Look What You Made Me Do” on the 2017 MTV Video Music Awards, which was immediately released on YouTube after its premiere. Following the popularity of the earlier-released lyric video, the music video breaks the record for the most watched music video within 24 hours of its release, garnering 43.2 million views in its first day — surpassing Adele’s 27.7 million with her “Hello” video. The visual has since been watched almost 60 million times as of press time.

August 28: Since its release, the single lands itself at No. 77 on Billboard’s Hot 100 (dated Sept. 9) after only 3 days of air-play. However, it’s predicted to soar to No. 1on next week’s Hot 100.

 

Music Industry Will Hit $41 Billion By 2030

A Goldman Sachs analyst forecasted that streaming will account for $34 billion of the total revenues.

The global recorded music industry will grow into a nearly $41 billion behemoth by 2030, thanks largely to the growth of streaming, according to Goldman Sachs analyst Lisa Yang and her team.

The Goldman Sachs analyst further predicts that streaming will account for $34 billion of that, of which $28 billion will come from paid subscription while $6 billion will come from ad-supported streaming services. She predicts that another $4 billon will come from performance rights, synchronization will be $500 million, physical and downloads $700 million and other come in at $1.2 billion.

The report further states that thanks to the explosion of streaming, the Universal Music Group and Sony Music Entertainment should carry hefty valuations. Both companies are themselves not listed in the stock market, but the shares of their parents, respectively Vivendi and Sony. Corp., are publicly traded.

Looking at the Universal Music Group, Yang assigns a valuation of 19.5 billion euros, which according to the OandA website, converts to $23.3 billion; while she says that her estimates for Sony Music Entertainment’s performance suggests a valuation of 2.16 trillion yen or $19.8 billion.

Looking at UMG, Yang breaks out her estimates for that company, which helped derive its valuation. In the Goldman Sachs report, she estimates UMG’s revenue at 12.6 billion euros  ($15.05 billion) by 2030 (that’s twice its current level), of which 1.58 billion euros ($1.89 billion) will be from publishing; 9.3 billion euros ($11.11 billion) from streaming; 1.1 billion euros $1.3 billion) from artist services and music licensing; 500 million euros ($597 million) from merchandising and 150 million euros ($179.2 million) from physical and download sales.

In 2016, U.S. recorded music sales were up by double digits for the first time in nearly 20 years to 11.4 percent with $7.65 billion in revenue, according to the RIAA. That was up from $6.87 million in 2015. Although the music business showed signs of a recovery at the half-year mark, the 2016 year-end results show more significant growth, led by streaming revenue. This was the first time since 1998 that the U.S industry experienced a double digit increase in overall revenue.

How Streaming IS Changing the Sound of Pop Music

In 2015 the U.S. music industry made more money from streaming than from CDs or digital downloads. Streaming platforms now boast more than 100 million paying subscribers worldwide. And the popularity of these services continues to rise, with more than one trillion plays logged last year alone. The times, they are a-changin’.

In case you haven’t noticed, the way we consume music is shifting—and that is impacting artists. (We’ve all seen the pitiful royalty statements and scathing op-eds. And who could forget Taylor Swift’s epic 2015 fallout with Apple Music? But amidst all this talk, no one’s mentioned how the rise of streaming will affect the actual sound of pop music. Streaming will change not only the way pop music is consumed but also the way it’s created. This shift will likely redefine what future hit records sound like. Surprised? You shouldn’t be. There’s always been a close-knit relationship between music, medium, and distribution. For proof, just look to the past.

Built for Radio

In the 1960s, Motown built records for radio. Short songs allowed for the regular interjection of ads, and long intros gave DJs the freedom to talk over tracks. During the 1980s, the dawn of the CD gave way to longer-form content. The length of an average album increased from 40 minutes to well more than an hour. And since it was no longer important to maintain the integrity of vinyl grooves, records started sporting more low end and louder levels. Is it any surprise that hip-hop emerged as a dominant genre during this time? During the 2000s, Apple’s decision to unbundle the album and offer single-track downloads on iTunes shifted the trajectory of the music industry once again. After an album-oriented trend that lasted decades, singles once again became the primary focus.

Along the way, our listening habits evolved too. As on-demand, à-la-carte platforms like iTunes and Spotify emerged, attention spans narrowed. Even I can’t remember the last time I listened to an album from start to finish. Today, music discovery is like mining for gold. We cherry-pick the best songs off albums, curate playlists of our favorite tracks, and ignore the rest. And once we start listening, we’re more impatient than ever. In fact, there’s nearly a 50-percent chance you’ll skip a song before it’s over. Why suffer through a dull bridge, an uninspired outro, or your favorite artist’s “deep cuts?” You’ve got places to be!

Today’s music makers have evolved to serve this ever-changing audience. As long-form content has given way to singles, concept albums have become relics of yesteryear. Albums are now more likely to serve as repositories for singles. And while we may feel nostalgic for iconic albums such as The Dark Side of the Moon, Thriller, and Sgt. Pepper’s Lonely Hearts Club Band, there isn’t much of an incentive to create their modern-day equivalents.

An Emphasis on Sales

However, throughout the history of the music business, the goal has always remained the same: Encourage listeners to purchase records. The music industry as we know it was built to inspire these one-off transactions, and the traditional pop music-making process evolved to follow suit. Infectious, hook-heavy records were crafted to drive listeners to checkout aisles. The biggest hits seemed inescapable for a month or two, but often disappeared as quickly as they emerged. But as far as the music industry was concerned, this was irrelevant. Once a purchase was made, it didn’t matter whether a record was listened to or not. As long as people bought the CD or downloaded the song, labels were happy.

But streaming has completely changed the game. For the first time, financial success is no longer based on onetime sales, but rather on ongoing play. The more a track is played, the bigger the payout. The implications of this shift are massive. In fact, it’s likely to disrupt the entire music business yet again.

On streaming platforms, flash-in-the-pan tracks that burn bright and fade fast are less lucrative than ever. Current per-stream payouts are nothing to write home about, and these tracks won’t stick around long enough to produce meaningful returns. But payouts will continue to rise, and future plays will be worth much more than they are today. And so the most profitable pop songs will burrow their way into the hearts of listeners, inspiring millions of streams for years to come. In fact, the biggest hits may even increase in value as time goes on.

This shift introduces a powerful new incentive to foster deeper, longer-lasting relationships with listeners. While tracks still need to be hook-laden enough to inspire an immediate connection, they must also be worth listening to hundreds, if not thousands of times. Gone are the days when an artist could stuff an album with filler and rely on the strength of a single to drive sales. Today, there’s nowhere to hide. Songs are evaluated on an individual basis, and their success is determined by merit alone. Artists with the ability to master the long game will win. One-hit-wonders won’t stand a chance.

Loudness War Truce

Evolution in streaming technology will also affect the sound of pop music. For example, most streaming platforms now automatically adjust the volume of different tracks so they play back at an equal level. This seemingly inconsequential feature will likely end a decades-long arms race known as the “loudness war,” where artists and labels compete to release the loudest records. Without any incentive to crush tracks, records will be mixed and mastered at much more conservative levels. And this means they’ll have more punch, impact, and dynamics—and sound better!

But what will the pop hits of the future actually sound like? We can only guess. As terrestrial radio continues to become less relevant, arrangements and song structures will likely become more fluid. New, innovative mediums may even emerge. Who says a recording has to offer the same experience with every play? What if tracks evolved over time? What if, after 100 plays, a bonus verse emerged? As play count becomes a dominant metric for measuring the success of tracks, ideas like these are ripe for exploration.

And the impact of streaming will extend far beyond the music-making process. It will have a profound effect on the way music is marketed and promoted as well. In a world where a sale is no longer the goal, there’s less of a need to build up hype before an album’s release. In fact, some artists are already abandoning traditional album releases entirely. Beyoncé dropped her last two albums without any prior promotion whatsoever. As more listeners adopt streaming platforms, artists will need to find new ways to foster longer-lasting, more consistent levels of engagement with their audience.

If any of this leaves you feeling discouraged or intimidated, keep your chin up. I’m optimistic about the impact streaming will ultimately have on the music industry. I believe it will usher in a new era of artistic innovation, and foster deeper, closer connections between artists and their listeners. And some things will always remain the same. Exceptional artists with something unique and special to say will stay in high demand. Great songs will still rise to the top. But one thing’s for sure—as streaming becomes the dominant platform for music consumption, the sound of pop music will undoubtedly change. Will you change with it?

 

Prince’s Estate Signs With Universal Music Publishing

Universal Music Publishing Group announced Wednesday (Nov. 2) that it is the exclusive worldwide publishing administrator for Prince’s entire song catalog — released and unreleased — effective immediately. Terms of the deal were not disclosed, although a source tells Billboard it is a “long term agreement.”

According to the announcement, UMPG is “responsible for servicing and administering Prince’s expansive catalog of songs” and will “work closely with the artist’s estate to develop new creative outlets for his music.” Before his death, Prince and his staff managed his publishing catalog, with Peermusic handling back-office administration, after an earlier UMPG contract ended in 2013.

UMPG chairman and CEO Jody Gerson, said to be the company’s key negotiator in the deal, said in a statement, “We’re humbled to be entrusted with Prince’s catalog and I’m grateful to my entire team for their work in making this agreement a reality. With the timelessness and genius of Prince’s music, there are no limits to what we can achieve working with his estate. Prince’s popularity will only continue to grow around the world.”

Lucian Grainge, chairman and CEO of Universal Music Group, said, “I congratulate Jody and her team on this landmark deal. Since joining UMPG as chairman and CEO in 2015, Jody has done a remarkable job at developing and signing some of the most important songwriters and recording artists in contemporary music highlighted by the addition of Prince’s incredible catalog of work.”

Bremer Trust, the court-appointed temporary special administrator of the Prince Rogers Nelson Estate, hired longtime Prince associates Charles Koppelman (who, as head of EMI Records, signed Prince to his first post-Warner Bros. deal in 1996) and L. Londell McMillan (who was the artist’s manager and/or attorney for more than a decade) and as advisers on the musical holdings. They commented in a statement, “We are pleased that UMPG shall once again administer Prince’s music publishing worldwide and assist the estate by giving Prince’s iconic music catalog the proper care and support it deserves. With this major agreement, the estate maintains ownership of Prince’s music, and now legions of fans from around the world will have even greater opportunities to continue to delight in his incomparable songwriting and musical expression.”

Negotiations for the licensing rights to much of Prince’s overall catalog, as well as to four decades’ worth of unreleased material, are ongoing. The advisers are considering multiple offers, McMillan confirmed to Billboard earlier this month.

Prince’s longtime label Warner Bros. announced that it had secured the rights to the first releases since the artist’s death on April 21: a 40-track greatest-hits compilation called Prince 4Ever, out Nov. 22, and a deluxe edition of Purple Raincontaining a full album of unreleased material, out early next year. The albums are likely the first of many to come from the singer’s vast archive of recordings. In the years after Prince’s initial deal with Warner Bros., which spanned from the beginning of his professional career in 1977 to 1996, the artist — who railed against the traditional label system and doggedly (and, at times, dogmatically) insisted on controlling the rights to his own work and likeness — struck many different one-off deals with labels and streaming services, and even returned to Warner Bros. in 2014 for a pair of new albums, and a renegotiation that saw him gaining at least some of the rights to his Warner catalog.

One high-placed source opined to Billboard that the recorded-music deal is “Warner’s to lose,” citing Prince’s long history with the company and the good will fostered by the 2014 deal.

Since his death on April 21, Prince has sold 1.95 million albums and 4.9 million song downloads in the U.S. through the week ending Oct. 6, according to Nielsen Music.

As for performance licensing, Prince withdrew from ASCAP effective Jan. 1 2015, but his music is still available from that PRO for licenses that were in effect as of that date. ASCAP says that some of those licenses-in-effect expire at the end of this year, while others will continue in effect for several years. So whatever PRO signs a deal, will even get the Prince catalog for ASCAP licenses expiring at the end of this year too, like the one with Radio Music Licensing Committee. A source tells Billboard that the estate is still in the process of selecting a PRO and a decision is expected in the coming weeks.

Prince apparently did not leave a will, which has made the management of the estate deeply complicated.

About the Foundation for Musicians and Songwriters

The Foundation for Musicians and Songwriters is an IRS 501c3 Public Charity that is dedicated to helping Musicians and Songwriters develop their careers in the Music Industry.  We do so without taking a penny or rights from the artist we represent.

To Subscribe to our Music News Updates, Click Here

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6 Steps to Streaming Success on Spotify

Whether you like it or not, there’s no denying that the music streaming industry is continuing to grow at a rapid pace. With Spotify recently hitting a new milestone of 30 million subscribers, we think it’s a wise decision for all independent artists and labels to strengthen their presence on the service.

To help, we’ve compiled these six super easy action items that we’re confident will make a difference in your success on Spotify. Try them out!

1. “On air, on Spotify”

If your music is “on air” – meaning on the radio, YouTube, SoundCloud, or anywhere else online — it should be available to stream on Spotify. This way, you’re both monetizing your music and encouraging playlist adds and profile follows for continued listening.

2. Verify your profile

By verifying your profile (similarly to Twitter), you have the ability to directly communicate with your fans and be highlighted with Spotify’s check of approval. These profiles not only show off an artist’s discography but also house your tour dates, merchandise, biography, photos, and allow you to toggle over to view your playlists on your user profile. A verified profile allows you to communicate with your fans within Spotify through the Spotify Social and Discover feeds, and in-­client messaging. Every time a new piece of content is released ­(new single, EP, album), your fans get a push notification, and every time you add tracks to your playlist, all followers of that playlist will get notified.

To sign up for a verified page, simply fill out the Spotify Verification Request form.

3. Use Spotify as a promotional channel

Think of Spotify as a social network that allows you to monetize your own content in a creative, promotional way. On Spotify, you can gain a follower base, which in turn becomes a promotional channel­. Your Spotify followers receive notifications about updates to your content and your listening habits. Sharing your Spotify profile across your artist properties and socials will drive fans to follow you on Spotify, and allow you to engage in conversations with your fans.

Here are some practical ways to grow your Spotify followers:

  • Follow artists you like to help your fans discover the music you’re listening to.
  • Create and share your playlists.
  • Share across external social networks and encourage conversation when sharing (i.e. ask your fans which tracks they’re into).
  • Share single tracks and albums you’re listening to, and ask fans which playlists you should follow.
  • Add Spotify links to YouTube and other video descriptions.
  • Add the Spotify Follow Button to your website to allow fans to follow you in an easy single click without leaving your website.

4. Create quality playlists

Similar to how a DJ would curate a mix for a radio station or club, streaming services use playlists as an easy way to share tracks and promote discovery.

Keep these tips in mind when creating your playlists:

  • Ensure your account is never empty, and that you have at ­least 1­2 public playlists available.
  • Focus on one playlist –­ choose one to maintain, and add to consistently.
  • Adding tracks on a regular basis is key. The more frequent the adds and the bigger the playlist, the better. Each time you update your playlist, it will appear in fans’ Discover feeds, and followers of the playlist will be notified.
  • Share it. Actively clicking “share” ensures you reach your fans. You’ll find the “share” button towards the top of each page, or right click (cmd+click on Mac) any title to copy and paste the link to be shared across other social platforms.
  • Share with messages: Include text when you share to help your story stand out.
  • Listen to music from your Spotify account. You’ll appear in the live ticker feed (on the right side of the Spotify client), and you’ll generate stories through Discover.
  • Add themed playlists. Once you’ve grown one playlist, add more niche, smaller playlists around certain events or themes.

5. Put the Spotify Play Button on your website

Spotify provides a quick and easy embeddable code that you can put on your website so that your fans can listen to your playlists and discography. By putting this Spotify Play Button on your website or Tumblr, your fans can listen to your music while continuing to engage with your site.

To get the button: just right click on the playlist, track or album on Spotify and select “Copy Embed Code.” This copies the link to your clipboard. Then, paste the code into your website and the Spotify Play Button will show up on your site.

6. Track your metrics

Next Big Sound provides free up-to-date analytics for artists. When you log in, you can see your growth in followers, streaming data, and the effects of your social media campaigns. You’ll be able to track how all of these best practices grows your streams and revenue.

Apply to see your Spotify data here, and read this overview for a full breakdown of how to use Next Big Sound.

About the Foundation for Musicians and Songwriters

The Foundation for Musicians and Songwriters is an IRS 501c3 Public Charity that is dedicated to helping Musicians and Songwriters develop their careers in the Music Industry.  We do so without taking a penny or rights from the artist we represent.

To Subscribe to our Music News Updates, Click Here

Click to Subscribe to our Newsletter

Top-10 Tips to get a Professional Sounding Mix

In today’s tech world, everyone that has a computer is expected to produce expert quality projects.  This is somewhat easy when one needs to create a PowerPoint presentation or a Word Document, but it is not so easy when the final product requires unique skills.

It takes years to get to the point to create studio quality albums, but there are key areas to focus on that can make a night and day difference in the sound quality of the final output.  I put together a top-10 list that can help get you thinking like a Music Engineer/Producer:

1. Check the session over before you start

Make sure you have all the parts, esp. if mixing for someone else. You would be surprised how often a part gets forgotten (Check the rough mix too!) & consolidate the files if you can – it makes it easier to “see” what’s going on in a big session, and psychologically it looks neater! It’s a small thing – but when zoomed “out” you will be able to see where everything is, rather than a mass of edits, which obscure the waveforms.

2. Get the timing right

Especially drums –very important that it’s tight if lots of parts are layered. If there is some unintended “Flaming” going on (i.e. transients of 2 snares that don’t start at the same place, or worse kicks! It can sound messy) In the case of kick drums it can make it sound weaker too, which is very often the opposite of why it’s layered with different sounds.

3. Print Virtual Instruments can be useful

Not everything benefits from this, BUT drums do, and it will help you to see if there is any issues with timing. It also stops you fiddling with the samples and sounds, and concentrate on the mix! As it’s a hassle to reprint. It also frees up system resources, if there is a lot of virtual instruments it can suck a lot of computing power, even with today’s systems, and you will be struggling to have enough power to do the mix.

4. Listen Quietly

It will help if you are in a less than ideal acoustic space (if the room is not acoustically treated, it will get worse with more volume!) I have worked in a few weird sounding places! It really helps when you keep the volume down – the more you crank it, the more any issues with acoustics (or lack of) will show up and you will make bad decisions.

5. Subs can be useful

But only if you have quite a large room (Need 12-15 feet in at least one dimension) and your neighbors will not thank you! (Sub’s tend to throw out in all directions, so it often sounds louder than it actually is, away from the speakers)

6. Listen in Mono

It’s hard to do, but very good for balance (check out other mixes, see if you can listen to them in mono – see where things “Sit” and try and work it into your balance). You might find this teaches you more than you think.

7. Be clear on what you – or the client wants

If you are mixing for someone else – ask what they want! It sounds simple but it’s not good making a “banging” mix with hard drums if they want it “Classic & Warm!” LOL ☺ & ask them what they don’t like, and see if you can fix it (there’s a challenge). Be aware also that they may not KNOW what they want, so it can be a tough job to find the right direction for a mix approach, and might take a couple of attempts, but don’t give up! listen to the rough mix, even if it’s bad, it can give a good overview of what the track is about, and also any problems (Can’t hear the vocals, too soft/hard EQ etc….)

8. Take Regular breaks

Ear fatigue is real, and just because you are young, you are not immune! Sometimes it’s hard – but even a 5-minute tea stop can do wonders for your perspective. And if you are the engineer – if you’re old enough to, please DON’T DRINK ALCOHOL while you work – it changes your perception (for the worse) and you will find yourself questioning things, as it dulls your high end.

9. Watch your levels

Start with the faders down if you can (like on a desk) and build a rough balance – if you have difficulty balancing things (can’t get it loud enough, or the fader is at the bottom, and it’s too loud or disappears) you may need to adjust your levels for better gain staging on each part – remember headroom in channels is GOOD – and the more level in each channel, the harder it will be to build a good mix before everything goes red, and in a DAW that’s mostly bad!

10. Reference other material

Reference other material, and level match it – this is very useful for seeing where you are with the tone (EQ) of the mix – and don’t forget to always print an “Unlimited” master pass, that is one without the limiter if you have cranked it hard – mix compression is ok, as long as you like it.
Have fun with it – and if you are working in a DAW (digital audio workstation) you can always come back fresh and go again!

About the Foundation for Musicians and Songwriters

The Foundation for Musicians and Songwriters is an IRS 501c3 Public Charity that is dedicated to helping Musicians and Songwriters develop their careers in the Music Industry.  We do so without taking a penny or rights from the artist we represent.

To Subscribe to our Music News Updates, Click Here

Click to Subscribe to our Newsletter

Chicago Clubs Fined for Back County Entertainment Taxes

Clubs across Chicago have suddenly found themselves in deep water as the Cook County Department of Revenue demands years worth of funds from unpaid amusement taxes.

According to an article from the Chicago Reader, the county code dictates that 3 percent of all ticket sales from venues with a capacity of 750 or fewer, unless the tickets are sold for “live theatrical, live musical, or other live cultural performances,” should be paid in taxes. Small-capacity club Beauty Bar has been asked to pay more than $200,000 in taxes going back at least six years, and President of Hospitality Business Association of Chicago Pat Doerr told the Chicago Reader he represents a half-dozen more clubs asked to pay similar prices.

Most of the businesses the county has so far demanded back-taxes from are venues that primarily book DJ and electronic acts. Beauty Bar owners and Doerr tell the Chicago Reader they thought these establishments were exempt from the amusement tax when the city of Chicago deemed DJ performances to be “live cultural performance” in 2006, but the county says that rule does not apply at its level.

A statement from Cook County Spokesman Frank Shuftan to Billboard Dance reads as follows:

The Cook County Department of Revenue is responsible for collecting the County’s home rule taxes. Among those are an amusement tax which imposes a tax upon the patrons of every amusement which takes place within the County that fails to meet certain exception criteria contained in the County’s ordinance.

The tax in question contains an exemption for live cultural, live musical or live theatrical performances taking place in a venue with a maximum capacity under 750 people. Venues that fail to meet these criteria or the definitions within the ordinance are subject to collecting the amusement tax from its patrons. Pursuant to the evidence currently in our possession, the County believes there is an outstanding tax liability. The Department of Revenue works with venues to address various questions and resolve outstanding tax liabilities.  In the event, the Department of Revenue is unable to resolve outstanding tax liability issues, those matters are then referred to the County’s Department of Administrative Hearings and after a hearing is conducted, the hearing officer will deliver a decision. 

We look forward to resolving this case in a fair and expeditious manner.

Beauty Bar responded to Billboard Dance as follows:

In May, 2015, our under 750 capacity venue Beauty Bar Chicago that provides some of the best live DJ experiences to our patrons on a weekly basis, received a fine from the Cook County Department of Revenue for $198,104.30 for Amusement Taxes owned since 2008.  We were surprised, to say the least, as we have operated under the commonly understood interpretation of the Amusement Tax ordinance, for both the County and the City, that venues under 750 capacity were exempt from this tax as long as they were collecting cover for “live musical or other live cultural performances”.  In 2006 the City of Chicago issued a Safe Harbor Ruling concluding that DJs were considered to be a live musical and cultural performance so long as they manipulated the music, and in general created a live experience.  Thus, as Beauty Bar only collects cover for nights during which we showcase professional DJs that meet all the criteria set forth by the City of Chicago, we’ve been comfortable operating under the assumption that we’ve been exempt from this tax.  Not once had we been questioned by the County about this tax until receiving the bill.

After we received the May 2015 citation, we merely thought the County was looking for us to articulate our position, which we did via phone and email.  We then received a letter asking for us to provide contracts for our DJs, and a signed statement explaining reasons why our venue was exempt.  We easily complied.  Last Fall and Winter they requested more information such as examples of our advertising/posters showing that our DJ’s were prominently displayed, and amounts paid to DJs during 2015 per month.  On February 23, 2016 we received a summons to court, after which we engaged an attorney to defend us.  We became aware that the County was targeting other DJ driven small venues, and thus we engaged with the Hospitality Association of Chicago to coordinate efforts.  During the proceedings this summer, we became alarmed to learn that the County officer Anita Richardson hearing the case made comments such as “Rock, Rap, and Grunge are not fine art, no matter how popular they may be…”, causing us concern that the County may be positioning to not only collect taxes on our DJ driven venues, but also on our small venues that showcase live bands such as The Empty Bottle that for 25 years now has been a staple in Chicago’s cultural fabric.

The great thing about Chicago is that it is ripe with small venues such as ours, and so it’s a shame that the County would attack the very venues that give life to the City’s culture, instead of working on ways to support and cultivate such enterprise.  As it is, we pay an exorbitant amount of tax, in one of the nation’s highest taxed cities.  We hope that eventually common sense will prevail, and that the County will come to realize they are attacking some of Chicago’s most important cultural contributions to the world.  Chicago invented the idea of a DJ being an artist, and spawned House music, one of the world’s most popular musical genres.  Last year the City of Chicago Department of Cultural Affairs presented a summer long showcase on House Music’s 30 year history.  Some of the world’s best known rappers come from Chicago.  If these proceedings continue on, and Beauty Bar is forced to continue expending legal bills to defend itself and the idea that rap, house, rock, and country are indeed ‘art’, it will become impossible for us to continue operating.  This amount of tax, both the back-tax they are seeking and having to pay this tax on an ongoing basis, would simply put us out of business.  Again, we hope this will not be the case, and that the County officials will not take the preposterous position that a government body ought to determine what is and what is not considered to be ‘art.’

About the Foundation for Musicians and Songwriters

The Foundation for Musicians and Songwriters is an IRS 501c3 Public Charity that is dedicated to helping Musicians and Songwriters develop their careers in the Music Industry.  We do so without taking a penny or rights from the artist we represent.

To Subscribe to our Music News Updates, Click Here

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What Prince should have done with his Estate

Few artists are as determined to control the rights to their creative work as Prince was, making the fact that he apparently died without a will astonishing. An estate plan would have appointed his heirs and given clear directions about the use of his music and real estate, and avoided the uncertainty that now surrounds the management of his massive, multi-million-dollar estate. As the situation continues to unfold, music attorney Daniel K. Stuart outlines some basic steps that artists, songwriters and performers can take to protect their assets and would-be heirs from suffering a similar fate.

1. Hire a Good Trusts and Estates Lawyer — and a Good Music Attorney. They can work together to integrate entertainment assets into an estate plan. Neither will be cheap, but the money will be well spent. For larger estates, a tax attorney is also recommended.

2. Create a Last Will and Testament. This instrument appoints the executor of the estate, names childrens’ guardians and outlines how assets will be divided (to the extent that distribution is not otherwise governed by a living trust). Be sure to designate alternates in case the appointed trustee or executor dies, becomes incapacitated or declines to accept the role’s responsibilities.

3. Consider a Living Trust. This instrument provides for a trustee to hold the legal possession of assets to manage and ultimately distribute them. (A living trust may not be necessary for a married person without children who isn’t yet wealthy.) Also, explore using a “No Contest” clause in the Will or Living Trust. This device essentially disqualifies any heirs from receiving assets if they contest the Will or Living Trust and, where enforceable, can be an effective deterrent against a rogue heir interfering with a carefully constructed estate plan.

4. Create an Advanced Health Directive and a Durable Power of Attorney. The former document provides health care instructions in the event a person becomes incapacitated. (Otherwise, such instructions will be determined by relatives or by doctors.) The latter document appoints a trusted person to make health care and financial decisions in the event of the person’s incapacitation.

5. Manage Your Bank Accounts and Insurance Policies. Make sure that all beneficiary forms for retirement accounts and insurance policies are in order. Investment and bank accounts may require a “POD” (payable on death) or “TOD” (transfer on death) form to make sure heirs get access to money upon the account holder’s death.

6. Appraise Intellectual Property Assets. Catalogs of copyrighted compositions, sound recordings and celebrity name, likeness rights and other intellectual property can have considerable value so it is helpful to have that value appraised and updated from time to time.

7. Create an Information Outline. The trustee and/or executor will need to know where to find important documents as well as account numbers and contact information (and logins and passwords) for such items as insurance policies, bank accounts, investment accounts, safe deposit boxes, smartphones, tablets and computers. All of this information should be collected in one integrated document and held by the trusts and estates lawyer.

by Daniel K. Stuart is a partner with King, Holmes, Paterno & Soriano in Los Angeles. Published on Billboard Magazine’s website 8/8/2016.

About the Foundation for Musicians and Songwriters

The Foundation for Musicians and Songwriters is an IRS 501c3 Public Charity that is dedicated to helping Musicians and Songwriters develop their careers in the Music Industry.  We do so without taking a penny or rights from the artist we represent.

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Kickstarter Has Helped Create 300,000 Jobs!

Is crowdfunding changing the world?  Apparently it is making a difference.  A new study from the University of Pennsylvania has found that crowdfunding site Kickstarter has created over 8,800 companies since launching, and with it 29,600 full-time jobs and 283,000 part-time ones. Professor Ethan Mollick examined 61,654 successful Kickstarter projects from 2009 thru 2015 and found that the site has generated $5.3 billion for creators and their communities.

“Successful crowdfunding projects have implications that go beyond the interactions of the backers and creators who participate in projects,” Mollick writes. “Crowdfunding campaigns lead to new organizations that ultimately generate billions in non-crowdfunding revenue and have hired thousands of employees.”

According to Mollick’s research, two- thirds of Kickstarter projects were created by individuals, with the rest coming from teams of mostly friends. A plurality of creators were between ages 25-34, though the average is 38, with 41 percent of the creators being female.

For musicians using Kickstarter, only 5 percent said that their projects helped “a lot” in securing a record deal, with 8 percent for publishing deals and 5 percent regarding distribution deals. That said, over 53 percent of respondents reported that their campaign helped “a lot” in owning the rights to their work, and 14.5 percent said it helped when going on tour.

“While it is not possible in this study to compare the e ciency of crowdfunding to other methods of encouraging entrepreneurship or subsidizing creative work, it is clear that, overall, the money raised from campaigns leads to positive returns across a variety of measures,” Mollick concluded.

About the Foundation for Musicians and Songwriters

The Foundation for Musicians and Songwriters is an IRS 501c3 Public Charity that is dedicated to helping Musicians and Songwriters develop their careers in the Music Industry.  We do so without taking a penny or rights from the artist we represent.

To Subscribe to our Music News Updates, Click Here

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Apple buys “Carpool Karaoke” will release new episodes on Apple Music

Apple today has acquired the rights to the insanely popular Carpool Karaoke series that started out as a part of The Late Late Show with James Corden on CBS. While it’s unclear how much Apple has paid for the series, it will release new episodes of it via the Apple Music, reports THR.

For those unfamiliar, Carpool Karaoke is an idea thought up by Corden that sees him drive around in a car with a celebrity or musician and sing along to popular songs. Corden has had celebrities including The Red Hot Chili Peppers, One Direction, Michelle Obama, Stevie Wonder, Justin Bieber, and many more appear.

CBS Television Studios and Fulwell 73 will take the reigns in expanding the show. Fulwell 73 is the production company run by Late Late Show executive producer Ben Winston. In conjunction with Apple, 16 episodes will be produced and streamed weekly on Apple Music. It’s unclear who the host will be at this point, though it is not expected to be Corden. Previously CBS had ordered a primetime special Carpool Karaoke segment, likely hinting at its plans to spin the show off into its own series.

In the past, Eddy Cue has said Apple is not looking to produce its own TV shows, though he noted that he noted the company would work to complement existing services, like Apple Music, with video content. Speaking to THR, Cue said that Apple sees Carpool Karaoke as a fun and unique way to express love for music:

“We love music, and Carpool Karaoke celebrates it in a fun and unique way that is a hit with audiences of all ages. It’s a perfect fit for Apple Music — bringing subscribers exclusive access to their favorite artists and celebrities who come along for the ride.”

The standalone Carpool Karaoke series will stream to Apple Music subscribers with new episodes becoming available every week. In the past, Corden’s Carpool Karaoke clips have garnered tens of millions of views a piece.

Apple is also still working on its Planet of The Apps TV show, which is expected to become available sometime in 2017.

Here’s some fun segments:

Adele Carpool Karaoke

Chris Martin Carpool Karaoke

Stevie Wonder Carpool Karaoke

About the Foundation for Musicians and Songwriters

The Foundation for Musicians and Songwriters is an IRS 501c3 Public Charity that is dedicated to helping Musicians and Songwriters develop their careers in the Music Industry.  We do so without taking a penny or rights from the artist we represent.

To Subscribe to our Music News Updates, Click Here

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