The #@&!'s a Music Publisher?

A music publisher  makes sure songwriters and composers get their money when their songs are used to make money for other people. The money they collect is called royalties.

Music publishers collect 6 types of royalties for songwriters/performers.

Synchronization royalties: paid by the producer of a movie/tv show/ad to the writer of the song for the right to “synchronize” the writer’s music to the producer’s moving images.

Special use royalties: Paid by creators of ring tones, karaoke, video games, etc. to the songwriter for the rights to use the songwriter’s work.

Print royalties: Paid when the song is sold as sheet music, lyric book, etc.

Performance royalties: (better understood as “broadcast royalties”) are paid by the Performance Rights Organizations (ASCAP/BMI/SESAC/SoundExchange/etc) to the writer of the song when the writer’s song is broadcast over public airwaves. This includes but is not limited to radio stations, satellite radio, tv stations, performance in live venues, online streaming services (Spotify/Rhapsody etc.), and YouTube. It’s impossible for radio stations and venues to pay artists for every stream, so they pay a blanket license to the PROs who then use some crazy formula to figure out how to pay artists. 

Mechanical royalties: established by U.S. Gov. 1909 Copyright act: 9.1 cents is paid to artists for recordings sold by the label to the songwriter for the right to “mechanically reproduce” the writer’s song on CD or download, whether or not the writer is the performer of the song. Mechanical royalties are paid by interactive streaming services (Spotify/Rhapsody etc.) and sales in territories throughout the globe.

Sampling Royalties: If someone uses pieces of a song or remixes the song, both the owner of the master work and the songwriter/publisher are owed money.

Q&A with Matt Blanks

I met Matt Blanks at a Recording Academy event in Portland, OR. He had that "I'm in a band and I know what I'm doing" look, so I started a conversation with him. I learned that he has a lot of history in music publishing and is an insider with (in my opinion) the best pizza joint on the Oregon Trail: 
Sizzle Pie!!! GASP! #Rockstar. #Swooning. #CanIhaveyourautograph. 
So I sat down with Matt in Cyberlandia and asked him some questions. If you're into grunge, metal, pizza, and you hate rabbits, get to know him and his people. They good people.

 Blue: Where are you from and how did you end up in Oregon?

Matt Blanks: Originally the Bozeman, Montana area. I moved to Denver, CO in 1997 trying to expand my opportunities in the world of art and music. Denver is a great city but after years of busting my ass there without much headway I decided Portland OR was a better place for me to work towards my vision of creating, promoting and publishing music that is more on the experimental side of things. In June of 2012 I decided it was time to come to Oregon. I spent the first 6 months or so traveling around the Oregon coast, recording music in my mobile recording studio (see video below). After floating around the coast for several months I finally decided to settle a bit in Portland and throw down some roots. I started my own business which doubles as an Art Gallery and Web Design/Development studio and connected with some local businesses in the area. Soon after, I met the President of Relapse Records one night at a show through a mutual friend and started kicking ideas around with him about how to market his label and restaurants on the web. Before I knew it he offered me a job, which I happily took!


B: Tell us a little about your history in music.

MB: I've been a musician since my teens. Listening to music has always been very important to me, and I could have been considered a "music nerd" as far back as age 12. As I started getting more and more into performing and playing the next natural progression for me was being able to record and publish it. In the mid 90's I got a 4-track and began putting together my own compositions. Having gotten the "bug", I then teamed up with a good friend and started a proper recording studio using ADAT machines and traditional outboard gear. When computer based recording began getting more accessible and affordable I decided to focus on learning that. About that same time I started managing a small Record Store in Colorado. This is where I really got in the trenches. As a product buyer I was talking to labels and distributors on a daily basis and began seeing all of the moving parts in between retail stores, labels, artists and distribution companies. After several years in music retail I got a job offer from one of our distributors, Red Distribution as a sales & marketing rep in the greater Denver area. My duties there mainly included working directly with retail stores in promoting our releases as well as working with their product buyers in keeping our products on the shelves and ordering new releases. After that, I moved on to one of the first Digital Distribution companies at the time - a small company called Synergy Music. In addition to digital distribution, the company also handled physical distribution, radio promotions as well as lot of other developing artist services. One of the more exciting projects we worked on was developing the "TouchStand". This device was a touch-screen computer that could be put into any retail store and allow customers to scan the UPC of a product and listen to streaming audio. In addition to being a listening station, it would also allow customers to special order items from that store. Sadly, the retail side of the industry at that time was just beginning to be hit with declining sales due to digital downloading and the chains that had been supporting our kiosk (Tower Records, Musicland/Sam Goody) were closing down. After that gig I decided to open up my own business in graphic & web design. I worked with a variety of clients in the music industry, some of the better known ones being Bonnaroo Music Festival, Warner Bros Music, Sanctuary Artist Management, and a bunch of others. Around this time I also decided to start my own label which for the most part focused on releasing my own music. I continued to work with these companies for the next few years, and then after a brief stint in TV/Broadcasting I finally made my way out here to Oregon and began working with Relapse Records.


B: What is the story behind Relapse Records? How did it start? Where is it headed?

MB: I handle all of the Website and App Development. Relapse is and has always been a tastemaker in extreme music. You can probably find a lot more facts about the label on Wikipedia than I can type out, but essentially it started in our President's folks basement in the early 90's and has since become a world-renowned music publisher. Relapse has always embraced technology and strives to be on the cutting edge of content publishing and delivery. We have a presence on pretty much every website out there - Bandcamp, Soundcloud, Spotify, the list goes on and on. We are working on some exciting projects at the moment that include Spotify Apps, Mobile Apps, a new and improved Website, and the list goes on!

Sizzle Pie Face!

B: What is your relationship with Sizzle Pie?

The president of Relapse Records, Matt Jacobson started Sizzle Pie a few years back after moving out to Portland and establishing a west coast branch of Relapse Records. Many of the pizzas are named after our own bands (Pig Destroyer), and we've even ran some promotions where certain merchandise is available only at the restaurants (Limited edition Red Fang Vinyl). While we don't go out of our way to promote the two companies as having a shared interest, we definitely see the value to cross promoting the two. It's very interesting to see how the two entities feed off of each other and has given us a lot of options and ideas when it comes to promoting our music. Another recent endeavor has been in a Bar/Venue/Club we call White Owl Social Club, which is just a block away from Relapse HQ. We've been able to bring in some pretty high profile acts, many of which are on the Relapse roster, so it's also an interesting way to promote our music.

B: What is your marketing philosophy?

MB: Make things fun and interesting. Don't worry about what people say is "safe" .. or "wrong" or "right". Go with your gut feeling. Get out into the real world as much as possible and network with people who have similar goals, and that often helps get the gears turning when forming strategies. Follow what's happening in the world of technology and embrace it. Even if it doesn't seem to pay off initially, get your music out there by every and any means possible.

B: What's with the rabbits?

MB: Rabbits are evil!!!!!

B: What are some tips you have for an indie band coming up in the mean, mean world where the good die young, the high die high, and the old go broke?

MB: Don't copy other bands sound or image. Work your ass off. Write great music. Give people a real reason to support you. Be creative with merchandising. I've watched bands rise from playing in tiny clubs of 50 people to opening up for bands like Slayer and Metallica at music festivals overseas within just a few years, simply because they took the time to write interesting and compelling music - and at the same time touring hard, playing hard, and giving those people who loved your show lots of options to remember you by. Print up goofy stuff like lighters, beer coozies, bottle openers with your logo and URL on them. Be serious about your web presence - don't rely on Facebook and Twitter as your only means of connecting with fans and exposing your sound.

B: If you could drink a Bloody Mary with any historical figure from the past, present, or future, who would it be and what would you talk about?

MB: Frank Zappa, no doubt. He was so far ahead of his time! Way back in the late 60's and early 70's he was recording and publishing his own music, pushing the limits of what society considered entertainment and was completely non-aplogetic about using profanity and cutting edge imagery in his art. He lived and played by his own rules, and really paved the way for the place modern music is currently. I would definitely consider him the musical genius of our century. Although I think he was more of a beer guy, he may not have enjoyed a bloody mary!

B: If you could go back in time, what would you tell 12 year old Matt?

MB: Dude, keep shooting for the stars - you'll get there if you work hard enough!

B: What's next for Matt Blanks?

MB: My goals in the immediate future is to get Relapse to a place where we are dominating our web presence and becoming a portal of discovery. Long term goals involve me spending more time developing my own label and getting some more music projects going!

B: How can the people find you?

The usual places, here are some links!
https://www.facebook.com/thumpermatt
http://instagram.com/trendmonger
http://19add.bandcamp.com/
http://lnkd.in/GpMeiB

B: Thanks for visiting Uranus!!!

MB: You're welcome, I love Uranus!

Digital Music Distribution: Start [Here].

20 years ago, the only way to get your music distributed worldwide was to be picked up by a label. Essentially, your success was directly related to how profitable you looked to somebody else. These days, thanks to various online distributors like CDBaby, TuneCore, ReverbNation, Ditto Music, Bandcamp, and others, the indie artist has a little more say in how far their music will go.

I was chatting with a spoken word artist recently about CDBaby (which costs to join) and Bandcamp (which is free to join). After explaining that Bandcamp doesn't distribute music to digital partners nor collect royalties she considered ending her relationship with Bandcamp, which I thought was a bad idea. Though I have music on CDBaby, I also have music on Bandcamp,  Soundcloud, and ReverbNation. I believe music should be shared and if the platform is free to use, why not use?

All of these distributors are tools. Some of the tools can help get your music to digital retail stores like iTunes and Spotify. Some can help you collect performance royalties. Some can help you get placed on pop music charts and some can help you build relationships with fans. In this post, I'm going to try to break down the basic differences among a few well known digital music distributors. The best one for you depends on your artistic and financial goals. But whatever the destination, info is a good thing to have on the way.

Q & A with Delta coolbreeze in cyberland

Click image for an article on Dail Chambers in St. Louis Mag, Nov 2013

Multi-media visual artist and spiritualist, Dail Chambers (aka Delta Coolbreeze in Cyberland), brings the imagination of the planets and ancestors to life through magic. I first encountered her at a community art event at Legacy Books & Cafe in StL. Priding myself a benevolent voyeur, I spent years exploring her gallery , studio, and wardrobe. I have found her to represent creation, persona, and activism seamlessly and without discretion, challenging and championing the creativity of all those around her. "Dail embodies her art" is an understatement. I believe she painted herself one morning, and simply walked off the canvas in protest of 2 dimensions. She is also the reason that Uranus Is Blue. Folks of the Universe and surrounding areas, meet Dail Chambers!

Learn the Language

I was having a discussion with an artist today about the difference between Tunecore and CdBaby. Then, we started talking about independent music publishers who distribute their own music, collect royalties, and work only with PROs. Then, we talked about the pros and cons of collaborating. We agreed, disagreed, and ultimately decided that music business is not a 1-size-fits-all concept. Everybody has different goals. However, whatever the strategy, it's important to 1st determine what our goals are. Then, we study to discover the most efficient way to get from point A to point B. In the music industry, there are as many different ways to get paid for making music as there are musicians. Pick and choose or use them all.

REMEMBER: somebody's making money on your music. It may as well be you.

Q & A with Gates tha Great

I met him as Justin Hoskin. Then, I saw him performing as J.G. Gates. But whatever you call him, once he picks up a microphone, you can't deny that he took you to church...which happens to be the theme for the recent single and video by Ray Goss, entitled Preach. The video features J.G. Gates's signature, straight-out-tha-pulpit vocals and a rustic narrative of StL life on the come up. There's even footage of somebody makin' it rain on dem hos in the club. 

I asked J.G. to visit Uranus for a moment to discuss his life, his liberty, and his pursuit of musical happiness. Uranians, Earthlings, and folks of other planets, meet Gates tha Great! 

Q & A with Rachael F. of NighTraiN

The fast footed, sweet singin', costume rockin' Rachael Ferguson is 1/4th of the fun, witty, trigger happy, captivating locomotive-punk, femme-quadplex NighTraiN. I met the band at a swanky music video premier for their single Huntress: a scary song about scary things, (written by bass player Selena Whitaker-Paquiet). After witnessing their baddasss performance, I cornered Rachael to get a copy of De-Railed, NighTraiN's 2011 release that features the bouncy inter-gendered single Jean Penis (written by Rachael F.) that tickles me endlessly. A few months later, I met NighTraiN for an interview in Seattle, and cornered Rachael once again for this Q&A. From our first encounter I've been increasingly delighted by Rachael's openness, approachability, and sparse likelihood of being captured in focus. In addition to becoming a bit of a groupie (I use the term "bit" loosely and with discretion), I think of NighTraiN as my mentors. Their music career is based on having fun, giving to fans, loving each other, and then, having more fun. I like that strategy. Animals, vegetables, and minerals of the Universe, meet Rachael F. of NighTraiN!

Blue: Where are you from and what hood do you represent?

Rachael F.: I'm from the other city of roses, Pasadena California. I now represent the Emerald City since I've been here since 2000.

B:  Describe your journey to Seattle from LA.

RF: I came from LA to Seattle for college straight out of high school. I just needed to leave. Had to live with my Aunt who's a Pentecostal minister- sort of a boner killer when someone breaks out in tongues before your first college party.

Q & A with Tendai Morris

Photo courtesy of BFREESTLOUIS

With a career that spans nearly 20 years, singer, songwriter, and artist developer Tendai Morris (formerly Tendai Price) is no stranger to the excitement of the mercurial music industry.  Hailing from a family of musicians, she learned the value of craftsmanship and professionalism early. Tendai wrote her first song, No One Wants to Be Alone, in the 8th grade.
In high school Tendai started a girl group called Passionnaee with the help of producer and friend Tony Sims. After the members of Passionnaee separated, Tendai (writer) and Sims (producer) teamed up with vocalists Tasha B. and Cherise Louis and the soulful R&B trio TIORAH was born.

Trouble at Target Practice

I had a conversation with a musician recently. She told me she was tired of being ignored and that she's searching for a way to reach her target audience more effectively. I asked her who her target audience was and instead of answering, she told me what kind of music she made. I responded, "That's awesome...but who exactly is your audience?" With a hint of annoyance, she retorted, "Everyone who likes good music!"

This issue comes up frequently with independent artists. They know their art is good, but they have a hard time getting it out there. When asked who their audience is, they either don't know at all or can't articulate it with much detail. Finding your tribe requires a shift in focus from what you do to who you're in a conversation with...because if you don't know what your target is, how can you hit it more effectively?
While speaking with the musician, I noticed recurring themes between her narrative and the narrative of other musicians who have trouble targeting their audience. She had no idea who her audience was, what they wanted, or where they spent their time. These types of oversights can be deadly, as they are fatiguing to artists and annoying to fans. The following are some strategies that artists use to reach their audiences effectively and sustain over time.

On Angry Art with Chaquis Maliq

Photo by http://www.domiv.com

Chaquis Maliq is an independent singer/songwriter and San Francisco native. She was recently featured on the Women for One art and culture blog sharing some insightful strategies for independent female artists. She mentioned that she is conscious to inspire her listeners by refraining from writing with anger. In the comments below the article, I posted the following question:

"As someone who has used art to release anger, I can appreciate this article. I don’t know where happiness is hiding at times, but I still don’t want to spread the anger around. I’m interested in how you’re able to continue creating even while experiencing the depths of despair. Any thoughts or insights?

Sincerely yours,
Blue"

to which Chaquis responded,

"I have found that art without a mission is often the same as "A Rebel without a cause.” I too suffer from a lot of things that should depress me and keep me unhappy. But I hate the feeling of sadness and anger. I often write down the things that make me feel this way or vent them, instead of creating angry music that will create even more angry people. The key is to share your story once you have already released the outrage. Feeding angry music to angry listeners is fighting fire with fire. Instead I may have a story that reflects an everyday situation, but I provide a solution by the end of the song.