While the major label industry is up in arms about collecting royalties from streaming internet stations, many artists are asking the question, â€œWhy make internet pay when terrestrial NEVER has?â€ The newly developed MusicFIRST Coalition is a partnership between artists and a number of industry organizations aimed at succeeding where the RIAA has failed- protecting musicians and fighting for fair practices. A number of big name artists are participating in the coalition including Celine Dion, Christina Aguilera, John Legend, Don Henley and many more, however the rights they are fighting for are intended to compensate everyone from songwriters to back up singers, major label acts to unsigned ones.
The first order of business is collecting royalties from corporate radio play. â€œOf all the ways we listen to music, â€œCorporate Radioâ€ is the only medium that refuses to pay performers even a fraction of a penny for their voice and creativity,â€ said Mark Kadesh, Executive Director of musicFIRST. “This campaign is about making sure everyone, from up-and-coming artists to our favorites from years-ago, is guaranteed fair treatment when their music is played.â€
The RIAA has proposed a â€œperformance taxâ€ for local radio, a proposition the National Association of Broadcasters has sworn to â€œfight aggressively.â€ NAB argues that radio exposure makes millions of dollars for labels via record sales, and should therefore be seen as ‘free promotion.’ They also call out singer John Legend for being a part of the coalition, but appearing in a NAB ad campaign years ago thanking radio for their support. Whatever.
With radio losing such a big portion of their audience over the years and record sales declining across the board, does NAB have a leg to stand on with this issue? Should terrestrial radio be paying out royalties for the music they play?
My goodness, the news just keeps on coming in on Kelly………
Due to the recent woes in Clarkson’s camp, her summer national tour has been postponed. This news comes days after firing her management company and less than 2 weeks before her album release.
Kelly wrote: “I can’t tell you how much I’ve been looking forward to getting out there to perform for y’all. In the craziness of the music business, performing is what I look forward to doing the most, so it really is disappointing for me to have to tell you that I won’t be coming out to tour this summer. The fact is that touring is just too much too soon. But I promise you that we’re going to get back out there as soon as is humanly possible to give you a show that will be even better. Thanks for all of your love and continued support.”
LiveNation CEO Michael Rapino, who was promoting the tour:
â€œIt is mind-blowing when you stop to think about what Kelly Clarkson has achieved during her young career. But ticket sales have not been what we anticipated and we came to the realization that we had bit off more than we could chew. In the end, we are in the Kelly Clarkson business and for that reason we believe that this decision will only benefit her and her fans in the long run.â€
Added Another Planet CEO Gregg Perloff: â€œKelly is a spectacular artist and an incredible performer who undoubtedly has what it takes to sustain a long and prosperous career. The day when she will play in sold-out arenas is, no doubt, coming, but for now her fans should look forward to seeing her in a more intimate concert environment. Kelly deserves a tremendous amount of praise for her courage in not only being a part of, but in supporting, this difficult decision.â€ (Source)
Future concert dates become available, current ticket holders will be invited via email, mail or phone notification, to purchase tickets through an exclusive presale, which will take place prior to the general on sale date for each concert.
Check out indie piano driven act Meese.
Recently added to KTCL spinning “The Start of It” 25 times a week. Sold out the 650 capacity venue Bluebird Theatre in Denver. Just finished dates with Straylight Run and Sparta and will be performing dates with the Fray this summer. Meese was just picked up by Little Big Man Booking Agency and are getting 3,000-6,000 plays a day on myspace. For more information on how to get in contact with MEESE.
Jun 15 – the Beachland Ballroom – Cleveland, Ohio
Jun 16 – Locals Only -Â Â Â Indianapolis, Indiana
Jul 25 – Les Schwab Ampitheatre w/ the Fray – Bend, Oregon
Jul 26 – Edgefield w/ the Fray – Portland, Oregon
Jul 27 – Marymoor Ampitheater w/ the Fray – Seattle, Washington
Jul 28 – Marymoor Ampitheater w/ the Fray – Seattle, Washington
Jul 29 – Deer Lake Park w/ the Fray -Vancouver, British Columbia
Jul 31 – USANA Ampitheater w/ the Fray – Salt Lake City, Utah
Aug 4 -Â Red Rocks Ampitheater w/ the Fray – Morrison, Colorado
Check out the track Taking the World On
NEW YORK TIMES May Advertising Revenue Down 8.5%, Internet Ad Sales Up…
Check out the article in The Wall Street Journal ‘A New Spin for Corporate Music Deals’….
It seems labels are sick of spending cash launching artists and only receiving a small return on investment. Remember, labels only make money off the CD and digital downloads, a dwindling revenue stream.Â Labels cry and weep when they see those successful artists BENEFIT from successful tours, merchandising
deals, clothing deals, sponsorships, Fan worship, etc.
Warner Brothers has recruited Chris Lighty the manager of 50 Cent to address this dilemma:
Their inability to capitalize on lucrative revenue streams such as merchandise sales and image licensing that typically benefit artists and their managers.
“The music industry is growing,” Warner Chairman Edgar Bronfman Jr. told an investor conference last week. “The record industry is not growing.” He went on to say that his company is trying to expand into “many, many other businesses” beyond the sale and licensing of music.
The Firm released this statement regarding the recent loss of another client Kelly Clarkson.
Kelly Clarkson is an enormously talented artist. We are pleased to have served as her managers during her well-deserved rise to stardom and are proud of the role we played in backing her creative choices.Â “We believed in Kelly from the day we met her and believe in her now. We have only the best wishes and hopes for her in the future.”
Kelly is a quarterback without a coach.
We hope she doesn’t lose this game!
More Clarkson news………………
Kelly says her new record may not be for 10 Year – olds…
I know it’s not going to do what Breakaway did, ’cause it’s not as mainstream. I get that. Some of the songs are not what 10-year-olds are probably going to listen to. But we all go through situations for certain reasons, and I think we should share that. This record is more intense, it’s more raw, it’s more emotional. But it’s not that different. It’s not Metallica. Even if it does tank â€” who cares? It’s one album! Out of a whole career of albums I’m going to have, you’re worried about one? I’m not worried about it! And I’m obviously not going to want to put out s—. I obviously don’t want to fail. I’m not an idiot.
Like Nebraska from Bruce Springsteen â€” that’s one of my favorite records, and it’s not the most well-known. But it’s an artist’s record. (Full interview here)
Good Charlotte hopes to ‘Revive’ Good Morning Revival…
Good Charlotte will hop on tour with Justin Timberlake.Â Good Charlotte recent release ‘Good Morning Revival’ is slow to react.
Daughtry Manager asks himself ‘Would Daughtry get a deal without American Idol’?
Manager Sterling McIlwaine of 19 entertainment doesn’t mince words when talking about the failures of record companies to find and develop talent like Daughtry’s………
‘He was just playing bars around Greensboro a year and a half ago,’ McIlwaine told Pollstar. He had no idea what the future had in store for him. I’m not sure that the business, as it is now, would have signed him had he gotten in front of A&R people before he came on the show. Thats the irony of the whole thing.’
Daughtry has sold 2.6 million records.
Lastly, KOAR will be posting ‘NEW’ music soon………………………
Major labels have made serious cuts when it comes to staff, and they started with promo and marketing. While it was common knowledge that majors had plenty of fat to trim, the cuts that were made have left a bare bones staff of people too busy to be interested in the music they’re working. Any one person is working more records than is really possible, and although they are paying for the assistance of 3rd party PR companies, this kind of disorganization at the top always trickles down. For marketing departments to handle the workload, they have adopted a very simplistic template for press that they can plug any artist into, making only minor changes. Here’s what you need to work a major label record to press: 2 press releases, 1 bio, 1 audio link, 1 video link, tour dates, ad budget. Unfortunately, this standard set by majors has been adopted by essentially everyone, and ‘not knowing anything about what you’re working’ has become somewhat commonplace.
Since PR companies are given so few materials from their clients, there isn’t much more they can pass along to their press outlets, except maybe a few pictures. The main reason they are hired by labels in the first place isn’t really to ‘do press’ but to manage the ad buys and make sure people print the press releases. Where a successful PR agent once knew all of the big players in print personally, they are nowÂ maintaining spreadsheets toÂ keep track of the thousands of music sites and blogs, a list that changes almost daily. These sites and blogs are of varying quality and reach, and their writers are of varying skill and taste, meaning for every good review, I’ll show you 10 bad ones and vice versa. While the actual work load is relatively minimal for just one band in this template system, PR companies are also feeling the pinch of an industry hemorrhaging money, and are picking up as many clients as possible to make up the difference. And while they aren’t being given any real information about the acts they’re working and most of the time have never even heard the music, they are still expected to produce results from their campaigns. They must report back with every site and magazine that has written about the artist and anywhere ads have been placed.
The average music site will receive upwards of 50 press releases a day. In a given week, they will be introduced to approximately 30 new bands, all of whom are ‘the next big thing.’ From the PR companies they work with, they are expected to print every press release and all of the tour dates, post the songs and videos from the acts and then review the album. While MOST sites will never receive money from labels or artists, many can be included in bulk ad buys through a number of companies, where they make fractions of a penny per day from their ad space. The constant flux of music sites and blogs can be attributed to how easy it is to start one, but how difficult it is to maintain.Â Writers are being bombarded by people demanding exposure, most of them not worthy of it, and find it difficult to break even, let alone turn a profit. Additionally, those who created sites because of their love of music quickly learn that not only does love not pay the bills, but the serious reporting they were hoping to do is made near impossible by the lack of information and access available. Magazines are certainly experiencing these same problems, and then some, as their ad space costs about 5 to 10 times more than what can be purchased on websites. The cost of producing a physical magazine is much higher than a web page, and finding someone who can afford the space often takes precendence over unearthing the underground.
Unknown artists do not break ground in press without ad budgets. Most press outlets are too broke to be concerned with hooking someone up, unless they’re being hooked up in return. Perhaps, if they’re creative, they can appeal to the right hipster journalists at the bigger ragsÂ and gain a little traction, but that hasn’t proven useful as those artists rarely achieve significant sales as a result. Now, I am not saying that press is pointless, but I will say that for music, it is completely dominated by those who can afford to purchase a writer’s time and pay for ad space. Real music journalism is barely alive today. Real writers who see the stories and wish to pursue them face roadblock after roadblock as their PR contact tries to find the right information for the label contact, who may or may not have heard of the band, but is certainly too busy to be bothered. Reaching out to the bands directly can also be a dead end as writers are bounced between the numerous managers and staffers, if they are able to find contact information at all. And should they finally get that story, the one they had been waiting for, all they can do is hope someone sees it amidst the endless overhyped press releases and ‘purchased’ articles.
So here’s the question:
Even if you DID have the ‘real thing’ on your hands, what would you do about it?
Clarkson has just fired her manager, Jeff Kwatinetz of the management company The Firm, reports Us Weekly.
A source tells the mag, “It happened last night. They disagreed over the songs and the direction. “Everyone is surprised.”
KOAR knew this was coming, to many chefs in the kitchen.
The one time hot shot Beverly Hills Management Company has lost most of their King Pin artists including Kelly, Linkin Park, Staind, 30 Seconds to Mars, etc..
Kelly, we will say it again, and again, and again….you are a rock star!
Royal Bliss signs to Capitol/Virgin Records.
Downtown Records, label home to Gnarls Barkley and Cold War Kids, is planning to partner with Internet entrepreneur Peter Rojas on a new online label venture featuring ad-supported free music.
Warner Music Group released a brief statement stated that it was still considering an offer for EMI.
Relentless touring and a single at radio pays off for Papa Roach…..
Papa Roach began with a slow start with the release of Paramour Sessions moving only 6,000 a week. The record is picking up steam moving 10k a week and now getting 50k plays a day on myspace after the release of the second single ‘Forever’ which is an active rock and fan favorite.
It always feels like somebody’s watching Me: YouTube will test video ID with Time Warner and Walt Disney.
YouTube who has come under fire for copyright infrigement will test a new video identification technology with the largest media companies, including Time Warner Walt Disney. The technology, developed by engineers will help content owners such as movie and TV studios identify videos uploaded to the site without the copyright owner’s