m FREE PALESTINE x

4y

jesus f*** 2000s artists won hard

Sixty 5

4y

early 2000's artists BANKED. nsync, backstreet boys, Britney

m FREE PALESTINE x

4y

how on earth is streaming gonna make up for physical sales tho

chili

4y

· edited

great thread @safe

that 16% royalty payment must be a big reason why many artists were upset about the advent of companies like Spotify and Apple Music, as generating 1 dollar out of streaming is much more difficult than it is from a consumer buying the track from the itunes store for 1$

chili

4y

@safe

How do royalty payments work for song covers?

Let's say for D'Angelo's cover of Smokey Robinson's Cruisin' from Brown Sugar, does he make any money off of his cover, or does all of the money go to the writers/publishers of the original track?

Nozuka

4y

Great thread

Love these threads Safe keep it up!

safe

4y

posted this later in the thread but I’ll throw it here as well since it won’t fit in any of the other parts without going over character limit

Essentially the role of an A&R is to find and sign new artists to labels. They can work on the label or publishing side in order to find artists or songwriters. Coldplay for example were found by a publishing A&R who then shopped their music to labels. In the internet age this involves listening to demos (XL Recordings an INDIE label receive 200,000 unsolicited demos per year and sign 1 artist per year), scouting forums and industry press and attending live shows. Now A&Rs tend to work less for labels and more for talent agencies or independently.

The traditional role of a manager is usually to find artists and manage them - negotiating contracts, organizing meetings with labels, sponsors etc, organizing touring. An A&R traditionally might communicate with managers and meet with artists or get demos from a manager.

Nowadays these roles are pretty entwined. A lot of A&R scouts go into management either independently or with a label. They can be involved in all or any of what you mentioned - they can find artists, get their artists signed to labels and publishing deals, organize recording sessions, organize other ventures like sponsorships and develop the artists. From a creative standpoint they can help on a micro level like song selection, connecting artists with producers and songwriters and the like.

someone like Christian Clancy is a good example of a modern A&R. He was tied to Interscope but was only in a consulting role and a friend showed him the French video by Tyler. He met with them and set them up as an independent label and became their manager. He helped with all facets of OF - creative direction of music and touring, negotiating meetings with places like Adult Swim as well as labels, and his pas experience w labels can help him to give creative direction and marketing direction. He doesn't work directly for the label but he's associated with them and connected in the industry

m FREE PALESTINE x

4y

how on earth is streaming gonna make up for physical sales tho

soccerfanj

4y

what's some scouting forums

safe

4y

I like it

Gonna keep doing my 1 thread a week but I might add a little to this one every now and then cause I agree that it’s hard to find all this in one place

That being said I’ll have to talk to S about the character limit first and see if there’s a way he can make an allowance or something

My next thread is on music sales and label tactics so there’ll be a bunch of stuff in that thread about marketing that I can bring over to here As well

cruzzz

4y

@safe

two questions

1.Why was Dark Lane Demo Tapes released through OVO and Republic, event though OVO is an imprint on Warner?

2. What are the incentives for Kanye, Drake, and Cole for signing new artist to their imprints? Do they get a slice?

Gettinmoney8

4y

Patiently waitin on that thread about music sales and label tactics