Newcomer's Guide to the Music Business

Tito Adesanya

Description

A quick and simple guide to the music business for those on the verge of taking their first steps into the industry.A Newcomer's Guide to the Music Business is a must-have for anyone - who has little or no prior industry experience - wishing to pursue a career in music.The book assists newbies in avoiding the basic mistakes the majority make when entering the music business, while also familiarizing prospective newcomers with industry customs, practices, and the type of working environment they can expect to encounter.

Sujets

• Music industry

Informations

• Publié par: Triple 7 Publishing
• Date de parution: 13 avril 2015
• Nombre de lectures: 0
• EAN13: 9780993187612
• Langue: English
• Poids de l'ouvrage: 2 Mo

Extrait

A Newcomer’s Guide to the Music Business
Tito Adesanya
Triple 7 Publishing
A Newcomer’s Guide to the Music Business
The information in this book is correct to the best of my knowledge as of February 9th 2015, but the views I expound are mine alone. Although I have tried to give practical examples throughout the book, it is important to remember that every situation will always be different. This book is not, therefore, a substitute for independent legal advice.
Tito Adesanya
Published By Triple 7 Publishing
Copyright © 2015 By Tito Adesanya
All Rights Reserved
No part of this ebook may be reproduced in any manner whatsoever without written permission from the copyright owner, except in the case of brief quotations embodied in critical articles or reviews.
Every reasonable effort has been made to contact copyright holders of material reproduced in this book. If any have been inadvertently overlooked, Triple 7 Publishing would be glad to hear from them and make good in future editions any errors or omissions brought to its attention.
Cover Design by Myles Adegbola of Suave Gfx
[e-mail]
ePub ISBN – 9780993187612
Contents
Introduction
Chapter 1 - The Big Misconceptions
Chapter 2 - Contacts and Cash
Chapter 3 - The Role of a Record Label
Chapter 4 - How Much Control Do Artists Really Have?
Chapter 5 - Promotion
Chapter 6 - Manipulating Results
Chapter 7 - Producers
Chapter 8 - Royalties
Chapter 9 - Performing Rights Agencies
Chapter 10 - Lawyers
Chapter 11 - Management
Chapter 12 - Shows
Chapter 13 – Dj’s
Chapter 14 - Obtaining a Record Deal
Chapter 15 - Different Careers within the Music Business
Glossary
Introduction
In no way do I intend to discredit the hundreds of industry self-help readings in circulation - but I would like to stress that this book must be distinguished from those publications. In my observation, presenting a detailed instruction manual on the industry’s dos and don’ts only fuels a false theory, that emulating specific instructions will automatically equal progress in an unpredictable industry.
What this book instead aims to provide is a very basic skeletal framework of the music business, leaving the reader room to decide if they wish to explore further the bulky flesh of the music trade. The rationale behind my preferred direction for this book stems from my ethos that research is a good teacher, but experience is the best teacher.
Investigating a subject, even to the point of elevating one’s knowledge on a topic to a connoisseur’s rank, is still never tantamount to living through that reality. To live it through the five senses offers the perceiver diverse perceptions on an issue, which cannot be substituted by any amount of research or intricate analysis.
So my hope is that, by equipping the reader with some slight indication of the music profession, they will feel that they have a further stepping stone that will make their potential expedition into the music business somewhat smoother.
Be warned: it is bound to be a bumpy ride, so the key pieces of advice I would give to anyone wishing to pursue a career in the music industry are: to make sure you genuinely have a passion for music – and also to remember that, in the music business, it’s always business, and never personal.
Chapter 1
The Big Misconceptions
Many people are familiar with the ancient saying ‘Don’t judge a book by its cover’; but when examining the assumptions which the majority have about the music business, it is clear that this phrase has been profoundly neglected. In reality, the glitz, glamour, champagne lifestyle, not forgetting the endless adoration from fans, are only really the cover of an extremely complex and misunderstood book.
From afar, it is easy to see how the industry may fool the masses into the false belief that a glamorous fate awaits all entrants - but this generalization could not be further from the truth. False advertising in hip hop videos increasingly fuels the confusion, blurring the lines between actual reality and the lifestyle displayed by artists. So if these common misconceptions have in any way enticed you into joining the music industry - be prepared to be greatly disappointed.
It would significantly help matters if the music business was referred to as ‘the business of music’. This re-labelling would provide additional clarity for prospective newcomers, who tend to apply an abundance of energy to the creative aspects of the music industry while in effect neglecting the business and legal side to the industry. I don’t suggest a blind eye be turned towards the artistic process, only that some priority also be placed on the business and legal components.
Because without an understanding of the business and legal elements, surviving the shark-infested waters of the music industry is near enough impossible - no matter how musically gifted an individual is. By contrast, the industry is overcrowded with shrewd businessman, limited in their expertise in music, yet who prosper hugely. This alone demonstrates why emphasis should lean more in the direction of business as opposed to music.
What most industry outsiders fail to realize is that it is usually the business accompanying the music which is the leading factor in why an artist is successful, or why a song has found its way to the top of the charts. Sure, many a song exists which may not necessarily be to our taste, but with some of these tracks, an acceptance resonates within us as to why the song is fashionable amongst the majority. Conversely, there are also particular songs - hideous in every way - that leave music fans bewildered as to how they managed to become massive hits. The answer lies in the business behind the song, which, when operated precisely, is able to hypnotize the public’s mind, and magically transform a critically poor track into a chart hit.
Trickery of this sort tends to be masterminded by business-savvy individuals who are strictly fixated on financial gain rather than the credibility of a song. A typical illustration can be found in the novelty chart smash, ‘Gangnam Style’, by Korean artist Psy.
Justin Bieber’s current manager, Scooter Braun, is the man liable for propagating this ear-torturing excuse for music, outside South Korean shores. He set the ball rolling by using his industry contacts and business prowess to broker a major label deal with Universal Republic. With the infinite finances of a major corporation then behind the project, he spearheaded an expensive and intelligent promotion campaign for the song - and smirked all the way to the bank, as ‘Gangnam Style’ annoyingly topped worldwide charts.
Now ask yourself: is it fair that a comical song like ‘Gangnam Style’ is able to receive huge support from mainstream television and radio - which in turn increases the possibility of the song impacting the charts - while truly talented artists like Nate James and Akala still struggle to receive any mainstream support?
The sad truth is - in the business of music - a great song by itself does not guarantee chart recognition. The song may become a cult hit due to its musical brilliance, but without the business strings being strategically manoeuvered behind the scenes it will fail to achieve the acknowledgement it truly deserves.
The best results are accomplished when ingenious business tactics are coupled with a formidable song or a talented artist. Gifted artists like Justin Timberlake and Beyonce offer wonderful examples of business and talent working in quintessential harmony. But if you were to remove the business aspects from the careers of Justin and Beyonce, it would take away a big chunk of the platform that separates them from the millions of talented singers desperately vying to break through. Luckily for both artists, they have procured the services of billion-dollar corporations willing to invest in their undeniable talent - effectively transmitting their brands to global audiences.
But of course, even with the business and talent hurdles overcome, success is still not a certainty, and credit must be given to Justin and Beyonce and any other artist who is able to consistently turn over a profit in the music business. Because it must always be remembered that profit is the name of the game - therefore expect any artist whose stock begins to plummet to be swiftly alienated from future proceedings.
Former UK X-Factor winner Leon Jackson is one artist who discovered the pitiless nature of the music business, after releasing his debut album, Right Now . The album peaked at number 4 in the UK charts, spawned two top 5 singles and sold approximately 155,000 copies on British shores. Certified gold by the BPI, you could be pardoned for assuming that a lengthy fruitful career awaited the young Scottish singer. But in spite of grossing millions, investment in Leon Jackson’s campaign far outweighed the profits: in releasing his album, his label - Syco Records - actually lost a considerable amount of money on the project.
In the end, then, the company decided to cut their losses on the singer, as sales failed to reach a level required to recoup or profit from their initial financial deposit, and he was subsequently dropped by the label.
Jackson’s unfortunate story exemplifies why an expansive promotion campaign should never be confused with outright success. Funnelling limitless amounts of money into promoting an artist often ensures that the general public become aware of who that artist is, but it does not necessarily equate to actual profit for the investor, or riches for the artist.
The public will see a musician plastered all over their TV screens, or constantly hear them on the radio, and automatically assume that the musician must be rich and successful - not knowing that this is simply down to promotion money being heavily spent by a label.
The widespread fame granted by an extensive promotion campaign is just a useful t