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makistar2018 · 6 years

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Taylor Swift Stands to Make Music Business History as a Free Agent

Come November, the superstar will be able to sign a new deal for the first time since she was 15. And it's sure to be a big one.

By CHRIS WILLMAN AUGUST 27, 2018

Talk about your blank spaces: Taylor Swift is about to have one in the spot where her label affiliation goes. In less than three months’ time, she’ll be a free agent, as the first anniversary of the release of her sixth album, “Reputation,” marks the official expiration of her obligation to Big Machine Records and its founder/CEO, Scott Borchetta, who signed Swift when she first came to him as a country-pop teenybopper of 15.

Now 28, and among the most successful female artists in modern music history —not to mention a savvy businesswoman in her own right — Swift has already been free to negotiate with rival companies, though she couldn’t sign any new deal before November. Her reps are known to have preliminary discussions with the major label groups, along with talks about returning to Big Machine, the Nashville-based , Universal Music Group-distributed indie that became a powerhouse with Swift as its flagship artist.

She could hardly be in a better position to attract suitors: Swift still sells albums in a post-CD age (prior to the triple platinum “Reputation,” her first five albums were all RIAA-certified for selling between 6 to 10 million copies, a starting streak no other artist can claim). She’s heartily embraced paid streaming, after a standoff in which she was the face of the resistance to free. And Pollstar reports 100 percent of tickets sold in the first 18 cities on her 2018 stadium tour — grossing $5-9 million a night in venues with capacity from 47,000 to 62,000 — providing vindication after some initially suspicious press over the variable pricing model.

But key to the future business of Taylor Swift, Inc. is ownership of her master recordings. Swift will almost certainly keep the rights to her masters in her next deal, but it’s no secret that, like a lot of superstars, she’d like to negotiate to own her previous albums, which currently remain in the hands of Big Machine. The label derives about 80 percent of its revenue from Swift’s music, says a person with knowledge of the business. (Big Machine declined comment, as did Swift’s camp.)

Potential auctions like this don’t come up every year, and the numbers could be historic. Several music business insiders note that it’s not out of the realm of possibility that Swift could command $20 million per album.

“There’s no precedent to look to regarding the top-selling artist of the digital era becoming a total free agent,” says The Davis Firm’s Doug Davis, one of the music business’ top lawyers. “Taylor Swift is at an extraordinary point in her career where she can write her own ticket in regards to the commercial terms and deal structure. If she is seeking to break financial records and extend with a major, she could have the biggest artist deal of the century so far. If she wants to be creative and choose an alternative structure for capitalization, she could create her own business model. It’s very exciting.”

Variety spoke with high-ranking label insiders and industry experts about how things might shake out for the “Shake It Off” singer, and came up with these four scenarios:

The post-major-label DIY model. Does she even need a “real” record company anymore? “Really, what the labels do anymore is radio and international,” says one former major label chief, “and the rest is all bullshit, if they’re not developing an artist. She might still want the security blanket of a label. But she could do a great distribution deal anywhere, hire a few more people, and pay for some services that the streaming platforms will have soon but don’t have yet.” Breaking this ground might be hard to resist for someone who already handles most of the duties a label would — from A&R to album design to publicity to most of her videos — with her own in-house team.

Signing with a non-Universal major. Any major label group would jump at landing someone who’s inarguably one of the three or four biggest music stars in the world. The complications would only come in as various imprints are considered. A Sony source notes it’d be tricky to sign her to Columbia, where she’d have to share oxygen with a couple of those other biggest heavyweights, Beyoncé and Adele… but she’d be the undisputed champ at any of Sony’s other labels, not to mention over at the Warner Music Group. One high-ranking Sony insider would like to see a deal with his company but believes their chances really depend on what Borchetta is willing to do, saying “it’s a nonstarter for us” if Big Machine decides to give in on the masters.

Leaving Big Machine but staying within the Universal Music ecosystem. Some see this as the likeliest scenario, since there’s been some strain with Big Machine but Universal has more to lose than just bragging rights by not being in the Taylor Swift business anymore. “[Universal Music chairman] Lucian [Grainge] will do everything in his power to make sure she doesn’t go away,” says a label insider. “Bear in mind, UMG is looking to sell 50 percent of the company. If someone offers her $100 million, he’ll go to $120 million.” And the Republic label would be the obvious place to go within UMG, since they’ve had a hugely fruitful relationship ever since she went pop and needed the help of a Top 40 radio promotion department that Big Machine didn’t have. “This is the team partly responsible for making you one of the biggest stars the world,” says a UMG source. “To change that up midstream is a risk.”

Welcome (back) to the Machine. Borchetta has signaled in the past that he’s not inclined to surrender what may be the company’s biggest single asset: Swift’s masters. That there’s apparently no breakthrough in sight on that point suggests neither side wants to give in… which might leave Big Machine in the position of giving up a piece of Swift’s future in order to hold on to a bigger piece of her past. “The onus is on [Borchetta],” says a well-placed source. “Does he want to be in the Taylor Swift business going forward? If he does, he needs to do something.”

How valuable to Big Machine are the masters for Swift’s past albums if they hold onto them? “Streaming catalog is at a peak — a bubble peak perhaps, but nonetheless a peak,” says industry analyst Mark Mulligan. “So any label would perceive retaining ownership of masters of majorly successful albums as a priority.” But licensing synch rights to her older music wouldn’t be possible without Swift signing off on that usage, which would be within her rights as a songwriter, hampering Big Machine’s ability to do much with the music besides stream it.

Will Swift and Borchetta work it out? The odds on that vary depend who you talk to: One label source believes the differences are truly irreconcilable, but another close to both sides says “it’s like family” — strained family — where blood could yet prove thicker than competition.

Variety

#taylor swift #big machine #variety #2018.08.27

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thecloudupblog · 5 years

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Q&A With Artist Ilana Herst

1. Where are we talking from today? A. I’m living in Brooklyn, New York. 2. What would you like to accomplish in 2019? A. I would love to get a record deal and potentially move to Nashville to pursue my music. 3. What is your take on politics? A. Politically I identify myself as a liberal. 4. Where did you get your artist's name from? A. It’s my given name, I decided not to change it and instead go with what’s simpler. 5. Growing up, how important has music been in your life? Can you recall the moment when you decided that you wanted to be a musician? Was it an easy or difficult choice to make? A. Music has been one of the most important things in my life. I had a difficult childhood, but the music was always there for me and it was something I could constantly turn to and depend on. I don’t think I’ve ever experienced a specific moment when I decided to be a musician, music is just a part of who I am. Whether or not I’m pursuing it as a career or just playing guitar alone in my apartment, I’m a musician just the same. It can be hard to stay motivated sometimes, but I would be writing songs regardless of whether or not the world was listening simply because I love it. 6. Was there ever a time when you thought about doing something else? If you weren’t a musician today, what could you see yourself doing? A. I’ve never been a career person, I never saw myself settling into one profession. If I wasn’t a musician, then I would probably be lost. 7. What has been the biggest surprise so far about making music your career? What has been an unexpected or welcome challenge to it all? A. The biggest surprise so far has been how many people I’ve had the opportunity to connect with through music. This can be through meeting strangers while I’m busking in the subways, through talking with audience members after playing a gig, or through jamming with friends just for fun. An unexpected challenge is finding the motivation to continuously put myself and my music out there. It’s easy to write and play songs alone in my apartment, but the only way to grow and develop as an artist and as a person is to reach outside of our comfort zones. 8. What was it like putting together your EP? A. Recording my EP was an incredible experience. Working in the studio with such talented and kind people has been the highlight of my music career so far. Writing and composing songs is my favorite part of being a musician, so getting to do that in a professional environment was a really special experience for me that I’ll always be grateful for. 9. Who are some of your favorite artists or rather, what musicians have continued to inspire you and your music? Who would you still love to work with in the future? A. My favorite artists include James Taylor, Jackson Browne, Carole King, Gregory Alan Isakov, John Moreland, Kacey Musgraves, Cam, Ruston Kelly… mostly anyone with a strong acoustic, folk or pop sound and thought-provoking lyrics. It would be amazing to work with Kacey Musgraves in the future, I think that her writing and her vocals are incredible. 10. What has it been like keeping up with your social media accounts and all of the different platforms? Is it hard to stay up to date on it all? What would you say is your favorite way to connect with your fans now? A. Keeping up with social media is a little harder for me because I’m a bit of an introvert. But I also understand that to gain a following, it’s important to let people know what you’re up to. My favorite way to connect with fans is through Instagram, I find that I can reach the most people on that platform. 11. If you were going to be stranded on a deserted island, what musical item would you take with you and why? A. I would take my guitar with me. I can’t get through a day without playing the guitar, so it would be a must. 12. If your music was going to be featured on any TV show that is currently on right now, which would you love it to be on? Or if you prefer, what is a movie that you love that you wish your music was featured in? A. The only TV show I watch is The Office, and I’m not sure if my music fits that genre :) But if my music could be featured in a movie, I think I would choose Little Women. It’s one of my favorites and the rest of the soundtrack is already amazing, so it would mean a lot to have my songs alongside those. 13. At the end of the day, what do you hope people take away from your music? A. I hope people take away the feeling of being less alone. I try to write my songs with honesty, no matter how upfront the emotions may be. If anyone listening feels like I captured some semblance of how they’re feeling and feels comforted by that in itself - that’s the goal. 14. When you are not making music what else do you enjoy to do? A. Outside of writing songs, I like taking long walks, reading books, learning, spending time in nature… basic activities you would expect of a songwriter :)

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#music news #brooklyn music #brooklyn new york #empire state music #fresh music #moving music

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foodselfiesandstuffblog · 7 years

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Fader: 9 All-Female DJ Collectives You Need To Know Right Now

Meet the crews from around the globe who are empowering others by keeping the decks diverse.

In the past year, conversations regarding female representation in dance music have been more passionate than ever. It's about time. But importantly, this new wave of discourse is bringing with it a new wave of projects designed to highlight the women behind the decks. One such initiative is international collective female:pressure, who pool together statistics on female artists in electronic music, as well as photos of women in the studio, spotlighting their involvement in the technical side of music-making. Meanwhile, Twitter account Very Male Line Ups calls out all-male line-ups to “help bromoters do better,” and techno don Paula Temple’s Noise Manifesto label gives a platform to gender-balanced projects featuring 50% female and queer artists.

But positive efforts like these don’t come without their detractors. When New York-based “techno feminist” collective Discwoman were profiled in a huge NPR feature last year, the comments below displayed a notably negative reaction towards what they were doing—ranging from “And the NPR feminist rant goes on,” to “Sorry, but clubs don't have a bro problem. If you have a problem with the bros, that's your problem.” And these attitudes are still visible in the industry at large: last week, DJ Justin James went viral when he placed a Facebook ad looking for female DJs with ridiculous requirements, including specific height, weight, and being the owner of a popular Instagram account.

Though it might have been an unusually bold example of discrimination in electronic music, James’ request re-emphasized why all-female projects are so essential. While we’re living in an unequal world, it remains crucial to support voices that may not always feel comfortable with the bro culture of clubs. Speaking to The FADER over email, Paula Temple puts it this way: “Maybe when we reach the point where sidelining, gaslighting, denying, undermining, taking over, reductionism, hostile environments and sexual harassment have disappeared, there would be less of a reason to create all-female projects.” In an industry where there are people who don’t encourage—and in some cases, actively discourage—women to pursue DJing for a living, exclusively female-identifying projects carry massive significance. Below, The FADER highlights and speaks to nine such crews that are supporting and positively impacting women in scenes such as house, techno, and club music.

Discwoman, New York

This techno-focused New York collective has been running since 2014, founded by Frankie Hutchinson, Emma Burgess-Olson (who produces as Umfang), and Christine Tran. “I met Emma at Bossa because she played a techno track I liked and I asked her what it was. Christine I had met previously through her collective Witches,” says Frankie of how they came together. “Centering women allows us to make dope parties whilst being conscious of the reality of the fucking world.“ Following a recent night in Mexico with The Black Madonna, Discwoman has been announced as residents at Chicago’s Smart Bar for this year, as well as having potential plans to take things to the U.K., Chile, Colombia, and India.

Sister, worldwide

Sister is an online collective that takes its form in a series of Soundcloud mixes and also a private Facebook group made for discussing and sharing music between female and non-binary people. The platform was created with “the aim of solidifying a network of women within underground club music.” Producer and DJ Toxe, who is part of Stockholm based label Staycore, founded the group and contributed the first mix in the series. Today, producers such as UNiiQU3, DJ Haram, and KABLAM are all an active part of the community—a safe place for women in club music to hang out and voice concerns that may be met with hostility elsewhere.

TGAF, Paris

TGAF is a French collective comprised of five DJs, whose unusual acronym stands for These Girls Are on Fiyah. Carin Kelly, Malibu, DJ Ouai, Miley Serious, and Oklou became a team at the tail-end of last year, and have a monthly radio show on the station PIIAF where they play an eclectic mixture of house, pop, experimental, and club tracks. Each of their radio shows has a different theme, the first three being Air, Fantasy, and 3 a.m. Playing at nights both separately and together, they’re mostly at parties in Paris but have also been known to venture to Berlin.

Mahoyo, Stockholm

Childhood friends MyNa and Farah make up Swedish fashion, art, and DJ collective Mahoyo. Sharing a love for street culture and hip-hop, their creative venture combines a love of styling, photography, and filmmaking with music. When it comes to their DJing, there are no limits. “Hip-hop and R&B is [a] given, but we also love to mix our sets with dancehall, kwaito, kuduro, trap, and everything that we are inspired by at the moment,” they explain. “Through them we have found a way to express ourselves creatively and also use our creativity to empower the black and POC community.”

Miss Modular, L.A.

Operating from Los Angeles’ Radio Sombra, Miss Modular is a radio show run by host Sasha Ali with graphics and visual identity provided by designer Michelle Cho (who has also provided a guest mix for the series). Their other guests have recently included Nguzunguzu’s MA DJ and Lafawndah. The show is dedicated to “womxn-powered music,” and Ali elaborates on the phrasing over email to The FADER: “I say 'womxn' to be inclusive of music-makers who are femme-identified.” Miss Modular isn’t connected to any particular genre, instead showcasing the wide range of women’s musical abilities—"be it trombonist Melba Liston who arranged music for artists like Billie Holiday, Randy Weston, and Marvin Gaye, producers like Georgia Anne Muldrow or MA DJ of Nguzunguzu, as well as rappers and songwriters like Junglepussy or Selda Bagçan."

Born N Bread, London

With a mixture of wavy, emotional hip-hop and R&B selections and friendly chat between close friends, Born N Bread has been bringing feel-good vibes to the NTS airwaves since late 2015. The south London girls started up their collective last year, which encompasses the radio show, their fashion, art, and photography zine and other individual projects. Read The FADER's interview with the crew here.

Work In Progress, Toronto

Toronto-based DJ and promoter Cindy Li's radio show Work In Progress is solely dedicated to playing productions made by women. Past guests have included 1080p’s D. Tiffany, Volvox, and DJBOYZCLUB. As well as that, Li has started putting on events with her friend Nancy Chen—first bringing Discwoman to Toronto, with plans to do more in the future. Talking of the importance of creative spaces filled with exclusively female talent, Li says: “Who you book is reflected in who comes to your show, so I’m hoping by doing my radio show and throwing parties that fall in line with the ethos of my radio show, it will encourage more female participation in my local music community.”

Apeiron Crew, Copenhan

“Loads of women have the talent and dedication to work to make it, they just need a little push, a team or a role model, and that is something I realized the past two years being a part of Apeiron Crew,“ explains Red Bull Music Academy alumni Courtesy. Two years ago, four best friends from Copenhagen, Najaaraq Vestbirk (Courtesy), Emma Blake, Simone Øster, and Sara Svanholm (Mama Snake) came together to form Apeiron Crew. DJing in Denmark with heady techno selections in tow, the crew also fly in other female DJs to play with them. As well as being residents at the capital’s biggest techno venue Culture Box, members Emma Blake and Courtesy are also producing acidic techno together.

SIREN, London

After being exasperated by yet another male-dominated list of top DJs, nine London-based techno lovers formed SIREN through a Facebook group in October 2015. “SIREN comprises DJs, producers, promoters, music journalists, A&R scouts, radio show producers, and live performers. As we began to address in our first zine, we want to change things across the board,” they tell The FADER. Working incredibly quickly, they’ve put on their first party already, with sets from rising DJs Resom, Lenny Jams, and the collective’s residents playing a lot of fun, energetic techno. With plans to run the night every few months, SIREN have some clear objectives: “At our nights, we ask people to adhere to our slogan: 'no bullshit, just dancing.' We have a zero-tolerance policy on harassment, whether targeted at gender, race, sexual orientation, or ability.”

This article was written by Aurora Mitchell and published on Fader.com

#Discwoman #sister #fader #TGAF #MAHOYO #MISS MODULAR #BORN N BRED #WORK IN PROGRESS #APEIRON CREW #SIREN

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