Posts Tagged ‘music’

Madonna: The Business Behind The Music

album

Madonna’s music career started with a very small deal with Warner Bros. Records in 1982: a $15,000 advance per single, with an option to pick up three singles and an additional $2,500 publishing advance to cover her songwriting. That’s right, the Queen of Pop, then a dead-broke 22-year-old, didn’t even land a full record contract on her first go-around. Within a decade, she would sign a huge deal with a reported $60 million advance from Time Warner plus $5 million per album for her next seven records, a 20% royalty rate on album sales, a massive jump up from the industry standard — oh, and her own multimedia entertainment company, Maverick. At the time, it was one of the biggest advances ever doled out — said to be “comparable in scale” with Michael Jackson’s 1991 Sony deal.

In the end, the wage gap didn’t apply to Madonna, who is the last ’80s megastar standing and still creating, following the deaths of Jackson, Prince and Whitney Houston.

In 1984, before the crazy record deals and global fame, she went on American Bandstand and told Dick Clark that she she planned to rule the world. She wasn’t kidding. And she didn’t intend to just do it by dominating culture.

For over three decades, Madonna has been known as a chameleon who constantly reinvents herself, a provocateur who pushes the envelope, and a brilliant, visionary artist who created — and then broke — the mold for female pop stars. But she doesn’t get enough credit for being all those things and more in business. That’s probably because she doesn’t talk about her uncanny business sense directly, though she references it all the time — “Material Girl” and Blonde Ambition take on a whole new tenor if you think of them as financial manifestos.

Madonna’s multi-faceted revenue deals followed the blueprint of the Beatles, who launched Apple Music in 1967, and were on par with what Sony offered Michael Jackson. But the singer also managed to negotiate these deals so they were uniquely tailored to her wishes and padded with wads of cash, befitting a pop star of her level. Her personal involvement in her business ventures and finances is paralleled only by the Rolling Stones — who were driven in that arena by lead singer Mick Jagger, a London School of Economics grad.

Royalties, Son

One of Madonna’s lucrative early lessons concerned songwriting royalties, which are a core revenue source for any artist. Among the hits in her early catalog, the only ones she had a co-writing credit on were “Lucky Star” and “Into the Groove.” By her third album, 1986’s True Blue, she made sure she was a co-writer on every song. The confidence gained after becoming a Beyonce-magnitude star with Like A Virgin likely bolstered her at the negotiating table.

The haters (and a few disgruntled songwriters who have had their work rewritten and recorded by her) have long dragged Madonna’s songwriting abilities – likening them to changing a word or two and then using her clout to take a large percentage of the songwriting credits and accompanying royalties. (These same charges are flung at successful female singer-songwriters even today: just ask Beyoncé, Taylor Swift, or Katy Perry.)

Coming to her defense? Patrick Leonard, whose relationship with Madonna spans co-writes on dozens of tracks, production duties, and work as music director on her early tours. According to Leonard, their songwriting process on albums like 1989’s celebrated Like A Prayer was completely collaborative and 50/50. He generally came up with a musical idea that Madonna would write lyrics to. “She would write the lyrics in an hour, the same amount of time it took me to write the music,” Leonard told Billboard. The duo finished writing all of Like a Prayer in two weeks, writing a song a day – very efficient for a project with such enormous artistic and monetary payoff.

I’m A Business, Man

In the ‘90s, Madonna set her sights on becoming not just a musician but a mogul. When it was time to renegotiate her record deal in 1992, she didn’t ask Time Warner, the parent company of Warner Bros. Records, to just cut her a check; she wanted to start her own media company under their umbrella. Since she was hands down the biggest female pop star in the world, they had two choices: say yes or lose her.

That company, Maverick, was originally created to support a record label, book publisher, music publisher, film, and merchandising. It released Madonna’s bestselling (and highly controversial) Sex book as well as the coinciding Erotica album. The record label was the most commercially successful part of the venture, releasing smash albums from Candlebox, The Prodigy, Michelle Branch, William Orbit, Deftones, and Muse’s debut album. It famously signed Alanis Morissette, whose first album, Jagged Little Pill, was both a commercial juggernaut with lifetime sales at over 15 million copies, and a cultural touchstone for a generation. The album’s influence lives on even today; it was recently adapted into a musical that could be Broadway bound.

Madonna was divested from the company in 2004, after a round of lawsuits with Time Warner over mismanagement in which accusations flew from both sides. It was a time of particular financial confusion in the music industry, with the business starting to feel the heat of streaming eating away at their profits thanks to Napster (YouTube wouldn’t launch for another year, and Spotify was a good four years away from launching in Europe). Additionally, her longtime label, Warner Music Group, had just been purchased away from Time Warner by an investor, Edgar Bronfman, Jr. Time Warner bought her shares and, in the end, Madonna won, taking the check for her percentage of the company and running.

Gimme Gimme More

By the new millennium, Madonna, never one to repeat herself, was on to the next thing. As album sales dipped in the age of streaming, the part of the industry still generating huge dividends was touring. Live performances are, even today, where artists now seek their primary income. Many started doing 360 deals with their labels, in which the label got a portion of their live and merchandise sales in exchange for monetary support, but Madonna was not about to do anything of the sort.

In the end, the wage gap didn’t apply to Madonna, who is the last ’80s megastar standing and still creating, following the deaths of Jackson, Prince and Whitney Houston.

In 2007, she signed what Billboard called an “unprecedented” deal reportedly worth $120 million with Live Nation, the entity that promotes concerts and owns venues all over the world. This was a next-level 360 deal, partnering her with Live Nation to handle her touring and merchandising, plus new studio albums, music-related film and TV projects, sponsors, and fan clubs and websites (which would soon morph into social media management).

Though Live Nation had to defend the huge payout at the time, it was proven to be a brilliant money-making move for both artists involved. Madonna’s 2008 Sticky & Sweet Tour made $408 million — then (and now) the highest total ever for a solo artist. Her 2012 MDNA tour, packaged with a 2011 album and a Super Bowl performance, made a remarkable $305 million.

Madonna is locked in a race with Bruce Springsteen for highest-grossing solo touring artist, having bested him again after her Rebel Heart Tour in 2016. However, that tour only brought in $170 million — no small amount, but significantly less than her previous tours. Madonna’s deal with Live Nation spanned 10 years and expired in 2017, and only someone completely unfamiliar with her history would imagine she might want to sign the same type of deal again. Now, Madge has room to reinvent the business terms and areas of focus on her next venture.

Outside of music, Madonna has created a slew of diverse revenue streams for herself: the MDNA Skin line, which makes skin care products and fragrances; her children’s book series; a stake in Jay-Z’s TIDAL; the film production company X; the M by Madonna clothing line for H&M; her MG Icon clothing line at Macy’s; a sunglasses line with Dolce & Gabbana; her Truth or Dare lifestyle brand that produced everything from purses to footwear to the Coty fragrance launch; Hardcandy Fitness, a joint-venture for workout fans. In 2018, Madonna is sliding into 60 with an estimated net worth of $590 million with over 300 million records sold. Among other honors, she is Billboard’s all-time top performing female artist for Hot 100 singles.

With her touring profits on the wane, we also look to Madge to, yes, once again reinvent herself creatively. That could mean doubling down on developing and producing film projects or more books and perfume. What if the former Basquiat and Haring confidante delved into a side hustle promoting avant garde visual artists, helping them translate their talent into the mainstream art world? She could drop in on a different creative world that might benefit from her trendsetting eye, and it could help inspire her musically, as well.

As the music industry fully transitions to streaming, Madonna’s next move could very well be a big money partnership with a streaming outlet. Though she owns a piece of TIDAL, it’s more likely that she would swoop in on an opportunity at the immensely popular Spotify, who recently announced they are open to doing deals directly with artists. It’s a sweet opportunity for musicians: they retain their master rights to the music, which enables them to directly collect all money from licensing deals for TV, movies, and ads; it also helps them maintain control over usage of the music and enjoy a higher royalty rate, all with a worldwide distribution partner. But, being Madge, she’ll want to do it with a twist — something that ups the ante beyond the traditional deal.

Madonna has also been teasing new music, telling fans back in May she’s got a track called “Beautiful Game” on the way, which Genius says is a co-production with her old producing partner Mirwas. On top of that, she’s dropped hints about finding inspiration from her residence in Portugal, indicating there’s more than just one single brewing. Surely the announcement of her next trend-breaking business venture isn’t far behind.

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How to Start Your Own Independent Record Label

What is a e record label?

Record labels create and promote music recordings and music  videos which are then packaged into digital, CD ROM, DVD and other available formats. Other duties include artist scouting and development;  brand and trademark management; and coordinating the production, manufacture, distribution, marketing, promotion, and enforcement of copyright for their artistes’ sound recordings and music video. 

Why start your own independent record label?

In the past, the music industry was controlled by mega giant record labels such as Universal Music Group, Sony Music Entertainment, Warner Music Group and EMI Group. 
Independent labels  were non – existent and began to emerge as the major companies signed fewer and fewer artistes. Independent labels  also satisfied the demand among fans for genres that were not promoted by the big guns.

Independent record labels can be run as small co-operations or as entities consisting of one or two people. They  usually operate without funding  from the major  record labels and have gained some amount of success, with artistes winning major music awards in some cases.

Click here to Learn how to start your own record label

How do independent record labels make money? ​​​​

Independent record labels recoup costs from music royalties. According to Taxi.com, while indie labels have to be more careful with the allocation of expenses, the advantage is that they can make and promote records for far lower costs than major labels and be profitable with far fewer sales.

Additionally, in my mind, the plethora of resources that are available on the market for digital music publishing and promotion create a truly feasible environment for anyone to establish  a record label, even if only to market their own music.

What are some costs involved in music production?

Costs involved in music production include recording, manufacturing, royalty, promotion and distribution of the music of artists signed to the label. However, with the plethora of opportunities available for music licensing and syncronization, among others, a savvy record label can maximize profits and recoups costs, making a nice profit in the interim.

Click here to Learn how to start your own record label

artist

How can you start your own record label

Are you passionate about music? Do you enjoy helping others to succeed in music? Are you longing to start you own record label? If the answer is YES, what would you do to get up and running?

Would you like to?

1. Obtain a Record Label business plan that would help you to start and run your own successful music company? A Record Label business plan is an important document that summarizes the objectives of your business. It also contains the detailed plans and budgets showing how your business objectives will be achieved.

2. Clearly state you businesses’ mission or general purpose?

3. Know how to write the executive summary or the main highlights of your business plan, including the products and services you plan to provide?

4. Know what marketing and promotional strategies you should implement from the initial release of the music product as well as subsequent releases?

5. Know the details to be included in your businesses’ Financial Plan?

Would you like own customizable templates for all of these documents, including all of the FREE music business contracts you need?

Click here to Learn how to start your own record label

Anointed Music: Practical Application Of “The Song Of The Lord” for Worshippers

Using anointed musical accompaniment as a means for ushering in the presence of God and for receiving spiritual revelation

Here is a secret to receiving information and direction from heaven when you have no clue what to do. We learn this from the example found in In 1 Kings 3: 15 b:

the spirit of the Lord came upon Elisha when the minstrel played, “and he said, thus saith the Lord”

This technique of playing music to inspire someone else to download information from another dimesions can be applied by anyone in any setting who wants to know what the Lord has to say. That is, by anyone who needs any kind of spiritual revelation necessary to give direction.

Prophet Elisha’s dilemma

Elisha was facing a real life, practical situation. The king of Israel wanted to know if he should go to war against another nation? Can we recommend this to the President? Does he trust the word of the Lord? I suspect that Elisha mainly used the technique because he was exasperated with the king of Israel and just did not have the energy to give him a word because the king served other idols instead of the true and living God (see verse 13).

Additionally, the Lord wanted it documented in scripture as an important tool in spiritual revelation since Elisha did not use it incidentally. Moreover, the Lord is saying that he used the technique out of due respect for Jehoshaphat the righteous king who was present and had maintained the pattern of using musicians and singers in worship and who had received battle strategy from a Levite who was a descendant of Asaph (2 Chron 20: 14).

Elisha deliberately used the technique of prophesying accompanied by a musician whose music enhanced the download of information from heaven

Singers, worshippers, pastors, apostles, teachers, evangelists, deacons etc can apply Elisha’s technique to accomplish the Lord’s own purposes, for example, when the presence of the Lord needs to come into a place (some places are dry ground) for the salvation of souls, deliverances etc. This is a useful technique for worship teams particularly when the Holy Spirit is moving on the team to sing the song of the Lord in what one can call “free style”:

At these times, there is usually a flow in this direction and the team leader at the time may find him or herself extolling the Lord in short repeated phrases or an entirely new song in some cases.

It is therefore incumbent on the leader to sing what the Lord wants and on the members of the team (other singers and musicians to follow along).
The congregations or listeners should follow the leading of the Holy Spirit on the leader and extol the Lord by either singing what they hear or by repeating phrases that are related to what they hear.

For example, if the leader (s) sing “he is worthy, he is worthy”, the congregation of team can respond with those exact words or with words like “yeah”, “halelujah, halelujah” using appropriate timing if the Spirit leads you in that direction.

Anointed Music: Spirit of Life Recording Company – King David’s musicians

Who were some of the early members of Spirit of Life Recording Company?

In this post I want to talk about David’s musicians who were some of the early members of Spirit of Life Recording Company. King David himself was a member of this label because he was an anointed musician (1 Sam 16: 18 – 23) and a prophet (Acts 2: 29, 30) so he understood how to receive spiritual wisdom and understanding by revelation. How else could you explain his daredevil stunts like killing a lion and a bear with his bare hands (1 Sam 17: 33-37) and killing a giant with a sling shot and a stone? (1 Sam 17). Which one of you would do that? Maybe bungee jumping is “safer”. His brothers thought that he was cocky when he said he would fight and kill a ten foot giant (1 Sam 17).

David knew a God who gave him superior mental boldness and physical conditioning and strength (did he go to the gym?) that made a stone sink through a giant’s forehead and into his brain, causing that giant to topple over like a felled tree. While he was a shepherd, David dreamed of the day that he would establish his own recording company in order to share songs that would usher in the presence of God and reveal His power and secrets to his people. David had received spiritual revelation about what heaven was like and the worship and singing that took place there and I will show this to you later. He also knew how to join the worship there and how to download its music and songs to earth, because his music had power to make demons flee from King Saul (1 Sam 16: 23).

One example, however, is that King David was a designer of musical instruments (1 Chronicles 23: 5) and one of them was the harp. Did he have a vision of heaven like John where he saw the harp being played? (Rev 5:8; 14:2; 15:2). Sorry for those who say musical instruments are for the Old Testament only because you will have to endure them up there. Anyway, rappers (and gospel musicians, producers etc as well), he fulfilled his dream when he became king. That is advantage of being king (in charge). You get to do some creative stuff that you dreamt about or that God gave to you. David was a Jew, so as a Jew, he was obligated to go to the temple (that God told Moses to build) to offer sacrifices for sin. The problem was that the Jews did not know that the temple Moses built was just a pattern of God’s temple/church/tabernacle in heaven and that God was using it to teach them and later the Gentiles something about worship and prayer (say what?).

David knew by revelation that the temple on earth represented God’s temple in heaven because he had seen it, maybe in a vision, although he did not let out that particular secret. His actions, however, spoke louder than his words and that is how we know this particular secret that David hid from his people (maybe he did not want them to stone him. After all, he had to live to be the king). Yes, God has a temple in heaven and we see that in Hebrews 8: 5; 9:11; 12: 22-23 and Rev 7: 15; 11:19; 15:5. Hebrews 8: 5 implies that Moses knew about the temple in heaven as well, but apparently he had not seen it or did not tell the Jews that the tabernacle on earth was just a pattern of the one in heaven. I’m no scholar, but when I read Exodus 25, I found the pattern that Moses built on earth (check out the bling bling in the church building. Can you do that in New York?).

Basically, the temple was really a tent enclosed by a yard. Rev 15: 5; 7: 15 and 11:19 tell about the tabernacle in heaven which was the original of the one God wanted Moses to build. The one Moses built had three parts – a courtyard, holy place and the most holy place. The courtyard surrounded the tabernacle and was entered by one gate (can’t get to heaven except by Jesus). In the yard you would meet an altar for sacrifices and a basin for handwashing. The Holy Place had a lampstand, table with bread and a golden altar of incense. In heaven, this altar is in front of God’s throne (Rev 8:3-5) and it is here that an angel holds our prayers and offers them up with incense unto God, so that He can inhale them and remember us.

This is a natural high (no drugs needed). In addition, the spirits of the saints who were ever martyred are under the altar so tht God can remember them and their murderers (Rev 6:9). The Most Holy Place tell us there is a place in heaven where God sits (Rev 4: 2-5; 5:6; 7:9) since it contained an ark or chest on which rested a mercy seat representing the throne where God dwells. This mercy seat is referred to in Hebrews 4: 16. Two angels were made facing each other on either side of the mercy seat and their wings stretched out to cover the mercy seat. Second Samuel 6: 2 and Isaiah 6: 1- 2 and 37: 16 show that God dwells between the cherubims.

When you read the book of Revelation, you would see that a lot of worship activity takes place in front of God’s throne that we are expected to mimic on earth. Twenty four elders as well as angels fall down on their faces to worship (Rev 4:10; 5:8; 7:9; 12:4); musicians play harps (Rev 5:8; 14: 2,3; 15: 2); worship songs are sung by saints and angels (Rev 4: 8-12; 5: 9, 12; 6:9,10; 7:10-12; 11:17; 14:3; 15:3,4; 19: 1-3,6,7) and people wave palm branches in celebration just as the Jews did to celebrate Christ’s entry into Jerusalem (Rev 7:9).

This revelation is what David received, but I want to ask if you receive this by faith. Do you prefer this natural high, joy and peace that you can get by living in God’s presence or tension and stress by wondering who is going to kill you or who hates you? Come on into God’s kingdom. More to come.

Mercedes Moss
http://www.pppministries.wordpress.com

http://www.thelordsangels.wordpress.com

Spirit of Life Recording Company – Whose song?!

We talked a bit about the purpose, source and inspiration of the songs that are received and played by anointed musicians, using those in David’s tabernacle as prime examples. Although David appointed three chief musicians to instruct in music and song, I personally believe that he trained them initially in the song of the Lord […]

Read more: pppministries.wordpress.com

Impac Jazz | When Somebody Loves You Back By Teddy Pendergrass | Jazz On The Green 2016 SVG

Impac Jazz | When Somebody Loves You Back By Teddy Pendergrass | Jazz On The Green 2016 SVG

“When Somebody Loves You Back” by Teddy Pendergrass feat Impac Jazz

Impac Jazz performed “When Somebody Loves You Back” by Teddy Pendergrass at Jazz On The Green 2016, St. Vincent and the Grenadines. The band shared the stage with top international music artistes Boo Hinkson and Maher Beauroy (St. Lucia), Eddie Bullen (Canada) and and new singing Vincentian sensations The Melisiwze Brothers.

ON STAGE – IMPAC JAZZ

Andy Cruickshank – lead singer, keyboards
Lyndon Moss – rhythm guitar
Max Providence – lead singer, bass guitar
Errol Junior Bowens – drums

Jazz on the Green is a yearly event produced by jazz music lover Keith Boyea, Manager and Owner of BMC Agenciies. Held in the historic Botanic Gardens located in Kingstown, St. Vincent and the Grenadines, the event was well attended by well heeled music lovers. Proceeds of this year’s festival were donated to charity.

Jazz on the Green 2016 was a a very musically engaging event. The performers were well received by fans who called for more. The music was out of this world, with the entertainers singing and playing their hearts out with energy. We want a repeat.

Impac Jazz is a party band from St. Vincent and the Grenadines that has played on stage with top international entertainers. Known for the ability to play from a variety of genres, the band enthralls audiences with its versatility.

This video url is https://youtu.be/5gCH7pL9kjw

When Somebody Loves You Back Lyrics

[Hook]
It’s so good lovin’ somebody
When somebody loves you back

[Verse 1]
To be loved and be loved in return
It’s the only thing that my heart desires
Just appreciate the little things I do
Oh, you’re the one who’s got me inspired
Keep on liftin’, liftin’ me higher

[Hook]
So good, good lovin’ somebody
When somebody loves you back
It’s so good needin’ somebody
When somebody needs you back

[Verse 2]
We can build a world of love, a life of joy
Make our goal each other’s happiness
I will do for you anything that I can
Oh, everyday I wanna do a little more
Do a little more, just a little bit more

[Hook]
It’s so good lovin’ somebody
When somebody loves you back and that’s a fact
It’s so good wantin’ somebody
When somebody wants you back
Said it’s so good

Link with Impac Jazz

http://impacjazz.org
http://twitter.com/jazzimpac
http://lyndonmoss.blogspot.com
https://musicclout.com/impacjazz
https://www.facebook.com/impacband
https://www.linkedin.com/pub/lyndon-moss/5a/594/a71;

Beautiful Eyes | Feat. Impac Jazz

Bob Marley Is This Love | Reggae Medley By Impac Jazz

Bob Marley Is This Love | Reggae Medley By Impac Jazz

http://lyndonmoss.blogspot.com/p/impac-jazz.html
http://lyndonmoss.blogspot.com/p/join-impac-jazz-fan-club.html

Impac Jazz is a live music entertainment band from St. Vincent and the Grenadines.

In this video, the band plays a reggae medley featuring a smooth mix of voices and the edgy, staccato rhythms created and made famous by International reggae star – Jamaican Bob Marley.

This video’s url is … https://youtu.be/ociLUwMh5Xk

Link with Impac Jazz at

https://www.facebook.com/impacband
https://www.linkedin.com/in/lyndon-moss-a715945a

Impac Jazz Version | John Legend’s Ordinary People

Impac Jazz Live | Sade’s Sweetest Taboo