Dec 1, 2019
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It was the biggest disaster in the history of the music business — and almost nobody knew. This is the story of the 2008 Universal fire.
A long but fascinating -- and at times depressing and/or infuriating -- read.
...ARE we living in the best timeline? After all?
Taylor's music is HOME! In ownership! All the original albums, art, videos, etc....all finally home 🥹
Okay but what if she puts a new spin on “Innocent” and makes it a song for us?? And learning to forgive ourselves for the mistakes we make along the way?? I feel like that gives her TCA speech a whole new meaning and I’m here for it
@taylorswift
Taylor Swift's big dust-up with heavyweight music bizzers Scooter Braun and Scott Borchetta is just the latest example of her advocacy for artists' rights.
There isn’t a lot of new info in this one, but I think it lays things out quite fairly and I think the last paragraph is particularly valid:
“On Sunday, Swift asserted that her beef with Braun and Borchetta has ramifications beyond the personal, and she hoped to empower young artists to forge better deals than the one she signed when she was a young teenager. That goal, however, may be beyond even Swift’s superpowers. Historically, musicians enter their first recording contracts as unknowns, and record companies gamble on whether they will defy the odds and find breakout success.
“It’s the way the business has been and always will be,” longtime music industry executive and talent manager Jim Guerinot said on Tuesday. “You don’t have leverage when you start out. You get screwed on your first deal, you get it right on your second.”
“The golden ticket,” he said, “is getting the reversion” of ownership of master recordings. “What you have to exchange for that? That’s how you decide whether or not it’s worth it.””
As I’ve said in a few tags - I understand that labels take a huge risk with new artists and deserve to be recompensed for that. However, there should be a standard buyback agreement in the initial contract (for example, an agreed percentage over the initial advance) so that artists can reclaim their work product if they are ultimately successful.
Rising stars and seasoned execs explain why owning your master recordings is always worth more in the long run than surrendering control for that short term cash grab.
For those interested in learning more about contracts and master recordings. It’s easy to see why this is such a difficult and convoluted process to navigate, especially since this new model and method is such a recent trend.
WE HAD TO STAN ASHLEY!!!!