Mechanical License Agreements for the Independent Songwriter
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Americana Folk Rock Singer Songwriter Releases New Album "Simple Things" Recorded at Freemont Recording Studios - Mastered by Tone Proper
Subscribe Past Issues Translate View this email in your browser For Immediate Release Americana Folk Rock Singer Songwriter Releases New Album "Simple Things" Recorded at Freemont Recording Studios - Mastered by Tone Proper Portland Oregon (July 19, 2018) – Americana Folk Rock singer/songwriter Carl Solomon has just released his third album “Simple Things” and it’s quite the compilation. A personal collection of the songwriter’s from the heart songs that he delivers with notable passion. One of the hallmarks of Carl’s new release is the predominant incorporation of various Americana / Folk instruments that have been strategically placed at the beginning and throughout a number of his tracks. For instance on track five “Come What May” the arrangement incorporates an accordion and on track eight “Always Running” presents a banjo front and center. The noticeable incorporation of these instruments deliver a definitive distinction between the tracks. Another interesting feature of Carl’s new release is that the collection moves between various beats. For example track six, “Ticket To Nowhere” delivers a soft rock feel, noticeable but yet it does not over power the senses and therefore distract from the experience of enjoying the lyrics. Track seven on the other hand “Navajo Rain” sets itself apart with its subdued beat which again is not overpowering but quite different from track six. In total the album presents ten new tracks that is roots music at its best. Carl’s natural way of blending his music with his lyrics coupled with his marvelous storytelling capabilities presents the listener with a pleasant, enjoyable experience. -
Starr-Waterman American Popular Music Chapter 11: the 1970S: Rock Music, Disco, and the Popular Mainstream Key People Allman
Starr-Waterman American Popular Music Chapter 11: The 1970s: Rock Music, Disco, and the Popular Mainstream Key People Allman Brothers Band: Most important southern rock band of the late 1960s and early 1970s who reconnected the generative power of the blues to the mainstream of rock music. Barry White (1944‒2004): Multitalented African American singer, songwriter, arranger, conductor, and producer who achieved success as an artist in the 1970s with his Love Unlimited Orchestra; perhaps best known for his full, deep voice. Carlos Santana (b. 1947): Mexican-born rock guitarist who combined rock, jazz, and Afro-Latin elements on influential albums like Abraxas. Carole King (b. 1942): Singer-songwriter who recorded influential songs in New York’s Brill Building and later recorded the influential album Tapestry in 1971. Charlie Rich (b. 1932): Country performer known as the “Silver Fox” who won the Country Music Association’s Entertainer of the Year award in 1974 for his song “The Most Beautiful Girl.” Chic: Disco group who recorded the hit “Good Times.” Chicago: Most long-lived and popular jazz rock band of the 1970s, known today for anthemic love songs such as “If You Leave Me Now” (1976), “Hard to Say I’m Sorry” (1982), and “Look Away” (1988). David Bowie (1947‒2016): Glam rock pioneer who recorded the influential album The Rise and Fall of Ziggy Stardust and the Spiders from Mars in 1972. Dolly Parton (b. 1946): Country music star whose flexible soprano voice, songwriting ability, and carefully crafted image as a cheerful sex symbol combined to gain her a loyal following among country fans. -
Entertainment & Sports Lawyer 33.3
Meet the New Boss: NOI Table Top Three Services Filing NOIs Number of NOIs Tech Giants Rely on April, 2016—January 201711 Per Service Amazon Digital Services LLC 19,421,902 Loopholes to Avoid Google, Inc. 4,625,521 Pandora Media, Inc. 1,193,346 Paying Statutory According to a recent story on the subject in Royalties with Mass Billboard12: Filings of NOIs at At this point [June 2016], 500,000 new the Copyright Office [songs] are coming online every month [much lower than the reported numerical By Chris Castle average to date], and maybe about 400,000 of them are by indie songwriters [which There is a fundamental rule of music licensing— may include covers], many of whom who if you don’t have a license from the copyright don’t understand publishing,’ Bill Colitre, owner, don’t use the music. In the new thing of VP/General Counsel for Music Reports, “permissionless innovation,”1 the “disruptors” a key facilitator in helping services to pay want to use the music anyway. Nowhere is publishers, tells Billboard. ‘For the long tail, this battle more apparent than the newest music publishing data from indie artists often new thing—mass filing of “address unknown” doesn’t exist’ when their music is distributed compulsory license notices for songs. to digital services. You’re probably familiar with U.S. compulsory Conversely, neither digital retailers, i.e., music mechanical licenses2 for songs mandated by users, nor aggregators appear to be able (or Section 1153 of the Copyright Act.4 We think perhaps willing) to collect publishing information -
Music Industry Report 2020 Includes the Work of Talented Student Interns Who Went Through a Competitive Selection Process to Become a Part of the Research Team
2O2O THE RESEARCH TEAM This study is a product of the collaboration and vision of multiple people. Led by researchers from the Nashville Area Chamber of Commerce and Exploration Group: Joanna McCall Coordinator of Applied Research, Nashville Area Chamber of Commerce Barrett Smith Coordinator of Applied Research, Nashville Area Chamber of Commerce Jacob Wunderlich Director, Business Development and Applied Research, Exploration Group The Music Industry Report 2020 includes the work of talented student interns who went through a competitive selection process to become a part of the research team: Alexander Baynum Shruthi Kumar Belmont University DePaul University Kate Cosentino Isabel Smith Belmont University Elon University Patrick Croke University of Virginia In addition, Aaron Davis of Exploration Group and Rupa DeLoach of the Nashville Area Chamber of Commerce contributed invaluable input and analysis. Cluster Analysis and Economic Impact Analysis were conducted by Alexander Baynum and Rupa DeLoach. 2 TABLE OF CONTENTS 5 - 6 Letter of Intent Aaron Davis, Exploration Group and Rupa DeLoach, The Research Center 7 - 23 Executive Summary 25 - 27 Introduction 29 - 34 How the Music Industry Works Creator’s Side Listener’s Side 36 - 78 Facets of the Music Industry Today Traditional Small Business Models, Startups, Venture Capitalism Software, Technology and New Media Collective Management Organizations Songwriters, Recording Artists, Music Publishers and Record Labels Brick and Mortar Retail Storefronts Digital Streaming Platforms Non-interactive -
Song Contest 2020 Entry Form
21st ANNUAL NSAI SONG CONTEST PRESENTED BY MARTIN GUITARS and strings AND CMT september 1, 2020 (12pm cDT) - NOVEMBER 3, 2020 (4pm CDT) 2 CATEGORY OPTIONS - SONG AND LYRIC-ONLY // ALL GENRES ACCEPTED Nashville Songwriters Association International: Contest website - www.nsai.cmt.com For questions, contact NSAI - www.nashvillesongwriters.com or call 800-321-6008 21ST ANNUAL NSAI SONG CONTEST PRESENTED BY MARTIN GUITARS and strings AND CMT (”CONTEST”) ABBREVIATED TERMS AND CONDITIONS: Begins at 12:00 p.m. CDT on 9/1/20, ends 4:00 p.m. CDT on 11/3/20. Open to legal residents of the U.S. & D.C. (excluding MD, CO, & CT), Canada (excluding Quebec), Australia, and United Kingdom 13 years of age or older. Eligible minors must obtain their parents or legal guardians’ permission prior to participating. Void in MD, CO, CT, Quebec & where prohibited. Subject to complete Terms and Conditions available at nsai.cmt.com. Provided by Nashville Songwriters Association International, 1710 21ST ANNUAL NSAI SONG CONTEST PRESENTED BY MARTIN GUITARS and strings AND CMT ENTRY FORM Print & mail completed form(s) and fee(s) to NSAI. You may enter as many times as you wish. Each song entered requires a separate form, CD (unless Lyric-Only), lyric sheet and payment. ALL ENTRIES MUST BE POSTMARKED BY 4pm CDT NOVEMBER 3, 2020. Entrant: _____________________________________________ ENTRY FEES, Please Choose One: Current NSAI Member $35 (per entry) Address: ____________________________________________ Non-Member $45 (per entry) City/State/Postal Code: _________________________________ -
The Orrin Hatch – Bob Goodlatte Music Modernization Act
The Orrin Hatch – Bob Goodlatte Music Modernization Act A Guide for Sound Recordings Collectors This study was written by Eric Harbeson, on behalf of and commissioned by the National Recording Preservation Board. Members of the National Recording Preservation Board American Federation of Musicians National Academy of Recording Arts and Sciences Billy Linneman Maureen Droney Alternate: Daryl Friedman American Folklore Society Burt Feintuch (in memoriam) National Archives and Records Administration Alternate: Timothy Lloyd Daniel Rooney Alternate: Tom Nastick American Musicological Society Judy Tsou Recording Industry Association of America Alternate: Patrick Warfield David Hughes Alternate: Patrick Kraus American Society of Composers, Authors and Publishers SESAC Elizabeth Matthews John JosePhson Alternate: John Titta Alternate: Eric Lense Association for Recorded Sound Collections Society For Ethnomusicology David Seubert Jonathan Kertzer Alternate: Bill Klinger Alternate: Alan Burdette Audio Engineering Society Songwriters Hall of Fame George Massenburg Linda Moran Alternate: Elizabeth Cohen Alternate: Robbin Ahrold Broadcast Music, Incorporated At-Large Michael O'Neill Michael Feinstein Alternate: Michael Collins At-Large Country Music Foundation Brenda Nelson-Strauss Kyle Young Alternate: Eileen Hayes Alternate: Alan Stoker At-Large Digital Media Association Mickey Hart Garrett Levin Alternate: ChristoPher H. Sterling Alternate: Sally Rose Larson At-Large Music Business Association Bob Santelli Portia Sabin Alternate: Al Pryor Alternate: Paul JessoP At-Large Music Library Association Eric Schwartz James Farrington Alternate: John Simson Alternate: Maristella Feustle Abstract: The Music Modernization Act is reviewed in detail, with a Particular eye toward the implications for members of the community suPPorted by the National Recording Preservation Board, including librarians, archivists, and Private collectors. The guide attemPts an exhaustive treatment using Plain but legally precise language. -
City of Gaithersburg Press Release Singer Songwriter Series Season
City of Gaithersburg Press Release Contact: Public Information Director City of Gaithersburg 301‐258‐6310 [email protected] For Immediate Release Singer Songwriter Series Season Finale features Roots Duos “The Young Novelists” and “The Honey Dewdrops” on May 6 Gaithersburg, MD – (April 7, 2017) Gaithersburg’s Arts on the Green concludes this season’s Singer Songwriter Concert Series with The Young Novelists and The Honey Dewdrops on Saturday, May 6, 2017. The two roots duos share the stage for this special series finale as they lead a workshop at 3 p.m. at the Carriage House, 321 Kent Square Road, followed by a concert at 7:30 p.m. at the Arts Barn, 311 Kent Square Road. Tickets are $45 for the workshop and concert, $25 for the concert only. Purchase tickets online at www.gaithersburgmd.gov. The series is presented by O’Hair Salon + Spa. The Young Novelists are Graydon James and Laura Spink, who create music that is unique and reminiscent of the 60s with a fresh Indie sound. The Toronto based husband and wife duo are known for their beautiful harmonies and songs culled from their small‐town roots. The Honey Dewdrops, Americana songwriters and Virginia natives Laura Wortman and Kagey Parrish, are known for their lush harmonies and stellar musicianship. The duo blends traditional southern mountain music with contemporary singer songwriting. Attendees are invited to come early and enjoy wine by the glass, beer and non‐alcoholic beverages in a bistro setting. The Arts Barn Pub is open one hour before the concert and during intermission. -
Money for Something: Music Licensing in the 21St Century
Money for Something: Music Licensing in the 21st Century Updated February 23, 2021 Congressional Research Service https://crsreports.congress.gov R43984 SUMMARY R43984 Money for Something: Music Licensing in the February 23, 2021 21st Century Dana A. Scherer Songwriters and recording artists are generally entitled to receive compensation for Specialist in (1) reproductions, distributions, and public performances of the notes and lyrics they create (the Telecommunications musical works), as well as (2) reproductions, distributions, and certain digital public Policy performances of the recorded sound of their voices combined with instruments (the sound recordings). The amount they receive, as well as their control over their music, depends on market forces, contracts between a variety of private-sector entities, and laws governing copyright and competition policy. Who pays whom, as well as who can sue whom for copyright infringement, depends in part on the mode of listening to music. Congress enacted several major updates to copyright laws in 2018 in the Orrin G. Hatch-Bob Goodlatte Music Modernization Act (MMA; P.L. 115-264). The MMA modified copyright laws related to the process of granting and receiving statutory licenses for the reproduction and distribution of musical works (known as “mechanical licenses”). The law set forth terms for the creation of a nonprofit “mechanical licensing collective” through which owners of copyrights in musical works could collect royalties from online music services. The law also changed the standards used by a group of federal administrative law judges, the Copyright Royalty Board, to set royalty rates for some statutory copyright licenses, as well as the standards used by a federal court to set rates for licenses to publicly perform musical works offered by two organizations representing publishers and composers, ASCAP and BMI. -
The Songwriter's Checklist
The Songwriter’s Checklist, 3rd edition Gary Ewer Copyright © 2012, 2014, 2016, 2018 by Pantomime Music Publications and Gary Ewer All rights reserved. This book is protected by Copyright. Permission must be obtained in writing from Pantomime Music Publications for the use of any original text contained within this publication. Permission must be obtained from the publisher prior to any reproduction, storage in a retrieval system, or transmission in any form or by any means, electronic, mechanical, photocopying, recording, or likewise. Table of Contents HOW TO USE THIS CHECKLIST 3 MELODY/RHYTHM 6 CHORDS/HARMONY 8 LYRICS 10 MISCELLANEOUS 12 How to Use This Checklist The Songwriter’s Checklist is meant to help you when you feel that your songs are failing in some way. Don’t use it if your songs are working. Why? Some songs work really well despite perhaps violating conventional wisdom (e.g., they might have a chorus melody that’s lower than the verse). In those cases, you might inadvertently damage an otherwise great song. But if you’re feeling that the song you’re working on just seems to be missing the mark, see which items on the Checklist are present, and which ones might be missing. Remember that songwriting is a process of creation that involves spontaneous assembling of ideas, and improvisation. A checklist as a means for checking that kind of work might seem counterintuitive, but in fact it allows you to slow down the creative process and look at what you’ve written from a more objective standpoint. Here’s the best way to use the checklist: 1. -
Piton Wealth Raises Over $5,000 at Benefit Concert with Singer-Songwriter James Lanman ______
PITON WEALTH RAISES OVER $5,000 AT BENEFIT CONCERT WITH SINGER-SONGWRITER JAMES LANMAN _____________________________________________________________________ 16 July 2019 (KENNEWICK, WA) For two decades Michelle Clary and her team have operated in wealth management in the Tri-Cities, first as an affiliate practice of Fortune 500 company Thrivent Financial and as of 2018, the CEO and founder of Piton Wealth. It isn’t difficult to see how Clary and her team have consistently ranked in the upper 1% of Thrivent practices in client satisfaction. Taking an active role in the local community and bringing people together for a good cause seems to be second nature for a company that revolves so heavily around encouraging clients to thrive both personally and professionally. In 2017, Michelle and her husband Andy opened their home to singer-songwriter James Lanman who was on a living room concert tour across the US and Canada, where he performed for a mix of their clients and friends. The following year, Michelle had the idea to leverage the draw of live music, food from local eatery, Porter’s Real BBQ, and their expansive network by turning it into a fundraiser. Teaming up with Lanman to sell tickets to his performance at their home, Piton Wealth then matches all ticket sales from the concert to raise money for the Tri-County Habitat for Humanity branch, where Andy also serves on the board. They also have a tradition of a side contest where guests bring their A-game side dishes and judges select the top 3 winners. Now in its third year, what has affectionately become known as “Kennewoodstock” between Lanman and Clary, has become quite the event. -
VIRTUAL LIVE CONCERT FEATURING GLOBAL SINGER-SONGWRITER PIKOTARO Do the “PPAP” Dance with Your Avatar and Enjoy Pikofest with an Original Outfit
MEDIA ALERT: VIRTUAL LIVE CONCERT FEATURING GLOBAL SINGER-SONGWRITER PIKOTARO Do the “PPAP” Dance with your Avatar and Enjoy Pikofest with an Original Outfit Within the first ever official video game of the Paralympics, ‘The Pegasus Dream Tour,’ the second virtual concert in the Avatar Gala Party concert series, featuring global singer-songwriter Pikotaro, called “Pikofest (Pikotaro Festival)” will occur three times on Saturday, August 21 at 7:00 PM PDT, Sunday, August 22 at 2:00 AM PDT, and Sunday, August 22 at 8:00 AM PDT. ‘The Pegasus Dream Tour’ was developed by JP Games, the studio founded by ‘Final Fantasy XV’ director Hajime Tabata. In addition, the #PegasusSupporters social media campaign has begun, with a diverse group of more than 300 top social media influencers appointed as Official Pegasus Supporters. In total, these 300+ influencers have a combined follower reach of more than 200 million. Pikotaro, legendary comedian, singer-songwriter, and famed creator of the viral music video Pen- Pineapple-Apple-Pen is the headlining act of “Pikofest.” He hopes to use his famed power of “connection” to bring users from across the globe together in Pegasus City. Between Sunday, August 8 at 8:00 PM PDT to Friday, August 20 at 11:00 PM PDT, leading up to the day of the concert, Pikotaro is calling on the players of the game to help him build a monument of himself by participating in a tap minigame. As more players from around the world complete the minigame, more of the monument will be completed. Players will receive as prizes access to new interactive experiences as they complete the minigame such as tickets to the virtual concert, exclusive Pikotaro collaboration outfits, and call-and-response emotes, in-game motions for your avatar; for a greater sense of unity during the live concert. -
Otis Blackwell: Songwriter to “The King”
Country Music Hall of Fame® and Museum • Words & Music • Grades 7-12 Otis Blackwell: Songwriter to “The King” As the songwriter of two of Elvis Presley’s career-making hits, Otis Blackwell will always be linked to the man known as the King of Rock & Roll. But many other artists gave voice to Blackwell’s work, leaving behind a legacy that reaches far beyond Presley’s shadow. Indeed, Blackwell is considered one of rock & roll’s most influential songwriters. According to the Songwriters Hall of Fame, “Blackwell is without question one of the select songwriters whose songs literally helped redefine America’s popular music in the early and mid-1950s.” Born February 16, 1932, in Brooklyn, New York, Blackwell grew up next to a movie theater and developed a passion for Hollywood’s singing cowboys and their western music. “Like the blues, it told a story,” he once said. “But it didn’t have the same restrictive construction. A cowboy song could do anything.” Blackwell began writing songs in his teens, but turned his attention to performing after winning a local talent show. He soon tired of the road, choosing instead to focus on songwriting while working a day job pressing clothes at a New York tailor shop. Blackwell’s demo tape of “Don’t Be Cruel” caught the ear of Presley, who had just signed with RCA Records in November 1955 and was looking to Presley’s manager, Colonel Tom Parker, insisted that Blackwell share expand his southern regional popularity to national stardom. Taking cues writing credit with Presley to increase the artist’s profit—a common from Blackwell’s distinctive vocal phrasing, Presley turned the song into a practice at the time among stars.