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Off The Subject (But Not Really) LeBron Talks Orlando Loss & His Future In Cleveland
Step Ya Shoe Game Up! Adidas Tennis Hi Lux Open
Runs House Season 6 Trailer
Corey Gunz "Shut Em Down" Video
Music Publishing Terminology
Sheek Louch, Styles P, Beanie Sigel, & Bucky "So Much Trouble"
Freeway & Jake One Interview w/ Mr. Peter Parker
Eminem & Jay-Z Perform Renegade @ The Wiltern For DJ Hero Party
Method Man & Redman Myspace Show Ft. Erick Sermon & Rza
ArtistRise.com Concert Industry Website
DJ Hero Trailer, The Guitar Hero Killer!
Travis Barker, Eminem "3AM" Remix
Consequence "Mr. Popularity" Video
Lloyd Banks "Practice"

Off The Subject (But Not Really) LeBron Talks Orlando Loss & His Future In Cleveland

Posted: 02 Jun 2009 04:03 PM PDT

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Step Ya Shoe Game Up! Adidas Tennis Hi Lux Open

Posted: 02 Jun 2009 02:39 PM PDT

Adidas maintains their edge by staying a cut above the rest, literally. The Tennis Hi Lux Open has what appears to be arbitrary cuts in its all white leather upper but upon closer inspection the placement is strategic. The slices not only improve ventilation but are also there to reduce the overall weight of the sneaker. Another interesting thing they slices of leather do is camoflauge the 3 stripe design but the jagged ridges of the design brings it to the surface. Black midsole stitching echoe's the major design elements while a gradient ankle tops this amazing shoe off very nicely.

Runs House Season 6 Trailer

Posted: 02 Jun 2009 02:18 PM PDT

For Hip Hop News & Entertainment at DimeWars.Com

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Corey Gunz "Shut Em Down" Video

Posted: 02 Jun 2009 02:11 PM PDT

This posting includes an audio/video/photo media file: Download Now

Music Publishing Terminology

Posted: 02 Jun 2009 02:09 PM PDT

Posted by Garry Velletri
Tuesday, 26 May 2009

Garry Velletri is Senior Vice President of Bug Music. He has been with Bug since 1985 and is based in New York.

Music Publishing Terminology

The ownership and management of exploited music copyrights by licensing and registering certain rights and the collection of the resulting royalties and fees including mechanical royalties, performance royalties and synch fees.

Huh?

The world of music publishing is littered with obscure, misleading, and archaic terms; some of which have more than one meaning depending on the context. No wonder it all sounds confusing if not downright intimidating. Understanding the meaning of these terms and phrases will provide a useful base for understanding music publishing in general.

Copyright

Is it copyright or "copywrite"? Yes you wrote a song; but a copyright is never, ever referred to as a copywrite. There are two general rights covered in a music copyright: the authorship of a song and the ownership of a song. According to Copyright Law, you are the natural owner of every song you write until you assign the ownership to someone else. Every song is made up of two equal parts; not the lyrics and the melody but the writer share and the publisher share.

The writer share is semi-sacred. It represents the authorship of the song. While a copyright can change hands many times; the writer share remains the property of the author.

The other fifty percent, the publisher share, is the equitable share. It is what you can sell or buy. In this context it is known as the "copyright". When a publisher acquires a copyright, it is acquiring the publisher share.

Control

The Publisher controls the writers share. The publisher licenses mechanical , print and synch rights on behalf of itself and the writer. These royalties and fees are collected by the publisher (the owner of the copyright) for both the publisher share and the writer share. It is the publisher's responsibility to pay the writer. Performance royalties are the only royalty type where the writer can collect his writer royalties directly from the performing rights organization. Control means the publisher has the right to negotiate and execute all licenses.

Royalties

Ongoing earnings of licensed songs from each sale or broadcast.

Exploitation

In music publishing, exploitation is a good term. You want your songs to be exploited. Landing a song in a film or television show is an exploitation; somebody recording your song is an exploitation; releasing a record is an exploitation. When one of those songs from your record becomes part of a greatest hits package down the line - that's an exploitation. An exploited song that is licensed and registered opens revenue streams.

Royalties don't just magically show up in your mailbox; It is the result of the publisher executing licenses and filing the proper registrations.

Registration

You or your music publisher registers your songs with a performing rights organization (ASCAP, BMI or SESAC) to get the song details in their database so the correct percentages of performance royalties can be attributed and paid to the correct party.

Your music publisher registers your songs with a 'local' publisher in a foreign territory so they can, in turn, register the songs with their local mechanical and performing rights societies (society being a fancy term for foreign mechanical and performing rights organizations) so the correct percentages of foreign mechanical royalties and the publishers side of performance royalties are attributed and paid to the correct party.

Licensing

The music publisher doesn't sell songs to another artist to record or to be used on a TV show or film- they license it. There are four primary rights to license:

Mechanical rights — Back in the early twentieth century, there were two methods of distributing music: sheet music and player piano rolls. To differentiate between the two, early copyright law defined the royalties generated by the sale of these player-piano rolls a "mechanical" royalty for which you needed a mechanical license; after all, piano rolls were a mechanical contraption. The definition of Mechanicals through time went on to include Edison rolls, 78 rpm vinyl records,45 rpm records, 33 1/3 rpm long play records, cassettes, 8track tapes, cds and now digital downloads. It's like calling your iPod a Victrola but the term stuck. A good way to think of it is mechanical royalties are for the sale of music.

Performing rights — Think broadcast. There are three performing rights organizations in the United States: BMI, ASCAP and SESAC. They are not music publishers or administrators. These "PRO"s have blanket licenses with radio stations, television stations, clubs, restaurants, stores, digital streaming services like Napster and so on. You should belong to one if you have any exploited songs. For the price of these blanket licenses (which vary depending on the size of the broadcaster) the broadcaster can play all the BMI, ASCAP or SESAC songs 'til their heart's content for a measured period of time. These 'plays' are tracked and the pool of blanket license money is divvied up proportionate to the number of plays and the value of plays. In other words, for example, a play on a major radio station is worth more than a play on a college radio station. Another example: a featured play on a television program is worth more than a background play on the same program. Performance royalties are generated from the broadcast of music.

Synch rights — short for synchronization this is the licensed right for a film or other audiovisual medium to use your song, to synchronize your music to recorded visuals, in an audio-visual product. It can be a commercial, a videogame, a film, a TV show or a website. A synch license usually produces a negotiated fee for certain rights depending on the usage. Yes, we are talking about rights within rights. For example, say it's your lucky day and Mitsubishi wants to use your song in their new car commercial. With your approval your music publisher negotiates a synch fee with the music supervisor for the Mitsubishi spot which will allow them to use your song for, say, one year for national television plays for one flat fee. If they still want to use it after the one year or if they want to run it internationally or stream it on their website or put it on a promotional DVD for give-away, all of these uses are rights within the basic right and should most likely carry additional fees. (Since the Mitsubishi spot is broadcast it also produces a performance royalty)

Print rights — Sheet music, song folios: it's pretty self-explanatory — but be careful-the term 'publish' has a few different meanings depending on how it's used. Once a song is released or exploited in some way it is considered 'published.' Once a song is filed with the Library of Congress for copyright it is considered published, it does not necessarily mean the song's notation and lyrics are published in print form. However, if the song's written notation and lyrics are published in print or digital form for purchase, it will earn print royalties from the print license your publisher negotiated.

Functions of a Music Publisher

So now that you are armed with a basic understanding of these terms, you will see that a Music Publisher performs the following:

Administration

Secures copyrights, controls copyrights, executes a variety of licenses, causes songs to be registered with a variety of organizations and societies world-wide, collects royalties, disburses royalties, and more.

Creative Services

The Creative exploitation of copyrights or causing songs to be exploited by pitching songs to other artists and securing placements in Film, TV and commercials; networking and promoting its writers (further explanation invites a whole blog topic in itself)

Publishers are often able to provide critical funding in the form of advances against your future royalties and by covering the costs of recording demos of your songs.

Sheek Louch, Styles P, Beanie Sigel, & Bucky "So Much Trouble"

Posted: 02 Jun 2009 02:07 PM PDT

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Freeway & Jake One Interview w/ Mr. Peter Parker

Posted: 02 Jun 2009 01:58 PM PDT

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Eminem & Jay-Z Perform Renegade @ The Wiltern For DJ Hero Party

Posted: 02 Jun 2009 12:56 PM PDT

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Method Man & Redman Myspace Show Ft. Erick Sermon & Rza

Posted: 01 Jun 2009 09:35 PM PDT

METHOD MAN & REDMAN MySpace Release f. RZA, Eric Sermon 5/28

Hundreds of exclusive fans were treated to yet another special MySpace Release show ft. hip hop icons and actors Method Man & Redman - celebrating the release of the much anticipated "Blackout 2." Not only did the duo run across their own solo hits like "M.E.T.H.O.D. Man," "I'll Be Dat," but they also performed their partnering joints like "How High," and "Da Rockwilder." A MySpace Release couldn't be complete without a special guest which included Eric Sermon performing "Music," Atheon and D-Ray rockin 16 bars, DJ Drama introducing the duo, and RZA joining for "Wu-Tang Clan Ain't Nothing to F* With." Snoop from the Wire, Yo Yo and Brianna from Ms. Rap Supreme also watched off to the side of backstage. Special guest DJs Reflex, Jay-P, and Jam X opened up the amazing Adidas sponsored MySpace Music show.

Visit myspace . com/methodman & myspace . com/redman to buy the BLACKOUT 2 straight off their MySpace pages! Who should play next and in what city? Post your thoughts/comments on myspace . com/hiphop and subscribe to the blog to find out when/where the next show is before it's too late!

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ArtistRise.com Concert Industry Website

Posted: 01 Jun 2009 09:32 PM PDT

Artist Rise launched ArtistRise.com this week as a "free profile based community enabling Artists, Industry Professionals, Venues and Fans to network, promote, book shows online and advance the industry."

It's initially focued on Los Angeles and New York with more cities to follow which is key. A booking site for the nation is what's needed for serious indie artists.

DJ Hero Trailer, The Guitar Hero Killer!

Posted: 01 Jun 2009 09:29 PM PDT

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Travis Barker, Eminem "3AM" Remix

Posted: 01 Jun 2009 09:10 PM PDT