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What do Music Publishers Do?


A Music Publisher is basically a copyright administrator. I am often impressed by how many ways a music publisher can turn music into money. Publishing companies have the capabilities to collect & generate income from your recordings. Publishing rights are the right that you have to a song that you wrote. You must be the only writer to own 100% of the publishing from the minute you wrote the song. As long as your work is original you own it. Before I get any further I want to explain a little more about music publishing.

What’s up peeps! What IZ good in your hood!  In my hood things are starting to get a little better and the 100-degree heat wave seems to have finally passed us by…I HOPE. That is a good thing for the NFL players who just so happened to have started training camps this week.  I have always said that out of all of the professional athletes, I think the NFL players are the most deserving of the LOOT that they get from the NFL teams. What other athletes are out in the blazing heat of the summer AND the freezing sleet and snow of the winter?  With this blog I’m going to get into some of the DRAMA that has hit the training camps so far. We have a lot to choose from but I’m going to focus on the CONTENDERS and hope they don’t become PRETENDERS!  Ok peeps, lets get to the good stuff!

A successful music manager or management company is one that handles a lot of administrative work for some of the top artists. Music managers that work for larger management agencies are extremely knowledgeable and are capable of turning new artists into profitable money making machines. Music managers have the capabilities of shopping your music demo to the most successful Record Label A&R executives. A successful music manager will definitely take on a new act that they think will be able to get a record deal. Music managers look for talented artists much like artists look for rich record labels. It takes two hit songs + to sell a hit album and it takes a lot of money to promote that album.

The “Recovery” album is at 1.6M.  The single “Not Afraid” is closing in on 1.8M downloads. And the new single with Rihanna “”Love the Way You Lie” is at 1.4M downloads and climbing.  4.8M total sales (album & single) and climbing.  Unless some unforeseen phenomenon musically appears, this is the summer of Eminem. And remember there is still the month of August.

Social Networks in the Entertainment Industry.

Here we are GoJu Nation. Week 6 and counting as Eminem‘s “Recovery” is looking like the album of the summer.  Turning back the clock is what he is doing as his sales figures are reminiscent of album past.  1.6M and counting as he’s only just putting legs on his 2nd single.   Wonderful stuff.  And the album is worth it.  Even if you (for some weird reason) aren’t a Marshall Mathers fan.  Being honest and revealing with your fans can bring about amazing results.

Aside from a teaser trailer presented at last year’s Spike VGAs, Warner Bros. and developer Rocksteady have been as stealth as Batman regarding details for the upcoming Batman: Arkham Asylum 2. They’ve been so quiet, in fact, that we don’t even know if Arkham Asylum 2 is the game’s actual title. But a new set of domain registrations from Warner Bros and caught by superannuation may shed light on the title and even some plot details.

My people, my people… autotune is officially died. The new joint just released by Jesse McCartney is in my opinion the worse use of the mixing tool. I can’t even say this is a good song, this just sucks to me. Now I don’t want to make people think I am hating. I think Jesse bring a lot to the game and i respect what he has done in the past but damn bro this is a strike out. Justin Bieber took your spot so now you are trying to find yourself, this is not it. “Up” gets a thumbs down from me. ~Qban

~Mive Content.
I remember when “Freak-a-leek” dropped for Petey Pablo and I thought he was well on his way (even without Timbaland).  Then I recall he signed with Suge Knight for management.  That’s when I threw my hands up in the air and proclaimed “That’s the end of that”.  That was a very ill timed decision for Petey as Mr. Knight was just being billed as a persona “non Grata” in the industry.  We’ll I’m happy to hear he’s still around and hopefully he can recover from that misstep. But not likely.

What’s good Nation?!?! You know some people just don’t know how to let things go. It’s 2010, but for a few people it’s still the late 90s. Sometime in 2003-04, Rob Van Dam went to Vince McMahon and pitched the idea of a one-time only PPV devoted solely to those who worked for Paul Heyman in ECW.  The PPV would be the final “memorial” show to end what was. Vince liked the idea and in June 2005, the WWE presented a PPV titled ECW: One Night Stand. The PPV was a HUGE success. The WWE had a few names already under contract: RVD, Tommy Dreamer, Lance Storm, Chris Jericho, Mick Foley, Little Guido, Tajiri, The Dudley Boys, Spike Dudley, Eddie Guerrero, Chris Benoit, Nova, Stevie Richards, Rey Mysterio, Taz and Heyman. But in order to have a fully loaded PPV that was designed to honor/pay respect to ECW, you need more than a handful of names to do it right. So, Vince paid a few people somewhere around $2,000 each to make an appearance on the PPV. Such names as, CW Anderson, Tony Mamaluke, Mikey Whipwreck, Psichosis, Dawn Marie, Jason, the Blue Meanine, Tracy Smothers, JT Smith, Big Sal, Kid Kash, Francine, Buelah McGillicuyty, The Sandman, Sabu, Mike Awesone, Masato Tanaka (who Vince flew in from Japan), Justin Credible, Bill Alfonso, Joel Gertner, ring announcers Bob Artese and Stephen DeAngelis, referees Jim Molineaux, John Finnegan, Pee Wee Moore and Mike Kehner and of course the voice of ECW; Joey Styles.

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