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Is DJ Hosting Worth It? 

Historically, DJ hosting has been great way for artists in the hip-hop community to gain credibility through association, but as more DJs enter the scene and crowd the market, the question is being raised of  whether the expense is worth the exposure.

In hip-hop culture, DJ hosting has been a way to give artists credibility through association. Yet as the industry has evolved and even more DJs share the scene, the question does hosting matter anymore comes to play. As an independent artist you want the most exposure as possible. You also want your budget to be used in wise investments.

Quite often rappers will spend several dollars to have a DJ host their mixtape. Hosting is a form of marketing that attaches their brand with that of the DJs, with hopes that his or her fans, will also download the new tape. With that said, the former notion of hosting has changed.

Before there were but a few DJs artists could seek out. In those few, the DJs could decide if they wanted to be associated with that artist or not. Now, with several DJs on the market, the notion of hosting has changed.

Money & Marketing

Everything boils down to what can a company offer you to boost your image. If you choose to go the DJ hosting route, what will be offered? Will that DJ actively market it to his or her fans? For how long? How long does your investment stretch the DJs reach? Are you using hosting just for a name attachment with hopes that some of the DJs stature with embellish onto you?

Here is where you have to choose wisely. With so many DJs out now, the craft of hosting and MCing has become watered down. If you are not relatively known, consider how much or little a DJ association will enhance or do nothing toward your brand.

Of course if you choose a well-known and respected DJ who has tenure, then your association may help boost your image slightly. That is a small chance though. Because, you and several other artists have the same idea of booking the same DJ for hosting.

Instead of seeking DJs to host your work, use that money on other marketing avenues like Facebook ad targeting or Twitter advertisements. Maybe get some custom shirts made so people will notice your brand when you walk by in the mall. Consider placing radio advertisements or hosting your own night at a venue.

The internet is an infinite realm of content. Once your project is hosted by a DJ, a few weeks pass and another artist will now be on the forefront. Was that investment worth it?

It is better to weigh your options with DJ hosting in today’s digital realm. There are a lot of options to use that investment toward marketing or other ventures. Hosting does have its place and it is up to you to decide if it is for you.

 

Music Royalties 

Music Royalties

Overview

The music industry relies on royalties generated by the licensing of copyrighted songs and recordings as a primary form of payment for musicians. Intellectual property law and licensing systems have gone through significant adjustments over recent years as a result of the rise of digital music, but much of the industry’s historic legal framework remains.

To start thinking about music in legal terms, it’s important to realize that there are two types of musicians: songwriters and performing artists. These hold two distinct copyrights: songwriters hold the rights to the lyrics and melody of a piece of music, while performing artists hold the rights to a particular recording of a song, which is called a master recording. Songwriters may only seek copyright for a full song, and cannot divide lyrics and melody into separate rights.

Both songwriters and recording artists typically assign their rights to a third party for management, instead of attempting to track a song’s use and seek payment independently. Song copyrights are typically assigned to music publishers, while master recording copyrights are typically assigned to a record label.

Performance Royalties 

The fees music users pay when music is performed publicly. The use of music over the radio, in a restaurant or bar, or over a service like Spotify or Pandora is considered a public performance.

  • Performance Rights Organizations or PROs (in the US that’s BMI, ASCAP, and SESAC) collect songwriting performance royalties from music users, and then pay songwriters and rights holders (publishers).
  • Like BMI and ASCAP, SoundExchange collects recording performance royalties for recording artists and labels whenever a music is performed publicly — but only for digital performances.
  • That’s because copyright regulation as it stands means terrestrial broadcasters (AM/FM radio) pay performance royalties to songwriters, but not the recording artists.
  • Digital performances (for example, Pandora) pay a recording digital performance royalty to SoundExchange and a songwriting digital performance royalty to the PROs.
  • But on the flip-side, BMI and ASCAP are governed by consent decrees, which means an arm of the US Judicial Branch (called a “rate-court”) can set the rates (per radio play, per stream, etc.). BMI and ASCAP collect for songwriting performance royalties. In exchange for the right to collect on behalf of songwriters across America, they are limited in their ability to negotiate by this rate court.
  • SoundExchange isn’t governed by a consent decree, which means they can negotiate on the free market. This is where things get complicated. Recording artists get paid nothing when their music is played on AM/FM radio (because there’s no performance right for recordings on terrestrial radio), but they are typically paid at least  5 times more than songwriters when music is performed digitally, like on Pandora. That’s because of SoundExchange’s negotiation power, and BMI/ASCAP’s limitations. AM/FM broadcasters do pay songwriters, but it’s at a royalty rate ultimately set by the courts.

Mechanical Royalties

Mechanical royalties paid to songwriters and artists when music is licensed (think CD or vinyl) but also when music is streamed (streaming mechanicals) “on-demand” (like Spotify). Songwriting mechanical royalties are set by government through what’s called a compulsory license, which right now is set to about 9.1 cents per copy.

  • Current copyright regulation wasn’t created at a time when services like Spotify or Beats existed, (which are kind of a hybrid of ‘performance’ and a ‘sale’) so they pay both performance royalties and mechanical royalties to songwriters and artists.
  • Spotify pays about 10% of its revenue to songwriters (split between mechanical and performance royalties) and about 60% to the artists. Services like Spotify don’t have to negotiate with songwriters, because the government sets the rates – through the consent decree for PROs and the a compulsory license for mechanical licenses.
  • Mechanical royalties for songwriting are usually paid by labels or artists to a third party, (traditionally for the major publisher it’s been HFA (the Harry Fox Agency), who pay the publishers.

(Source: American Songwriter)

Flow of Royalties

To learn more about the flow of royalties from various sources, please click on the images below:

Streaming (Performance)
Royalty Flow (Streaming)
Digital Sales (Mechanical)
Royalty Flow (Digital Sales)
Radio (Performance and Publishing)
Royalty Flow (Radio)

(Source: Music and How the Money Flows infographics constructed by Future of Music Coalition, a US-based nonprofit that advocates for musicians.  http://futureofmusic.org)

Recording Copyrights

With a master recording copyright, a record label seeks to collect royalties from the use of a specific recording of a song. Master royalties are paid to a label when the label’s recording is used in an advertisement, film, television program, streaming service or other medium. Master royalties are typically paid in addition to synchronization or public performance royalties, as royalties paid to the publisher only grant the rights to the use of a song, not a specific recording of a song.

Terrestrial radio stations do not typically pay master royalties, as radio play has traditionally been viewed as free advertisement for a recording. However, radio play may or may not have a positive impact on sales, and congress is considering legislating that the royalty be paid. At present, recording artists only earn master royalties from radio when their recordings are played in a non-interactive digital arena where the listener is a subscriber (i.e. satellite radio).

How to become a Grammy member. 

Apply For Membership

Music, even in its simplest form, involves multiple elements working together, each tone just as crucial as the others. Individually, it is a note. Collectively it is power. The common running thread through the music community, regardless of your role in it, is our passion and respect for the power of music. It drives us in the creative process, galvanizes us to fight for our legal rights and protections, and inspires us to pass on our knowledge to the next generation. It transcends genres, geography, and professions. As the collective voice of The Recording Academy, that power increases exponentially.

This is your opportunity to add your voice to ours. Take a minute to explore GRAMMYPro.com and how you can directly benefit from being a member.

The Academy offers three levels of membership: VotingAssociate and Student. Each membership level has its own level of criteria. As a member of The Academy you can take advantage of opportunities both in person and online that are designed to help you grow professionally.

Benefits of Academy Membership

  • Enjoy 24/7 access to GRAMMYPro.com, your digital hub for Academy membership which features a growing digital library of career resources providing insights and inspiration on the business and craft of music
  • A private online community of music professionals from around the country (and the world) to grow your personal network and share experiences
  • An Opportunities board to post and find: jobs, collaborators, performance gigs, and more
  • Attend local Chapter professional development and networking events to learn from industry experts, socialize, share your work and solicit feedback from your peers
  • Submit projects for GRAMMY Awards consideration
  • Vote in the GRAMMY Awards process [Voting Members only]
  • Speak out collectively to protect the rights of music makers and advance their interests on important policy matters
  • Participate in GRAMMY Foundation music education and MusiCares human services programs and initiatives such as GRAMMY Camp and GRAMMY In The Schools 
  • Enjoy exclusive discounts for gear, recording industry specific services, conferences, and festivals

Membership Types and Qualifications

Voting Member

This classification is for creative and technical professionals who qualify in at least one of the categories of eligibility. All recordings must be commercially released in the U.S. either through traditional distribution channels or recognized online retail settings. Below are four different methods of applying for Voting membership.

Recordings Released Online Only:

  • Recordings commercially released in the U.S. through recognized online music retailers.
  • Must have 12 qualifying physical or digital tracks or equivalent duration of content.*
  • One qualifying track must have been released within five years of receipt of application.
  • Releases must be currently available for purchase through recognized online music retailers.
  • Recordings must be accompanied by verifiable documentation, e.g. liner notes, Allmusic.com.

Recordings Released Through Physical Distribution:

  • Recordings commercially released in the U.S. through physical distribution outlets.
  • Must have six physical tracks or equivalent duration of content.*
  • One qualifying track must have been released within five years of receipt of application.
  • Qualifying tracks must be currently available for sale through physical music retailers.
  • Recordings must be accompanied by verifiable documentation, e.g. liner notes, allmusic.com.

GRAMMY Nomination:

  • If you were nominated for a GRAMMY® Award within the previous five years.

Eligibility may be subject to career substantiation through the following documentation. The Academy recommends that applicants submit as much documentation as possible.

  • Recordings available for streaming/download through recognized music aggregators
  • Documented sales/chart information
  • Established, active website/social media/online presence including:
    • Current or historical touring dates/performances
    • Fan base interaction
    • Current band/artist information
    • Music videos
    • Music/media player with current releases available
  • Active marketing and promotion efforts
  • Print material
  • Press releases/EPK
  • Reviews of performances by print or online magazines
  • Press interviews

* Excluding intros, outros and interludes

A one year membership begins at $100. The Recording Academy approves membership at its sole discretion based on the assessment of the material submitted. 

Apply to become a Voting Member

Associate Member

This classification is for:

A. Music industry professionals whose majority of business activity is directly related to the recording, live performance, or music video industries.

 

OR

B. Creative and/or technical professionals in the music industry who do not have the required credits or documentation for Voting membership.

All Applicants must demonstrate a commitment to pursuing a professional music industry career.

Applicants are required to substantiate their career through an online/web presence, marketing materials or other documentation such as:

  • Company website
  • Press
  • Publicly available information
  • Band/artist website
  • Tour dates
  • Other documentation that substantiates his/her career in the industry

The Academy recommends that applicants submit as much documentation as possible.

*Please note - additional documentation may be requested if any of the above does not clearly demonstrate that applicants spend the majority of their business activity in the recording, live performance or music video industries.

A one year membership begins at $100. The Recording Academy approves membership at its sole discretion based on the assessment of the material submitted.

 

 

Apply to become an Associate Member

Student Member

Students, primarily between ages 17 to 25, who are currently enrolled full-time in a college, university or attends a trade school with a desire to work in the recording industry upon graduation.

To join GRAMMY U you must meet ONE of the following membership qualifications:

  • Attending a music school or technical training institution
  • Major or minor in music, entertainment or music business
  • Planning to work in the music/recording industry upon graduation utilizing your chosen field of study. Current course work must be applicable to the music/recording industry. Members who use this option must call the Recording Academy Member Services department at 310.392.3777 to communicate how they are committed to a career in music, such as an internship, after school job, examples of articles/papers written etc.
Membership is $50. The one time membership fee covers all remaining undergraduate years, plus two additional post graduate year.

 

Apply to become a Student Member

Downloadable forms

The 12 Laws For Rappers: How To Properly Interact With Hip Hop Producers 

Strictly for: The rapper, seeking to establish a working relationship with a hip-hop producer.


1. Be Honest
There’s nothing worse than a liar. Producers appreciate honesty. The last thing you want to do is lie to someone about who you’ve worked with, or what “deals you have on the table”. Honesty is the start of a healthy working creative and business relationship.

2. Don’t Be Pretentious
Telling a producer that you’ve got the power to “put them on” is actually a huge turn off. Regardless of what you believe you can bring to the table to help a producer, always approach those conversations by thinking mutually. Sure, the producer might be a new jack, but if you believe in his/her music, your goal is to form a “partnership”.

3. Be Knowledgeable
One of the worst things you can do is engage in a conversation with an “established producer”, and know nothing about them. It’s the same as going into a job interview, not knowing the name of the company or what position you are applying for. Do your research! Create a plan of attack. Producers appreciate it when you show that you know more about them than the average person.

4. Name Dropping Is A No-No
100% of the time, you make yourself look pretentious (see Law #2) when you name drop to a hip-hop producer. Everyone appreciates accolades, and association with certain individuals is absolutely important. But bringing these things up in conversation is counter productive. Most good producers know what’s out, and who’s hot/up-coming. If the producer (established or not) has never heard of you before, don’t shove it down their throat that you opened up for "platinum rapper such and such" in 2010. Nobody cares.

5. Appear Properly
First impressions are everything. Make sure your breath is in check. If you are initiating conversation in a bar or club with loud music, don’t scream into the person’s ear (you can literally cause hearing damage to that person). After you’ve “dapped” the producer and proceed to talk, do not hold the “post-dap-handshake” for more than 3 seconds. Be aware of your surroundings, and the context of the environment you are in (For Example: a recording studio is a much more comfortable/open environment to network with a hip-hop producer).

6. Let Them Speak
All people love to talk about themselves. A great way to break the ice is to ask questions, allowing them to talk. The key is to know the right questions to ask (see Law #3 Be Knowledgeable).

7. Know When To Walk Away
Be aware of that moment when your interaction with the hip-hop producer is coming to a close. If you’ve managed to get to the “lets exchange contacts” phase, this is usually your signal to end the interaction immediately afterwards. Do not prolong an un-welcomed engagement. The length of the interaction, and amount of enjoyment for both parties is all dependent on how successfully you’ve closed the deal.

8. Never Say “Let’s Collab”
The word “collab” is short for “collaboration”. Most hip-hop producers understand a “collab” as nothing more than you asking them for a free beat (or more). This is not a good starting point. A producer must feel like the partnership will become lucrative (either immediately, or in the future).

9. Put The Work In
You need playing chips. The more successful you become, the more apt a hip-hop producer (established or not) is going to be open to working with you. Never forget that.

10. Don’t “Bust An Acapella”
Believe it or not, most hip-hop producers don’t care if you can spit a million rhymes, on the spot, a million miles per hour. Most producers care more about your accomplishments, than your actual skills. Yes, it’s true. Rhyming “on the spot” is a complete annoyance and absolute waste of time.

11. Don’t Play Music From Your iPhone
You must understand that listening to music from ear-buds is the least satisfying way to experience music, let alone for the first time. You also must understand that sharing ear bud headphones is unsanitary. Hip-hop producers need to experience your music on a bigger medium. Even with Beats By Dre’s, you are still forcing someone to commit their time to listen to your music. That’s a lot to ask.

12. Maintain Confidence
Being confident improves your ability to deal with people. Hip-hop producers want to invest their time into somebody who has things under control. Don’t be emotionally unstable. If you are emotionally unstable, get help to fix it. Believe in yourself, and the rest will follow.