Future of Marketing

GLOBAL 3 traits digital leaders have in common Karalee Close, Hrishi Hrishikesh March 2022 Share Karalee Close is a senior partner and managing director at Boston Consulting Group (BCG), where she is also the global leader of its Technology Advantage practice. Hrishi Hrishikesh is a partner and director at BCG and a core member of Technology Advantage. Recently, they partnered with Google to study how global companies successfully approach digital transformation. They share their key findings here. A woman of color examines a bar graph, while a white man makes adjustments to a growth chart. Senior business leaders are keenly aware we’re in a new era of digital consumption, one that’s been rapidly accelerated by COVID-19. If the past few years have shown us anything, it’s that companies must be ready to move quickly to stay ahead of the pace of change. This has familiarized many marketing teams with a new catchphrase: digital transformation. A company’s ability to quickly scale digital solutions allows it to realize value from digital transformation. Since 2018, we’ve been partnering with Google to explore digital transformation, as it’s evolved from a relatively nascent concept to a business imperative. Most recently, we teamed up to better understand why some companies are able to generate significant value from digital solutions — and why so many others still lag behind. Our approach was to study the digital proficiency and maturity of 2,000 global companies, and we found that the value companies get from their digital solutions is inextricably linked to their ability to scale those solutions at speed. Achieving scale is what transforms digital pilot programs from interesting experiments into drivers of significant value. Companies that are able to do this faster than the rest of the market hold a considerable advantage. This became an important factor for our study; it differentiated the “digital leaders” — roughly 30% of companies generating significant value from digital — from the others. Our research showed that digital leaders achieve three times higher revenue growth and cost savings, and have an accelerated time-to-market twice as high as companies unable to gain value from digital.1 By taking a deeper look at the digital leaders, we were able to identify three key factors that allowed them to successfully scale their digital solutions. Here’s what you need to know. Three people icons in a huddle, a hex nut, and a slider control: 1. C-suite alignment. 2. Build capabilities. 3. Always-on mindset. 1. C-suite alignment Becoming a digital leader begins at the top. Companies are successful when digital transformation isn’t just the remit of one executive, but when the entire C-suite aligns on a common strategy and road map. Once they’ve set the North Star, CxOs must work together to galvanize the entire organization to execute the vision from the top down. According to our research, 72% of digital leaders say that consistent C-level collaboration is essential,2 and a full 82% claim to align across the executive suite on digital vision, investment, and other resources to drive the agenda forward together.3 A laptop screen shows a growth chart. 82% of digital leaders align across the executive suite on digital vision, investment, and other resources. Think with Google Source: BCG, Global, The Keys to Scaling Digital Value, a study commissioned by Google, March 2022. Share To do this successfully, leaders must embrace agile ways of working. They can’t work in silos if they plan to cascade strategies and targets down to local business units. Flexible planning and budgeting processes are critical, and the whole C-suite must be more involved in tech, data privacy, and analytics to follow a successful digital road map. 2. Build capabilities With C-suite alignment in place, digital leaders next invest in whatever helps their businesses gain value from digital. To effectively understand this question, companies need to take advantage of first-party data, from their customers and themselves. Gathering insights from data requires access to the same high-quality data throughout the organization. More than 90% of digital leaders have gained the ability to connect digital solutions to their tech stacks by using APIs and microservices. An emphasis on proper data governance procedures paves the way for a continuous supply of high-quality data that teams use appropriately and consistently. A cloud contains a microchip. 90% of digital leaders have gained the ability to connect digital solutions to their tech stacks by using APIs and microservices. Think with Google Source: BCG, Global, The Keys to Scaling Digital Value, a study commissioned by Google, March 2022. Share Digital leaders also focus on creating agile working environments, powered by productivity apps and AI analytics, which appeal to high-performing employees and aid in recruitment. Fostering a competent workforce — and a more inclusive and diverse workplace — also enables digital leaders to build more resilient business models for the long term. 3. Always-on mindset Rather than viewing digital transformation as a one-time project, digital leaders steer with an adaptive, always-on mindset to improve and scale pilots as the landscape changes and they prove their ROI. Just as technology, markets, and consumer behaviors constantly evolve, so too will your approach to digital transformation. A cultural reset is required to get comfortable with constant pivots. Digital leaders continually test and learn, invest in flexible planning and budgeting, and develop cross-functional teams, starting with the C-suite. It’s also clear from our research that digital leaders have embedded these behaviors into their company culture. As C-levels align to invest in a digital foundation, they become adept at using internal data as a decision-making tool for operational challenges. A settings wheel inside moving arrows. An adaptive, always-on mindset increases businesses’ ability to reimagine customer experiences. This adaptive, always-on mindset also increases businesses’ ability to reimagine customer experiences. By working cross-functionally, digital leaders are better able to determine which customer-centric opportunities to quickly scale and which unsuccessful or slow-moving initiatives to cut. It’s clear that digital transformation delivers outsize value to digital leaders. All companies can expect to realize similar value if they are willing to commit to change. By embracing necessary success factors — an aligned C-suite, capabilities-driven investment, and an always-on approach — any organization can become a digital leader. Further your business’s transformation by exploring the full BCG research report. Explore related content Digital Transformation Global Karalee Close Karalee Close Managing Director and Senior Partner; Global Leader, Technology Advantage Boston Consulting Group Hrishi Hrishikesh Hrishi Hrishikesh Partner and Director Boston Consulting Group Antoniotopcat@gmail.com

Spotify new numbers, my new single

Did you see what Spotify just released? It's a hopeful step in the direction of being a bit more transparent by the streaming behemoth. The new 'Loud and Clear' site outlines the (macro) economics around how streaming works on the platform. One of the biggest takeaways for me is the number of artists actually earning from streaming. And how much!

+If Spotify Won't Pay More, They Should Give Us More Data

In 2020:

- 184,500 artists made over $1,000
- 67,200 artists made over $5,000
- 42,100 artists made over $10,000
- 13,400 artists made over $50,000
- 7,800 artists made over $100,000
- 1,820 artists made over $500,000
- 870 artists made over $1,000,000

Let's put this in perspective. In Indonesia, the average annual salary is around $10,000. In India and Brazil it's $5,000. And in the US, the median annual salary is just under $50,000. So, depending on where you live, it seems a significant number of musicians are earning a living just from Spotify royalties (not to mention Apple Music, or any other avenue). 

Now, let's not forget that 100% of this money does not go direclty to the artists in many cases. Many of these artists are signed to labels or distributors who keep a percentage of these royalties.

+DistroKid vs. Tunecore vs. CD Baby vs. United Masters vs. Amuse vs. AWAL vs. Stem vs...

And if you don't have someone collecting your publishing royalties (performance AND mechanical) then you're missing out on about 1/5 of all of your money. Check out this article on how to get that money.

+Songtrust vs. Sentric vs. CD Baby Publishing vs. Tunecore Publishing

And, isn't it nuts that nearly 8,000 artists are making more than $100,000 just from Spotify? So next time someone says that Spotify doesn't pay, you can politely correct them. It's a weird and crazy time we're in right now. 

+Spotify Removed Your Music, Now What

Another big takeaway, is that over 550,000 tracks have surpassed 1 million streams (207,000 in just 2020). Now, I know this stat might make you feel quite shitty if you're not the artist behind one of these songs, but don't let this discourage you. Let it encourage you! Tens of thousands of artists are making a living just from Spotify revenue. Make it your goal this year to be one of them! 

At Ari's Take, we're working with some experts in the space to help you achieve streaming success and be one of these artists. We're about to reveal the goods. Stay tuned... 

And last, but (hopefully) not least. I released a new single today. "Birthday" is a piano ballad about reflecting but not dwelling. Being grateful without celebration. 

Take a listen here.

If you do the Spotify thing, please add it to your playlists and smash that heart button. It all helps. We're all in this crazy music community together. 

I'd love to hear your thoughts on the song (just hit reply). 

~Ari

PS - Have you checked out our report on how much each distributor pays per stream for Spotify and Apple (by country)? We're adding new reports/distros everyday. Check it out here. 

~Ari

Follow Ari's Take on Instagram @aristake_ and TikTok @aris.take for daily doses of inspiration.

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Subscribe to the New Music Business podcast

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Visit: https://aristake.com 

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ariherstand.com

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U.S. Copyright Office

Why The U.S. Copyright Office Chose The Mechanical Licensing Collective

7/5/2019 by Ed Christman

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The Copyright Office said it chose the Mechanical Licensing Collective over the American Music Licensing Collective because the former fulfilled all the qualifications required by the Music Modernization Act to receive the designation, while the latter fell short on some of the qualifications. 

The Mechanical Licensing Collective (MLC) is a new entity created by that statute and slated to begin operations on Jan. 1, 2021 to manage a blanket mechanical license and to collect royalty payments from digital services and in turn pay the royalties to the correct copyright owners. In order to insure that occurs, the MLC will build a database matching compositions to recorded masters. 

In a 86-page ruling, the Copyright Office laid out the reasons why it designated the group led by the National Music Publishers Association (NMPA), the Nashville Songwriters International Association and the Songwriters of North America instead of the American Music Licensing Collective (AMLC) to build and operate the Mechanical Licensing Collective created by the Music Modernization Act.

According to that document, "the Office concludes that while both candidates meet the statutory criteria to be a nonprofit created to carry out its statutory responsibilities, only MLCI satisfies the endorsement criteria, and MLCI also has made a better showing as to its prospective administrative and technological capabilities. The Register is thus designating MLCI, including its individual board members, with the Librarian’s approval."

The Copyright Office Ruling on the designation of the MLC was made by Register of Copyrights Karyn Temple and approved by Librarian of Congress Carla D. Hayden.

One of the key arguments that the AMLC made as to why it should receive the designation concerned its interpretation of the marketplace as worded in the MMA. The AMLC argues that the statute’s wording, "the greatest percentage of the licensor market for uses of such works in covered activities, as measured over the preceding 3 full calendar years," referred to the number of copyright owners. Meanwhile, the NMPA and its supporters argued that wording referred to market share by royalties.

Up until this ruling, the Copyright Office hadn’t ruled specifically which interpretation it favored, but it now says it agrees with the NMPA. But even if it had ruled in the AMLC's favor on that issue, that group still would have lost out on that requirement because the NMPA lined up more copyright owners than the AMLC, according to the Copyright Office. In specific, it noted that the AMLC did not provide market share data for its endorsing copyright owners while the MLC showed that it had the support of 85%-90% of the marketplace.

 Even by the numbers, MLC counted 132 musical copyright owners with well over 7 million musical works, and it was endorsed by over 2,400 songwriters, according to the Copyright Office ruling. Consequently, it said that the MLC is the entity that most nearly fulfills the market share requirement while also noting that "even under the metric for which the AMLC provides evidence—number of copyright owners, AMLC would not be the candidate that satisifies the endorsement provision…AMLC still would have substantially fewer endorsements than MLC", about 1000 endorsements versus about three times that for the MLC.

The Copyright Office noted that in the end the Recording Academy, which initially withheld endorsing either candidate, ultimately endorsed the MLC. "Thus, under both the proper metric of market share, and the alternative metric of number of copyright owners, MLCI is the candidate that satisfies the endorsement requirement," the ruling stated.

READ MORE

U.S. Copyright Office Approves Mechanical Licensing Collective Sponsored by NMPA

Finally, the Copyright Office questioned the AMLC's budgeting process and questioned whether the AMLC considered the full range of the MLC's necessary operational costs. For example, it said that AMLC projected licensing and legal activities to cost $600,000 to $730,000, but the Copyright Office wondered if the AMLC failed to consider that it would have to participate in CRB assessment proceedings and engage in other activities to enforce rights, including possibly commencing actions for damages and injunctive relief in federal court.

The Copyright Office also said it had concerns about the lack of specific information provided by the AMLC on its board membership selection process, saying the AMLC's submission described a somewhat ad hoc decision-making process in this area.

And it specifically said it was unsure that all the AMLC board members fulfilled the statutory requirements needed to be a board member. For example, while Clearbox president John Barker demonstrates relevant experience, if his company merely administers licenses on behalf of copyright owners but has not itself been assigned copyrights, he would not constitute a publisher representative within the meaning of the statute. While noting that Barker could have been replaced if needed, the Copyright Office said that issue did not factor into its overall assessment so it didn’t require resolution.

"While many of the proposed AMLC board members demonstrate commendable experience to perform the relevant duties, the Office appreciates MLCI’s more comprehensive approach to identifying and selecting potential members, who themselves each appear highly experienced and able to perform the required duties," the ruling stated. 

While the AMLC didn’t get the Copyright Office designation to run the mechanical licensing collective, its impact on the black box issue reverberates throughout the ruling. But in contrast to what the AMLC claimed, the Copyright Office said that the MMA makes sure that those royalties will be distributed appropriately. 

"With respect to the purported conflicts of interest of individual board members, although these claims raise serious issues, they ultimately have little impact on the Office’s evaluation of the candidates’ proposals," the Copyright Office ruling said. "Regarding MLCI’s board composition, the Office agrees that the unclaimed royalties oversight committee will help mitigate potential conflicts. As discussed below, the Office expects ongoing regulatory and other implementation efforts to further extenuate the risk of self-interest with respect to the distribution of unclaimed accrued royalties."

The Copyright Office said that the statute addresses these issues and protects smaller independent songwriters, including the part that says a songwriter should receive no less than 50% of payment. Secondly, the statute requires the MLC to undertake a number of duties with respect to unclaimed royalties. including maintaining a public online list of unmatched musical works through which ownership can be claimed. The MLC must engage in diligent, good-faith efforts to publicize, throughout the music industry the existence of the MLC and procedures to claim unclaimed royalties.

In general, the statute requires the MLC to ensure that its policies and practices are transparent and accountable, including issuing a detailed annual report describing how royalties are collected and distributed, and its efforts to locate and identify copyright owners of unmatched music.

Moreover, every five years, the MLC must retain an independent auditor to examine the books, records and its operations and prepare a report addressing "the implementation and efficacy of procedures" "for the receipt, handling, and distribution of royalty funds, including any amounts held as unclaimed royalties," and "to guard against fraud, abuse, waste, and the unreasonable use of funds," according to the ruling.

And the Copyright Office adds that the stature requires the MLC, the Copyright Office and the Digital Licensing Coordinator to publicize the unclaimed royalties and in general educate songwriters about the MLC.

Furthermore, it notes that Congress has asked the Copyright Office to study the issue of unclaimed royalties and provide a report by July 2021 that recommends the best practices to identify and locate copyright owners with unclaimed royalties, and the MLC must give substantial weight to these recommendations.

Finally, the MLC must be re-designated every five years, and if the Copyright Office believes that the MLC made unreasonable distributions of unclaimed royalties, that could be grounds for concern and may call into question whether the MLC has the capabilities to perform the required functions. In other words, the re-designation might not be forthcoming.

While the MLC received the designation, the group headed by NMPA, NSAI and SONA didn’t get everything it wanted. In particular, it wanted the Copyright Office to address whether the presidential signing decree was in according with the MMA. When signing the MMA into law, President Trump added a new requirement to the Copyright Office, ensuring it would have a continuing role in maintaining oversight in the subsequent selection of replacement board members. The NMPA had argued that the collective is not a government entity and thus its board of directors and committee members are not officers of the government so that neither the register nor the Librarian has the authority to accept, reject or appoint them. But the Copyright Office’s ruling is completely silent on this issue. 

In another matter, the Copyright Office weighed in completely noting that it took the comments from the Institute of Intellectual Property and Social Justice (IIPSJ) seriously. It pointed out that the MLC draft by-laws "contain a diversity provision that calls for a biannual report on the diversity of the board, including diversity as to gender/race/ethnicity, income, musical genre, geography and expertise/experience." It said it would work with the MLC to help it achieve these goals and said it believes the MLC can play a role in helping to advance these goals within the music industry.

Overall, the Copyright Office said the submissions suggest that both MLC and AMLC will have the basic administrative and technological capabilities to perform the required functions under the statute, but the former demonstrated a greater capacity to carry out several of these responsibilities. "MLC’s proposal as a whole reflects a more realistic understanding of the [collective’s] responsibilities under this new system and indicates that it is better positioned to undertake and execute the full range of administrative functions required of the [collective] within these critical first five years."

While the Copyright Office didn’t chose AMLC, it said its "goals and principles are laudable, and its submission includes a number of ideas that should be given further consideration." It added, "the Register expects that the designated MLC will endeavor to equally represent the interests of those who did not endorse it, and that interested sides will continue to come together to make the implementation of this historic new licensing scheme a success, building upon the cooperative spirit that facilitated the MMA's passage."

Spotify playlist pitching review of Playlist Push

First want to give a quick shoutout to Ari's Take partner AWAL. They have a helpful blog post on when you get included on a Spotify playlist, how to make sure you don't get bumped off of it. Check it out here. 

Also, as a reminder, enrollment for Ari's Take Academy: How To Become a Successful Touring Artist closes Tuesday! Join us. 

Read the original Playlist Push review (and comment) on Ari's Take

I got an email from a long-time reader and very talented artist, Jessica Lá Rel who shared her experience with Playlist Push and had some very understandable concerns. 

But first, I want to update you on Playlist Push since my first report came out a few weeks back. For those of you just getting caught up to speed, I’ve been digging into all things Spotify the past couple years. Specifically, how to get included in playlists. I reviewed SubmitHub, which proved to be somewhat helpful at getting (small) blog coverage, but the playlists on the service were totally fake with no real engagement. I pointed this out in my review and since then, they completely changed the way they accept and rate the playlists you can submit to on the service. Props to SubmitHub for taking it seriously and changing course! 

+SubmitHub Review

I also wrote about how my album got removed for using a service I thought was a legit playlist pitching company, but was in fact using bots to increase streams (in addition to getting the song included on some playlists). 

I’ve spoken to many streaming experts ranging from owners of playlist pitching companies to big time distributors with playlist pitching departments to labels to managers to marketing agencies to Spotify employees. The biggest takeaways are that it’s the Wild Wild West out here in the digital streaming world and that what is true today may not be tomorrow. 

This all being said, after extensively looking into Playlist Push (testing two very different songs on the platform), interviewing the founder and a couple managers and artists who have used the service, I determined it was one of the few legitimate services out there to pitch your songs to user generated playlists. 

+Playlist Push Full Review

That being said, it is flawed. But the founder George knows they have work to do and are actively working to improve their service (and are listening to all the critiques and constructive criticism I’m tossing their way). After I posted my review, I became a “curator” on Playlist Push for my Low Volume Funk playlist so I could see it from the OTHER side of the equation. I have since updated the review to reveal my findings. 

To catch you up - as a curator of a 2,550 follower playlist (with about 400/monthly listeners) - it's not really a money-making venture unless you're doing SERIOUS volume. Currently I'm making $2/song. Considering I (or my team) listen to each song in its entirety and then try to write a thoughtful review, it's not really worth the time for me. But I understand other curators probably have more time or only listen to a snippet of the song and write short reviews. And as a curator grows within the platform they could be earning up to $20/song if their playlist is gigantic (500,000 followers or so). But, again, most are probably around the $2-$5/song mark.

The biggest frustration I’ve noticed having been a curator on the platform for just over a week is that most of the songs I’m being sent aren’t remotely close to the songs on my playlist. I selected the genres “Funk” “Soul” and “R&B” and the songs on the playlist all have organic instruments - not created ‘in-the-box.’ Most of the songs submitted to me, however, are hip hop or pop songs that are fully electronic (no real instruments). So, if an artist selects the “Soul,” “R&B” or “Funk” genres, I’ll get sent the song. I really wish there was a better genre selection tool that only sent songs that would actually fit on the playlist. I feel bad that these artists are wasting their money sending the songs to me. Some of the songs are great! They just don’t fit on the playlist. 

At least on SubmitHub, you can personally pick the playlists you’re submitting to. With this, you have to just trust that Playlist Push will send your songs to the appropriate curators. The founder, George, and I had a call today where I expressed this frustration (after passing along the below email from Jessica) and he did mention that they have a totally new genre selection process rolling out very soon. I’ll update the review once that is fully implemented.

Jessica’s email: 

I wanted to reach out to share with you a recent experience I’ve had. I’ve been following you for a long time. Back in the early days of Ari’s Take, to the webinars, the book, the online course, the live full day panel events, etc. I’ve considered you one of the most genuine voices I’ve come across in the industry thus far. I‘m loyal; I preach the gospel of Ari Herstand to other creatives. I buy your various packages and have been a subscriber for over 5 years now. I trust your feedback and insight not just because you do your homework and have lived experience, but also because you have built a brand around trust by providing resources to independent artists all over. You have focused on those that often get neglected or taken advantage of in such a brutal industry.

But recently I had an experience that brought me to a crossroads with that trust. I usually don’t write emails this long, so I apologize in advance for the length.

I had some difficulty using the new Spotify For Artists feature when they first announced their beta product in July. I released 2 eps and a culminating album between May and October. So it was nice to hear your perspective on ways to approach Spotify playlists beyond the beta feature. After reading your review of Playlist Push, I checked them out. The approach made sense to me: genre based outreach and a genre/playlist potential based payout structure. I spoke with customer service throughout the process to determine which kinds of campaigns to set up. I had previously conducted a survey with fans to determine which songs would make for the best Spotify playlist campaigns. So I set up 3 campaigns. 1 for a song on the 2nd EP that would run until the release of the album. And then the last two to run concurrently as soon as the album dropped. 

The first campaign for a song called Home Above Water did not perform well via Playlist Push. At first, I just took it as a sign that the music wasn’t there yet. But then I looked at the reviews of the song and realized that there was a major problem. The song was registered as Soul, but the reviews were coming from folks who curate lists for “depressing hip hop”, EDM, electro pop, Reggae, etc. Everyone kept saying “it doesn’t fit this kind of playlist”, and I’m thinking, “of course! This song is definitely not EDM, hip hop, pop or reggae. Think Eryn Allen Kane, Chance the Rapper’s more inspirational songs/Donnie Trumpet and the Social Experiment, Grace Weber, etc.

I spoke with customer service about it. They seemed to understand. I requested to cancel the upcoming campaigns and get a refund for the first. Steve then offered to do one more campaign, and if it also doesn’t satisfy me then he would refund me for all three campaigns. He offered a full refund on all three songs. I was hesitant to continue, but he insisted that the next song would have more options because it fit R&B and Soul. So together there would be more targeted playlists to submit to.

Within the first day, the second song Lighthouse landed on a Reggaeton playlist. So I knew I was heading down the same road. I reached out the second day of the campaign but didn’t hear anything for 1.5 weeks. By that time, it had been placed on 5 playlists: Reggaeton, Boy Bands, Hip Hop, a pop playlist, and finally your Low Volume Funk playlist. So at this point of the 5 playlists, the one that comes remotely close to my actual genre is curated by the same person who encouraged me to check out the platform in the first place. I felt debilitated in a number of ways. 

In the end, I argued quite a bit with customer service. They reneged on their refund offer, claimed a full refund from them was not possible and was unfair, and that no one complains about getting on 5 playlists. I tried to explain to them that it’s not about the quantity of playlists or listeners but the quality of listeners. Getting on a reggae playlist does not help me get my music to fans and potential fans where they actually are. If anything, it makes them less prone to engage with my music because they are listening to a reggae playlist with the intent of listening to actual reggae, not cinematic soul. Everything I do is in an effort to reach potential superfans.

I ended up walking away with a partial refund and plenty of condescending remarks from Steve... but more than that I lost a lot of trust. In an industry with little mentorship for independent artists, you were the closest thing to a reliable resource I had, and to find out that the agency you recommended was pretty much a scam (like the others you discuss in the blog) that would take my money and throw my music at any Playlist that bites- and then to find out that you’re getting paid on both ends (for referring them and then for curating), didn’t necessarily help. 

Jessica Lá Rel

—
So first off, I want to give Jessica major props for sending me this very heartfelt email. And for being so candid. Not everyone speaks up when they are experiencing frustrations or roadblocks, but the only way to make things better is by approaching them head on. I know it must have been frustrating to spend a good amount of money on a campaign and then be disappointed by it. I've done it time and time and time again. I'm sure you have too. 

I want to hear your successes and your pitfalls. All of them. The good, the bad, the ugly. We’re all in this crazy industry together! And I am a student first. I want to learn so I can teach. Nothing brings me more joy than being able to pass along valuable information that I learn and to see you use it successfully. 

I do want to be perfectly clear about my involvement with Playlist Push (and any company I review). I never accept an affiliate code or advertising partnership until AFTER I write my review so my review is completely unbiased. I never let the companies read my review before it’s posted. And I only accept affiliate codes or ad partnerships with companies I believe in. Some companies I reviewed negatively have attempted to throw money at me to change my review. But I turn them down at every corner because all I have is my reputation and the trust I have built with the community.

No, I cannot be bought off. I will not take money from companies or people I don’t believe in.

After my extensive review of Playlist Push, it seems like a valuable service. I stand by it (today). Will that ever change? Maybe. But like any ad partner I’ve ever had, when I get complaints from readers I take them immediately straight to the top. If they aren’t resolved to our satisfaction immediately, I end our relationship and I write about what happened. However, the good ones out there take their customer complaints very seriously and resolve the issues quickly. 

I understand the responsibility I have being one of the few working artists out there with so much access to people in the industry and I take this responsibility very seriously. I’m always looking out for artists and I answer to no one but you. 

Whatever you’re experiencing, the good, the bad and the inspirational. Lemme hear it! I can’t promise I will be able to get back to you, but I do promise to read it, think and digest. 

Much love,

~Ari

PS - if you dig funk/soul follow my Low Volume Funk Spotify playlist and hit me with some song suggestions.

Like these tips? Support my Patreon and I'll give you the ultimate high five when I see you.

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Paste this in Twitter: Spotify Playlist Pitching Review of Playlist Push https://aristake.com/post/playlist-push-review(via @aristake) 


"How To Make It in the New Music Business might well be the best 'how to' book of its kind." - Music Connection Magazine 

 

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Sony/ATV Music Publishing Songwriting Camps Yield Over 300 Syncs as Program Expands to Miami & Atlanta

• NEWS

By Billboard Staff | October 19, 2018 4:50 PM EDT

Sony/ATV Nashville President/CEO Troy Tomlinson, Sony/ATV songwriter Blake Healy and Brian Monaco President, Global Chief Marketing Officer

Courtesy of Sony/ATV Music Publishing

Five years after starting its songwriting camps, Sony/ATV Music Publishing’s efforts have resulted in more than 300 sync licenses of original songs created for brands including Adidas, Bose, Comcast, Dunkin’ Donuts, Google, NFL, Miller and Nissan, as well as dozens of movies, TV shows, trailers and video games. 

Now the program is expanding. In February, Sony/ATV will hold its first songwriting camp in Miami, followed by its Atlanta debut next summer. The camp will return to Los Angeles for its annual event, with plans to also revisit Toronto for the first time since 2017 and Nashville, which held its inaugural camp last month.

“The sync writing camps are a great example of how Sony/ATV proactively seeks out new opportunities for its songwriters by going far beyond what a music publisher typically does,” said Sony/ATV President, Global Chief Marketing Officer Brian Monaco in a statement “They give us a unique position in the marketplace and have created hundreds of new sync placements for our writers.”

The camps usually host 20 Sony/ATV songwriters who collaborate in small groups over several days to create new songs and master recordings, sometimes for a specific brand. Sony/ATV’s sync department then pitches the songs to potential licensees.

Songwriters from all levels participate, including at the upper echelon, often tapping into new creative reserves. Ross Copperman, BMI’s 2016 and 2017 country songwriter of the year took part in the Nashville camp and afterward enthused to Monaco in an email, “It was so inspiring and refreshing and I'm so grateful for the new people I've met and go to work with. I would love to do this more often wherever and whenever. I will make it happen. These few days have fed my soul in a big way.”

Among the notable songs are “Get Loud For Me,” written by Mike Sabath and Gizzle and recorded by Gizzle, which has been used in an NFL/Bose commercial and an Adidas campaign, as well as tallied nearly 4 million streams on Spotify. “Do It Like This,” written by Daphne Willis, Austin Massirman and Sabath, has appeared in commercials for Comcast and Xfinity, and will be featured in a forthcoming campaign for Royal Caribbean Cruises as well. Other camp tunes have powered commercials for Apple, Orbit Gum and Labatt Blue and trailers for Captain Underpants: The First Epic Movie and video games Need For Speed Payback and Outcast: Second Contact.