music-business

McCartney—Once Through the Charm

Tammy Hitchcock, KRLA Beat, 17 June 1967

Labels seem to be essential in the music business. The powers-that-be dictate that an entertainer is not truly successful until he has been labeled. Thus we find one Paul McCartney, “the charming Beatle.“

It was often said of McCartney that if he hadn’t been an entertainer he probably would have been a politician since he could be relied upon to say the right things at the right time, soothe the ruffled feelings caused by his not-quite-so-tactful cohort, John Lennon, and to smile, smile, smile.

Cunning
There is no question about it—Paul has a cunning way with words. Asked if the Stones are more popular than the Beatles, McCartney lifted a questioning eyebrow: “Are they? I don’t think so. I wouldn’t like to say who is more popular. The Stones have got their publicity agent and we’ve got ours. It’s up to you who you believe. The Stones are good lads and I don’t want people to think that it’ll come to us sticking our tongues out at each other like school kids.”

Responsibility
At the very beginning when adults were blaming the Beatles for their son’s stubborn resistance to the barber’s shears. Paul announced that the Beatles didn’t have any responsibility whatsoever to their fans. “It would probably be a nicer answer if I said yes we have a responsibility to fans, but I can’t be noble for the sake of it.”

The Beatles had no sooner landed in America for their first visit than a nationally-syndicated columnist broke the Jane Asher/Paul McCartney romance and the rumors have haunted Paul to this day. Every reporter asked the same question of McCartney: “Are you married or planning to marry Jane Asher?” He smiled and bore the monotonous questioning until finally he was fed up. “I’ve no plans but everybody keeps saying I have. Maybe they know better. They say I’m married and divorced and have 50 kids—so you might as well say it too.” 

Charming
McCartney’s “charming” label became a drag as time went on and he concentrated more on saying what he felt rather than what others wanted him to say. He disliked the protest song movement intensely and said so. "They make me concentrate too much on the lyric—which I don’t like.

"I think Barry McGuire’s ‘Eve Of Destruction’ is rubbish. And when I first heard it I thought it was bad. When I saw McGuire in person leaping around in those boots and growling, I just fell about!

“The Manfreds did a protest number on television which was the end. It was so bad they must have written it themselves.”

But to say that Paul completely gave up being “the charming Beatle” would be a lie. He was as charming as he’d ever been—only quite a bit more frank and a little more outspoken.

In 1965 the Beatles turned-down an invitation to appear before the Queen at the Royal Variety Show in London and it was Paul who explained the group’s decision to the press. “It’s not our audience. If we went on and those people didn’t like us everyone would say, ‘ha, ha, the Beatles failed, they’re on the slide’.”

His sense of humor he kept intact: his ability to laugh at himself, at the Beatles and at the world, no doubt, saw him through some pretty rough times. Walter Shensen tells one of the funniest stories about McCartney.

"Boorish”
It seems that once Paul approached Shensen with a newspaper review from one of the London papers. “I don’t think it’s fair,” moaned McCartney. “This chap says we’re boorish. That’s the one thing we’re not—we never bore.’’ Shensen explained that "boorish” does not mean “boring” it means “uncouth.” "Oh, uncouth,” said the relieved Paul. “Well, I think that’s fair enough!’’

The deafening waves of screams which traditionally accompany a Beatle concert received much notice in the press. Reporters demanded to know how the Beatles I felt about performing amid the noise.

And it was Paul who answered:

“The fans pay their money to come in and if they want to scream then that’s their perogative. We don’t mind if they scream. Why should we?

"The only thing that counts is that they are having a good time for their money. Anyway, five years ago we were playing without the screams and, friend, it wasn’t half as nice. I mean, the bread is important too, you know.’’

Although it was Lennon who received the attention for making How I Won the War, it was McCartney who first left the group to try his hand alone. He wrote "Woman’’ for Peter and Gordon, but asked that a pen name be used rather than his real name. His idea worked—for awhile.

"I knew someone would find out the truth sooner or later,” said Paul, “but I’m glad the story didn’t leak out until after ‘Woman* had become a hit in Britain and America. I hate to read record reviews which say that so-and-so will have a hit just because a Beatle number is involved. It’s not fair on the artists concerned.

"Anyway, my idea worked. Incidentally. this is the only song I’ve published under a pen name. I don’t plan to repeat the idea … well, not at the moment, anyway!" 

Keeps Cool
Paul is well-noted for his cool. It’s amazing how he keeps it when people ask sonic of the most ridiculous questions imaginable. An "image” is manufactured by a press agent and the press itself. It often times has nothing to do with what entertainers arc really like. Yet during the summer of ’66 a reporter stood himself up and asked Paul to explain the Beatles’ image.

“I don’t know,” snapped the hard-to-irritate McCartney. “Our image is what we read in the papers. You people make up our image. We know what our real image, is and it’s nothing like ‘image’.”

McCartney once said: *I’m always pleased when somebody has a hit with one of our songs—it’s almost as good as us doing it.“ Yet, a rather well-informed reporter wanted to know what Paul thought of other artists "stealing” the Beatles’ material.

Don’t Steal
“They don’t steal them,” fired back Paul. “No, I know they don’t,” replied the reporter. “But you just said they did,” countered Paul, "and besides, we pinch just as much as the rest of’em.”

The Beatles will never tour America again. The press will never have the opportunity to try their hand at making Beatles squirm. But, undoubtedly. McCartney will continue to look through his charm and allow the world an occasional glimpse of what goes on inside his mind.

anonymous asked:

The music business is very confusing but I thought Taylor had her own label? I also checked the artists under Republic records and she isn't mentioned. I would really love for Zayn to sign with them they truly seem to care about their artists.

Hi anon,

Yeah, you’re right, she’s with Big Machine Records who have a long standing partnership with Republic though.

http://www.universalmusic.com/label/republic-records/

Then the other thing is that Republic was the label who released the Fifty Shades Darker ST. 

Plus the rumoured (i know people said they heard it at the listening party for SGT) collab with Nicki Minaj for Zayn too who definitely is a Republic artist.

I’ve thought for a while that they’d be a great label for him to move to should that happen and yeah,  Charlie Walk as you’d expect as President is very supportive of their artists, wasn’t just Liam and IDWTLF that he had on his IG story but all his artists who were on KIIS LA. 

We shall see. 

anonymous asked:

I agree with your ans from that Azoff anon. Bts Louis has always been outspoken about venturing to music production and some even describes him as a mini mogul because he has the capacity to be one. Just like how he produced JHO with Steve because he saw how well EDM is being received by GP nowadays would be beneficial to him putting out his first single and with the intention of bringing something new to the EDM side because he thought something was missing there, (1)

his keen sense on musicalities and the trend around him screams music producer to me. Like imagine what he could do with the network those “crusty old men” is gonna give him. I love artist!Louis as much as the next louie but he’s also interested in the business side and having his name associated with Irving and his social networks, not as a client but as a potential business partner, (2) heck even as an acquaintance so long as he’s seen as an individual and not a client, will bring the biggest buzz around him as an up and coming business-wise. And I believe that kid and his business-minded self will surely appreciate the boost if he wants to succeed in both singing and bts careers. Having him bts doesn’t automatically kill his singing career, it just broadens his game and touches all opportunities he could have with his skills and talent. (3)

______

I agree. You’re right that Louis has the “keen sense of musicality.”

JHO does not sound like a cookie-cutter EDM song because it’s unique in a few ways. Although it follows the structure of an EDM song in not having a repeated chorus (instead EDM has a loud synth middle section), JHO is more balladic and melody-based than the usual motific- or rhythmically-based EDM song. JHO’s lyrics use poetic metaphors. Louis saw the trend in EDM and knew that he could add something unique to it, rather than follow what everyone else was doing. JHO is like a Louis hug in EDM form.

You made the point very well. Louis can be both artist and businessman. Disagreements with management tear bands apart, cause tragedies. Louis has learned enough about bad management to fill a few books. A self-managed Louis Tomlinson, or even future reunited One Direction, is a satisfying thing to contemplate.

If an artist comes on to your show and performs a song, you pay them (by them I mean their label/publishing/etc I always get confused about the backend stuff). 

You pay them extra if you want to put that performance online afterwards. 

Generally you pay X dollars to have it up for Y months. Then, when Y months is up, you have to pull it from your site (youtube/apps/web/etc, wherever you have paid to put their content on your show’s page, where you are making money).

anonymous asked:

Louis just announced his artistic intentions. I truly wish his so-called fans would quit trying to shove him bts. The last thing he needs while in his prime is to join an old boy network with a bunch of creepy dinosaurs like Irv Azoff. "Just Us Boys" - even the name makes me shudder. And as if anyone would greet the news of Harry's album with a HC about him attending business meetings with crusty old men. And what has Azoff ever done for Louis? Why would he trade Simon Cowell for another demon?

____

Hi!

I think it’s exciting to consider the possibilities for Louis’s multiple talents.

Obviously he is a wonderful performer and songwriter. He’s proven himself with One Direction and JHO. I don’t know exactly what genre his new songs will be, but based on experience, I will probably like them a lot.

Artists benefit from having as much financial and creative control as possible. At this point, Louis isn’t lacking for money. Like his band mates, he can afford to release music under his own label, with distribution rights through Sony/Syco. I don’t know if that’s what he will do, but so far all the solo material from Liam/ Niall/ Harry has been released this way.

We hear about Liam’s learning music production. It’s exciting to know that the boys may eventually produce not only their own music, but also other artists. As we see from songwriting credits, production itself is a creative endeavor, a huge part of music recording.

Louis has expressed interest in managing his own imprint in the past. Triple Strings was established for that purpose. The origins and future of the company are debatable, but being an artist doesn’t rule out being involved in other aspects of the music business. It’s been noted that Louis is great at networking, knows many people bts in the music industry, and is a great work partner.

It’s exciting to consider the possibilities for an artist who can bring forth his own music on his own terms, AND venture into the music business in other ways. Scooter Braun and Usher have a joint musical business venture, the Raymond-Braun Media Group. Another example is Jay Z. He bought Tidal in 2015 for $50 million. Tidal’s estimated valuation today is $600 million. His business ventures are too many to list, but he is a respected artist as well– 3 albums in RS’s best 500 of all time, 21 Grammys, etc. One doesn’t preclude the other.

A young Jay Z probably couldn’t imagine being 2017 Jay Z, but he was ambitious, creative, & willing to take risks, and he didn’t close any doors. I’m not saying Louis should pursue these things– of course, he can do whatever he wants to do. But he’s talked about his interest before, and he certainly has the work ethic and the talent.

I am very excited to hear his new music. I think it will surprise us in a lot of good ways. Louis’s partnership with Steve on JHO was unexpected (it was unexpected, to me, that Louis put out an EDM single) but so, so lovely– both their friendship and the music itself. Louis and Harry both have the ability to put their distinct signatures on various genres of music, so it still sounds like them, be it EDM or blues. This is a rare talent for artists so young.

So, I am excited to hear his music, and watch Louis’s career in other ways too.

wsj.com
The Future of Music: Playing for $30,000 in Tips
More up-and-coming bands and musicians are using apps like YouNow and Live.ly to live-stream acts, connect with audiences—and rake in virtual-currency tips
By Hannah Karp

Vlive should add tip jars. Kpop groups already release so much non-music video content on their Vlive channels and the entertainment agencies need to find new revenue (cough Cube cough TS cough). And Amber and Henry can finally get work.

The idea that Taylor made a strategic business decision solely for the purpose of being petty ignores everything we know about how she had built her career and her reputation as one of the most admired business minds in her industry. Industry publications (tech, business & music) have all been speaking on the Spotify issue in the past few months. Taylor'a future actions have prominently featured in many of those articles. Talk of an impending deal have been wide spread. This was going to happen.

In true Taylor fashion the rollout would be done to showcase her return to Spotify the way she wanted it framed. She was not going to be seen “crawling” back to Spotify. It wasn’t going to go down as just a foot note. She was bringing something to the table. She took a strong well-reasoned stand against their unfair treatment and her return was not going to be seen as some type of capitulation to the inevitability of streaming.

Instead she waited till changes and reparations were made by Spotify. She waited until she had unassailable proof that she won the “game of chicken” against Spotify and everyone that said her decision would adversely effect 1989 on sales and charts. She waited till she had the numbers to show and the certification announcements. She waited…possibly…till the timing was right for an impending new album release. Timing was perfect. Then she framed it as a gift…a thank you to her fans. The ones who came through for her by buying her music. I think this was her primary strategy.

If thought was given to her return coinciding with Katy Perry’s album…and I think it is naive to assume it wasn’t part of the discussion…I don’t think it was an issue of being petty/passive aggressive that was the dominating thought. I think talk would have centered around how do we make sure Taylor’s return to Spotify is triumphant. They would have wanted her return to be viewed as significant to Spotify. To accomplish this they needed the fans to stream in mass. They needed the media frothing at the mouth to discuss. They even needed social media to make it an event. What better way to do that then piggy backing off of Katy’s ill-conceived marketing strategy to drag Taylor into her own album promo.

Seems to me she used her impressive body of work to be her “on the record” comment/response to Katy and then let everybody else let their petty hearts run wild and have fun with it creating the big buzz. It’s was a good strategy and it was well executed to maintain her reputation and standing in both the music and business world in my opinion.

You have to separate the commercialized style of disco from the underground places where the ideas first appeared. Disco got a terrible reputation, like it was anti-music, but its beginnings were in many ways more radicalized, inclusive, and open-minded than rock. It was as much an assault on the corniness and narrow-mindedness of rock as punk. Where it ended was the fault of the white, straight music business, which drained it of all its blackness and gayness, its rawness and volatility, its original contagious, transgressive abandon.
—  from I’ll Never Write My Memoirs by Grace Jones
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anonymous asked:

of course now some people are calling bs on the columbia deal just bc the song is registered under harry's label and is being licensed under columbia. idk exactly what that means but i know it doesn't change the fact columbia has invested millions and millions into his career

yeah I wrote about it this morning a little - nothing is new - the Larries just don’t have enough understanding of the music industry to know how little they know. Today I’m basking in Harryness so have no interest in debating their bullshit. Because we all know it’s not motivated by any interest in the business side of Harry’s career - it’s based in their desperation to find theories to back up their batshit conspiracies.

Books smell good 📚

That moment when you finish a great book and have another already waiting on the shelf…

For those of you who are curious/want recommendations, my stellar reading list since September:
1. The Song Machine by John Seabrook
2. Appetite for Self Destruction by Steve Knopper
3. FutureHit DNA by Jay Frank (meh)
4. The Tipping Point by Malcolm Gladwell
5. NoBrow by John Seabrook
6. Blink by Malcolm Gladwell
7. Hit Men by Fredric Dannen
8. Outliers by Malcolm Gladwell
9. They Fought the Law by Stan Soocher
10. David & Goliath by Malcolm Gladwell
11. The Lean Startup by Eric Ries
12. Baby You’re a Rich Man by Stan Soocher
13. The Art of War for Small Business by Becky Sheetz-Runkle (sorry it took me so long to get around to it Rachel)
14. The Light of Paris by Eleanor Brown (a novel unlike the rest of the list)
15. Backstage Past by Barry Fey

and now I’m about to start Flash of Genius by John Seabrook

taylor swift is…an actual genius…do you know how crazy that is??? like she’s not just smart…she’s an actual genius…in multiple areas…music, marketing, business, strategy…she is a god and we are the dirt she walks on