Joni Sledge, one of the original members of “Sister Sledge,” second from left, poses with Rodney Jerkins, second from right, her niece Camille Sledge, left, and her cousin Amber Sledge in August, 2006. Chris Polk / AP
Joni Sledge, who with her sisters recorded the enduring dance anthem “We Are Family,” has died, the band’s representative said Saturday.
The problem with the music business today in trying to capture today’s youth is they’re trying too hard. There are record labels that are admitting to the fact that they’re trying to copy the ‘model’ that has worked for Taylor Swift and Big Machine Records. And the thing is, we just didn’t know any better. I was 16 years old and wrote all these songs about being in high school and sophomore relationships, not thinking that people would relate to it, hoping they would, but there really was no business model to make it work for the younger demographic. If we can relate to lyrics, then we’re going to buy the music and I don’t think that’s a hard formula to figure out. People my age are really, really honest about what they like and what they don’t and they know it when they hear it and they know if they can relate to the lyrics.
Taylor Swift talking about what the music business needs to do to engage today’s youth (x)
“I think Artifact should be shown at every music school [and] it should be shown at every record company,” said Leto. “It’s a very unique and intimate look into the relationship between art and commerce, and one band’s struggle with an industry.”
Pandora has released a new graphic (above) revealing the most popular artists in every state based on plays through their digital radio service. Unsurprisingly, Billboard champion Drake has laid claim over the majority of the United States. What may surprise some however, is the fact Taylor Swift only claims two states, which is three less than rapper Kevin Gates and two less than Eminem (who hasn’t released a record in over two years).
These artists are not the only ones getting a lot of play in these states. Here’s a full rundown of the top 10 biggest artists in all 50 states:
The issue of how much musicians theoretically earn from their work has moved out of the trade press and into social media’s trending topics recently, whether that’s Taylor Swift demonstrating her clout via a successful protest of Apple Music or Jay Z’s Tidal promising artists higher royalty rates than other streaming services. In the background of these debates is the question of whether songwriters and performers are actually getting all the money they’re owed.
A Manager's Duty: What Every Artist And Manager Should Know!
Hello and welcome to our second Advice column of the week. This feature is a bit extra special because it also serves as our first collaborative piece with Daniel Alvarez, attorney at law and music business aficionado. We will be working with Daniel a lot in the months ahead, and we think the perspective he has on the business today is one that can aide both artists and industry professionals. If you have any questions about the content of the blog, or if you would like more information regarding the distributional services offered by Haulix, please email firstname.lastname@example.org and share your thoughts. You can also find us on Twitter and Facebook.
As an entertainment attorney, it is amazing what I see from the sidelines of the music business. I feel like it is hard to shock me anymore due to all the craziness that has come across my desk. We have all heard horror stories about record labels label that treats a band wrong. Yet what surprises me, is how frequently I consult with a band about a bad manager experience but I hardly hear about that in public. Entertainers think it is a quasi-parasitic relationship where they accept that they are getting used for profit, but they are getting the career benefit of label support. The sharp difference for when a manager does something wrong, is that they are supposed to be on your team, so the entertainer almost never sees it coming. The hit hurts most when it comes from someone you trust.
This week we’ll switch things up a bit. Instead of talking about how to get into the local music scene, I’m going to give you some solid advice on social media. Most people would think it’s common sense to be nice on social media, and not post any incriminating photos (partiers, I’m looking at you), but it isn’t.
Keep your privacy settings on Facebook locked down pretty tightly, but make sure that you set a few posts to “public” so people can see your posting style. I usually do this for posts about new jobs I’m working, or posts about new bands I’ve discovered, etc. Untag yourself or remove any photos that show you doing something you would not want an employer to see, they can and do look up profiles before/after interviews - especially in social media/marketing areas of the business.
Either protect your Twitter feed or be careful about what you post on it. Do you really want to be that person who gets fired over a tweet?
Make a LinkedIn account! It’s a good way to find out who works for companies you are interested in working for, and to stay in touch with professional connections that you don’t know well enough to add as a friend on Facebook.
For any of your accounts, make sure that you represent yourself genuinely, but don’t get dragged into public flame wars. They will just make you look bad.
Next week we’ll be back to more music industry focused topics, stay tuned!
Everyone, in and out of the music business, kept telling me that my opinion and my viewpoint was naive and overly optimistic – even my own label. But when we got those first-day numbers in, all of a sudden, I didn’t look so naive anymore.
Taylor Swift talking about 1989 selling 1 million copies in its first week (x)