Music Exploitation 2024 - 2025 PDF

Music Exploitation 2024 - 2025  This is a compilation of the most important slides used in my Music Exploitation classes. They were meant to support what has been explained throughout the course and should be read and used in that context. Many important subjects are touched on...

Music Exploitation 2024 - 2025  This is a compilation of the most important slides used in my Music Exploitation classes. They were meant to support what has been explained throughout the course and should be read and used in that context. Many important subjects are touched on only brie y and no topic is explained exhaustively. Please use it as a basis to nd more information elsewhere. And do mind the differences globally. Most information is available from US sources, but there are laws, means, and principles that differ from the Dutch and European Situation. - Erix Santman 2024 fl fi Music Exploitation L’introduction ‘Normal’ company: Added value ‘Normal’ company: ? Added value? ? Artists:  Intellectual property rights Copyright Neighbouring rights Trademark law (Auteursrecht) (Naburige rechten) (merkenrecht)  Intellectual property rights = ownership of your creative (non-physical) ‘products’  In this context, "exploit" means to monetize a music composition. - Songtrust Releasing a recording of a song in physical or digital form, issuing a sync license for use of a song in a TV show, and licensing a song to DSPs or radio stations, are all examples of exploiting a work.  You are allowed to make a remix, without permission, as long as you don’t make any money from it. A. True B. False But in reality it does often come to this. For every use of copyrighted material, especially if you change it, you o cially need permission. ffi  Select the DSP’s: A. Apple Music B. Warner Chapel C. Melon D. TikTok E. Top Notch F. Beatport TikTok is to many people also a DSP. In the music industry we usually designate streaming services and download stores who’s product is primarily music. “In my career I aim to be a Dr. Dre; a producer instead of a songwriter.” What do you think of this statement? Although Dr Dre (Andre Young) calls himself a producer, he is also a songwriter of many works. https://en.wikipedia.org/wiki/ Category:Songs_written_by_Dr._Dre What is mentioned on a label copy? (Select all correct answers.) A. Where the music was recorded B. What you are allowed to do with the music C. Who owns the recording D. What territories the music is available E. Who should receive money from plays F. Microdata B and D are not mentioned in the label copy. And the label copy is ‘metadata’.  “AI artists with a record deal, will be the new generation of artists…” What do you think of this statement? This is an important discussion for the future. At the moment the statement is still false. As currently only humans can legally be appointed ‘artists’ (creators of creative works). Music Exploitation Writing  Example 1. Invention: the telephone 2. Actual inventor: Johan Philipp Reis 3. Who made money: Graham Bell - The Bell Company  Why is this relevant? There are resemblances between inventors, writers, their process and the rights involved Inventor Patent Factory ‘(Tele)communication ‘The telephone’ ‘Bell Company’ through a device’ Ownership of the ‘idea’ Legal rights and Right to produce (and (recognition) bene ts make money) Writer Copyright Artist + Label fi ‘Copyright’ (auteursrecht) > Auteurswet Original work Observable (+ can be attributed to the writers) Created automatically  Writers lyrics composition (text) (music) Distribution Label Recording Performance Publishing Written music Original Cover Distribution Label Recording Performance Publishing Written music  Distribution Label Re-record Taylor Swift could do this Performance Publishing Because she owns this Written music  “Equal splits” Important to register all writers both as ‘lyricist’ ánd ‘composer’. Else the split could be registered di erently in various (legal)systems, countries, and in possible future situations. ff  ‘Writing’ associated words: ‘The song’ ‘Copyright’ ‘Publishing’ ‘Arrangement’ ‘Song ownership’ ‘Sheet music’ ‘Author / lyricist / composer / song writer’  Copyright Actual ‘ownership’ of the song. Writers need to give permission for a song to be used in a sync, to be remixed, to be recorded, to be altered, to be sampled*. Writers that are members of Buma/Stemra automatically give that organization permission to decide on the exploitation and mechanical reproduction of their music (license).  Copyright The neighboring rights are split in two: Mechanical rights (Stemra) Broadcasting / performance rights (Buma)  Rights of an author An author has ‘personality rights’ (‘moral rights’) which link her/his work to them personally. These are rights to be credited as the author, to protect the work from exploitation under a di erent name, from changes that would impair the author’s honor, and other rights. These moral rights are directly connected with the author and usually end when the author passes away. Unless arrangements are speci cally made for others to inherit them by will or codicil. Then they can be valid for another 70 years. ff fi  Rights of an author ‘Exploitation rights’ last until 70 years after the (last) author has deceased. These ‘economic’ rights are inherited by their heirs. Please mind: a new contract is required to let Buma, or any other party designated to collect the monetary rights, to continue their work. This is the right to derive income from the work.  License or transfer of rights The right to receive payment from the exploitation of the composition can be transferred (in writing!) or given into license. Personality rights remain with the author as long as they live. An author has personality rights beyond which are named in the copyright-act. An example is the right for their works to be published by the (new) owner of the copyright.  Publisher A publisher is a company that manages the rights of an author. They register the track with the neighboring rights organization (e.g. Buma / Stemra), try to interest parties for syncs, bring artists together, organize writercamps, and sometimes even (co-)manage the artists.  Publisher agreements There are two common agreements with a publisher; as an author (auteursovereenkomst) or on the basis of individual titles (titelcontract). Always keep in mind that if you sign as an author the publisher automatically gains the rights to your previous works (from before the agreement) and of any work you write during the contract. Even if you keep those to yourself. On the other hand; wirterscamps, co-writes, and other services by the publisher are often organised or initiated exclusively for their authors.  Publisher share In the Netherlands, by law, the shares on the copyright of a song are divided as: 33% Lyrics (‘lyricist’) 33% Composition (‘composer’) 33% Publisher An exception is an instrumental song in which the shares are divided as: 50% Composer 50% Publisher (Only on the mechanical rights)  Publishing fund Most established artists manage their rights in a ‘fund’. This is a joint venture with a publisher in which the 33% share of the publisher is shared 50%-50% with the author. The funds is a separate legal entity with an individual (brand) name. Another option is negotiating a kick-back.  Composition: 15% ….. 20% ….. 15% ….. 33% 33% Lyrics: 15% ….. 35% ….. Publisher 33%  Copyright (auteursrecht) Personality rights (moral) Exploitation rights ( nancial) Set of rights that primarily protect Mechanical rights (Stemra) and serve the ‘honour’ of the author Broadcasting / performance rights (Buma) Can not be transferred Can be transferred (in writing) Have to be speci cally mentioned Automatically part of the inheritance of the writer in the estate of the author End when the author passes away, unless End 70 years after the last writer of a work has granted through a will or codicil, (’70’ years) passed away. fi fi  The Song 15% Writer 1 33/100 x 15/50 = 0,099 100% 30% Writer 2 33/100 x 30/50 = 0,198 5% Writer 3 33/100 x 5/50 = 0,033 33% Composers 33% Lyricists 15% Writer 3 33/100 x 15/50 = 0,099 33% Publisher 35% Writer 4 33/100 x 35/50 = 0,231 50% Publisher 1 ((33/100) / 4) x 50% = 0,04125 50% Publisher 2 ((33/100) / 4) x 50% = 0,04125 50% Publisher 1 ((33/100) / 4) x 50% = 0,04125 75% Publisher 3 ((33/100) / 4) x 75% = 0,061875 Publisher share 0,144375  Artists Composers Lyricists Publishing Total: Writer 2 0,198 0,061875 25,99% Writer 3 0,033 0,099 0,04125 17,33% Writer 4 0,231 0,04125 27,22% Writer 1 0,099 0,04125 14,03% Publisher(s) 0,144375 14,44% Total 0,33 0,33 0,33 99%  Cover Remix New Bootleg Edit Mashup Rework Acoustic / original (‘Club’ or ‘stripped’ ‘radio’ (down) / version) orchest- ration What is it? New New New (New) Altered New New and Di erent performance recording recording recording version of recording original performance of existing using original without original using original recordings of original written work samples permission recording samples combined Permission Publishing* Publishing + Publishing Not Publishing + Publishing + Publishing + Publishing needed sample applicable sample sample sample clearance clearance clearance clearance all works Maker Possible split Often buy- Possible split None Buy-out for Possible split Possible split Master usually on out, on production on master on receives publishing + sometimes publishing + publishing + master split on master master master * Depending on the copyright organization it might be possible to cover a work without permission. As long as the full publishing goes to the original copyright holders. ff Music Exploitation Performance & master  ‘The performance (de uitvoering)’ Every time a song, which is not yet a master (a recorded work), is performed. It does not matter if live instruments are used or if the work is played through a preset sequence (like in a studio setup / through midi). Since 1996/WPPT a pre-set midi sequence can also ‘exist’ as a recording.  ‘The recording (de opname)’ The de nition of a recording in neighbouring rights is ‘the rst time that sounds (or images) are recorded on a medium that can store these sounds’. Therefore as soon as there is a recording that same performance is not performed anymore but played (like DJ’s do). A recording does not have to be original, like a creative (copyrighted) work. But if you make a recording of a copyrighted work you will rst need permission by the author to exploit it. fi fi fi  A new performance When a song, which has been recorded before, is performed live (with live instruments, vocals, or sequenced in a way that it deviates from the ( rst) recording) it is (technically) a new performance. And if recorded it counts as a new recording. fi Distribution Label Recording Performance Publishing Written music  The master The master is the same as the (eventual) recording, but the appointed ‘producer’ of the master is the party that arranges (organizes) and pays for the production of that recording. From here on we will just refer to ‘the master ‘and not distinguish between the recording and master.  Writing Performing Recording Copyright Neighboring Rights Neighboring Rights (Auteursrecht) ‘Related Rights’ ‘Related Rights’ (Naburige Rechten) (Naburige Rechten) ‘Ownership’ of the song ‘Ownership’ of the performance ‘Ownership’ of the master Composer (music) Main artist Phonogram producer Lyricist (text / vocals) Conductor Featuring artist  Performing Recording Neighboring Rights Neighboring Rights ‘Related Rights’ ‘Related Rights’ (Naburige Rechten) (Naburige Rechten) ‘Ownership’ of the performance ‘Ownership’ of the master Main artist Phonogram producer Conductor Featuring artist 50% Sena 50%  Writing Performing Recording Copyright (auteurswet) Neighboring Rights Neighboring Rights ‘Related Rights’ ‘Related Rights’ (Naburige Rechten) (Naburige Rechten) 33% Composers Main artist Phonogram producer 33% Lyricists Conductor 33% Publishers Featuring artist (Points based) Buma / Stemra (100%) Sena (50%) Sena (50%) Performance > Recording Performing artists Phonogram producer Main artist Pays for the recording, mix, and mastering Featuring artist Owns the master recording Vocalist Producer Musician Remixer  Creative work Associated right Exploitation Collection Channels Use in songs Composition, Copyright Publisher Buma (& Stemra) lyrics (writing) Public (events / radio etc.) Copyright & Media Syncs neighboring right Performance (live) Neighboring right Live venue Sena Events Sena (public use) Events / radio / (50%*) public places etc. Master Neighboring right Label (First recording) DSP’s, Label stores (mp3) Party that pays / enables the recording Phonograph Sena Neighboring right producer (50%) * Split to artist(s) and labels  ‘Sync’(-hronization) The use of music in another (visual) product, like a movie, commercial, game etc. Usually a one-time fee is paid for the use, sometimes a deal based on X number of sales, streams etc. Sync 100% Publishing Master 50% Per ‘side’ 50% Publisher Label Based on % artist royalty 50% Writer(s) Artists Based on % artist royalty When a party has both the publishing and the master rights or license, it can be referred to as ‘200%’. More and more media and advertising companies (agencies) prefer these situations as they can deal with a single party.  Writers Performing Artists Label Copyright Neighboring Rights Copyright (Auteursrecht) ‘Related Rights’ + (Naburige Rechten) Neighboring Rights Exploitation rights Exploitation rights Right to be paid Moral Rights Moral Rights Restrict copying  Label ‘Artist royalty’ (2-75%) 100% ‘Master split’ shared by the artists 100% ‘Net receipts’  Bron: https://www.trouw.nl/cultuur-media/de-liedjesschrijver-heeft-het-nakijken-in-streamingland~b5789613/ - Spotify asks 30% as ‘store’ (DSP) - Spotify pays 60% to the label - Miss Montreal receives an artist royalty of 25% - Stef Bos is the only writer - Stef Bos doesn’t have a funds, his publisher receives 33% - Buma withholds a 15% administration fee - Sena does not collect with DSP’s, while this is mentioned - Sena originally withheld 12% which has gone up to 14,5%  Approximately 10% Buma 60% Label 30% Spotify Depends on Aggregation deals Country Listener’s plans (paid / add supported) Music Exploitation Releasing / Deals  Write Produce (‘perform’) Release Authors: Performing artists: Label: Composers Main artist A&R manager Lyricists Featured artist PR(ess) manager ('session musician') Product manager Publisher: Producer Playlist coordinator Publisher (conductor) Royalty & Finance Artist management: DSP: Artist Manager Playlist curator  Write Produce (perform) Release Writer splits: Split based on roles / points: Artists: 100% of artist royalty Composer 33% Main artist: 5 Lyricist 33% Feature in title: 5 (‘Artist royalty’) 50% Featured artist: 1 X% (‘Master splits’) 66% (Normally negotiated as 100%) ('session musician') Producer 1-3 ( / conductor) Master (recording) Master owner Label income (Fonogram producer) Publishing: Publisher 33% 50% X% (or publishing fund!) 33% (can be negotiated thanks to (Normally not part of negotiations) Martin Garrix case) Buma / Stemra (100%) Sena: 100% Release income (net receipts)  Write Produce (perform) Release Idea (melody, sample, concept) Plan (sound, pro le, order) Negotiate (deal, strategy) Plan (who should be involved) Demo (to artists, mgmt, A&R) Agree (go / no go) Invite (tell them their role) Negotiate (deal, label, roles) Con rm (in writing, everything!) Write Decide (best o er) Mix (balance) Try (record) Con rm (in writing) Master (check it everywhere) Recap (who did what) Record Hype (press, your fans, pitch) Demo (your pitch) A&R (equal creative process) Release (everyone alligned) Con rm (everyone's involvement) Change (sounds, toplines, feat.) Promote (play, stream, talk) Deliver (you made this then) Con rm ( nished recording) Remix (edit, bootleg, share) Song Recording Review fi fi fi fi fi ff fi  Negotiating: authors Co-authors will have part ownership in your song. Make sure that it is clear what everyone's involvement is and preferably their intentions. If you are the main artist you should have the initiative, although you don't legally have this right. If you write and perform a song at the same time, always keep in mind that these are legally separate phases.  Negotiating: authors Roles are somewhat decided upfront because of people's input. But this can, and will, often be negotiated. Always remember to register both lyricist and composer roles when making an alternative (or 'equal') split(s). A topline (text) means writing: if somebody records a topline for an already written instrumental song it is important to discuss that role retroactively.  Negotiating: performing artists Main artist; the song will be contributed to this artist. Receives 5 points with Sena. Song is presented on their artist pro le. Featuring credit: artist is mentioned in the title, (previously not automatically visible on, or linked to their artist pro le, now it is). 5 Points with Sena (sometimes this goes wrong and the feat. is credited with only 1 point as session musician). The Sena ‘repartitiereglement’ determines the rules and points. This is the version of 2024: https://sena.nl/ les/original/repartitiereglement-sena-2024-def.pdf Be careful of the order in which artists are named. Lots of apps and media show only the rst part of the artist' names. Contribution (remixer, producer); try to visualise where you are mentioned. If the release is important for your pro le you can negotiate a di erent position or credit, and o er to take a smaller percentage / fee. ff fi fi fi fi fi ff 1st Main artist, 2nd main artist, 3rd main artist - Song title (featuring credit) - [version]  Creating a record: the reality Creating a record was never just a creative process. It should be but in reality strategy is often involved. Labels, publishers and managers are 'packaging' the right 'involvement' into a track. Partly sound wise, marketing wise (reach, look) and considering the overall pro le. Since Elvis, it is no longer guaranteed that the people mentioned in the credits actually contributed on the record. Always keep in mind what the sleeve (packaging) of the track would look like. fi  Consider Reach: you are dealing with algorithms. The overall look of the release. The story behind the record: press hook. Fan / audience commitment. Sound (dis)alignment. Territories and markets. "The beauty of the music industry is that any single song can become a big hit. The reality is that more often good songs are not discovered in time and disappear in the in ux of other releases." fl  Negotiate: splits What is 100%? Ask for the artist royalty. What is everyone’s role? Was the demo used in the production? Know the costs, what is recouped rst? Recoupment often goes pro-rata. Are artists exempt? Points versus one-o fee. No Sena with a buy-out. Share in the song is in perpetuity. Tranches; based on # of streams. ff fi  A&R The role of the A&R manager is to build a commercially viable product out of music. They will select, negotiate, package, suggest changes, and schedule releases. Based on the performance of previous tracks, trends, relations with artists and other labels, the image of the label, and the overall release schedule (including those of other labels). They have a lot of information you probably don’t have. But they also have other interests. It is very useful guidance but be aware of your own strategy as an artist.  Label income Labels ‘advance’ money to pay for a release. This advance is ‘non-returnable’; the artist(s) will not have to give it back. But they ‘recoup’ the money on sales of streams, physical product, and other possible revenues. ‘Cross-collateralization’ mean they can recoup the outstanding advance of one record against the income of another release by that artist. Artist royalties (nowadays) are in the 50-30% range. On physical (CD’s, vinyl) this is often in the 10-20% range of the ‘royalty base price’ which is most of the time the same as the ‘PPD’ (Published Price to Dealers).  Label costs In most deals the label will be able to 100% recoup the costs for the production of the master. This includes production fees by other artists, studio rental and mix/mastering. The production of promotional items like video’s, artwork etc. is mostly between 50-100% recoupable. The fee of a (radio)plugger depends on that person working for the label or not. The actual promotion and marketing e orts by the label should not be recoupable. Check if a label employs these kinds of people as hiring external sta is often partially recouped. Labels also deduct costs for physical sales but this is very limited these days. ff ff Music Exploitation Distribution  Who (typically) negotiates what? Publisher Managers Writing Royalty Artist Release (splits) (splits) royalty budget A&R Manager Authors Additional themselves (packaged) artists Their managers  Who (typically) negotiates what? Publisher Managers Writing Royalty Artist Release (splits) (splits) royalty budget A&R Manager Authors Additional themselves (packaged) artists Their managers  Who (typically) negotiates what? Publisher Managers Writing Royalty Artist Release (splits) (splits) royalty budget A&R Manager Authors Additional themselves (packaged) artists Their managers  Who (typically) negotiates what? Publisher Managers Writing Royalty Artist Release (splits) (splits) royalty budget A&R Manager Authors Additional themselves (packaged) artists Their managers  Release strategy Touch all bases or focus; indie or mainstream? Playlist support, dj promotion, radio shows. Video: will you need it? Creativity ‘vs.’ big budgets. What budgets are there in the release contract? When and under what conditions can it be used? What other labels / territories will be on board for the track? When will more labels be added to the list?  Getting your music out there: ‘distribution’ Master: (radio) Label distribution software DSP’s  Getting your music out there: most channels Label distribution software Master: (radio) Pluggers DSP’s A&R Manager Radio stations Master: (club mix) DJ Promotion Other artists Aggregator (Fuga, CD Baby) TV / video media Independent music distribution Master: instrumental Advertising agencies (Tunecore, Distrokid) Publishers  Getting your music out there: label focus Label distribution software Master: (radio) Pluggers DSP’s A&R Manager Radio stations Master: (club mix) DJ Promotion Other artists Aggregator (Fuga, CD Baby) TV / video media Independent music distribution Master: instrumental Advertising agencies (Tunecore, Distrokid) Publishers  Getting your music out there: dj promotion Label distribution software Master: (radio) Pluggers DSP’s A&R Manager Radio stations Master: (club mix) DJ Promotion Other artists Aggregator (Fuga, CD Baby) TV / video media Independent music distribution Master: instrumental Advertising agencies (Tunecore, Distrokid) Publishers  Getting your music out there: independent Label distribution software Master: (radio) Pluggers DSP’s A&R Manager Radio stations Master: (club mix) DJ Promotion Other artists Aggregator (Fuga, CD Baby) TV / video media Independent music distribution Master: instrumental Advertising agencies (Tunecore, Distrokid) Publishers  Getting your music out there: syncs Label distribution software Master: (radio) Pluggers DSP’s A&R Manager Radio stations Master: (club mix) DJ Promotion Other artists Aggregator (Fuga, CD Baby) TV / video media Independent music distribution Master: instrumental Advertising agencies (Tunecore, Distrokid) Publishers  Getting your music out there: socials Instagram Master: (radio) Tik Tok Fans YouTube Visitors Edit / mashup Discord Brands Twitch Traditional media Video / promotion Snapchat Games Publishers  Getting your music out there: socials Instagram Master: (radio) Tik Tok Fans YouTube Visitors Edit / mashup Discord Brands Twitch Traditional media Video / promotion Snapchat Games Publishers  Getting your music out there: socials Instagram Master: (radio) Tik Tok Fans YouTube Visitors Edit / mashup Discord Brands Twitch Traditional media Video / promotion Snapchat Games Publishers  Getting your music out there: socials Instagram Master: (radio) Tik Tok Fans YouTube Visitors Edit / mashup Discord Brands Twitch Traditional media Video / promotion Snapchat Games Publishers  Getting your music out there: socials Instagram Master: (radio) Tik Tok Fans YouTube Visitors Edit / mashup Discord Brands Twitch Traditional media Video / promotion Snapchat Games Publishers  Getting your music out there: socials Instagram Master: (radio) Tik Tok Fans YouTube Visitors Edit / mashup Discord Brands Twitch Traditional media Video / promotion Snapchat Games Publishers  Distribution: package At least include the following: Labelcopy Masters (16bit WAV 44.1kHz) MP3 (320) version(s) of the master(s) Lyrics (explicit?) Artwork (3000 x 3000) Other options include: Canvas (Spotify) Separate / speci c masters for channels or media (vinyl) Storylines, biographies more information Video fi  Aggregators Fuga alternatives: DANMARK For Less Digital Innercat https://sourceforge.net/software/product/FUGA/alternatives  Labelcopy or Music Metadata Information that is required by and for DSP’s, physical release, sync’s, licenses, etc. It tells you who has the rights to the music, what versions are included in the release, where and when it has been recorded, and other details (genre, language, copyright line). Always make sure you provide the information when you deliver the pre-masters: lc’s often contain errors. XML format, will be included in the metadata of the digitally distributed track. (The label copy is the most well known form of distributing music metadata, but the contents can be included in most digital music les, usually in XML.) fi  Labelcopy (contents) P-Line C-Line Catalog number Artist Title (copyright (copyright Primary artist (label) performance) composition) Track Writers Featuring artist Version Remixer ISRC (title) (lyricists) Credits Recording Recording Composers Producers P line (all, including year location publishers) Rights holder Country of Rights ownership Rights contract Runtime Runtime name recording name begin date H:MM:SS S Language of Country of Genre Sub genre Track language Notes for licensor performance commissioning Mastering Label contact Format (digital / UPC/EAN Mixer engineer information physical)  ISRC (International Standard Recording Code) Unique for every recording (every version of every track). Used to identify each individual work and its rights holders. It is encoded / included in(to) the track. Obtain it through Sena in the Netherlands. Internationally with IFPI. If you use a digital distributor you will be o ered an ISRC code or you can provide one yourself. ff  Promotion through distribution Always include an instrumental version of your music. Important for syncs, promotion through social media (audiobed for videos). Make a package including promotional text, biography, high resolution cover image, press image, masters, contact information. Contact people personally. Either yourself or through people in your team (A&R manager, agent etc.). Make sure people have what they need and well in advance. Music Exploitation Career  Important terms that you (should) nd in a release agreement Term (period). Releasedate(!) License or transfer of rights(!) What will the label do / responsibilities. Release budget. Territory/ies. Royalty splits. Track- and artist name and billing. Audit rights. Recoupable costs / deductions. Who can approve remixes / re-releases. Who is the master owner(!) Artist royalty (if not mentioned on your label deal). I would advice against agreeing to: Option for the label to release the / a follow-up. fi  Strategies (examples) Slow & steady Mainstream focus New (social) media Background Credibility Reach & exposure Bigger risks legally Non-public pro le Focus on numbers & Focus on scene (Cross genre) collabs Focus on rights growth Covers, collaborations with Every penny counts Bigger advances & budgets Publisher is important music artists No sudden moves Act on opportunity Speed is everything Industry network Careful live strategy, not Blend of music, online and Acts are started based on Soft to hard ticket strategy too much exposure (risk) tv performances successful releases fi  Strategy: milestones Milestones like an album release are a project. Consider it carefully; do you have a really good reason to do it? It will have a big in uence on your release schedule, the production and marketing can be quite an investment, the audience doesn’t perceive it the same way as before, and your career will momentarily lose exibility (for various reasons). Always make sure there is a plan for after your next big milestone. An upcoming collab, a big live show, an album should always be a step towards a future goal. A milestone is never just the release or the show. Have your marketing, press, and merchandise aligned with the project. fl fl Always plan ahead to what goal you have áfter the next big thing. Never build up to a milestone with no plan afterwards. Because you can use / probably need what you are going to do for the next big thing. And you will lose a lot of traction when you have to start again after your last milestone. Own EP Album Tour Big feat. Stadium show  Most important As long as you follow the law, and there is even some extra room there, you can do anything. Be as creative in your business as you are with your music. If everybody does A, always consider doing B. Standing out as an artist is one of the most treaded paths to more brand recognition, an important pilar in a career. People in the music industry will often say ‘this is what we always do’, yet most successful managers and artists often say ‘we did it di erently’. Interesting acts and manager combinations to Google are Marshmello (w/ Moe Shalizi), John Summit (w/ Holt Harmon), and Dua Lipa (w/ Ben Mawson). ff  Strategy: happiness rst There are a lot of di erent strategies you can follow. But most importantly; remember that you don’t have to become famous. Most artists are happy to make a decent living doing what they love to do. In the past 20 years I have met many ‘big’ artists that were genuinely unhappy. They were caught up by their own success and the business that developed around them didn’t allow them to take a step back. Always remember; most people have a job where they know what is expected from them. Artists have to create something completely new and are then publicly judged. ff fi  Strategy: happiness rst Everything happens in a world where you ‘live your dream’. And if it doesn’t feel like that everyone around you will tell you that you do. Always put your own mental health before everything else. Especially since it directly in uences your ability to create new art. The happiest artists are the ones that often step on the brakes and keep a close eye on what they genuinely like to do. Bigger artists can often perform better because they have the room to take breaks and decide their own agenda. The expression “Beyonce has 24 hours in a day too” is correct, but leaves out a team of 40 people that do her work in those 24 hours. fi fl  Breaking the circle Don’t make sudden big changes after your score a hit; switching management, agency, label or people in your team can be a di cult and emotional process. This is something that will cost time, energy, and emotional room. There is a lot to be gained when you have a strong follow-up. But you can also opt for a more club focused release, something special or an EP with a variety in sounds. Be mindful of (the number of) people that depend on you and your success. Especially when you employ these people directly. It can become a burden quiet easily. Artists sometimes choose to start companies with other entrepreneurs to share that responsibility. ffi  Breaking the circle Your management should listen to you. They are (most often) not responsible for your health but should take notion when you tell them that you struggle. The label and agency have a di erent role so don’t expect this from them (although your agent should). Be mindful of what you ask from your team. It happens often that the artist puts pressure on the team rst, and tries to back away in a later stage when it gets too much. ff fi  Most important New strategies are invented almost daily. The industry has been the same for decades, but since a couple of years digital platforms have started to disrupt the playing eld. Always remember that if you take risks and, for example, deviate from the law, that organisations or people might come after you as soon as you become a bigger sh. Nothing is set in stone anymore; so try new deals based on the foundations that have been discussed in these lessons. fi fi Thank you