iHeartRadio Expands Services For Users

Hot on the heels of announcing 100 million registered users, iHeartRadio recently released their newest services, iHeartRadio Plus and iHeartRadio All Access (powered by Napster) and we’re excited to announce that these services are now available for TuneCore Artists to distribute their music to!

iHeartRadio already offers listeners access to over 750 live streams of radio stations across the U.S., as well as the ability to build a playlist or ‘user-generated’ radio station based on an artist of their choosing. Here’s a look at how the new services stand to impact users and artists:

  • With iHeartRadio Plus, users will have access to offline listening, unlimited skips and replays, and customized radio stations for $4.99/month;
  • With iHeartRadio All Access, users get a traditional on-demand streaming platform complete with a catalog millions of songs (via Napster) for $9.99/month.
  • For TuneCore Artists, both of these new services open up the opportunity for discovery and democratic listening among iHeartRadio subscribers!

What does that mean for TuneCore Artists who have already distributed to iHeartRadio and Napster?

Since your music is already on iHeartRadio and Napster (fka Rhapsody), you’re good! You do not need to take any action to make your current active releases available on iHeartRadio Plus or iHeartRadio All Access. Any fans who search for your release(s) on iHeartRadio should be able to find them on both of these services.

For information about getting your music on iHeartRadio, learn more here.

To add your current active releases to iHeartRadio and/or Napster, head over to your Store Manager.

TuneCore Artists know they can always look to us to offer them a plethora of stores and streaming services to send their new releases to. We know that independent music is something that fans seek globally, and we strive to make sure that artists can take advantage of all available outlets in order to build their fan base.

This is a big step for iHeartRadio and their listeners, and we’re excited about what this means for our artists moving forward.

Wednesday Video Diversion: March 29, 2017

It’s Wednesday again and that means we’ve got a great line-up of TuneCore Artist music videos for you to tune into. Why do we do this, you ask? Because it’s the middle of the week and we understand the dire need for entertainment and distraction. Because in a world of internet saturation it’s important to know what’s really good – and we’ve got plenty of goodness for you below!

 

JMSN, “Fuck U”

Aaron Cole, “Do What I Gotta Do (feat. Derek Minor)”

Move Mountains, “Sumo Cyco (feat. Beni Webbe)”

Jennifer Paige, “Devil’s In the Details”

RoadTrip, “Don’t Hurt Yourself”

Smileyface, “Hippy Girl”

Futuristic, “Wave”

Ron Pope, “Baby, I Love You (Aretha Franklin Cover)”

Sweetmates, “Papa Chico’s Semi Freddo”

Part 1: The Artist & Manager Relationship – A Look At Recording Industry Management Agreements

[Editors NoteThis is a guest blog written by Justin M. Jacobson, Esq. Justin is an entertainment and media attorney for The Jacobson Firm, P.C. in New York City. He also runs Label 55 and teaches music business at the Institute of Audio Research.]

 

We will now begin a series of articles exploring several music business agreements. The first agreement we will examine is the agreement that governs the artist (talent) and personal manager relationship. An exploration of what a manager does, a few standard provisions included in most management agreements as well as a few negotiation tips for these clauses follows.

A “personal manager,” usually referred to as the artist’s “manager,” is one of the most important individuals in an artist’s career. Managers handle all of a musician’s day-to-day affairs, including booking hotels, procuring transportation to and from live performances and appearances, booking recording sessions and all the other personal matters that an artist doesn’t have time to handle on their own. In addition, a manager acts as a buffer between the artist and other parties, including the press, record label and endorsement requesters. In addition to coordinating day-to-day affairs, a personal manager advises the artist on all aspects of the career, including assisting in developing the artist’s creative direction, such as selecting producers, instrumentals (“beats”) and album artwork. They also help in various other facets of a musician’s life such as managing the artist’s tour, advising on merchandise design, licensing, songwriting and anything else related to the artist’s entertainment career.

Choosing a manager is one of the most, if not most, important decisions that an artist makes in their career. It is a choice that should not be taken lightly as an artist’s first manager can have a profound effect on the talent’s long-term development. Once a musician has selected the individual to act as their manager, it is prudent, if not essential, for the manager and artist to enter into a detailed written agreement. This agreement should outline all of the essential terms of the arrangement to ensure that both parties are adequately protected. The document lists each party’s expectations and rights in an effort to alleviate any concern as to who is responsible for what and who is entitled to what.

To better understand this contractual relationship, let us now review a series of common clauses included in many standard artist management agreements.

A manager wishing to act on behalf of an artist must be appointed as such. In order to effectuate this, a management agreement includes a “power of attorney” clause such as the one below.

Power of AttorneyArtist hereby irrevocably appoints Manager for the term of this agreement and any extensions hereof as Artist’s true and lawful attorney-in-fact, to:

(a) sign, make, execute and deliver all agreements or contracts in Artist’s name as if Artist were personally present;

(b) make, execute, accept, endorse, collect and deliver all bills of exchange, checks and notes in Artist’s name; and,

(c) demand, sue for, collect, recover, and receive all goods, claims, money, interest or other items that may be due to Artist or belong to Artist, and to defend, settle, submit to arbitration and compromise all actions, accounts, claims and demands which are or will hereafter be pending, in such manner as Manager will deem advisable in Artist’s best interests, including retaining attorneys and accountants to represent Artist’s interests thereof.

(d) In addition, and without limiting any of the foregoing, Manager may generally do, execute and perform any other act, deed or thing whatsoever that reasonably ought to be done, executed and performed, as fully and effectively as Artist could do if Artist were personally present. Artist further understands and acknowledges that the power of attorney granted to Manager is coupled with an economic interest on Manager’s part in Artist’s Career, in the artistic talents of Artist, and in the products of Artist’s Career and those talents and the earnings of Artist, arising by reason of Artist’s Career. Such power is therefore acknowledged by Artist to be irrevocable during the term of this agreement and all extensions and renewals hereof.

Limitation on Appointment – It is expressly agreed that Manager’s jurisdiction and authority as personal manager, the power of attorney and compensation due Manager under this Agreement are limited to matters directly related to Artist’s Career in the entertainment industry and Artist’s professional business interests relating thereto; such jurisdiction and authority does not include Artist’s business interests which are separate and distinct therefrom.

The above language provides the manager with the power to enter into contracts on the artist’s behalf as well as deposit and draft checks on the artist’s behalf from the artist’s accounts. It also gives the manager the power to sign agreements on the artist’s behalf, institute lawsuits on the artist’s behalf, hire and fire attorneys and other third-parties on the artist’s behalf and to approve use of an artist’s likeness for advertising and promotional uses. It also includes a limitation to ensure that the power of attorney only applies to the “entertainment industry” without providing the manager with rights in other non-entertainment related areas of an individual’s life. It is also prudent to try to include some additional limitations on the Manager’s power of attorney, such as requiring additional written approval from the artist for certain appearances over a certain time period (i.e., a live appearance lasting more than two or three days) or for issuing a check over a certain amount from the artist’s bank account (e.g., any check over $500 requires prior written approval from artist).

When determining where a manager’s compensation derives from, the following language is typically utilized:

Manager is entitled to a percentage of the following:
(a) Any and all contracts, engagements and commitments now in existence;
(b) Any and all contracts, engagements and commitments entered into or
substantially negotiated during the term hereof;
(c) Any and all bona-fide proposals of contracts, engagements and commitments which are offered to Artist during the term hereof and entered into after the term hereof; and,
(d) Any and all renewals, extensions, additions, modifications, amendments.

This language means that the manager is entitled to a percentage of the income from all existing contracts. That is in addition to any entered into during the term of the agreement. Also, any agreements that are substantially negotiated during the term but executed after the term’s expiration are included. This means that the artist’s manager is compensated from any existing contract that currently already pays the talent as well as a percentage from any agreement that the manager negotiates during the term of the agreement as well as from any agreement “substantially negotiated” during the term of the agreement and entered into after the term expires.

While there is no set typical payment or commission rate for a manager, most managers earn anywhere from 10-25% of the artist’s total income, typically the rate is between 15-20%. A manager is entitled to a percentage of either the gross or the net income received by an artist during the applicable period of time known as the “term” of the agreement. Gross income is the total amount earned prior to the deduction of any associated expenses or fees; while, net income is the total amount earned after the deduction of all associated expenses and fees. A manager typically takes their commission from the “gross” income as that is amount is larger than the “net” income. Depending on the manager’s level of clout, they may require a higher percentage (e.g., 25%); while, a newer manager may accept a lower percentage (e.g., 10-15%).

Typical contractual language that explains what streams of income are subject to the manager’s commission may be described as such:

The term “Gross Earnings” as used herein refers to the total of all earnings whether in the form of salary, bonuses, fees, royalties, recording budgets or funds, video production budgets or funds, tour support or advances against royalties or advances against royalty guarantees, percentage shares of profits, shares of stock, other kinds or types of income, earnings or proceeds, or property, including real property, merchandise, performances, appearances, or other income flows which are reasonably related to Artist’s Career in the entertainment industry received by or due to Artist.

This language is extremely broad and includes any potential income that the artist receives “in the entertainment industry.” Since this language is so broad, it is prudent for an artist to try to exclude certain avenues of compensation from the manager’s commission. These areas could include the exclusion of funds earmarked as “recording budgets” or “touring funds/support.” The reasoning behind this is that these funds should be fully utilized to pay for all the associated recording, mixing and mastering costs to produce the album.

These subsidies should also be used to alleviate any touring deficiencies that may arise during an artist’s tour without a manager receiving a percentage; thereby, reducing the artist’s budget for these matters. Furthermore, if a musician is also involved in other entertainment activities, such as a songwriter or actor, the management agreement language should clearly outline whether funds earned from these activities are included in the manager’s commission or not. This is commonly referred to as a “carve-out” clause, which specifies streams of income that are ‘carved out’ and not included in the fees subject to the manager’s commission.

Additionally, when negotiating a management agreement, a compromise regarding a manager’s percentage might be possible through the creation of an escalating or de-escalating clause. For instance, a manager could be entitled to 20% of the first $10,000 earned by the artist during the term; and, then his percentage could decrease to 15% for the rest of income earned during the period; or, vice-a-versa, where the manager’s percentage increases from a lower percentage after reaching a specified earning mark.

Another key point in the management agreement is the process by which the manager recoups the expenses they incur on the artist’s behalf. Since this amount can start to add up quickly, it is imperative that the management agreement outline the exact parameters of the manager’s recoupment, including how much can be recouped and the procedure to receive reimbursement. It is judicious for an artist to insist on a specific monthly, weekly or other “cap” or set a limit on the amount a manager can spend on behalf of the artist. The artist should also include provisions that require the artist’s prior written approval for certain large expenses, such as incurring a $10,000 marketing bill on behalf of the artist for the artist’s promotions.

These are just a few of the main points that need to be agreed upon between the parties. We will explore some additional clauses typically included in many standard management agreements in our next installment.

This article is not intended as legal advice, as an attorney specializing in the field should be consulted. Some of the clauses have been condensed and/or edited for content purposes, so none of these clauses should be used verbatim nor do they act as any form of legal advice or counseling.

3 Easy Tips To Consider Before Pitching to Music Bloggers

[Editor’s NoteThis blog was written by Janelle Rogers, the founder of  Green Light Go Publicity, a music PR firm which helps up-and-coming musicians reach their audience.]

 

You found a list online entitled, “100 Blogs You Should Contact Now.” You’re ready to start emailing those 100 blogs about your album right away, because like the list says, those are all blogs you should contact now.

There’s just one small problem. They might not be.

Lists like those are often a generic compiling of the most read blogs or the blogs that are most receptive to unknown bands. They don’t delineate between a blog focusing on hip hop and a blog focusing on folk.

Those lists are a great starting point to find the blog right for you, but there are a few steps you need to take first.

1. Determine the Genre

First and foremost, you want to make sure they cover your genre before you reach out to the blog. Often a first glance of the site will make it glaringly clear if you are the right fit. If you’re an Americana band and the site is clearly only covering electronic or dream pop, you remove it from your list. In some cases, it’s not as clear at first glance. In those cases, start by finding a column that could be a fit for your band. Then look at the last five bands they’ve covered.

Do any of them fall within your genre? If not, remove them from the list as well. You may still be thinking, but it looks like they cover all genres, so there’s a chance they could cover my music as well. If you’ve looked at five articles and none of them have covered your genre, you’ll have a less than 20% chance of coverage on that blog. That low rate of return is neither worth your time or the blog you’re targeting. If at least one of those articles represent your genre, add the blog and move on to the next step.

2. Determine the Musician Career Level

When my music pr company, Green Light Go Publicity, is determining if a blog will cover a band at the level we’re working, we first break the stages down into five categories. Those categories are unknown, emerging, buzz, indie established, established and superstar. As a general rule, if you’re unsure of a band’s level you can look at Facebook as a guide.

For instance, we categorize unknown bands as less than 2k Facebook likes. Emerging have between 2-5K. If you fall into either of those categories, you want to make sure at least one of the five bands who were just covered by the blog are also within the same range as you. Like the above example, if they only cover established bands, the chances of you being covered are really low if you’re an unknown band.

This is also why it’s really important to look for columns that could be a fit for you at the forefront. A high profile site like Stereogum may only cover established and celebrity musicians in their news features, but could potentially premiere an unknown artist whose music they really love.

3. Determine the Best Contact

Once you’ve found a site that fits within the first two parameters, you want to determine the best contact at the outlet. Start with a writer who wrote the article or articles featuring a band matching your career level and genre. If you want to get even closer, look at writers who have covered artists similar to your sound.

Add that writer or writers to your list while noting the specific article so you can individually tailor your message when you reach out. If the writer isn’t clearly noted, then take a look at the contacts on the contact page and see if you can find the editor who best fits the column or type of coverage who fits your band.

That’s it. It’s really that simple to target the right contact. By taking a little extra time at the beginning to determine who would be most interested in your band, you’ll be able to invest time appropriately in those who’d most likely turn it into coverage.

New Music Friday: March 24, 2017

TuneCore Artists are releasing tons of new music every day. Each week we check out the new TuneCore releases and choose a few at random to feature on the blog.

Is your hit next?

Follow Music Made Me – a Spotify playlist that’s updated every Friday with new releases from TuneCore Artists – stream it below! 

st that’s updated every Friday with new releases from TuneCore Artists – stream it below! 


The Heart Part 4
Kendrick Lamar

Hip Hop/Rap


Hypernova 2017
Kadenz & Baco

Hip Hip/Rap, Electronic


Souvenir
Drew Holcomb and the Neighbors

Singer/Songwriter, Folk


Freak Like Me
NoMBe

Alternative, Rock


25
K’s Choice

Pop, Rock


Baby, I Love You
Ron Pope

Blues, R&B/Soul


How’d You Know
Josh Martin

Country


Cruel
Eddy Faulkner

Pop


Together + United
Meresha

Pop, Electronic


Naked
Amanda Fondell

Alternative, Pop


Push (feat. Conde Olaniran)
Flint Eastwood

Alternative


Goin’ Live
OG Boobie Black

Hip Hop/Rap, R&B/Soul


Sugar Lemz
Kudu Blue

Pop, Electronic

Facebook’s New Reach Objective: A Game Changer for Touring Musicians

[Editors Note: This is a guest blog post written by Don Bartlett, owner of No Door Agency, an Austin, TX-based boutique management and marketing agency. Don also hosts a seminar titled “Facebook Marketing For Musicians. Be sure to read his TuneCore Blog article on maximizing your Facebook ads on an indie budget.]

From it’s earliest days Facebook has used its powerful data algorithms to deliver incredibly well-targeted ads. It was a dream for most advertisers. They wouldn’t just put your ad in front of your target audience, they’d put it in front of the specific members of that audience who were most likely to engage with the ad. The success of this approach changed the entire landscape of advertising, and advertisers reaped the benefits. For musicians trying to promote tour dates, though, this presented a problem.

Bands are in a relatively unique position, from an advertising perspective. In each tour city we have small but very valuable target group of people we want to reach. It’s critical that we reach ALL of that group, not just the ones who might be prone to engaging with Facebook posts. If we’ve got 500 fans in New York City, we want all 500 to see the ad for our show.

Until now, the best objectives were “Page Post Engagement” or “Website Clicks” which deliver to those people who historically took those actions when viewing ads. In many cases that left a decent chunk of your fans out.

In late 2016 Facebook rolled out a new objective that solves this problem. When you choose the “Reach” objective you are now functionally telling Facebook that you want to reach as many people in your target audience as possible. After a few months of testing we’ve found that ads with the Reach objective perform significantly better for these small but valuable targets.

Note that that when you’re advertising to larger, non-fan target audiences….fans of similar bands, for example…you’re still better off using the “Page Post Engagement” or “Website Clicks” objective.

Another significant advantage to the Reach objective is that for the first time Facebook is allowing you to put a limit on how often people see your ads. Even an ad for your favorite band’s show can get annoying if it’s popping up in your newsfeed 4 times a day. This new feature lets you define an amount of time that a user will not see your ad again after viewing it.

It’s a very helpful tool that provides an extra degree of control to what your fans are seeing from your page. A good rule of thumb is to build in a frequency cap of at least two days for most campaigns.

Taken together these two new features provide a huge improvement to the tour marketing arsenal. Facebook ads have always been a one of the most effective ways to reach fans in a given city, but the effectiveness was often limited by their optimization algorithms. With the “Reach” objective we now have a concrete way to reach all of them.