Taylor Swift – Lover

[Linnethia Monique]

Jul 1, 2019 18:50:18 GMT -5 #LisaRinna said:

Jul 1, 2019 18:03:40 GMT -5 Choco said:

I think the current generation of stars is probably screwed, contract-wise, but I'm sure the next generation is watching this and will probably avoid deals that could end in a similar issue.

Actually the current generation should've looked at TLC, Toni Braxton and JoJo and learned from their struggles already.

Backstreet Boys and N’SYNC, too.

[👑 Eloquent ™]

Jul 1, 2019 18:50:18 GMT -5 #LisaRinna said:

Jul 1, 2019 18:03:40 GMT -5 Choco said:

I think the current generation of stars is probably screwed, contract-wise, but I'm sure the next generation is watching this and will probably avoid deals that could end in a similar issue.

Actually the current generation should've looked at TLC, Toni Braxton and JoJo and learned from their struggles already.

A lot of artists of this generation were in their infancy/were children when TLC and Toni Braxton were having money problems and I doubt many follow their careers closely enough to know of their trials to begin with. lol Hell, I am 31 and I just learned the Backstreet Boys/Nsync had contract/label issues.

[🅳🅸🆂🅲🅾]

Jul 1, 2019 19:13:44 GMT -5 Linnethia Monique said:

Jul 1, 2019 18:50:18 GMT -5 #LisaRinna said:

Actually the current generation should've looked at TLC, Toni Braxton and JoJo and learned from their struggles already.

Backstreet Boys and N’SYNC, too.

Prince and Exposé too. The latter is still dealing with getting all the royalties for songs done 30 years ago.

[The Brazilian Guy 🇧🇷]

Jul 1, 2019 19:13:44 GMT -5 Linnethia Monique said:

Jul 1, 2019 18:50:18 GMT -5 #LisaRinna said:

Actually the current generation should've looked at TLC, Toni Braxton and JoJo and learned from their struggles already.

Backstreet Boys and N’SYNC, too.

Way before Scotter Braun and Scott Borcheta, there was LOU PEARLMAN who was 10 times worse  

[dbhmr]

It’s fascinating how similar the posts by Taylor and Scott are. Both deftly balance offense and defense, both throw in damaging anecdotes of yesteryear, both avoid details that would make themselves look bad. As such, their posts don’t really...contradict each other all that much?

It would be difficult to argue that recording artists aren’t regularly subjected to the greed and power of labels and managers who view them as an asset rather than as a person. It would also be difficult to argue that Taylor doesn’t have a vested interest in her perpetual victim/visionary tightrope.

Idk, they’re all rich and powerful af and there’s too much murkiness here to ever have a fully realized understanding of what happened. So I’m generally unmoved, and the frantic unfollowing and takedowns of the tertiary players is predictable and dull.

[ampersand]

Jul 1, 2019 20:35:56 GMT -5 dbhmr said:

It’s fascinating how similar the posts by Taylor and Scott are. Both deftly balance offense and defense, both throw in damaging anecdotes of yesteryear, both avoid details that would make themselves look bad. As such, their posts don’t really...contradict each other all that much?

And now we know exactly who taught her how to control a narrative as well as she does  :kii:

[Ｓｏｕｎｄｃｌ🕤ｃｋ]

[Koochie]

isn’t she pushing like 60 it’s time to go back to Facebook mama

[ClevelandRox]

Wow, well Sia is cancelled.. :'(

[Rose "Payola" Nylund]

Jul 1, 2019 21:47:45 GMT -5 Koochie said:

isn’t she pushing like 60 it’s time to go back to Facebook mama

You should be cancelled too

[Koochie]

Jul 1, 2019 22:21:07 GMT -5 Rose "Payola" Nylund said:

Jul 1, 2019 21:47:45 GMT -5 Koochie said:

isn’t she pushing like 60 it’s time to go back to Facebook mama

You should be cancelled too

not the señor citizens wildin’ about their WiFi rights 😭

[Joe1240]

This is now made big news on Google,Yahoo! Etc. Taylor doesn’t believe Scooter Braun should own her masters and you have Scott Borchetta at fault for not letting her know where her masters are ending up with. These negotiations are what could of ended the Reputation era one year ago, it was the shortest Taylor era we ever had.

[Janhova's Witness]

Jul 1, 2019 20:35:56 GMT -5 dbhmr said:

It’s fascinating how similar the posts by Taylor and Scott are. Both deftly balance offense and defense, both throw in damaging anecdotes of yesteryear, both avoid details that would make themselves look bad. As such, their posts don’t really...contradict each other all that much?

It would be difficult to argue that recording artists aren’t regularly subjected to the greed and power of labels and managers who view them as an asset rather than as a person. It would also be difficult to argue that Taylor doesn’t have a vested interest in her perpetual victim/visionary tightrope.

Idk, they’re all rich and powerful af and there’s too much murkiness here to ever have a fully realized understanding of what happened. So I’m generally unmoved, and the frantic unfollowing and takedowns of the tertiary players is predictable and dull.

That’s a wrap! 👏🏾

At least Taylor got to play the victim card again and drum up interest in her new music. She knows how to get publicity.

[🅳🅸🆂🅲🅾]

[ampersand]

Wow, Taylor is really out here trying to end genocide, y'all. Her influence is unparalleled.

[Keelzit]

I understand her frustration but, out of all people, Taylor knows that business is business 100% and should not expect her old label's boss to not negotiate with a new buyer no matter who that person is. She knew that Big Machine's new boss would get access to her masters but I guess she would have less of a meltdown if it was anyone else but a person who 'bullied' her? Which makes sense but it WAS to be expected. I think it'd be more logical if she had lashed out the moment she left Big Machine by saying something like 'FYI BM won't let me buy my masters so they might end up in the wrong hands in the future' etc instead of now. She should expect literally anyone to want to get access to her catalogue because that's guaranteed profit so who ended up being that person should be completely irrelevant to her and had her anger be directed at Big Machine exclusively for not letting her buy her masters in the first place.

[Deleted]

Jun 30, 2019 21:33:23 GMT -5 @pma2015 said:

Taylor knows how gain publicity one way or other to sell records! Shrewd woman I see you!!🎯 I just wish the young her was as shrewd as Mariah Carey and said no to selling her catalog away

To clarify, Mariah owns her publishing - just as lucrative if not more so than masters rights, but not the same thing. I don't know if she owns any of her masters aside from Caution and Glitter (she supposedly acquired Glitter when Virgin bought her out of her contract; there was apparently an interview where she mentioned this and noted how unusual it was, but that vid has been deleted so I can't confirm). I suspect she didn't have any of her Columbia masters at the start but has been quietly acquiring her old albums' masters now that she is back with Sony; however that is only a hunch based on the increase in sync usage over the past few years. She couldn't have owned the AIWFCIY masters bc she recorded the Extra Festive version for her holiday album with Def Jam.

In many ways, the publishing holders have more control over the songs than the ones holding the masters. Scooter Braun could refuse to let you use the original recording of You Belong With Me in a commercial, but Taylor and her fellow co-writers could still allow you to use the composition (i.e. a cover) and make money from it that way. Scooter would get nothing from this because he only owns rights to that original recording. Conversely, Scooter could say he would love for you to use one of Taylor's songs, and all the other songwriters could be in agreement, but if Taylor alone says 'no' then the whole thing is shut down because you can't use the recording without having 100% permission to use the composition. Taylor can also get 'permission' from herself and her co-writers to re-record her own songs and then license those new recordings, again cutting Scooter out of the profit bc she will own the new recordings' masters. This is what Mariah did with AIWFCIY when she was signed to Def Jam and what JoJo had to do to get her old albums back on streaming services. Also worth noting that none of Mariah's compilations or her GH album could have been possible without her granting permission from the publishing side. Similarly, Scooter can't put out a Taylor Swift GH package without Taylor signing off on it.

Basically if Taylor is really feeling some way about it she can greatly diminish Scooter's ability to profit from her back catalog. He can really only earn anything from SPS and even that could take a blow if she played her cards right. Not to dismiss the significance of keeping or regaining one's original masters, but her crying about ownership just rings partially hollow when you understand how the masters/publishing relationship works. The time she spent typing she should have been spending recording six albums all over again tbh.

Jul 1, 2019 18:03:40 GMT -5 Choco said:

I think the current generation of stars is probably screwed, contract-wise, but I'm sure the next generation is watching this and will probably avoid deals that could end in a similar issue.

But really, are they? Will they? Can they? The labels are the ones with the purse strings...the typical power dynamic between new artists and labels is so off-kilter that I imagine you would be hard pressed to find a label that would let you keep them (AND all the royalties from them) from the beginning. Any time a label invests in promoting a new act they are taking a risk, and holding rights to the masters is one of the tools the label will use to offset that risk. Any profit earned from said risk can then be used to further invest in a successful act, place bets on others, pay salaries, order hookers and blow, etc. There are a couple of ways to cut a better deal at the start but those ways still involve either not owning the masters for a while, or owning them but splitting the mechanical royalties with the label.

I do think this generation paid attention to some extent, bc starting in the early to mid-00s 'singer-songwriters' in pop became more the norm. It's not so common now to find an artist who doesn't claim to be a songwriter to some degree, whereas back in 1990 or so the inverse was true; a pop artist writing all her own songs like Mariah did was pretty rare. It's like a collective light bulb went off - 'oh, if we write, we can at least earn some royalties that way.' Taylor herself is a good example of this, since she was set up with a publishing deal from the beginning.

This is not to defend the current industry setup as a whole (tl;dr: it is bulls**t and purposely designed to keep artists as uneducated as possible so that by the time they figure things out it's too late to do anything about it) but Taylor is a classic case of right message, wrong messenger. Probably 80-90% of acts at any given time don't own their masters; of that large bunch, she is massively better off than the rest in every way possible. Throw in the polarizing personality that she already had years before this, and it will be hard to find many outside of her fanbase who will empathize. Taking down Scooter won't change this even if it is doing God's work.

[#LisaRinna]

Jul 1, 2019 19:15:18 GMT -5 👑 Eloquent ™ said:

Jul 1, 2019 18:50:18 GMT -5 #LisaRinna said:

Actually the current generation should've looked at TLC, Toni Braxton and JoJo and learned from their struggles already.

A lot of artists of this generation were in their infancy/were children when TLC and Toni Braxton were having money problems and I doubt many follow their careers closely enough to know of their trials to begin with. lol Hell, I am 31 and I just learned the Backstreet Boys/Nsync had contract/label issues.

Don't they have managers and lawyers?

[YourFaveIsAFlop]

Labels have always had exploitative contracts with up and coming artists and always will. news flash: the label doesnt care about art, they care about money. Same old song.

[Deleted]

Jul 2, 2019 6:19:27 GMT -5 #LisaRinna said:

Jul 1, 2019 19:15:18 GMT -5 👑 Eloquent ™ said:

A lot of artists of this generation were in their infancy/were children when TLC and Toni Braxton were having money problems and I doubt many follow their careers closely enough to know of their trials to begin with. lol Hell, I am 31 and I just learned the Backstreet Boys/Nsync had contract/label issues.

Don't they have managers and lawyers?

The manager or lawyer could be just as exploitative as the label...hell the entire reason Scooter has such a terrible reputation is bc of his management style. TLC didn't have the greatest contract terms as it was but Pebbles' shady management is what really drove them into bankruptcy. Lou Perlman...management. Meanwhile if the attorney you pick out is on friendly terms with the label through previous dealings you may be already walking in the room at a disadvantage bc the attorney is more likely to consider the his label buddies' interests equal to or greater than yours. Not all managers and attorneys are like that but it's definitely not as simple as being able to expect the same level of care from whichever one you hire. The whole industry is just a tank full of sharks.

The real reason the industry is ageist imo is bc younger acts are far less likely to have heard these stories or to be aware that they need to do a lot of research on the business before jumping in and putting their faith in anyone. It is far easier to exploit the arrogance of youth.

[#LisaRinna]

@antigonerising you raise great points as always. That's why I think the first thing kids should be taught is to read EVERYTHING they are putting their names to and ask, be curious. Be knowledgeable.

[Dylan :)]

Jul 1, 2019 16:28:34 GMT -5 Koochie said:

God hides in heaven in fear of her power

I started following his follow count a day and a half ago and he has lost around 2,000 followers since then (he probably lost more right after it happened)

[Deleted]

Jul 1, 2019 20:35:56 GMT -5 dbhmr said:

It’s fascinating how similar the posts by Taylor and Scott are. Both deftly balance offense and defense, both throw in damaging anecdotes of yesteryear, both avoid details that would make themselves look bad. As such, their posts don’t really...contradict each other all that much?

It would be difficult to argue that recording artists aren’t regularly subjected to the greed and power of labels and managers who view them as an asset rather than as a person. It would also be difficult to argue that Taylor doesn’t have a vested interest in her perpetual victim/visionary tightrope.

Idk, they’re all rich and powerful af and there’s too much murkiness here to ever have a fully realized understanding of what happened. So I’m generally unmoved, and the frantic unfollowing and takedowns of the tertiary players is predictable and dull.

This.

Most artists don't own their masters. Taylor isn't in a TLC/Toni Braxton situation so I can see why a lot of the GP are disinterested in all this. (rich) white people problems.

[deepston]

Swifties tried to end Scooter and ended up discovering a terrorist organization wig

[🅳🅸🆂🅲🅾]

[Deleted]

I guess we wont get any more tea spilled until album release week. Just here for the drama!

[ampersand]

Jul 2, 2019 17:09:46 GMT -5 deepston said:

Swifties tried to end Scooter and ended up discovering a terrorist organization wig

Taylor has been combating terrorism since she recorded this demo about 9/11 when she was just 13. What a career arc!

[Choco]

Between a few articles I've read about the issue (most of them seem to think this will end up being much ado about nothing, and most agree there's no legal path that lands Taylor her masters if Scooter doesn't want to sell) and @antigonerising (I stan) very informative posts, I'm starting to think that Taylor should have probably moved on when she decided to part ways with BM. Her publishing deal seems way more powerful that just owning the masters right now. 

Her anger should probably be directed at Borchetta. She probably thought he was a friend or something like that, and he probably moved on after she decided to leave him (particularly if he feels wronged by her after he supported her during her rise, which is kind of dumb because she made him millions, but whatever).

At the very least, she'll make money from whatever Scooter tries to do with her music. She can stop any Greatest Hits release although I get the feeling that she might eventually cave in if they dangle the masters' ownership as some sort of payment after they milk them for a few years.

[Deleted]

Lol Taylor stans coming for Sia they have sis even addressing blackface accusations
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[Ｓｏｕｎｄｃｌ🕤ｃｋ]

Her fans are annoying, let it go.