There is a trend I can see on Network TV, specifically in an area I am more drawn to: the media of the recording industry. I find that shows like Access Hollywood and E! News tend to stereotype the images of most celebrities on TV. That’s one trend. They believe that all celebrities are one way. This problem could come from their sponsors. Most celebrities have a sponsor because they think other people have one, making it a trend to have sponsors. I, for one suggest that if one is an aspiring celebrity, they should try to create an independent label for myriad reasons. On Network TV, people stereotype celebrities like Miley Cyrus, Justin Bieber, and Angelina Jolie as Rock stars that have tattoos, or have drinking problems, are drug addicts, …show more content…
Maybe one thing can be good about a sponsor: Contacts and meaningful connections. Think of what they make celebrities wear; basically nothing. Think of how you only get 10% of all earnings. ALL. If you have an independent label, you can get 50% of all earnings. Plus, you will be able to manage everything from the creation to production, which, may or may not make you a well-rounded hard working person that avoids the stereotype of a lazy, drinking rock or popstar. They call themselves “indies”. Prince made 50 million more in net worth than Justin Bieber. That’s 250 million. Reports in the media say he never did drugs. This proves that you can strive to truly be your best and have a clean image; clean of stereotypes… That is if you try. Mike Masnick (2013) restated Macklemore “Labels will go in and spend a million dollar or hundreds of thousands of dollars and try to "brand" these artists and they have no idea how to do it. There's no authenticity. They're trying to follow a formula that's dead…We're great at figuring out what our target audience is. How we're going to reach them and how we're going to do that in a way that's real and true to who we are as people. Because that's where the substance is. That's where the people actually feel the real connection.” Independent labels mean more control and access. Record deals tend to keep all your music, manage …show more content…
It is better to be an independent label if you want to manage your own business like a businessman or woman. So, if you don’t have contacts, the only thing I can suggest is to try getting sponsored for a couple of years so that you appear on Network TV and radio. Independence gives you a cleaner image, more money to work with if you work hard, and management only your hands can produce, YOUR WAY. Think about these issues and see if you would want to pursue the recording industry. The trend of most people having sponsors, to me, just indicates laziness to manage all the things they should be doing on their own, like some indie artists. Dan Shaffer (2014) says “You may sell 1 million in a record label, but independently you may sell 100,000 and make more on your own.” Trust me, that sounds a lot harder, but
What has been great for the underground scene is its ability to sell more records now, and that is by and large due to the increase of smaller, independent record labels(see chapter 1). Labels such as Rawkus, Fondle ‘Em, Stones Throw, Goodvibe, ABB Records, and others can compete with majors like Bad Boy and Def Jam now because they are backed by people who have money and want to see hip-hop culture survive.
RaStereotyping is a way of thinking about groups of people. It ignores the differences of the group, while emphasizing its similarity. One belief, that is a stereotype, is that red-haired people are hot tempered. Another belief is that Scottish people are stingy. Such thinking ignores many even-tempered redheads and generous Scottish people. Stereotyping emphasizes many differences between groups while ignoring their similarities to other people. It ignores that many blond and brown-haired people also lose their tempers. Stereotyping overlooks the fact that many American, Brazilians and French people are stingy.
On television today you will see stereyotypes of male and female roles in society. These stereyotyps are exemplified in many tv shows and even childrens cartoons. Some shows which stereyotype sex roles include, the flintstones, the jetsons, and almost every sitcom on television.
, a feat that is considered career suicide for any mainstream musician. Sure they lack the fame, wealth, and prestige of any well known rapper or rock star displayed in the media with the acclaim of demigods, but their lack of creative restraint leads to an even greater connection between the sweet music they create and the limited individuals lucky enough to have heard of them.
Even when one becomes an artist in the industry, there are many troubles that go along with the tag of being a recording artist in the urban division. One example is seen in the article, “The Business of Rap: Between the Street and the Executive Suite” by Keith Negus, where columnist, J.R. Reynolds, mentions the closing of the urban division at Capitol Records in 1996, calling it “the systematic extermination of black music at Capitol Records”, saying that it did not make any sense because the genre was doing well in the market (528). The black music division is often subject to this kind of cutting compared to others. Negus also states that “despite the influence of rap and hip hop on the aesthetics of music, video, television, film, sport, fashion, dancing and advertising, the potential of this broader cultural formation to make a contribution to music industry business practices is not encouraged” (534). The sad fact of the matter is that this is true. It is almost like the larger companies take from the smaller urban divisions in order to make themselves look better without giving credit where it is due and in turn, because those companies are not seen to be doing well in the market, they are dropped from the label. Ted Swedenburg explains this in the article “Homies in The ‘Hood: Rap’s Commodification of Insubordination”, when he states that “while the major academic rock critics usually acknowledge black musicians’ essential contributions to pop and occasionally write sympathetic a...
For a start, sponsorships can be risky. For example, overexposure can take a negative effect on the artist and his or her song. Many people are tired of hearing the same song on the radio, television, and at the movies after a countless amount of times. According to paragraph 8 of “Selling Out Not Worth the Risk,” Moby, an electronic artist, released his album called Play in 1999. He licensed each one of his 18 tracks. Fans then lost interest because they heard this everywhere on the radio, on commercials and movies. In many other cases, a record label who owns the rights to the artist’s music licenses the song to another company. Once this happens, the artist would not have any control over how the music can be used. According to paragraph 9
...publish. By turns the producer must be best friend, teacher, and enforcer the artist has. You have to be prepared to fight battles, and know when to compromise and when you need to fight for this change. The end result of the sessions will be on there shoulders, but no one wants to hire a producer who is difficult to work with. When you make the jump to working as a producer your first artist just may be with unknown artists or small labels, but it only takes one hit on the billboard charts to move up to the big leagues.
To attain the goal to become a record producer I have to be dedicated of creating music. Also I have to take time of my friends and family in order to become a successful producer and a music junkie. Than I have to know the in & outs of the music industry and know how to create artistic rhythm. I have to make sure that I have enough connection to have good collaboration to work. At the for most I have be work extra hard just to get where I have to be in the music industry (at the top if I’m lucky).
“Music Producer: Job Duties, Career Outlook, and Education Prerequisites.” Degree Directory. DegreeDirectory.org. Web. 5 December 2013.
The publisher's main source of income is through record royalties, performance royalties received from companies like the American Society of Composers, Authors and Publishers (ASCAP), Broadcast Music Incorporated (BMI), and the Society of European Stage Authors and Composers (SESAC) for performances of music copyrighted by the publisher. These royalties could be from many different types of performances, but most are through radio and songs on television. The success of a songwriter lies in the greatly in the hands of his/her publisher. Normally we hear of a band's success when they are "signed" with a record deal, but most record companies not only produce and promote an album, they also act as the publisher who, when contracted, owns the rights to the music.... ...
While watching movies, have you ever noticed that the villains in almost every single Hollywood film are of Middle Eastern or European descent? In a reoccurring theme of Hollywood, the villains in these films are almost always foreigners or people of color. This is a stereotype. On the other side of the spectrum, we often see that the heroes of these films are most often than not white males. This is another stereotype. Within the last few years, we’ve seen actors such as Will Smith, Morgan Freeman, and Zoe Saldana take the lead roles, so it can’t be said that there are no non-white heroes, but there certainly isn’t many. Hollywood action movies, moreover than other genres, are typically loaded with an abundance of stereotypes. The way these movies are composed and structured can tell us a great deal about the views held within the American psyche and who holds the social power. The harsh reality is that the media ultimately sets the tone for societal standards, moralities, and images of our culture. Many consumers of media have never encountered some of the minorities or people of color shown on screen, so they subsequently depend on the media and wholeheartedly believe that the degrading stereotypes represented on the big screen are based on fact and not fiction. Mary Beltran said it best when she stated in her “Fast and Bilingual: Fast & Furious and the Latinization of Racelessness” article, “ultimately, Fast & Furious mobilizes notions of race in contradictory ways. It reinforces Hollywood traditions of white centrism, reinforcing notions of white male master while also dramatizing the figurative borders crossed daily by culturally competent global youth – both Latino and non-Latino” (77). This paper will specifically look...
We are part of a generation that is obsessed with celebrity culture. Celebrities are distinctive. Media and consumers alike invented them to be a different race of super beings: flawless, divine and above all the real moral world. In a 1995 New York Times article “In contrast, 9 out of 10 of those polled could think of something
Ultimately, music producers attempt to accomplish the overall work of the whole recording session. They are the coach and also the musician/artist in their own way. Every music producer is different, but most can produce and compose tracks entirely by themselves. They are commonly found working and practicing inside their record studio. As a music producer you do not only have to work for a band, musician, or artist, you can also work for television, movies, and advertisements. There is no education requirement but, it would be recommended for the average person who attempts to jump into the music profession. The job growth rate of music producers is unquestionably slow, but the need for them will undeniably be for sure. Without the involvement of music producers and the impact they have made in the music world, music would not be produced the same.
Many look up to celebrities and adapt to the norms in todays
The three major record labels are Sony Music Entertainment, Universal Music Group, and Warner Music Group; these majors have sub-labels such Atlantic Records (Warner) and Columbia Records (Sony). There are thousands of indie labels (300 Entertainment, Mad Decent, etc.) yet they only represented about a third of the total US album market share in 2015. Majors have substantial amounts of capital at their disposal and key divisions in-house (distribution, publishing), often putting them at an advantage over their smaller competitors. The below graph shows just how large a share of the US recorded music market the major labels controlled in 2015 compared to their many independent