CAM-Summer-Info-2022 : simplebooklet.com

Summer 2022 Digital Short LETTER FROM THE EDITOR T he road of an artist has many twists and turns that ultimately have them arriving at and accepting they are truly a uniquely gifted artist That place where they finally say I am a creative artist that s my story and I am sticking to it This statement was echoed by photographer Larry Leventhal during our interview Creative Artist Magazine features these passionate artist that live by a code of coming from a place of originality which simply means that they are telling their truth through their art Although sometimes similar no one can duplicate the passion that drives an artist to create in this realm of their truth to self This outward expression of what was once created selfishly can now be viewed by others as a ray of hope and give inspiration Finding out and coming to term with the fact that you re born to be one of the elite few who can paint draw sculpt act dance sing write or even make people laugh is and extraordinary moment in a creative artists life They usually walk around unaware of just how unique they are Artists sometimes suffer from depression and feel isolated Many find solace in the company and environment of other artists This is good but also where they miss out on seeing they have super powers The super powers to invent and create amazing things that fascinate the rest of the world I talk to people daily about art and the majority of them are not artists and marvel at what artists can do with the stroke of a brush Staying grounded in the world where your audience live is an artists ally This was a stance that artist Klay James Enos Mego Street Art Jason Osiris and Valentin Salazar has taken by putting themselves in the midst of an ever changing audience with their live art We are all gifted and talented in various ways however there are literally millions of people who simply does not possess your skill set They are your fans and collectors Trust in your unique super powers and paint the world with all the colors of you We are on an exploration of mind body and spirit That s what it means to be a creative artist we are dedicated to sharing the journey of the incredible super heroes that are called to do art It is our goal to help bridge the gap of what we see with what is felt through the process that art is created When we started Creative Artist magazine over 5 years ago there wasn t many people interviewing artists unless they were famous We saw a need to share the stories of all artists that possess passion and skills for their craft I am happy to say that now I see lots of opportunities available for artists no matter of fame It is a new day for the artists of the world and we like it We have interviewed hundreds of artists for Creative Artist Magazine over the past 5 years and found all of them to be quite remarkable Some have remained close and others are no longer to be found and still the truth is I love them all and find a special beauty in them This love is what keeps me going as a champion for the arts and the artists that create it We look forward to sharing the beautiful world of art with you through our new endeavors Hugs and kisses aulineSamuels Editor in Chief

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Summer 2022 Digital Short MUSIC PUBLISHING By Gail Jhonson for Creative Artist Magazine References Kauffman C 2011 Gone for 47 years but the lawsuits roll on Retrieved from https forums stevehoffman tv threads sam cooke gone for 47 years butthe lawsuits roll on 252789 McIntyre H 2014 5 Common Types of Music Publishing Deals All Songwriters Should Understand Retrieved from http blog sonicbids com 5 common types music publishing deals all songwriters should understand Plumb B 2018 The Songwriter and Music Publisher Relationship Retrieved from https www royaltyexchange com blog the songwriter and music publisher relationship pt4 sthash bmLZK2IN dpbs A s a leader and decision maker in music publishing goals and objectives must be framed with ethical considerations in mind The music business does not have the best reputation in securing proper publishing rights for songwriters and artists Years ago many that wrote their own material didn t have the information on how the publishing game worked In fact they were lucky to receive any royalties from songwriting which was welcomed and considerably less than the publishing shares There are 3 main performing rights organizations referred to as PRO in the United States that administer license collect and distribute royalties for publishers They are Broadcast Music Inc BMI American Society of Composers Authors and Publishers ASCAP and Society of European Stage Authors and Composers SESAC Artists like Ray Charles Sam Cooke and Bob Seeger became students of publishing and really had to negotiate their ownership with their respective recording labels They formed their own publishing companies and challenged the publishing departments in record labels because they earned the revenue but also because it was ethical In the early days of recording the systems of studio work pressing marketing and distributing had to be worked out These were issues the business persons negotiated while the artists sang gained popularity and went on tour and trusted that their sharing of the music was equitable Jamesa and I have researched the various kinds of publishing deals We also review how songs can be exploited and some of the recoupable expenses Now that we are in the World Wide Web and post Napster Royalty Exchange July 2017 ASCAP vs BMI vs period there are still numerous issues to be settled SESAC The Big Three Who s for Me Retrieved regarding downloads streaming and cyber marketing from https www royaltyexchange com blog Let s examine these and other ethical considerations ascap vs bmi vs sesac There are several different types of publishing deals artists can consider They range from sub publishing co publishing administration exclusive songwriter and individual song McIntyre 2014 Let me demonstrate the difference between each type of publishing deal along with the benefits pros and cons of each Some publishing deals may work best for some artists where other deals will not The artist known as Prince had tremendous legal battles over the ownership and publishing rights of his music Each artist is unique in their own creative style gifting and negotiating savvy Some music from artists have the potential to be licensed for different markets whereas some will not Depending on the artist and the music I would recommend one deal over another but in all ethical considerations should be in place 1 Individual Song The most common and easiest deal to maneuver These deals allow the artist to not be tied down to just one publisher for all of their songs For instance an artist can have 5 songs on their EP and only have 1 or 2 of them published by one publisher and the other by another publisher Usually these deals work best for artists just starting out in their career The publishing company will pay an artist a portion of the monies they collect from the song overtime at whatever percentage agreed upon McIntyre 2014 2 Exclusive Songwriter This type of deal an artist must agree to turn over all of their recorded music masters to one publisher for an agreed upon amount of time typically between 1 2 years at a time This agreement allows one publishing company to collect monies on all of the artists music The artist is paid one set amount from the company throughout the entire contract period regardless of how much money is actually collected McIntyre 2014 3 Administration Deal Under this deal the publishing company does not own any rights to an artist music however they are allowed to license the artist music The percentage earned by the artist under this deal is less than other publishing deals upfront but have the potential to earn the artist more over time depending on where and how the publishing company licensed the music These deals can last for a lengthy period of time The administrator is paid a portion for services rendered McIntyre 2014

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Creativeartistmagazine com offer my clients based off of their music and individual means of affordability and which type of publishing deal agreed upon If it is an administrative deal I would definitely do a upfront flat fee per month or quarter however with the other deals I would begin with a signing upfront fee retainer and then begin with 10 15 of revenue and it would increase over time and success of the song 4 Co Publishing Deal This deal is a tough one to come by however it is rewarding Co publishing means both the songwriter and the publisher co own the song together whereas the songwriter grants the publisher the rights to collect monies from it being marketed This deal requires legal teams to be involved as it is very complicated with the legalities Under this deal is where a songwriter can begin their own publishing company which is totally advisable so that they can co own the song and their record company will co own the copyright This way the company and the songwriter will earn 50 of the income collected plus collect the songwriting share McIntyre 2014 5 Sub Publishing Deal This deal mirrors an administration deal however it includes foreign partners to expand a songwriters music globally Some American publishers do not have all of the resources and personnel to effectively market a songwriters music internationally In this case American publishers will work with a foreign counterpart to represent the music Usually a sub publisher is hired to oversee royalty collections For each foreign country a separate sub publisher company and administrator will oversee the airplay and sales based on the laws taxes fees of that country McIntyre 2014 In regard to a revenue sharing model when it comes to publishing there are two sides to consider the songwriters share and the publishers share Publishers collect their money from licensing and royalty fees although they can offer an upfront flat cost if they choose to Some might propose that the upfront flat fee is best however sometimes an upfront flat fee is not always best For an upfront fee an artist usually pays a set price and then they retain the rest of the funds their music generates In regard to a revenue share setup it is based off of percentages I would also decide which to Control over how these songs can be exploited including the context of different uses I would have an in depth conversation with the artist about their vision for their music and where they would like to see it flourish I would discuss their wants likes what they are comfortable with etc and then discuss what my expertise are my experiences give advice and what I foresee the potential of the song to be Depending on the type of deal signed as the publisher I would have full rights to license the music wherever I chose or had the influence to do so At the end of the day it is about exposing the music and generating revenue I would consider what the songwriter wants but if their ultimate goal is to have their music licensed for gaming TV and movies but their music is more fitting for commercials then that s where I will push for it to be licensed The point at the end of the day is to do good business and business that generates income for both parties Recoupment and recoupable expenses Any and all recoupable expenses due to me as the publisher from the songwriter would have to be paid and satisfied before I would disperse payment from song royalties collected to the songwriter This would all be stipulated in the contract agreement signed with the songwriter For instance if monies collected from royalties for quarter 1 is a total of 2 000 and as the publisher per contract I received 50 of that which would be 1 000 off top but recoupable expenses still due totaled 500 the songwriter would only receive 500 The problem arises when publishers or record companies have a heap of expenses that were bestowed upon you in the form of pressing shipping photo sessions tour support admin costs it never ends Nowadays with companies like Sound Exchange and CD Baby royalties are paid directly to the artists monies that resulted from record spins and digital outlets Nonetheless civil court filings from years past are still being litigated It can be argued that people in the music business have no love for artists or their music just the money Kauffman Sorting out royalties to the estate of artists whose music is still being published is a web of confusion because of unethical practices Other ethical issues to be aware of For me as a publisher I need to make sure that the artist songwriter does not have any other publishing deals with other companies if they are in an exclusive deal with me as their publisher Otherwise legal entanglements may cause a lot of undue stress and financial hardship It is important for artists or songwriters to own at least a portion of their works if they wrote solely or with a writing partner arranged produced even if its just one word ALL that it takes to make a hit is due now and throughout the licensing period or perpetuity As a publisher it s proper to share the royalties to the creative persons involved For the songwriter making sure that me as a publisher practice integrity by only licensing and collecting my share of the incomeEXCEPT for the share that is to be collected by a PRO performance rights organization such as ACAP or BMI As a publisher I do not have the legal rights to collect the writers share of public performance this is called mechanical royalties this share is paid directly to the songwriter through their perspective PRO Plumb 2018

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Summer 2022 Digital Short Who is Natural Red the Rapper If you were to take the lyrical skill and word play of MC Lyte mix it with the rough and tough edge of The Lady of Rage and add a dash of the sexy sophistication of Eve the outcome would be Natural Red This Oklahoma City native currently residing in Long Beach has been holding her own in Cali s music scene She has made a permanent mark on the West Coast with many performances and collaborations with known and unknown artist Her raw talent has allowed her to be embraced by the West Coast as one of their own She is a member of the Dogg Pound family and was recently inducted as a member of the Death Row Records family She has recently worked with Brother J of X Clan Battle Cat Sir Jinx Goldie Loc YukMouth Daz Dillinger of the Dogg Pound and many more She was also nominated for the Female Hip Hop Honors She Got Next award in 2014 She is the winner of the Female Perspective Artist of the Year award in 2016 she won a Grrrd Award in 2018 for Independent Hustle and she is schedule to be honored at the West Coast Hip Hop awards in 2022 Her initial release The Velvet Hammer was one of the most anticipated releases by a female rap artist to date The album includes her underground hit Wit It which shows both her writing and delivery skills to both be impeccable She has released several singles leading up to her next project Red Girl Blue City The rap game has been waiting for a female artist of this caliber She is definitely one to watch

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Creativeartistmagazine com

Sign up to take part in the Watch Party of Mark E. Ridley's short film "Together At Last" with us Sunday, August 7, 2022. Schedule is as follows:

6-6:15pm meet & greet, film starts promptly at 6:15-6:30, 6:30-7pm question and answer with film maker Mark E. Ridley.

We invite aspiring film makers and those who have questions about the film industry to take part and get answers to those burning questions.

Space is limited, visit Creative Artist Magazine to sign up today.

Mark E. Ridley will also be featured this year at the Las Vegas Premiere Film Festival and you are invited. Creative Artist Magazine is giving away free tickets and merchandise! Visit Creative Artist Magazine for more details.

CAM-Summer-Info-2022

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