#SingerSpotlight: Zariya x “Let It Go” [Video]

 

Zariya who is a 14 year-old vocal phenom from Tampa, FL. releases her Debut Single “Let It Go” which was produced by the duo E. Crandle & A. Rogers (Chris Brown,Tyga) and co-written by Balewa Muhammad (Ciara, Brittney Spears).  Zariya is an amazing talent who is also a songwriter, dancer and actress.  She reminds me of no one, she has an original flavor and I believe her vocal talents are just scratching the surfaces of her capabilities.  Be on the look out for this young lady in the entertainment business, I feel she has the “it” factor and will be an all time great, when it’s all said and done!!!

– Zech Wilson “INfamous 6ixx”

BOOKING: LandsAndGroovesATL@gmail.com
http://www.instagram.com/OfficiallyZariya
http://www.facebook.com/TheOfficialZariya
http://www.twitter.com/I_Am_Zariya

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Event: Homemadesoul Music presents: The Music Business Workshop | April 28, 2018 | Hosted By Curtis Clark

Homemadesoulmusic.comHMSHMS2

Homemadesoulmusic.com

Music Business: Mailbox money: How cuts can increase your money-making potential

Written: By Brent Baxter 

January 18th 2018

A “pitch” is when a song is presented to an artist in the hopes the artist will record it. When an artist records your song, it is commonly called a “cut.” When you get a cut, it can lead to a wonderful thing called “mailbox money.”

You’re an artist. You love being in front of an audience and doing what you do. You get a rush from leading a crowd into the palm of your hand and watching them sing every word back to you. Putting it all out there during a show and gaining some new hard-core fans by the end of the night can be really satisfying.

And selling CDs and some merchandise sure doesn’t hurt, either.

Money matters

After all, guitars don’t buy themselves and groceries don’t mysteriously appear in your fridge. You need money to get these things, and money doesn’t always come easily for artists, does it? If you’re a live act, you have to get on a stage somewhere. If you aren’t on a stage, you probably aren’t making any money. But even when you are out there, as high-energy and amazing as your shows might be, you can still only be on one stage at a time. And if you’re not getting significant radio airplay, you’re only making fans one show at a time, one night at a time.

And what if you’re a non-touring artist? If you’re a YouTube, SoundCloud, or Spotify artist, it can be even more difficult to monetize your music. YouTube ads? Sending fans to your Patreon page? There has to be a way to make money outside of just hitting the highway or passing the digital tip jar.

Consider this way to monetize your songs, without selling your own CDs from a stage or a computer screen: get other artists to record your songs.

This begins with someone pitching your song to another artist. A “pitch” is when a song is presented to an artist in the hopes the artist will record it. When an artist records your song, it is commonly called a “cut.” When you get a cut, it can lead to a wonderful thing called “mailbox money.”

Mailbox money

We call it mailbox money because royalties literally show up in your mailbox (or email inbox). If your song gets recorded by a major artist, the money can be amazing. But even if one of your songs gets recorded by another indie artist (much more likely, especially at first), it can help keep gas in the van and new strings on your guitar.

Here are some of the major royalties your song can earn when it’s recorded:

  • Mechanical (digital downloads, streaming services, physical product sales (CDs, vinyl, etc.), ringtones, and more)
  • Public Performance and Broadcast Fees (streaming services, radio, TV performances, live performances)
  • Synchronization (TV, film, commercials, video games, etc.)

This post isn’t a deep-dive into every type of royalty stream. I suggest you use this as a starting point for your own research. The main point here is to make you aware that these revenue streams exist and that they could be working for you.

Multiply your money-making power

When you record your own songs, you’re making money through all the promotion and sales efforts you make to sell your music and get it played — and that’s great. But when another artist cuts your song, you’re making money with those efforts in addition to making money when the other artist is doing the same, selling his or her recording of the song YOU wrote.

Over the course of the next few weeks, I’ll dive into how to get your song to an artist, outline additional benefits of writing for others, and detail some pitfalls to avoid. But first, there are reasons why writing songs for other artists might be something you should NOT do.

This strategy isn’t for everybody

This approach won’t work for everybody. For instance, writing songs for other artists is probably NOT a winning strategy for you if you don’t love to write songs. If you only write songs so you aren’t labeled a “cover band,” this is not for you. If you only write songs because it’s time to put out some new product, this is not for you. Getting cuts is not simple, and if you don’t enjoy the songwriting process, you’re going to be miserable. And you probably won’t be very good at it, either.

But if you love songwriting, if you write even when you don’t “have to,” this could be a profitable path for you.

If you are a true songwriter, you probably write more songs than you can release. And maybe not every song you write is for yourself as an artist, anyway. You probably have songs you really feel good about, but they don’t fit your artistic voice or band’s profile. Maybe you’re known for good-time party songs, but now and again you write a tear-in-my-beer heartbreak song. Or you’re a Christian artist who mostly plays churches, but you sometimes write about being a country boy who loves getting mud on his boots. Or you’re in a southern rock band, but you love writing pop songs every now and then. You get the idea.

You know you’re probably not going to put an “off-brand” song on your next album, but you write what you write because you’re a songwriter. It’s what you do. And as a songwriter, you can follow the muse wherever she leads. But as an artist, you usually have to stay “on-brand,” and it can be frustrating to write good songs that never see the light of day. But there is good news: If they are high-quality tunes, your “off-brand” songs don’t have to sit on a shelf. They might actually make you a little bit of money.

And don’t forget the music you’ve already released yourself. Nothing says another artist can’t record those songs too. There are several examples of songs plucked from indie or minor-label albums and turned into hits by a completely different artist.

Today’s homework

So today, you have homework. Take out your stack of songs, released and unreleased. Ask yourself: “Could this song be amazing for another artist? Who would that be?” Then tune in next week and catch my next post in this series. We’ll dive into how to get your songs to other artists, so stay tuned.

To BE a pro songwriter, you need to THINK like a pro songwriter. The FREE ebook, Think Like A Pro Songwriter, will transform your thinking, your songwriting, and your success. Get it today at www.GiftFromBrent.com.

Brent Baxter is an award-winning hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ray Stevens, and more. He’s written a top 5 hit in the US, a #1 in Canada, and a top 10 in Texas… so far. He teaches songwriters how to write like a pro, how to do business like a pro, and he connects them to the pros through his websites,SongwritingPro.com and Frettie.com. He also produces “The CLIMB” with fellow Disc Makers’ Blog contributor and music-industry pal Johnny Dwinell.

source: Discmakers

 

#FreeWrite: Self Destruction

The destruction of our youth is rampant.  I don’t claim to know the solutions but we must as a community come out and start to be more vocal of what we are willing to accept in our neighborhoods because at the rate we’re headed we will destroy ourselves. Seeing so much violence is a product of issues festering and brewing so I propose an opportunity for us to come together as a community to have an open forum to discuss some solutions for the future of our community. These precious children need guidance, love and opportunities.

– Zech Wilson

Music Award: Sean C. Johnson x ‘Greenleaf’ x NAACP Image Award Winner x “Well Done”

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Sean C. Johnson has contributed to winning an NAACP Image Award for his song “Well Done” that he wrote and performed on his album ‘Faithful’, that song was featured on the official soundtrack to the hit series ‘Greenleaf’ on The OWN network. Congratulations to one of our favorite artists that we cover here on ZechWilson.Com, If you haven’t heard of him or his music, do yourself a favor and get familiar with the soulful brother!!!

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SeanCJohnson.com

New EP: Rashon Medlock x More Than Music

RM

More Than Music EP

ManeLand’s own Rashon Medlock releases his newest offering, a 4 track EP of a mix of rnb, soul, blues & rock.  The Jacksonville native delivers a powerful EP of love, honesty, relationships and self reflection.

Written and performed by: Rashon Medlock
Guitar: Chris Horn
Bass: Nehemiah Tucker

RashonMedlock.com

Higgy Beats x “Time Travel” #HeatByHiggy

▶CONTACT: Higgybeats@gmail.com

Commentary: How to Make Change Happen | By Shaun King

 By Shaun King

I am going to switch it up today. Instead of giving you this week’s stories of horrible injustice, which Lord knows there is a long list of those stories to tell this week, I want us to have a serious conversation about how we make change happen in this country.

As I reflect back on the past three years, I think I can squeeze dozens of important lessons that I learned down to one essential lesson — which is this — awareness and action are not the same thing. Making people aware of our problems is important, vital work, but awareness of a problem and solving that problem are not the same.

We’ve mastered awareness, but what I’ve learned is that people in power are willing to be painfully aware of police brutality, painfully aware of white supremacy, painfully aware of a prison industrial complex, abundantly clear about inequality and bigotry and racism — and still do absolutely nothing about it.

Politicians and lawmakers are willing to watch us take us a knee, watch us march, watch us picket and protest — and wait us out. They are willing and prepared to outlast us — and, in most cases, to do absolutely nothing about the problems we highlight and amplify.

Don’t get me wrong. I love social media, and it is an important part of how we make change happen. But we can’t retweet ourselves out of our most serious problems. We can’t Facebook share our way out of our most serious challenges. It’s just not working.

So let me tell you the four things we need to make change happen.

They’re all important, but the first one is essential, and I’ve grown to believe a significant reason why we’re stuck is because we’ve failed at this step.

The first thing we need to make change happen is a well-crafted plan. What’s our plan for change? Do you know it? Where can I find it? Can you share it with me? Do your friends and family members know it?

Here’s what I’ve learned about why we need to craft and communicate careful plans:

Whatever our plans are to combat police brutality and reform the criminal justice system, people sure as hell don’t know them. I just spoke at UC Davis outside of Sacramento this week and when I travel and speak across the country, and ask people if they can tell me what the local plan is to combat injustice and police brutality in their town, they usually have no idea. Sometimes they can tell me a few heartbreaking stories of injustice, but it’s a rare day when I ask people what the plan is that they reply with an informed answer. I’m not criticizing them! I’m criticizing us. If the people aren’t aware of the basic plans for change, we’ve failed.

To be clear, our movement has diagnosed the problems, we’ve even proposed solutions, but we’ve done a bad job at informing people of how we get from where we are to where we need to be. And that’s a problem. Plans are only as effective as the ability for everyday people to repeat them back to you. The people don’t know our plans. They have not adopted them as their own. We won’t have change until we fix this.

Which leads me to the second thing we need — we need people. We need organized people who are on board with our well-crafted plans. What I’m finding is that even some of our most conscious, informed, woke men and women, have a desire for change, but aren’t really clear on what that means for them. We have to get to the point where our people and our plans are fully and completely merged. Too often, we rally people, and make them aware of problems, but fail to get them on board for well-crafted plans.

Yes, the more people you can have on board, the better, but I’m increasingly convinced that 50 organized people who are fully and completely on board for a well-crafted plan can get more done than 50,000 people who want change in an esoteric way, but have no real idea what that means for them.

You need a plan, you need people, and the third thing you need to make change happen is energy. Sometimes I use the word momentum. People have to be motivated and energized and prepared to fight for the change we want to see. People with momentum can get so much done. Momentum is easy to lose and almost impossible to fake. My theory on momentum is that the best way to produce it is through small, hard fought victories that lead to bigger battles, and bigger wins. Winning builds momentum. But here’s the thing — winning takes a well-crafted plan and an organized team. When we fight without those things we lose — which kills our energy and destroys any hopes for momentum.

And I’ll close with my final thought — it’s an important one — this modern movement, call it the Black Lives Matter Movement, or the movement to combat injustice, the movement for true equality in America — is one of the least funded movements in the history of movements. To win, we must be well-resourced. And here’s what I know — those who are mobilizing against us, be it police and prison unions, or prosecutor associations, or Trump and Sessions themselves– they are well funded — and they use that funding to lobby, organize, market, promote, fight laws, and do the hard work to make change happen. It just so happens that what they fight for (or against), quite successfully I must add, goes against the very values and ideas those of us in the justice community hold near and dear.

Let me close with this — we’re being out-organized and out-spent on the issues that matter the most. We’re losing on so many fronts not because losing is inevitable, not because we’re bound to lose, but because those who mean us harm have simply done a better job fighting for what they believe in. That’s a serious simplification of systemic injustice and inequality, but the root of it is true. The machines and mechanisms of injustice are well-crafted, well-oiled machines. To change them, we’ll have to be better — much better.

source: Injustice Today

We Are In This Together

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