Moody Jones’ Post

Always happy to give my $.02 to NPR - there are so many sustainability issues with respect to music/musicians. this issue that SoundExchange has been fighting the good fight on for some time is a big one. obviously, there are other pressing issues - Spotify’s moral bankruptcy, companies building enterprise value on the back of musicians’ work w/o anywhere near appropriate compensation or consideration, entrepreneurs with no concern for artist sustainability with respect to AI etc…. all that - doom and gloom - said, there is still hope. For instance, a new Bandcamp is there for the taking for someone who presents an artist-centric approach; and new technologies, whether AI or web3, do not have to be detrimental to artists, and in fact can be hugely positive sum for artists and entrepreneurs. certainly been my bias/life’s work.

ICYMI: To mark ESEA Heritage Month, ESEA Music have shared the results of their first-of-a-kind study into the representation of ESEA (East and Southeast Asians) in the UK music industry. Read the full report here - bit.ly/3Py7H0n 

Are Gang Affiliations Holding Back California's Music Industry? 🎵 In this insightful discussion, we explore the impact of gang affiliations on the music industry in California. Join us as we delve into the importance of separating game politics from business and fostering unity to create a stronger and more prosperous music community. #MusicIndustry #CaliforniaMusicScene #GangAffiliations #UnityInMusic #BusinessOverPolitics #BuildingMusicCommunity #CaliforniaArtists #HipHopCulture #InclusiveMusicIndustry #MusicIndustryInsights

Even in #middleage, I still love a good festival. A time to catch up with friends, discover new artists, and connect with different cultures. Plus, there's nothing like a little boogie with people you don't know to let loose. 💃 So, it's disheartening to see so many music festivals in #Australia collapsing! The aftermath of the #pandemic, soaring ticket prices, #environmental challenges, and a shift in younger #generations thoughts around multi-day events have led to a wave of major festivals cancelling across the country. Where does this leave the future of live music in Australia? What changes can we expect or need? Well Kara Ortiga with the help of Samuel Whiting from the University of South Australia and Simone Schinkel CEO at Music Victoria discussed some of this and more in our latest report. How can they continue to build on the shared interest of audiences, but also accommodate more niche tastes. How might they offer more flexibility with payment options, helping with #financialplanning and more than ever, how can they speak to the needs of #anxiousyouths I really do hope they can find the solutions, because some of my best memories involve a field, limited hygiene practices and being surrounded by friends, both old and very very new.

People remember story because people attach it to their own experiences and their own lives. Follow for more advice for music school owners and teachers 😁 #musicteachers #musicschool #musicschoollife #musicacademy #musicteachersofinstagram #musicteachersrock #musicteachersofig #musicstudioowner #musicacademy #musiclessons #guitarteacher #pianoteacher #voicecoach #drumteacher

This year’s also the 50th anniversary of hip hop* … BPI (British Phonographic Industry) supporting British Music through the ages ….. …. Now someone once told me we had the biggest music company in the world …. Once Despite this eventual loss Britain still punches way above its weight in the creative industries in general Music Film/TV/Publishing Fashion Advertising And British Artists both old and new continue to make artistic and commercial headliners [sic] But as ever over the last almost 50 years the music industry is changing faster than most other (creative) industries. Here’s to Britain continuing to push the boundaries and break new ground both artistically and commercially … and who knows one day we may once again be able to claim to be home to the world’s biggest music company (or ecology), who knows? A truly global outlook and good dose of technology these days, likely prerequisites. In my virtual travels I’ve found much investor support. Government support and stimulus is always helpful if we are to set Britain centre the global stage. And with the right level of ambition, stimulus and support we may even manage a global studio one day to match Hollywood’s or a tech unicorn to rival Google. Who knows. (Jeremy - or possibly Rachel - as I’ve mentioned in posts before you set the task years ago when I was in the room - albeit at that time we already had ARM … now’s the time to chip in and create the next ….) In the meantime the British back catalogue is pretty hefty - the Beatles, David Bowie (first to securitise his royalties - many decades before the current vogue), Rolling Stones etc. But despite Dua, Stormzy, Adele and 1Dto5D [or the rest of Syco] we’ve got some way to go yet to meet Drake or Tay Tay or Jay Z or BTS. We do need new megastars to push the art form forward (and create the back catalogues of tomorrow) Postscript: (Showing my age..) Yes am a big hip hop fan (amongst other genres) since it emerged from jazz, soul, funk and disco alongside breakdancing first time around. Once completely underground, now the biggest selling genre in the world. * according to some: 50 years ago refers to the first breakbeat dropped by DJ Kool Herc in the Bronx (you know there were B Boys on vinyl there and not just spinning discs!) for those that need to /don’t know. But listen to Gil Scott Heron or James Brown pre ‘73 and you’ll hear it bubblin’ thru before that too. [UK Garage ref]

The African continent has gradually emerged as a relevant player in the global music industry. However the region has a limited share of the worldwide revenue. Why are African musicians not earning much from the global music revenue chain? I discussed with JoyBusiness' Isaac Atta-Osei Nyarko #Africa #music #revenue

Today is another TUESDAY! Yes not just another TUESDAY, but a choose day, a day we choose which side of history you will rewrite, to Reject or to Accept. I choose to reject something else too - KECOBO! Hear me before you judge me, I am rejecting the their decision to award PAVRISK as the single CMO to manage our music business affair. PAVRISK is a just PRISK renamed and reimagined. A CMO riddled with graft, unpaid royalties, poor management and overall a total failure in the CMO class. I would have even understood if MCSK had won the competition, it would make some sense, but PAVRISK, its just unbelievable. I was once the Chairman for KAMP, the best run CMO in my opinion off course thrown in some favouritism since I am active there and I know how they operate, but besides that, we needed this moment to redefine the CMO landscape by assigning one CMO to manage collections, performance licensing and distribution of royalties to all creatives. We had other worthy contenders namely KAMP and CMS, heck lets throw MCSK into the ring. KAMP has diligently distributed royalties for the last 10 years without fail, KECOBO has punished MCSK for not distributing royalties and yet the CMO that hardly distributes any royalties is licensed! Its just baffling! I am a member of IMRO and we just had our AGM a few weeks ago and the level of respect, diligence and professionalism the AGM was conducted was like a dream to me. I pray for the day that we have such decorum in conducting our CMO affairs. It's not impossible, we just need the right people to do the right thing and respect our Creatives and their input to the economy. There is a world wide push towards Creative Economy but when governing bodies blatantly disregard basic ethical practises and moral conduct, whom shall we turn to to save our creative economy?