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Some are absolutely unable to suffer embarrassment.

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Originally Posted By: rockstar_not
There's a guy who has been writing useless songs which name-drop famous people in the titles and he publishes the CDs to CDBaby, which gets it into iTunes as well as Spotify. Because of the song titles mentioning the famous folks, he gets lots of plays on Spotify.

Supposedly last year he pulled in $23,000 in play royalties from Spotify. Just wondering when the hammer will drop on him from some of the p.o.'ed famous people from which he is gaining financial gain from simply using their name. http://bdcwire.com/danvers-dude-makes-23k-musically-spamming-on-spotify/

this is a really interesting story but only as an example of an odd, one-off, unsustainable event. like you said, his story, if even true, will get the attention of those in charge and game over! but maybe this guy has a bunch of other scams to take this one's place when it runs its course! smile in the old days you had to invest in a horse, a medicine show wagon, some bottled colored water and maybe pay a couple of shills in the crowd! but with the internet...

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There were plenty of guys and gals in the old days who could run a good con sans the horse, buggy and medicine bottles...

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Just this past summer there was a kid runnin' the old Three Card Monty up on the beachfront.

I couldn't believe how many were fallin' for that one in this so-called information age, but there ya go.


--Mac

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Originally Posted By: Mac
What most folks think doesn't have a thing to do with how royalty payments work.

There are plenty of examples of millionaires and even multimillionaires who derive their entire fortunes from only their songwriting endeavors.
--Mac


Absolutely agree.... of course those folks are not a majority either. Most writers who score a major billboard hit can not repeat it to save their lives. They get one or two nice PRO checks then it tapers off rather quickly and abruptly. However, those rare individuals who can write hit after hit.... yes, they are living very nicely from the royalties.

Hence the reason many major artists now demand co-write status on any songs that go on their CD's from "outside writers".

Then, there are the "little guys and gals" who write cues for TV & film. No single big payday there generally, however, by writing and getting cuts on lots of little ones and building that into a sustainable business model, they can make a decent living from the royalties and licensing fees.


You can find my music at:
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Add nothing that adds nothing to the music.
You can make excuses or you can make progress but not both.

The magic you are looking for is in the work you are avoiding.
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I'd encourage a comparison of the data, one-hit-wonders | long term successes.

While the one-hitters get more the their fair share of mention, perhaps, comparing the number of longer term successes to one timers might be of value.

Again because bidness.


The newly signed artist, whether songwriter, performer or both, does represent an investment and much has been done to insure success along those lines, sometimes the "whatever it takes" campaign is launched on the "project".

Might have to analyze the reasons for dropout after first hit as well. For some, it is not the life it is cracked up to be, so they do not pursue it further. One hit by choice vs one hit via lack of capabilities.


I think you'll find that the long term successes outnumber the one hit wonders.


--Mac

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