The Dark, music publishing dark world: How They Own Your Soul

/ Alternative / By admin

The music publishing world is often seen as mysterious and dark. It’s known for exploiting and controlling artists. This view comes from old myths and stories about musicians and the devil. It also stems from the negative views of the music industry¹.

Stories of musicians making deals with the devil have shaped this world. Legends like Faust and Paganini’s violin magic add to the mystery¹.

When you step into the underground music scene, you face many challenges. The world of music rights and distribution is complex and hard to understand². This article will show how these old myths and today’s music world mix. It will highlight the struggles of independent and alternative artists trying to shine in the local music scene².

Key Takeaways

The music publishing industry is often portrayed as a shadowy, opaque realm that can exploit and control artists.
This perception has its roots in the historical myths and folklore surrounding musicians’ dealings with the devil.
The stigma that has long surrounded the music profession has further shaped the modern music landscape.
Independent and alternative artists face unique challenges in navigating the obscure world of music rights management and unorthodox distribution channels.
Understanding the cultural narratives that have influenced the music industry is crucial for artists seeking to break through and stand out in the local music scene.

The Crossroads Myth: Selling Your Soul for Musical Mastery

The story of musicians, especially blues artists, making a Faustian pact with the devil at the crossroads is a big part of American folklore³. This crossroads myth tells of bluesmen like Robert Johnson and Tommy Johnson. It shows how European and African supernatural beliefs shaped the American South⁴.

The Origins of the Faustian Pact in Blues Music

In the early 1900s, many people believed the devil was a real, evil force. This view made musicians seem like devil worshippers⁴. Robert Johnson recorded only seven months, making 29 songs in 1936 and 1937³.

His songs were released as 10-inch, 78 rpm singles from 1937 to 1938. Some were released after he died³.

The Devil’s Influence on Early American Beliefs

Johnson’s recordings in 1936 and 1937 inspired many musicians later on³. Brunswick Records, where Johnson’s songs were first released, was bought by Columbia Records. This made his work more well-known³.

The album “King of the Delta Blues Singers,” released by Columbia in 1961, helped introduce Johnson’s music to more people³. During his life and the next 20 years after his death, Johnson’s music had a small but significant following³.

“The chart references various segments of the book “Music to Raise the Dead,” including Prologue, Introduction, and numerous other parts examining different aspects of the music industry.”⁴

Ethnographer Harry Middleton Hyatt studied witchcraft in the American South. His work gives us a look at the cultural background of the blues⁴. Hyatt’s research involved many informants and over 5,000 pages of notes. It shows how folk beliefs and traditions shaped music culture in those areas⁴.

Findings from Hyatt’s Research
Many people made deals with supernatural beings, like the Devil, to get better at playing music⁴.
Plato talked about crossroads in the afterlife, where one path leads to reward and the other to punishment. This adds depth to the crossroads myth in different cultures⁴.
The text focuses on African-American folklore and its link to Robert Johnson and the blues. It explores themes of importance in mythology and music culture⁴.

The Lure of Standing Out in the Local Music Scene

In the early 20th century, musicians sought to stand out in the local music scene. They aimed to build a unique reputation. Some artists used superstitions and fears to create a mystique. They claimed to have learned music from a pact with the devil⁵.

This strategy helped them stand out in a crowded field. It was a way to get noticed and earn money in a competitive local music scene.

The music industry changed a lot with digital file swapping. This led to a big change around the year 2000⁵. Artists made less money from CDs than from vinyl LPs. This made record labels more money, but it was tough for vinyl⁵.

CDs became popular, and cassette sales went down. Car makers started putting CD players in new cars⁵. Independent labels helped vinyl survive, but major labels focused on CDs for more profit⁵.

Exploiting Fears to Establish a Reputation

Musicians like Tommy Johnson used mystery and supernatural claims to stand out. They built a strong reputation in their local music scene. This exploitation of fear and superstition helped them earn more and get more gigs⁵.

Published: August 2017⁶ Pages: 257–282⁶ Keywords: popular music, avant-garde, experimental film, experimental media, audiovisual⁶ Prominent figures mentioned: Kenneth Anger, Bruce Connor, Joseph Cornell, Pipilotti Rist, Andy Warhol⁶.

“By capitalizing on the widespread superstitions and fears of their audiences, some artists like Tommy Johnson may have deliberately cultivated an aura of supernatural prestige, claiming to have learned their craft through a pact with the devil.”

European Folklore and the Stigma Surrounding Musicians

In Europe, musicians were often seen as connected to the supernatural. This view was rooted in folklore and religious beliefs⁷. Famous violinists like Paganini and medieval minstrels were seen as devilish due to their talent⁷. This stigma helped spread the Faustian pact story across Europe and the United States.

The term “amateur” in music history started with positive meanings⁷. It meant “lover” or “friend” in Latin and French. But, it later became a negative term, seen as a “dabbler” or “dilettante” in the Classical era⁷. The Paris Conservatory’s founding in 1795 made professional music more valued, widening the gap between amateurs and professionals⁷.

Before the 19th century, being an amateur was seen as noble⁷. But, the 19th century saw a divide in music styles, with some seen as more masculine and superior⁷. This led to the belief that great musical talent was unnatural or supernatural, linking musicians to the devil or occult⁷.

European folklore mixed music, the supernatural, and societal views, creating a lasting stigma against musicians⁸. Dundes talked about folklore’s evolution at the AAAS in 1977, showing how it went from amateur collections to professional research⁸. This history explains the complex, often misunderstood bond between musicians and the supernatural in both European and American cultures⁸.

Historical Developments in Music Notation
Guido of Arezzo, a Benedictine monk, made a significant advancement in music notation by placing neumes on lines, drawn in different colors, representing the interval of a third⁹.
Mensural notation, a system of strict measuring, was adopted in the 14th century, departing from the modal system, using precisely placed diamond shapes, and changing note color from black to white for greater precision⁹.
The Venetian Ottaviano Petrucci, considered the first printer of mensural music, was a pioneer in printing music with movable type in the early 16th century⁹.
The 16th century was described as a “golden age” for producing classical summaries of vocal polyphony in sacred and secular music⁹.
L’Istitutioni Harmoniche by Gioseffo Zarlino, a Master of the Chapel at St. Mark’s in Venice, published in 1555, focused on the symmetry and proportion in music theory, presenting new terminology and discussing the correlation of tones and melodies⁹.

The Middle Ages and Renaissance saw big changes in music notation and theory⁹. These changes, along with folklore, shaped how musicians were seen in Europe and America.

The rich tapestry of European folklore, which intertwined music, the supernatural, and societal perceptions, laid the groundwork for the enduring stigma surrounding musicians.

The Obscure World of Music Rights Management

The music publishing industry is often seen as mysterious and hard to understand. It’s filled with complex rights, royalties, and licensing agreements. This “dark world” of music rights makes the music industry seem scary and tough for new artists¹⁰.

In the U.S., groups like ASCAP and BMI don’t get all the publishing royalties for musicians¹⁰. Independent “admin publishers” are key in finding and collecting these royalties for indie songwriters¹⁰. Also, while ASCAP, BMI, PRS, and SOCAN handle performance royalties, mechanical royalties go to songwriters and publishers separately¹⁰.

The Music Modernization Act in the U.S. created the Mechanical Licensing Collective (MLC). It makes sure mechanical royalties from streams are paid out without any commission deductions¹⁰. About half of publishing royalties for streams go to PROs, and the other half to MROs¹⁰.

Unlike traditional publishing companies, firms like Sentric Music in the UK don’t own copyrights. They focus on collecting live performance royalties for their clients¹⁰. Songtrust, owned by Downtown, has over 3 million copyrights and manages music catalogs, including CD Baby’s¹⁰.

The music publishing world is complex and often unfair to artists, especially those from underrepresented groups¹¹. As the music industry grows, it’s important for artists to understand music rights management¹².

Navigating the Underground Music Industry

Many artists have turned to underground channels for music distribution to avoid the mainstream’s opaque power structures and exploitative practices¹³. They use self-publishing, niche online platforms, and grassroots outreach. This way, they can bypass traditional music publishing barriers¹³.

Unorthodox Music Distribution Channels

The underground music industry offers innovative ways for artists to distribute their work¹³. They can self-publish online or reach niche communities. These methods help independent and alternative musicians thrive outside traditional channels¹³.

For example, AUX 88 in Detroit’s underground music scene started by playing in flower shops and cafes¹⁴. This approach helped them build a loyal fan base and connect deeply with their community¹⁴.

Yet, these paths come with risks and uncertainties. The underground music industry often lacks resources and support, adding to its “dark” reputation¹³.

Key Challenges	Potential Opportunities
Lack of established distribution channels and industry infrastructure	Artistic freedom and creative control over music production and promotion
Limited access to funding and resources for marketing and promotion	Building a loyal, niche audience through grassroots outreach
Navigating the legal and regulatory complexities of independent music distribution	Fostering a sense of community and shared identity within the independent music scene

Despite the hurdles, the underground music industry is vibrant and resilient. It’s driven by artists who value their vision and are ready to take unconventional paths to success¹³.

“The underground music industry offers a realm of creative possibility, where artists can reclaim their autonomy and forge their own path to success, free from the constraints of the mainstream.”

Embracing Alternative Music Promotion Strategies

In today’s music world, indie and alternative artists are finding new ways to share their music. They’re moving away from the big industry’s ways, which they see as unfair. By connecting with specific music groups and building strong fan bases, they’re making their voices heard and telling their own stories¹⁵.

Bandcamp is a big hit with indie artists. It gives them a better deal, taking only 10% of sales of physical items and 10-15% of digital ones¹⁵. For $10 a month, artists can send ads and messages to fans based on where they live and what they buy. They also get detailed stats and can link their data to Google Analytics¹⁵.

Indie artists are also using new ways to reach people offline. They’re teaming up with other artists and brands in creative ways. This helps them build a loyal fan base in specific music groups¹⁶. Private clubs for artists, managers, and labels are also key. They help everyone share knowledge and speak the same language¹⁶.

By using these new strategies, indie and alternative artists are changing the music world. They’re using platforms, smart marketing, and connections to reach fans and share their music. This way, they’re making a big impact in the diverse and lively indie music scene¹⁵¹⁶.

Platform	Revenue Split	Key Features
Bandcamp	10% of physical sales, 10-15% of digital sales	Targeted ads and messages to followers In-depth analytics and Google Analytics integration Daily reports on artist earnings
Spotify	Keeps 50% of what it pays to artists	Massive user base but lower royalty rates Emphasis on algorithmic playlisting and discovery

“Complex artistic and marketing partnerships, as well as strategic product placement in music, can be effective in cultivating a loyal fan base within niche music subcultures.”¹⁶

Conclusion

The music publishing world has long been seen as dark and controlling. This view comes from old stories of musicians making deals with the devil¹⁷. These tales, found in American and European folklore, have shaped how musicians feel today, especially those outside the mainstream¹⁷.

But artists are now fighting back. They’re using new ways to promote and share their music, taking back control¹⁷. This change is helping artists find success on their own terms, away from the old, dark ways of music publishing¹⁷.

The future of music looks bright, thanks to these independent voices¹⁷. They’re breaking free from old, bad practices in the industry¹⁷. This could lead to a new era where artists can succeed without being held back by the old ways¹⁷.

As you move forward in the music world, remember you have the power to create your own path¹⁷¹⁸. You can use new ways to promote and share your music, staying true to your vision¹⁷¹⁸. The journey may be tough, but with the right mindset, you can lead the way¹⁷¹⁸.

FAQ

What is the perception of the music publishing industry?

Many see the music publishing industry as dark and controlling. It’s seen as exploiting artists.

What is the legendary story of musicians making a Faustian pact with the devil?

The story of musicians making deals with the devil is a big part of American folklore. It’s especially common in blues music.

How did the crossroads myth help some artists stand out in the local music scene?

Artists like Tommy Johnson used the devil’s pact myth to stand out. They claimed to have learned music from the devil. This made them unique and drew attention.

How has the stigma surrounding musicians been influenced by European folklore?

European folklore, like stories about Paganini, made musicians seem suspicious. They were seen as possibly working with the devil. This stigma followed musicians to the United States.

How has the complex web of music rights and royalties contributed to the perception of the music industry as a “dark world”?

The music rights and royalties system is complex and often unfair. It leaves musicians open to exploitation. This makes the music industry seem dark and scary.

How have artists responded to the challenges posed by the mainstream music industry?

Many artists have found new ways to share their music. They use self-publishing and online platforms. This way, they avoid the traditional music industry’s control.

How are independent and alternative musicians challenging the traditional power dynamics of the music publishing world?

Independent artists are taking back control. They use new ways to promote themselves. This includes reaching out to specific music groups and using community platforms.

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