“I take issue with the premise that independent artists should only be able to avail themselves of a [distribution] service that exists solely to pluck the cream of the crop,” says Kalifowitz. Indie distribution is “a multi-billion dollar sector of the music industry — it’s a real business, and it needs to be treated as such.”
“If you’re just thinking about it as a loss leader to collect the identification of superstar artists, you’re going about it all wrong,” he adds. “You’re doing a disservice to your company, and more importantly, you’re doing a disservice to the independent artist community.”in the careers of talent that emerges from its independent DIY artist platforms.
The majority of Downtown Music Holding’s revenues, however, do not come from its own catalog, but rather from commissions paid when it acts as a service partner to other people’s copyrights — whether that’s third-party music publishers and record labels, or independent artists and songwriters.
This is particularly true, says Kalifowitz, when it comes to a burgeoning sector of independent songwriters and artists. “If you’re operating in recorded music and, and you don’t think of the independent artist as a third pillar to the music business, you’re thinking about an old music business,” says Kalifowitz. “If you want to talk about the music business today, and certainly the music business of tomorrow, you have to recognize the independent artist.
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How is it indie when there’s so much money involved?
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