Discussion in 'Pop & Justice' started by cherryboomboom, Dec 22, 2009.
This took me back, damn.
My hard drive looking at me hovering over the download file option for the full 800gb exposé
I doubt she does. I suspect Sony own her masters.
As much as labels are made out to be the bogey man, they have to run a business and pay their staff and fund (in the first position) the music we love. They need to own *some* assets otherwise they can’t do any of those things effectively.
They don’t own the artist. The artist can leave the label when the contract expires and record with a different label and then someone else owns those new masters (unless you’re in a restrictive contract which means you can never leave a la JoJo, but that comes down more to shitty terms which shouldn’t be legal rather than being commonplace with the majority of recording contracts). But it seems reasonable in most instances that labels own the material that they fund the creation of. That’s the norm in most other creative industries (film, TV etc).
Many contracts have 25 year expiration clauses where the artist can purchase the masters after that time. Taylor’s dispute with Big Machine is that she wanted to buy back her masters earlier than that but was out bid. Big Machine said she could have an album back for every NEW album she released under their imprint. She said this was this was extortion.
There’s right and wrong on both sides with a fair helping of playing on the public’s lack of knowledge and thus outrage about the inner working of the recording industry.
But it’s really not at simple as “artists should fully own their masters outright from the point of recording” because then what is the incentive for a label investing in that artist in the first place? Labels not owning the masters could mean an artist using one label to fund an album, and then joining another label and taking those masters with them and re-releasing that album through a new label.
People can and do set up their own labels and own their own masters. But then they also have to stump up their own promotional budget. And how many mainstream artists are prepared to do that?
That’s all really interesting! The bit about Jojo gets me as it’s effectively the same reason why Aaliyah’s music is locked away in submission, unable to be discovered by modern day audiences.
In Gaga’s case I’d imagine she’s in pretty good favour with Interscope as one of their best-selling artists
And Jo Jo and Aaliyah were both with the same label, Blackground. I don’t know the full details but I suspect both were in deals where they could not leave that label until they had released a certain number of albums, but then Blackground refused to fund or release any new albums. So they are stuck. That’s why in most modern contracts (including Gaga’s) if Interscope don’t release albums within a certain amount of time, she can walk away. There should be legal protections that prevent the kind of contracts Jo Jo signed, particular when it involves artists who are effectively children at the point of signing.
Born This Way is 9 years old. Still gooped.
Well JoJo can release albums now but is releasing CD singles instead.
My Facebook memory was my corny ass, 18 year old self posting a pic of my Born This Way copy nine years ago. Still my all time favorite album and such a happy memory for me.
My favourite Born This Way memory is that I posted on Facebook that it was the best album ever, someone I went to school with screenshot it and posted it on tumblr saying that if you think a Lady Gaga album is the best thing ever you deserve to die. A kii
Happy birthday to my favorite album of all time. NINE years!! What a ride it’s been! You really changed the game and I will love you forever <3
Just rewatched this interviews, screaming at her making her fans wear the dumb poppy headpieces. "They're poppies!!!" dd
Also, where this moment was born.
"She's just....she's like, um....she's got a bad attitude."
"Gaga we been known that, that's why we don't want her on there!"
I love how there appears to be several legal teams that were having the same argument/confusion as all of us corny hoes for the past 10 years as to whether or not The Fame Monster was the second album or not. Hashtag all in this together.
I just finished a cute lil anniversary listen of Born This Way and phew, did Lady Gaga invent the concept of snapping? How did her batshit insane descriptions of the album being an electro-rock-popera actually end up being accurate? How did manage to kill from top to bottom that hard? The girls just weren't ready for it at the time, weren't they? Thinking they had finally caught up to the massive game reset Gagger had performed in 2009 only for her to sweep the board and change the rules all over again two years later. Nothing else really sounds like it still.
For the 10 year anniversary I'd like a re-recording with live instruments, pls & thank u
Why though? It’s flawless as is.
Nah, the production could do with cleaning up. So many sounds get buried in the mix.
Someone link ha Gaga’s Grammy performance with Metallica
Her performance of Shallow at the Grammys would do
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