I am sharing my experiences which took place in a professional environment, but as I said that doesn’t make me negate anyone else’s experiences as I said. Has Scott been accused of rape or did I miss something (I am being serious because otherwise comparing business moves to rapists or sexual assault is drastically different). Have other artists on the label reacted in a similar fashion?
Didn’t realize this Scooter guy had managed/manages Carly Rae Jepsen. He’s got a huge roster. Also, I have stories about Justin Bieber being an idiot, but I guess my anecdotal stories don’t count hahaha.
I have watched a few of the most articulate and well-respected women on this site, with their own experience dealing with the industry and/or sexism, take time out of their day to explain clearly and with feeling, what is fucked about this situation, and all you have done is continuously derailed and/or ignored the points that they're making and tried to turn the focus on yourself, as if anybody gives a shit what you have to say on the subject or what your personal experience with predatory men are. You are exactly part of the problem - men like you who enable men like them to continue being the way that they are. Go away and stop posting in a thread where you're only causing conflict and not choosing to stop talking and listen to the people (women) whose voices matter the most in moments like these.
Sorry I should probably @ the women who deserve the energies of a thousand suns for the work they put in to educate us all when they don't have to - @personalmaps @Anna Acosta @Kiana
Yes. Because misogyny doesn't exist in the music industry and the two are infamous for being mutually exclusive.
In a statement on Tuesday (July 2), Passman said, "Scott Borchetta never gave Taylor Swift an opportunity to purchase her masters, or the label, outright with a check in the way he is now apparently doing for others.
What Is Taylor Swift’s Endgame in the Big Machine Battle? Take from it what you want, but it presents both sides.
That would have been a cool move.l and could have a long term positive industry impact. I wonder what position that would have put her in for owning other people’s masters? Maybe offering to sell back other artists their masters would have been a neat thing, and if anyone wanted theirs it would help her recoup some cost immediately.
I mean she wrote Mean about Bob Lefsetz after one negative review imagine what she can do when she's actually wronged
Here's a question from someone who admittedly knows almost nothing about how the industry works. If Taylor should own the masters of the work that she created (she does), where does that line stop? Do the instrumentalists, co-writers, etc. on the tracks deserve some stake in ownership as well seeing as how it is also their artistic production? Or are those roles treated more fairly in the business to where it's understandable for them not to have ownership? Note: I'm not trying to make an obtuse or disingenuous slippery slope argument.
Frank Turner has addressed this question before. He pays the Sleeping Souls, and buys them out when he needs to for things like riffs they wrote. This way contracts with labels are all through him. It probably sounds controlling to a lot people, but I think it’s wise. Yes, he’s controlling the state of the band and incomes, but it is his project and his name is front an center. A massive majority of working artists sell their original work for profit. Painters, musicians, actors, you name it. Not Banksy though. People have still found ways to profit off the guy(?) though.