Who owns rap music

Blige, Al B. Making a dive into the world of multimedia, Harrell even spearheaded the development of "New York Undercover," which played a huge role in taking hip hop primetime. One of the most renowned power brokers in the music industry , Sylvia Rhone's trajectory as an executive has been filled with multiple peaks. Born and raised in Harlem, the Wharton School alum bypassed a career in finance to dive headfirst into the world of music. However, her relationship with hip hop grew strong with the launch of East West, which she spearheaded as the label's chairman.

There, she oversees a loaded roster that houses Future, 21 Savage, and other stalwarts. A product of the mean streets of Harlem with the blood of a hustler running through his veins, Sean "Diddy" Combs set about placing his stamp on the music business by any means.

Moving to Mt. In this position, Combs helped guide the early careers of Mary J. Blige and Jodeci. However, a falling out between Combs and label head Andre Harrell led the brash youngster to launch his own operation, Bad Boy Records, in Headlined by Brooklyn native and rap icon The Notorious B. While the death of The Notorious B. One music executive whose name rang bells on wax in the industry and in the streets was Chris Lighty, who became a fixture in the culture and a confidant to rap's elite.

Using the experience gained at Rush, Lighty founded his own management and record company called Violator, which would become a household name in rap circles by the end of the decade. Unfortunately, Chris Lighty was found dead on August 30, in his Bronx apartment with an apparent self-inflicted gunshot wound to the head.

This news rocked the hip hop community, which continues to mourn him and honor his legacy. Any hip hop aficionado who's well-versed in the culture is likely to be familiar with the name Steve Stoute.

His work with megastars like Will Smith, Mary J. Blige, and Foxy Brown led the bigwigs at Sony Music to offered him a job as senior vice president of the urban music department.

At the tail-end of the '90s, Stoute would transition into the world of marketing and advertising, which remains his bread and butter today. Your content and information matter! Besides your own gigging — also check out local unsigned nights like Sofar Sounds that hosts intimate gigs in small venues around the world.

Signing with a label is stepping away from being an independent artist. In fact, labels increasingly look for self-sufficient, music dynamos that can create a buzz and gain dedicated fans using unique branding and marketing.

How labels work DIY music distribution, digital downloads and streaming have changed the relationship between record labels and artists. Specialist support Record labels understand the complex administration and legalities of partnerships — and rights-based music.

Distribution Although labels no longer control the spread of music, they can still help their artists navigate more complex large-scale distribution for both physical retailers and digital services.

Label deals Record deal. Licensing deals As the composer you have licensing rights. Solid branding You should have a recognisable brand that includes quality photos, artwork and a buzzing social media presence.

Be visible — on and off line Regularly creating fresh content to share on social is a must. Needless to say, the Frenchman will be watching not to mention prodding the imminent Universal sale process intently. It was important to find a place on this list for the boss of a streaming-music giant.

None of these individuals, however, are in a better position to control the global music-streaming landscape over the next decade than Tencent.

For starters, Tencent is one of the most significant shareholders in Spotify: According to an SEC filing from April 3rd last year, Tencent — via its majority stake in Tencent Music Entertainment, as well as its ownership of Image Frame — possessed 9.

Gaana will soon become a direct rival to Spotify, with the latter likely to launch in India on January 31st. Some suggest that Tencent could take a stranglehold on the global music business in via a strategic buyout of that available 50 percent stake in Universal Music Group. The Denver-based firm already owns more than a third of Live Nation as well as a majority stake in SiriusXM, which itself will soon own the entirety of streaming service Pandora.

Liberty is now expected to make a play for iHeartMedia, which reaches million Americans every month, when the broadcast giant emerges from bankruptcy in the first half of this year. Many of the biggest music-industry headlines last year belonged to Sony. Artists are looking at independent companies and methods for ways to keep a lot more revenue.

Our angle as an independent company is that we should do the same as a label, only artists are going to keep a lot more revenue. So we give them back anywhere from 80 to 90 percent of their royalties. Has Chance raised the profile of independent music companies? Are artists more interested?

But has that created problems in itself? Our main problem is that [indies] build up artists and then the labels will just give them unlimited money and lose money to get them on their book. Someone like Ed Sheeran will upload to me before a record label knows who that is. So my main competition now is from the major labels copying my business, which is ridiculous, because we only started it to be different from the labels.

How knowledgeable are artists about all of this? When I was a musician in , the only way I could get music out was signing a record deal with a label.