what strategies did record companies use to broaden the appeal of rap to a larger consumer base?

Brand and trademark associated with the marketing of music recordings and music videos

A record label, or record company, is a brand or trademark of music recordings and music videos, or the company that owns it. Sometimes, a record label is as well a publishing visitor that manages such brands and trademarks, coordinates the production, manufacture, distribution, marketing, promotion, and enforcement of copyright for sound recordings and music videos, while also conducting talent scouting and evolution of new artists ("artists and repertoire" or "A&R"), and maintaining contracts with recording artists and their managers. The term "record characterization", derives from the circular label in the heart of a vinyl record which prominently displays the manufacturer'south name, along with other information.^[1] Within the mainstream music industry, recording artists have traditionally been reliant upon record labels to augment their consumer base, market their albums, and promote their singles on streaming services, radio, and television. Record labels likewise provide publicists, who aid performers in gaining positive media coverage, and arrange for their merchandise to exist bachelor via stores and other media outlets.

Major versus independent record labels [edit]

Tape labels may be small-scale, localized and "independent" ("indie"), or they may be part of a large international media group, or somewhere in between. The Association of Independent Music (AIM) defines a 'major' every bit "a multinational company which (together with the companies in its grouping) has more v% of the world market(s) for the sale of records or music videos." As of 2012, in that location are only three labels that can be referred to as "major labels" (Universal Music Group, Sony Music Entertainment, and Warner Music Group). In 2014, AIM estimated that the majors had a collective global market place share of some 65–70%.^[2]

Major labels [edit]

Nowadays [edit]

Major tape label	Year founded	Headquarters	Divisions	Usa/CA market share (2019)
Universal Music Group (Euronext Amsterdam: UMG )	September 1934; 87 years agone  (1934-09)	Hilversum, North Holland, Netherlands (corporate) Santa Monica, California, United States (operational)	List of Universal Music Group labels	54.v%
Sony Music	September 9, 1929; 92 years agone  (1929-09-09)	New York Urban center, New York, United States	List of Sony Music labels	23.iv%
Warner Music Group (Nasdaq: WMG)	Apr half dozen, 1958; 64 years agone  (1958-04-06)	New York City, New York, U.s.	Listing of Warner Music Group labels	12.one%

Past [edit]

Record labels are frequently under the control of a corporate umbrella organization called a "music grouping". A music group is usually affiliated to an international conglomerate "holding company", which often has non-music divisions likewise. A music group controls and consists of music-publishing companies, record (sound recording) manufacturers, record distributors, and record labels. Tape companies (manufacturers, distributors, and labels) may as well constitute a "tape group" which is, in turn, controlled by a music group. The constituent companies in a music group or tape group are sometimes marketed as being "divisions" of the group.

From 1988 to 1998, at that place were six major record labels, known as the Large Six:^[3]

1. Warner Music Grouping
2. EMI
3. Sony Music (Known as CBS Records until January 1991)
4. BMG (Formed in 1984 as RCA/Ariola International)
5. Universal Music Grouping (Known as MCA Music until 1996)
6. PolyGram

PolyGram was merged into Universal Music Group (UMG) in 1999, leaving the rest to be known as the Big Five.

In 2004, Sony and BMG agreed to a articulation venture and merged their recorded music division to create the Sony BMG label (which would be renamed Sony Music Entertainment later a 2008 merger); BMG kept its music publishing sectionalisation dissever from Sony BMG and later sold BMG Music Publishing to UMG. In 2007, the 4 remaining companies—known every bit the Big Four—controlled about lxx% of the globe music marketplace, and about eighty% of the United States music market.^{[4] [5]}

In 2012, the major divisions of EMI were sold off separately by owner Citigroup: most of EMI's recorded music segmentation was absorbed into UMG; EMI Music Publishing was captivated into Sony/ATV Music Publishing; finally, EMI'southward Parlophone and Virgin Classics labels were absorbed into Warner Music Grouping (WMG) in July 2013.^[6] This left the then-called Big Three labels.

In 2020 and 2021, both WMG and UMG had their IPO with WMG started trading at Nasdaq and UMG started trading at Euronext Amsterdam and leaving merely Sony Music every bit wholly-owned subsidiary of an international conglomerate (Sony Entertainment which in plough owned past Sony Group Corporation).

Independent [edit]

Record labels and music publishers that are not under the control of the big iii are generally considered to be independent (indie), even if they are large corporations with complex structures. The term indie label is sometimes used to refer to only those independent labels that adhere to independent criteria of corporate structure and size, and some consider an indie label to exist almost whatever label that releases non-mainstream music, regardless of its corporate structure.

Independent labels are often considered more than artist-friendly. Though they may have less fiscal clout, indie labels typically offer larger artist royalty with a 50% profit-share understanding, aka 50-50 deal, not uncommon.^[seven] In addition, contained labels are often artist-endemic (although non ever), with a stated intent often being to control the quality of the artist'south output. Independent labels usually do non enjoy the resources available to the "big 3" and as such will ofttimes lag behind them in market shares. However, oftentimes independent artists manage a render past recording for a much smaller production cost of a typical big characterization release. Sometimes they are able to recoup their initial advance fifty-fifty with much lower sales numbers.

On occasion, established artists, once their record contract has finished, move to an independent label. This often gives the combined reward of name recognition and more command over one's music along with a larger portion of royalty profits. Artists such as Dolly Parton, Aimee Mann, Prince, Public Enemy, among others, have washed this. Historically, companies started in this manner have been re-captivated into the major labels (two examples are American singer Frank Sinatra'due south Reprise Records, which has been owned by Warner Music Group for some time now, and musician Herb Alpert's A&G Records, now endemic by Universal Music Group). Similarly, Madonna's Maverick Records (started by Madonna with her manager and some other partner) was to come up nether control of Warner Music when Madonna divested herself of controlling shares in the company.

Some contained labels become successful plenty that major record companies negotiate contracts to either distribute music for the label or in some cases, buy the label completely, to the point where it functions as an imprint or sublabel.

Imprint [edit]

A characterization used as a trademark or brand and not a company is chosen an imprint, a term used for the same concept in publishing. An imprint is sometimes marketed as being a "project", "unit", or "division" of a record label, even though there is no legal business construction associated with the imprint. A tape visitor may use an imprint to market a detail genre of music, such as jazz, blues, state music, or indie rock.

Sublabel [edit]

Music collectors ofttimes use the term sublabel to refer to either an banner or a subordinate label company (such equally those within a group). For example, in the 1980s and 1990s, "4th & B'mode" was a trademarked brand owned past Island Records Ltd. in the Britain and by a subordinate branch, Isle Records, Inc., in the U.s.a.. The center label on a 4th & Broadway tape marketed in the United states would typically bear a 4th & B'way logo and would state in the fine impress, "4th & B'fashion™, an Isle Records, Inc. company". Collectors discussing labels as brands would say that 4th & B'manner is a sublabel or imprint of just "Isle" or "Isle Records". Similarly, collectors who choose to treat corporations and trademarks as equivalent might say 4th & B'way is an imprint and/or sublabel of both Island Records, Ltd. and that visitor's sublabel, Island Records, Inc. Withal, such definitions are complicated past the corporate mergers that occurred in 1989 (when Island was sold to PolyGram) and 1998 (when PolyGram merged with Universal). Island remained registered every bit corporations in both the United States and U.k., but control of its brands changed hands multiple times every bit new companies were formed, diminishing the corporation's distinction as the "parent" of whatsoever sublabels.

Vanity labels [edit]

Vanity labels are labels that carry an imprint that gives the impression of an artist'due south ownership or control, just in fact represent a standard creative person/characterization human relationship. In such an arrangement, the creative person volition command nil more than the usage of the proper name on the characterization, but may enjoy a greater say in the packaging of his or her work. An example of such a label is the Neutron characterization owned by ABC while at Phonogram Inc. in the U.k.. At ane bespeak creative person Lizzie Tear (under contract with ABC themselves) appeared on the imprint, but it was devoted well-nigh entirely to ABC's offerings and is however used for their re-releases (though Phonogram owns the masters of all the work issued on the label).

However, not all labels dedicated to particular artists are completely superficial in origin. Many artists, early in their careers, create their own labels which are after bought out by a bigger company. If this is the case it can sometimes give the creative person greater freedom than if they were signed direct to the big characterization. There are many examples of this kind of label, such as Zippo Records, endemic by Trent Reznor of Nine Inch Nails; and Forenoon Records, owned by the Cooper Temple Clause, who were releasing EPs for years earlier the company was bought by RCA.

Relationship with artists [edit]

A label typically enters into an exclusive recording contract with an creative person to market the artist's recordings in return for royalties on the selling cost of the recordings. Contracts may extend over short or long durations, and may or may not refer to specific recordings. Established, successful artists tend to exist able to renegotiate their contracts to go terms more favorable to them, but Prince's much-publicized 1994–1996 feud with Warner Bros. Records provides a potent counterexample,^[viii] every bit does Roger McGuinn'due south claim, made in July 2000 before a United states Senate committee, that the Byrds never received any of the royalties they had been promised for their biggest hits, "Mr. Tambourine Man" and "Plow! Plow!, Turn!".^[9]

A contract either provides for the creative person to deliver completed recordings to the label, or for the label to undertake the recording with the artist. For artists without a recording history, the characterization is frequently involved in selecting producers, recording studios, additional musicians, and songs to be recorded, and may supervise the output of recording sessions. For established artists, a characterization is usually less involved in the recording process.

The relationship between tape labels and artists can be a difficult ane. Many artists have had conflicts with their labels over the blazon of sound or songs they want to brand, which can result in the artist's artwork or titles being changed before release.^[10] Other artists have had their music prevented from release, or shelved.^[11] Tape labels generally practice this considering they believe that the anthology will sell better if the artist complies with the characterization'south desired requests or changes. At times, the record label's decisions are prudent ones from a commercial perspective, but these decisions may frustrate artists who feel that their art is being diminished or misrepresented by such deportment.

In other instances, record labels have shelved artists' albums with no intention of any promotion for the artist in question.^{[12] [xiii]} Reasons for shelving tin can include the characterization deciding to focus its resources on other artists on its roster,^[eleven] or the label undergoing a restructure where the person that signed the creative person and supports the creative person's vision is no longer nowadays to advocate for the artist.^{[11] [14]} In farthermost cases, record labels tin foreclose the release of an creative person's music for years, while also failing to release the creative person from his or her contract, leaving the artist in a state of limbo.^{[14] [15]} Artists who have had disputes with their labels over ownership and control of their music have included Taylor Swift,^[16] Tinashe,^[17] Megan Thee Stallion,^[18] Kelly Clarkson,^[19] 30 Seconds to Mars,^[20] Clipse,^[21] Ciara,^[22] JoJo,^[xv] Michelle Branch,^[23] Kesha,^[24] Kanye West,^[25] Lupe Fiasco,^[26] Paul McCartney,^[27] and Johnny Cash.^[28]

In the early days of the recording industry, recording labels were admittedly necessary for the success of any artist.^[29] The showtime goal of any new artist or ring was to get signed to a contract as soon as possible. In the 1940s, 1950s, and 1960s, many artists were so drastic to sign a contract with a record visitor that they sometimes ended upwardly signing agreements in which they sold the rights to their recordings to the record label in perpetuity. Amusement lawyers are usually employed by artists to discuss contract terms.

Due to advancing applied science such as the Net, the function of labels is rapidly changing, as artists are able to freely distribute their own fabric through online radio, peer-to-peer file sharing such equally BitTorrent, and other services, at piddling to no cost, just with correspondingly depression financial returns. Established artists, such as Ix Inch Nails, whose career was developed with major characterization backing, announced an end to their major label contracts, citing that the uncooperative nature of the recording industry with these new trends is pain musicians, fans and the manufacture every bit a whole.^[30] Still, Nine Inch Nails later returned to working with a major label,^[31] admitting that they needed the international marketing and promotional accomplish that a major label can provide. Radiohead besides cited like motives with the end of their contract with EMI when their album In Rainbows was released equally a "pay what you want" sales model as an online download, but they also returned to a characterization for a conventional release.^[32] Inquiry shows that record labels still control near access to distribution.^[33]

New label strategies [edit]

Computers and net technology led to an increase in file sharing and direct-to-fan digital distribution, causing music sales to collapse in recent years.^[34] Labels and organizations take had to change their strategies and the way they work with artists. New types of deals are being made with artists called "multiple rights" or "360" deals with artists.^{[35] [36]} These types of pacts give labels rights and percentages to artist'south touring, merchandising, and endorsements. In exchange for these rights, labels usually give college advance payments to artists, have more patience with artist development, and pay higher percentages of CD sales. These 360 deals are virtually constructive when the creative person is established and has a loyal fan base. For that reason, labels now have to be more relaxed with the development of artists because longevity is the key to these types of pacts. Several artists such as Paramore,^[37] Maino, and even Madonna^{[38] [39]} have signed such types of deals.

A expect at an actual 360 deal offered by Atlantic Records to an artist shows a variation of the construction. Atlantic'south document offers a conventional cash advance to sign the artist, who would receive a royalty for sales afterwards expenses were recouped. With the release of the artist'southward start album, however, the characterization has an option to pay an boosted $200,000 in exchange for 30 pct of the internet income from all touring, trade, endorsements, and fan-club fees. Atlantic would also have the right to approve the act'southward tour schedule, and the salaries of certain bout and trade sales employees hired by the artist. In addition, the label also offers the artist a thirty per centum cut of the label's album profits—if whatever—which represents an improvement from the typical industry royalty of fifteen percent.^[37]

Internet and digital labels [edit]

With the Internet now being a viable source for obtaining music, netlabels have emerged. Depending on the ideals of the net label, music files from the artists may be downloaded complimentary of charge or for a fee that is paid via PayPal or other online payment organisation. Some of these labels likewise offering hard copy CDs in addition to direct download. Digital Labels are the latest version of a 'internet' label. Whereas 'net' labels were started as a complimentary site, digital labels stand for more competition for the major record labels.^[40]

Open-source labels [edit]

The new century brought the phenomenon of open up-source or open up-content tape labels. These are inspired by the free software and open up source movements and the success of Linux.

Publishers as labels [edit]

In the mid-2000s, some music publishing companies began undertaking the piece of work traditionally done by labels. The publisher Sony/ATV Music, for example, leveraged its connections within the Sony family to produce, tape, distribute, and promote Elliott Yamin's debut album nether a dormant Sony-owned imprint, rather than waiting for a deal with a proper label.^[41]

See also [edit]

• Listing of record labels
• Streaming media
• White label

References [edit]

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External links [edit]

hurstphred1975.blogspot.com

Source: https://en.wikipedia.org/wiki/Record_label

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