I remember exactly where I was the first time I ever heard this song after it was released in 1974, sitting in my bedroom back in Niceville, Florida... it was so different!
See if this service is any good... https://noisee.ai/create Evaluation: First of all, the maximum video length the platform would give me was one minute, which makes it impractical for me. Second, the clip was constantly jumping from scene to scene in a disjointed fashion and didn't really follow the lyric very closely, so if I'm paying $20 a month for this service, I'm going to cancel it right now.
How is a songwriter's cut of the revenue generated by a song if he or she acts as his or her own publisher? A songwriter acting as their own publisher has the potential to receive a greater share of the revenue generated by their songs compared to traditional publishing arrangements. Revenue Distribution Overview When a songwriter operates their own publishing company, they can collect both the publisher’s share and the songwriter’s share of the income from the commercial exploitation of their work. Generally, the division of publishing income can be visualized as a pie, with one-half designated for the publisher and the other half for the songwriter. Breakdown of Earnings Performance Income: Songwriters earn money from performances of their songs, whether they are performed live or broadcasted through various media. If a songwriter is also the publisher, they collect both their portion of the performance income directly from performing rights societies like BMI or ASCAP and the publisher's share. Mechanical Royalties: For every record sold, including physical copies and digital downloads, the publisher earns mechanical royalties. If the songwriter is their own publisher, they receive both the songwriter's share and the publisher's share. The current statutory rate for mechanical royalties is 9.1 cents per song. Synchronization Rights: If a songwriter's music is used in audiovisual media, such as films or commercials, they negotiate synchronization rights. The revenue from this is typically collected directly by the publisher, but if the songwriter is also acting as the publisher, they gain the full fee without needing to split it with another entity. Print Music Income: Earnings from the sale of sheet music can also be substantial. When acting as one's own publisher, a songwriter retains more of the royalty through agreements with print publishers. Co-Publishing Arrangements In some cases, songwriters who act as their own publishers might enter into co-publishing deals where they split the publishing share with another publisher. In such arrangements, they still retain 50% of the overall income generated. If split equally, the songwriter effectively takes home a 75% share of the total revenue—50% from their own publishing and 25% from the co-publishing arrangement. Conclusion In summary, when a songwriter acts as their own publisher, they maximize their earnings by collecting both their cut and the publisher’s share of revenues generated from performance rights, mechanical royalties, synchronization fees, and print music sales, thereby significantly increasing their overall income from their musical compositions.
The song "State of Independence," notably performed by Donna Summer, has an intriguing backstory that intertwines several artists and creative processes. Origins by Jon Anderson and Vangelis Originally, "State of Independence" was written by Jon Anderson and Vangelis, featuring on their 1981 album "The Friends of Mr. Cairo". Anderson described the songwriting experience as an immersive and spontaneous session where he improvised lyrics that encapsulated a sense of spiritual freedom and joy. He reflected on the lyrics, stating, "it's called the 'State of Independence' because to be independent is to be totally free and to be totally immersed in something around you". Quincy Jones and Donna Summer The song caught the attention of renowned producer Quincy Jones, who arranged for Donna Summer to record her own version for her self-titled album in 1982. Summer's rendition was aimed at capturing the uplifting essence of the original while infusing it with her own style. Quincy Jones played a crucial role in producing this cover, which became part of her album released in the same year following her hit single "Love Is in Control (Finger on the Trigger)". Musical Collaboration and Notable Choir One of the standout features of Donna Summer's version is the inclusion of an all-star choir, which consisted of prominent artists like Michael Jackson, Lionel Richie, and Stevie Wonder, among others. This collaborative effort enhanced the song's celebratory and spiritual qualities. Summer described the experience as bringing together significant musical talents for a powerful collective performance. Reception and Further Adaptations Summer’s version of "State of Independence" became a hit in Europe, notably reaching number one in the Netherlands and peaking at No. 41 in the United States. The track has since undergone several adaptations, including a remixed version released in 1996 that showed renewed popularity on the charts. Additionally, a 1992 cover by Moodswings, retitled "Spiritual High (State of Independence)," further highlighted the song's lasting impact. This combination of deep musical roots, collaborative spirit, and continued reimagining underlines the significant story behind "State of Independence."
Development and Collaboration The song “Man in the Mirror” was written by Glen Ballard and Siedah Garrett, who were invited by producer Quincy Jones to present material for Jackson's 1988 album, Bad. Ballard and Garrett developed a demo of "Man in the Mirror," which became one of only a couple of songs on the album that Jackson did not write himself. Their collaboration stemmed from a need to create not just a hit song but one that resonated deeply with impactful lyrics reflecting on social issues. Lyrics and Themes Lyrically, "Man in the Mirror" centers on the acknowledgment that change must start within oneself before it can be extended to others. The narrator expresses a desire to make a difference and reflects on societal neglect, particularly towards those in need, underscoring a moral awakening. The memorable chorus implores listeners to look inward and encourage self-improvement as a precursor to societal change, accentuated by the lines, "If you want to make the world a better place, take a look at yourself and make a change". Inspiration and Immediate Success Garrett was inspired to write the song after she envisioned a message that addressed personal accountability and the larger social context. Michael Jackson was deeply moved by the song upon its presentation, feeling an instant connection to its message, which he believed was both personal and universal. Following its release on February 6, 1988, "Man in the Mirror" reached the top of the Billboard Hot 100 and garnered critical acclaim, including a nomination for Record of the Year at the Grammy Awards. Lasting Impact The song's enduring message has resonated with audiences over the decades, becoming one of Jackson's most beloved hits and a staple for social justice movements. The collaboration between Ballard, Garrett, and Jackson not only produced a significant hit but also left a lasting legacy influencing both music and activism. Thus, "Man in the Mirror" stands as a prime example of how a powerful lyrical message coupled with significant musical talent can create a lasting impact on society and encourage listeners to reflect on their roles in effecting change.