Michael Jackson sings Edge of 17!!!
 

Found this article in my local newspaper this morning...I knew he had The Beatles songs, and that's why McCartney won't speak to him anymore, but I had no idea he had Stevie's songs!!!!!

That's... scary. :eek:

So is this for older songs? I thought her publishers were BMI now.

Laura.

BMI
 

Actually, BMI is not a publishing company. BMI, ASCAP, and SESAC are all organizations that handle the distribution of royalties to songwriters.

A song is published by a publishing company- in Stevie's case, Welsh Witch Music (or Acuff-Rose like the article clip was talking about). BMI's job is to handle the payment of royalties and mechanical royalties. Stevie's songs are registered with BMI for the payment of royalties but published by Welsh Witch. Somehow Michael Jackson has his hands on the publishing rights, but that's a separate thing from BMI.

Does that make any sense? There's nothing more confusing than royalties, publishing, or copyright in the music business.

-Hayley

Hayley...
 

Thanks for 'splainin that whole deal to us, God knows I have NO CLUE about the music bizniz. :shrug:

As far as I know, Sony/ATV handles the administration of Welsh Witch, so they take care of the financial side of Welsh Witch´s incoming royalties (given out by BMI), etc.

That means they do the business stuff for Welsh Witch music, but that´s all. And that means Michael Jackson has NO rights to the songs themselves. Sony/ATV ( = Michael is a 50% partner) gets some money for doing that business stuff, like a percentage or some fixed "wages" for that job but they´re not involved in the actual ownership. Hope this makes any sense at all. :laugh:

Ahhhhh. That sounds much better. Thanks for explaining that. We would have felt terrible if Stevie lost control over any of her songs and we know SHE would have been devastated.
:D

Love,
Jo and Jensen

Wow...if MJ covers a Stevie song i just might have to take drastic measures...not that he wasn't the man back in the day...but he is been whining way too much lately,trying to blame everyone but himself for a crap album.

Could not imagine...
 

Michael Jackson singing EO17. :eek:

Isabel :wavey:

That is a disturbing thought, LOL!

And thanks for explaining the whole publishing thing better! I feel happier knowing that Stevie still has control over her songs.

Laura.

:eek: That was some upsetting information....

Well ya know, i bet he can do the coo'ing part pretty well with all his other falsetto screams... :p

AAAAAAAAAHHHHHHHH! :eek: NOOOOOOOOOOOOOOOOOOOO!!!!!!
HEEEEEEEEEEEEELLLLLLLLLPPPP!
AMber

Do what? What did she do?

Susie

This couldn't be worse than Rod Stewart's cover of Stand Back....ick, boo, hiss...


...So, when the song goes "I'm a few years older than you"....Michael will be under exaggerating. :rolleyes: :shrug: :D


-Curtis

Re: Michael Jackson sings Edge of 17!!!
 

She let Michel Jackson thake the copyright of her songs(hopefully not ALL of them :distress:

Here are the 18 songs of Stevie's that are published by Sony/ATV with her listed as a writter.

Songs written by : Stevie Nicks

After The Glitter Fades - Nicks
Bootylicious - Fusari, Knowles, Moore, Nicks
Dreams - Nicks
Edge Of Seventeen - Nicks
Fireflies - Nicks
Gypsy - Nicks
Has Anyone Ever Written Anything For You - Olsen, Nicks
I Can't Wait - Nicks, Nowles, Pressley
If Anyone Falls - Nicks, Stewart
Landslide - Nicks
Leather & Lace - Nicks
Nightbird - Nicks, Stewart
Rhiannon - Nicks
Rooms On Fire - Nicks, Nowles
Sara - Nicks
Seven Wonders - Nicks, Stewart
Sisters Of The Moon - Nicks
Stand Back - Nelson, Nicks

Sorry if this is long and boring, but it might explain abit about Publishing of music.

What is "publishing"?

As defined by the copyright law, the word "publish" most simply means "distribution of copies of a work to the public by sale or other transfer of ownership, or by rental lease, or lending". As a practical matter, music publishing consists primarily of all administrative duties, exploitation of copyrights, and collection of monies generated from the exploitation of those copyrights. If you make a publishing deal and a publisher takes on these responsibilities then it "administers" the compositions. Administrative duties range from filing all the necessary registrations (i.e., copyright forms) to answering inquiries regarding the musical compositions.


One of the most important functions of music publishers is exploitation of a composition or "plugging" a song. Exploitation simply means seeking out different uses for musical compositions. Music publishers have professional quality demos prepared and send them to artists and producers to try to secure recordings. They also use these tapes to secure usage in the television, film and advertising industries.

Equally important as exploitation is the collection of monies earned by these musical usages. There are two primary sources of income for a music publisher: earnings that come from record sales (i.e., mechanical royalties) and revenues that come from broadcast performances (i.e., performance royalties). Mechanical royalties are collected directly from the record companies and paid to the publisher. Performance royalties are collected by performing rights organizations - ASCAP, BMI, and SESAC - and then distributed proportionably to the publisher and to the songwriter.

In addition to plugging and administrative functions, it is also important to know that there is a creative side to music publishing. Since producing hit songs is in the best interest of both the writer and the publisher, good music publishers have whole departments devoted to helping writers growing and develop. The creative staff finds and signs new writers, works with them to improve their songs, pairs them up creatively with co-writers and hopes the outcome will be hit records.

The publishing deal

If you decide to do a publishing deal then the main issue for negotiation is going to be the language pertaining to the calculation and division of the monies. In the old days, most deals were 50/50 because there was a concept that the "writer's share" was 50% and the "publisher's share" was 50%. This, of course, was an invention of the publishers. Legally, these terms have no such inherent meaning but their calculation is defined in each individual agreement.

Most modern publishing deals, however, are referred to as "co-publishing" deals and the monies are usually calculated at around 75/25 meaning the writer gets 100% of the 50% writer's share and 50% of the publisher's 50% share for a total of 75%. It is best for the writer to insist that all calculations be made "at source" so that there are not too many charges and fees deducted off the top before the 75% calculation is made. fees additional. Keep in mind, however, that the advance paid to the writer by the publisher is later recouped by the publisher out of the writer's share of income from the song. So, the net business effect is that the publisher pays the writer with the writer's own money to buy a share of the copyright (and the right to future income) from the writer.

Although a writer can be his own publisher and retain 100% of the money, the larger publishers in the music business usually pay substantial advance payments to writers in order to induce them to sign a portion of their publishing rights to the publisher - and this can be a good thing for the writer. Although a deal for a single song may be done with little or no advance payment (provided there is a reversion of the song to the writer if no recording is released within a year or two), there should be a substantial advance paid ($5,000-$25,000+) to a writer for any publishing deal with a longer term (e.g., 3-5 years).

Publishing deals have to do with more than just the money though. Since every music publisher is different, it is important for the songwriter to assess both the business and the creative sides of a music publisher before signing a deal.

:laugh: that was bad! :laugh:

Renee

so damn funny!!!!!!!!!!!!!!!!~ this is awful tho, y is he so determined 2 own so many others artists wrk? i think he has enuf music of his own~ b4 michael freaked out, i didn't think he was so bad, but now he down right scares the hell outa me!!!~

brightest stevie blessings~
jill

Heeee. Bootylicious! She looked tres hot in that video.

I guess I just forget she shares writing credit with Destiny's Child on that song. :nod:

Is Stevie listed in the liner notes of the Bootylicious single/whatever Destiny's Child album she's on? Anyone know?

And I am extremely disturbed by that creature singing one of Stevi'e songs. It is indeed distressing news!

She is listed, yes....as a co-writer. I don't think she gets a thank-you, though. :rolleyes:


-Curt

Funny thing, that resembles to the 'Bootylicious' "situation". Did you know Christine is credited as a co.writer of "Sumertime Feeling" by SClub 7... The intro to that song is the same as 'Everwhere's' intro. I only noticed it a few days ago.

And yes, it is sad that I even own the album "Sunshine"... :rolleyes:

NOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO!!!!!!!!!!!!!!!!!!!! :distress: :distress: