Diddy Admits The Math Wasn’t Mathing With Sting Royalties


Well it looks like Diddy and Sting got together and trolled us all. Damn. This was a late April Fool’s Day gift if I ever saw one. It really tested the way people will believe just about anything. At any rate, we were told by Sting, through an interview with The Breakfast Club, that Diddy pays HIM $3,000 a DAY for the sample for “Missing You.” That was the song that was in homage to The Notorious B.I.G.

Diddy said they were being “funny” when they said those likes.

He posted on social media, “I want y’all to understand I was joking! It’s called being Facetious! Me and @OfficialSting have been friends for a long time! He never charged me $3K or $5K a day for Missing You. He probably makes more than $5K a day from one of the biggest songs in history.”


I am not sure how people were supposed to determine this was a “prank” the way they were letting it roll downhill like that. Sting did not bat an eye or say a “sike” after being asked that question. And Diddy took it farther, when he could have dispelled it easily. We were just lied to. LOL! But, he did say they were good friends that that is cool to hear.

I did some digging and it looks like Sting does make about $2,000 a day from the song, just not from Diddy himself He basically owns the song. Look what I saw online:

Because of the vagaries of music authorship rules, every penny of royalties that is generated by both “Every Breath You Take” and “I’ll Be Missing You” goes into the bank account of one Gordon Matthew Thomas Sumner, a.k.a. Sting. Not Puff Daddy—or P. Diddy either. Not Andy Summers, who is the only member of the Police whose musicianship can be heard on “I’ll Be Missing You” directly. Not Stewart Copeland, who also had a hand in writing the song. All the money goes to Sting—and that money amounts to roughly two thousand dollars a day—seventeen years after the Puff Daddy song was released and thirty-one years after The Police song was released. According to Celebrity Net Worth, more than a quarter of all the money Sting has ever earnedcomes from “Every Breath You Take”/“I’ll Be Missing You.” The number’s a little more eye-popping when presented in annual form: It comes to $730,000 a year, each and every year for the foreseeable future.

DAMN! That’s still a really big come up. At any rate, there was beef between the members of The Police, the group Sting fronted. Sting did not play the instruments that were sampled, but he is listed as the only songwriter. That was a bandmate that did not get cut in on the windfall of sampling the classic song. WOW…Rock Beef! Sting juxed The Police!

Well for now, enjoy the vibes!



Which do you prefer?

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Diddy Is Still Paying Sting Royalties Over Uncleared Sample


In what should serve as a cautionary tale that sometimes it actually isn’t better to ask for forgiveness than permission, Diddy has confirmed that he pays Sting $5,000 a day in royalties for the unauthorized use of The Police’s “Every Breath You Take” in his 1997 hit “I’ll Be Missing You.”

The rapper clarified the amount after clips from a 2018 interview with Sting and Shaggy on The Breakfast Club recently resurfaced. The Police frontman revealed to host Charlamange Tha God that Diddy pays him $2,000 a day for sampling the song. “Yeah, for the rest of his life, It ain’t fake news,” Sting confirmed, adding that Diddy did eventually ask him for permission but only after his track was already out. Sting originally took the rap mogul to court in the early 2000s, successfully winning the lawsuit and being awarded 100% of the song’s royalties.

Presumably the additional $3,000 accounts for either inflation or the rest of the band’s cut, but $5,000 a day is sizable chunk of change for Diddy to shell out. Originally written as tribute to Notorious B.I.G. who was murdered just a few months prior, Diddy’s “I’ll Be Missing You” debuted at No. 1 on the Billboard Hot 100 chart when it was first released. Amid all the controversy surrounding the sample, Diddy and Faith Evans still managed to come together to perform the track live at 1997 MTV Video Music Awards.

That being said, it does appear that there isn’t any bad blood between the two artists anymore. “We’re very good friends now. … It was a beautiful version of that song,” Sting said, a sentiment Diddy seemed to echo in his tweet: “Love to my brother @OfficialSting 😎✊🏿🫶🏿!” The Police’s guitarist Andy Summers, however, was less kind, calling Diddy’s track “a major rip-off” in an AV Club interview, according to Ultimate Classic Rock.

“He actually sampled my guitar, and that’s what he based his whole track on,” he noted. “Stewart’s not on it. Sting’s not on it. I’d be walking around Tower Records, and the fucking thing would be playing over and over. It was very bizarre while it lasted.”

Photo via Getty/Kevin Mazur

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LMKN inks MoU related to music royalty with associations


Jakarta (ANTARA) – The National Collective Management Institution (LMKN) signed a memorandum of understanding (MoU) with multiple parties, including the Indonesian Music Promoter Association (APMI) and the event organizer community, to help address various likely royalty usage-related issues.

This agreement becomes important when event organizers (EOs) come under pressure from parties that seek to play songs or music that have not received a performing rights royalty license, LMKN’s official, Marcell Siahaan, explained.

In this scenario, the LMKN will back them up to protect them, he told ANTARA on Thursday.

Marcell affirmed that throughout this time, there are still EOs that encounter problems or are perplexed when they receive clients’ requests that tend to ignore the importance of paying performing rights royalty, especially in the commercial field.

He also acknowledged that several EOs were still nonchalant about royalty licenses for commercial use, though most of them are aware and fulfill their obligation.

“I expect EOs to protect their pride. Thus, if EOs have to deal with weird clients making all sorts of requests, then tell them to go to LMKN. We will handle them,” Siahaan remarked.

In addition to EOs, he expects all parties that deal with song and/or music use to understand the essence of copyright used in the commercial field.

“Copyrights will be nothing if no one produces and sings, which is why related rights exist,” he explained.

“Because in there, show producers and actors exist. Thus, three different sources related to their rights exist,” he stated.

According to Siahaan, users need to understand that when it comes to seeking profits, the basic ethic involves the willingness to appreciate the song owners.

“The philosophy is that while using and playing other people’s goods, specifically to earn money or for commercial purposes, then you need to pay,” he stressed.

Related news: Law Ministry to regulate book royalties for writers’ welfare

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How Can I Cut Costs When Using Music on My Premises?


Music - Premise

There are several ways you can cut costs when using music on your premises, and they are perfectly legal. So rather than pay every time you want to play a song or try out a new music genre, you can pay upfront; that is it; no more royalties to the artist! Below, we discuss why aspects like royalty-free music are now even more popular than they have ever been. 

Use royalty-free music

This is the obvious way to cut costs! Instead of using commercial music, consider using royalty-free music. These tracks can be used without licensing fees, and many websites offer a wide range of royalty-free music.

Negotiate licensing fees

If you still want to use commercial music, you can negotiate licensing fees with the copyright owner. This can often result in a lower price or a payment plan that spreads the costs over time. Another alternative is using streaming services, which can be negotiated as part of your license fee. Instead of purchasing music outright, consider using a streaming service like Spotify or Apple Music. These services offer a wide range of music at a relatively low cost, and you can often customise your playlists to suit your needs.

Use an energy-efficient sound system

An energy-efficient sound system can help you save money on electricity bills. Look for sound systems designed to consume less energy without compromising sound quality.

Use music in a targeted way

Additionally, consider using music in a targeted way to enhance the customer experience. For example, you could play slower music during quieter times to create a more relaxed atmosphere or more upbeat music during busy periods to help customers feel energised. By using music in a targeted way, you can ensure that you are getting the most value out of your investment.

How much does it usually cost to use music on commercial premises?

The cost of using music in commercial premises varies depending on several factors, such as the type of business, the size of the premises, the kind of music being played, and the company’s location.

It’s important to note that additional costs may be involved in using music on commercial premises, such as purchasing sound equipment or paying fees to streaming services. 

Businesses should also be aware of local or regional regulations affecting their ability to play music, such as noise ordinances or zoning restrictions.

What sort of music can I play on commercial premises?

The type of music you can play on commercial premises depends on various factors, such as the type of business you have, the location of your premises, and the licensing requirements in your area.

In most cases, if you want to play music on your commercial premises, you must obtain the necessary licenses and permissions from the relevant authorities. This may include licenses from music licensing organisations such as ASCAP, BMI, and SESAC in the United States or PRS for Music and PPL in the United Kingdom. These organisations manage the performance rights for most commercial music and collect royalties on behalf of songwriters, composers, and publishers.

What can you do after obtaining a necessary licence?

Once you have obtained the necessary licenses, you can typically play eclectic music on your commercial premises. However, it’s essential to consider your customers’ preferences and the atmosphere you want to create. For example, you may want to play mellow acoustic music if you run a coffee shop. In contrast, a bar or nightclub may play more upbeat and energetic music.

It’s also essential to ensure the music volume is not too loud, as this could disturb nearby residents or violate local noise regulations. In some areas, there may be restrictions on the type of music that can be played or the hours during which music can be played. Be sure to check with your local authorities to ensure that you are complying with all relevant laws and regulations.

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Author James Kahn’s Publishing Platform on Blockchain Innovator Creatokia Goes Live April 7 – Music Industry Today


Author James Kahn’s Publishing Platform on Blockchain Innovator Creatokia Goes Live April 7 – Music Industry Today – EIN Presswire

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Live on Tidal Launches –


Music Streaming service TIDAL has launched Live, a new in-app feature for HiFi and HiFi Plus TIDAL subscribers to share live music remotely. 

Live allows listeners to come together as groups for a special event, an album release, road trip, or a get-ready-with-me moment.

From TIDAL: “Through music, we are giving fans a way to connect with each other or with other creators, brands, and personalities through simple, one-click sharing”

Live is a new way for fans to share the music they love in-the-moment. This new option makes it easy and convenient for fans to also find and follow music tastemakers. 

How To Get Started

To start a Live session, TIDAL subscribers can choose the session name to set the tone for what they’re playing and share a link for others to join. Shareable links to Live sessions let anyone join – from text messages and social media to emails.

Going Live on Tidal Experience Part 2
Going Live on Tidal Experience

  • Step One: Be a TIDAL Hi-Fi or Hi-Fi Plus Subscriber
  • Step Two: Pick an Opening Track
  • Step Three: Tap the Live Icon
  • Step Four: Name your session
  • Step Five: Share your link so others can join in

From Agustina Sacerdote, Global Head of Product at TIDAL: “Through music, we are giving fans a way to connect with each other or with other creators, brands, and personalities through simple, one-click sharing…Using Live offers music fans a simple route to finding new music from other fans in-app or wherever a link is shared. We’re excited to see how Live is used to power moments through sharing music and bringing people together”.

Live is available in the TIDAL app on iOS and Android. TIDAL offers subscribers over 100 million tracks to listen to. 

Tip: Subscribers can only start and listen to sessions taking place in the country where their TIDAL account is registered.

TIDAL Curators

The key to providing music selections and organization of each music genre is TIDAL’s team of music curators. Some Live on TIDAL Curators include:


Brad Farberman: Jazz 

  • Vibe: soul-jazz, jazz-funk, avant-garde jazz
  • Bio: Brad has done work in immersive audio and legacy programming at TIDAL, however, he is also a music scribe whose work has appeared in the New York Times, the Village Voice, JazzTimes, and more. He has also served as an editor at Genius and an editorial assistant at Wax Poetics.
  • Brad’s perspective on the key to a great set is: “storytelling. I love when a set starts off big and ends on a mellow note, showcasing the peaks and valleys of an artist or genre.”

Evan Haga: Rock/Indie 

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  • Vibe: Ondie new and old, classic rock, all things punk and punk-adjacent, garage rock, rockabilly, blues-rock, electric blues, vintage jazz-rock.
  • Bio: Before joining TIDAL in 2019, Evan was the editor of JazzTimes. During that time, JazzTimes won three ASCAP Deems Taylor Awards, including one for an article he wrote on the confluence of jazz and metal. He has also written for NPR Music, Rolling Stone, the Baltimore Sun, Vinyl Me, Please, Living Blues, and Jazz at Lincoln Center.
  • Evan’s perspective on the key to a great set is: “striking a balance between the comfort of familiar sounds and the thrill of discovery.”

Gabriel Szatan: Dance & Electronic

  • Vibe: house, techno, jungle, and futuristic club music; noir electro, electro-pop, and disco/funk spanning multiple decades; New Age, ambient, and Zen sounds.
  • Bio: Gabriel is from the U.K. and currently lives in New York. He was Boiler Room’s Senior Curator and an editorial staffer for Red Bull Music Academy and Resident Advisor. He has also been a  contributor to Pitchfork, The Guardian, Billboard, and other outlets. He’s currently finishing his first book, After Daft, on 21st-century dance music and Daft Punk. 
  • Gabriel’s perspective on the key to a great set is: “to start strong, know how you’ll eventually wind down to a classy stop, and watch out for tempo leaps song-to-song — then just go with the flow.”

Check out more TIDAL Live Curators for all branches of music ranging from K-pop to Classical, and everything in between.

To stay up on the latest Live sessions and special events, follow TIDAL on Twitter and Instagram.

Tip: Live has limited functionality with third-party devices. Also, subscribers can only start and listen to sessions taking place in the country where their TIDAL account is registered.

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“One Singular – But Collaborative – Sensation: Positive Exposure’s 2021 Change How You See Celebration”


Corley, a beloved Broadway actor, director and producer, whose credits include She Loves Me, Mary Poppins, You Can’t Take It with You, and A Christmas Carol, also served as Associate Director on the recent revivals of Burn This and Plaza Suite. Currently, Corley is Associate Director of Candace Bushnell’s Is There Still Sex in the City, opening at NYC’s Daryl Roth Theater this fall. Corley, who also directed Positive Exposure’s first virtual celebration in 2020, was initially introduced to the organization through his friend and Positive Exposure’s Director of Development, Lisa Johnson. 

“I n putting together this year’s Change How You See Celebration, it was important to me that it reflect the commitment and emotion of the organization and that everyone had ownership of the event – and that we were not just ‘performing for’ but rather ‘engaging with’,” Corley explains. “I love that through this celebration, the medical world, the disability human rights activist world, parents, performing artists, and the inclusion community itself were all interacting together. The celebration reflects not just Positive Exposure, but their worldwide goal. The celebration is truly about connection and working together.”

“On a personal artistic level,” Corley continues, “I love bringing together people who may have different areas in the performing arts, discover what magic can happen when they work together, what new and impactful opportunities arise – and I am so lucky to have such great help to pull this off!”

“Everyone at Positive Exposure pitches in to make this happen.  All the amazing performers who said ‘yes’ and lent us their time and boundless talent. The incredible choreographer, James Kinney, who made our dream of honoring the late Positive Exposure supporter and friend, Ann Reinking, happen in such a beautiful way. All the fantastic film makers who helped create impactful mini movies. The amazing community from around the world who sent in toasts and heartfelt testimonials. And lastly our tireless editor, Matt Axel, who beautifully pulls  everything together, making sure it was also accessible for all.”

“‘It takes village’ as they say but in a way that’s the point – We can be one big supportive global village, if we simply embrace the beauty of all humanity,” reflects Corley. “I love that Positive Exposure reminds us of that simple truth every day.”  

This sentiment was reiterated by Positive Exposure’s Director and co-host for the evening, Rick Guidotti, who founded the 501(c)3 organization nearly 25 years ago and is dedicated to promoting a more equitable and inclusive world through award-winning photography, films, lectures and educational programs.

“There is such amazing beauty and grace in every single person on this planet and we are here to celebrate everything that makes us unique,” Guidotti exclaimed in the opening to the celebration. “The more we include everyone as part of our global community and embrace the gifts that each of us have to offer, the richer and fuller all of our lives will be – together we have the power to effect social change by the very celebration of our individual humanity.”

Artist Marco Santini’s Wall of Love, a four-story mural in the courtyard that Positive Exposure shares with The Church of St. Edward the Martyr and the New York Common Pantry served as a backdrop for many of the performances as did NYC’s Central Park, Duke Ellington Circle, Museum Mile, and the rooftops and fire escapes of East Harlem where the Positive Exposure Gallery is located.

Performances included The Broadway Boys (Jesse Nager, Artistic Director, Jamison Scott, J Daughtry, Michael Linden, Jordan Ellis and Gabe Violett) filmed and edited by Nolan Doran, Treshelle Edmond (Broadway’s Spring Awakening), Mandy Harvey (America’s Got Talent) with Warren “Wawa” Snipe, Christopher Corsini and Shaheem, Lachi (PBS), Portia Cina, The Merry Rockers with Aaron Nigel Smith and Tubby Love, David Lutken, David Finch, Spiff Wiegand, Brittany Brook, Robin Skye, Peter Boynton, Mike Lusk, Deb Thomas and Brandon Kazan-Maddox, GODA, or grandchild of deaf adults. And serving as co-host, 21-year-old Brandon Farbstein, a global empowerment speaker, GenZ activist and author.

In remembrance of the late, legendary performing artist, Ann Reinking, Rick Guidotti recounted the 2001 premiere of his photographic exhibition for the Human Genome Celebration at the Smithsonian’s Museum of Natural History. Among the images featured was a young boy named Christopher living with Marfan syndrome who was also the son of Ann Reinking. Christopher was the first person living with Marfan syndrome that Guidotti ever photographed and it was also a pivotal moment in the making of what Positive Exposure is today. 

In tribute to Ann Reinking, whose talents extended into the depths of disability rights and inclusion activism, choreographer James Kinney (Fosse) in collaboration with cinematographer, Pierre Marais, created a Fosse-style reimagining complete with tilted bowler hats, shoulder rolls, splayed fingers and laybacks. Featured dancers included Heidi Latsky Dance Core Company Member, Donald Lee with Broadway dancers, Ashley Blair Fitzgerald, Yesenia Ayala and Arisa Odaka. As actress, dancer and singer, Bebe Neuwirth remarked about her special friend, “Like her fierce indomitable spirit, Annie lives on in the work she created and in the legacy of her inclusion advocacy. Annie saw dance in everything and everyone. To her, it was the expression of the human soul and the celebration of our bodies.”

Judith Heumann, an internationally recognized leader in the disability community and lifelong civil rights advocate for disadvantaged people, presented the 2021 Positive Exposure Rising Leader Award to Xian Horn who describes herself as a joyful half-Asian woman with cerebral palsy, a beauty and accessibility advocate, speaker, instructor, Forbes contributor, and founder of the non-profit Give Beauty Wings.

Tim Shriver, Dr. Rick Rader and Special Olympic athlete, Kathleen Maggi, presented Steven Perlman, DDS, MScD, DHL with the 2021 Positive Exposure Spirit of Change Award for creating Special Olympics Healthy Athlete, currently the largest global, public, health program for people living with intellectual and developmental disabilities. He is also the founder of Special Olympics, Special Smiles, an oral health initiative of Special Olympics International and integral component of bringing healthcare services to athletes. “There are 5 million athletes in Special Olympics and the fact that I could do something to impact those children and adults living in 150 countries was an incredible thing,” Dr. Perlman explained. “Working with Positive Exposure has been so amazing to me because we have to educate the next generation whether it be physicians or nurses, or occupational therapists, or physical therapists, or speech and language, or nutritionists.” 

Next year will mark the 25th Anniversary of Positive Exposure working collaboratively with global organizations, hospitals, medical schools, educational institutions and advocacy groups to promote a more inclusive and compassionate world, impacting millions. Positive Exposure has continued its work to transform public perceptions in which individuals and communities at risk of stigma and exclusion are understood, embraced and celebrated. 

A special thanks to Chef Gregg Brackman, owner of the G Bar and Little G Bar in Swampscott, MA for hosting a pre-party livestream cooking class via the Chefsfeed by Tastemade platform.

Enormous gratitude to Paul Taylor Dance Studios and to the following artistic unions: SAG-AFTRA (New Media Agreement); ASCAP – The American Society of Composers, Authors & Publishers; BMI – Broadcast Music Inc. 

To learn more about Positive Exposure, please visit Want to visit? Positive Exposure is scheduling “in-person” appointments. To schedule a visit, please email  

Read the article One Singular – But Collaborative – Sensation: Positive Exposure’s 2021 Change How You See Celebration.

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