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Performing Songwriter
Description
In 1993, Lydia Hutchinson founded PerformingSongwriter out of sheer love of music.
It all started in the guest bedroom of a little townhome in Nashville. There was no business plan, no financial backing and no staff. Just an old beige Mac, a older beige scanner, and a belief that starting a magazine about something you love is totally possible.
It’s hard not to develop a reverence for the art and craft of songwriting when you live in Music City, USA. But in ’93 there was no way to find out about the inspiration behind a song that your favorite artist sang, or the bits of trivia that all music lovers long for. Radio was just beginning its decline into corporate ownership, so we were missing out on great songs that were being written. And there wasn’t a single place to go that felt like a community where creative people could support each other and find inspiration.
Performing Songwriter was just a humble and heartfelt attempt at creating a place for songwriters to come together in a safe community where they’re understood and supported and heard by those who love music.
Soon the magazine had a loyal following who felt pride and a sense of ownership in it, and we were getting our little subscription checks from the likes of Lyle Lovett, Mary Chapin Carpenter, Joan Baez, Shawn Colvin, Carole King, Paul Simon, Bonnie Raitt … Performing Songwriter became the place where artists could keep in touch with their friends and peers, and reach out to their fans on a community level.
Thirteen years later Performing Songwriter has grown into what it is today: a completely independent, smart, beautifully designed and widely distributed publication that informs and connects music makers with music lovers. Fully staffed by a group of committed, hard-working and enthusiastic people, it provides the place for everyone to feel a part of the community of passionate, opinionated and creative people who know the importance of music in all of our lives. And it just keeps getting better ….
It all started in the guest bedroom of a little townhome in Nashville. There was no business plan, no financial backing and no staff. Just an old beige Mac, a older beige scanner, and a belief that starting a magazine about something you love is totally possible.
It’s hard not to develop a reverence for the art and craft of songwriting when you live in Music City, USA. But in ’93 there was no way to find out about the inspiration behind a song that your favorite artist sang, or the bits of trivia that all music lovers long for. Radio was just beginning its decline into corporate ownership, so we were missing out on great songs that were being written. And there wasn’t a single place to go that felt like a community where creative people could support each other and find inspiration.
Performing Songwriter was just a humble and heartfelt attempt at creating a place for songwriters to come together in a safe community where they’re understood and supported and heard by those who love music.
Soon the magazine had a loyal following who felt pride and a sense of ownership in it, and we were getting our little subscription checks from the likes of Lyle Lovett, Mary Chapin Carpenter, Joan Baez, Shawn Colvin, Carole King, Paul Simon, Bonnie Raitt … Performing Songwriter became the place where artists could keep in touch with their friends and peers, and reach out to their fans on a community level.
Thirteen years later Performing Songwriter has grown into what it is today: a completely independent, smart, beautifully designed and widely distributed publication that informs and connects music makers with music lovers. Fully staffed by a group of committed, hard-working and enthusiastic people, it provides the place for everyone to feel a part of the community of passionate, opinionated and creative people who know the importance of music in all of our lives. And it just keeps getting better ….
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Date
Jan 27, 2005
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BMI is a performing right organization: It collects license fees on behalf of its songwriters, composers and music publishers and distributes them as royalties to those members whose works have been performed.
As a performing right organization, BMI issues licenses to various users of music, including television and radio stations and networks; new media, including the Internet and mobile technologies such as ringtones and ringbacks; satellite audio services like XM and Sirius; nightclubs, discos, hotels, bars, restaurants and other venues; digital jukeboxes; and live concerts. It then tracks public performances of its members' music, and collects and distributes licensing revenues for those performances as royalties to the more than 300,000 songwriters, composers and music publishers it represents, as well as the thousands of creators from around the world who have chosen BMI for representation in the U.S.
As a performing right organization, BMI issues licenses to various users of music, including television and radio stations and networks; new media, including the Internet and mobile technologies such as ringtones and ringbacks; satellite audio services like XM and Sirius; nightclubs, discos, hotels, bars, restaurants and other venues; digital jukeboxes; and live concerts. It then tracks public performances of its members' music, and collects and distributes licensing revenues for those performances as royalties to the more than 300,000 songwriters, composers and music publishers it represents, as well as the thousands of creators from around the world who have chosen BMI for representation in the U.S.
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2. Innerviews
Innerviews: Music Without Borders.
interviews: Bjork, Tori Amos, Jon Anderson, Laurie Anderson, Adrian Belew, Luka Bloom, Eels, AllAn Holdsworth, Steve Howe, Scott Henderson, Leo Kottke, Tony Levin, PAt Metheny, Steve Morse, John McLaughlin, Massive Atack, Michale Manring, Jean-Luc Ponty, Paris, Talking Heads, Trevor Rabin, Vernon Reid, Yes, Miroslav Vitous, Victor Wooten ...
interviews: Bjork, Tori Amos, Jon Anderson, Laurie Anderson, Adrian Belew, Luka Bloom, Eels, AllAn Holdsworth, Steve Howe, Scott Henderson, Leo Kottke, Tony Levin, PAt Metheny, Steve Morse, John McLaughlin, Massive Atack, Michale Manring, Jean-Luc Ponty, Paris, Talking Heads, Trevor Rabin, Vernon Reid, Yes, Miroslav Vitous, Victor Wooten ...
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Radio & Records is the preeminent information company serving the key decisionmakers in the radio and record industries. Founded in 1973, R&R offers a broad line of print, Internet, research, convention and seminar products providing radio- and record-industry executives with access to critical research information, including the most comprehensive music-airplay data in the industry.
R&R prides itself on being a customer-focused organization committed to providing essential information to the radio and record communities. The company's relationships are a key driver behind its unique access to the more than 1,500 reporting radio stations that contact R&R each week to report new music added to their playlists for the coming week.
R&R prides itself on being a customer-focused organization committed to providing essential information to the radio and record communities. The company's relationships are a key driver behind its unique access to the more than 1,500 reporting radio stations that contact R&R each week to report new music added to their playlists for the coming week.
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PASTE is one of the fastest-growing independently published entertainment magazines in the country, receiving "Magazine of the Year" honors at the 2007 and 2006 PLUG Independent Music Awards. We pride ourselves in being the premier magazine for people who still enjoy discovering new music, prize substance and songcraft over fads and manufactured attitude, and appreciate quality music across a broad stylistic spectrum--indie rock, Triple-A, Americana, folk, blues, jazz, etc.
We strive to bring readers thoughtful analysis on the best in film, books and other aspects of popular (and alternative) culture. PLUS, every issue of PASTE contains a FREE sampler CD (packed with 20+ songs). The Paste Sampler CD is an invitation-only CD we treat as a glorified office mix-tape, not something to listen to once and rip the two or three good songs. What more could you want? (OK, maybe a free subscription. We'll try to get it bundled in with universal health care, how's that?)
We strive to bring readers thoughtful analysis on the best in film, books and other aspects of popular (and alternative) culture. PLUS, every issue of PASTE contains a FREE sampler CD (packed with 20+ songs). The Paste Sampler CD is an invitation-only CD we treat as a glorified office mix-tape, not something to listen to once and rip the two or three good songs. What more could you want? (OK, maybe a free subscription. We'll try to get it bundled in with universal health care, how's that?)
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