He points directly to the pandemic as the cause for the catalog stampede, which erased touring income from everyone’s ledger sheets for nearly two years. In the past few years, Primary Wave has been joined by what Shukat estimates are more than 20 similar companies. “We just asked him, ‘Do you like the idea? Because if you do, challenge accepted.’” Robinson announced the first-ever “Father-Daughter Day” on October 8, 2017, along with lullaby renditions of “My Girl.”
“He looked at us like we were crazy,” Lowenberg remembers. In 2016, they presented a skeptical Smokey Robinson with the idea of a national holiday centered around the Temptations’ 1964 classic “My Girl,” which Robinson co-wrote.
Lowenberg notes that his position at Primary Wave-chief of marketing-hardly exists at other publishing houses, and he describes their work as “artist re-development.” His team assembles three-to-five-year marketing plans for each new acquisition, and then presents a pitch deck to the artist or their estate. “Once we executed that,” Lowenberg says, “we were like, ‘OK, we can do anything.’” The multimillion-dollar deal was designed with Aerosmith’s home state of Massachusetts in mind, but ended up spreading to 10 states.
Rick astley never gonna give you up lyrics 10 hours tv#
Lowenberg fondly recounts an Aerosmith-themed lottery campaign from 2009, in which scratch-off tickets revealed the lyrics to the band’s 1973 power ballad “Dream On.” The project raked in royalties on both the publishing side, because of the printed lyrics on the tickets themselves, and for the master recording, since the radio and TV spots publicizing the jackpot played the song on-air. Since then, they’ve been consistently ahead of the curve, acquiring the rights to music by Bob Marley, Smokey Robinson, Prince, Stevie Nicks, James Brown, and Whitney Houston, and testing the boundaries of what a modern publishing house could get done. When I observe that Shukat is describing a role more akin to a music producer than a publisher, he says, “I’m comfortable with that. 30 on the Hot 100 and currently has more than 200 million plays on Spotify. He was less enthused by the original track’s name-“Get Pussy”-and requested a rework, which was obliged. “Within a day, we literally had a track to listen to, and Gravy rapped over it two days later, which was fucking dope,” Shukat says over the phone. At the same time, a member of Shukat’s team reached out to a producer who worked with Gravy. It’s Justin Shukat, the president of the music publishing company Primary Wave.Īfter clocking the 1987 smash’s internet infamy, Primary Wave acquired a percentage of the rights to it from Waterman and then pitched the idea of an interpolation to Yung Gravy’s manager. Not Astley or even “Never Gonna Give You Up” songwriter Pete Waterman.
There is a single person who’s arguably most responsible for the existence of “Betty (Get Money).” It’s not Yung Gravy or his producers or anyone at his label.
0 kommentar(er)
