Distrust, corruption, destruction are all under the radar. We turn a blind eye. Fixation is not in the equation, until Jared Leto took the courageous step to unveil the interworking of Record Labels.
After watching Artifact a
documentary of 30 Seconds to Mars law suit for 30 million dollars with EMI’s
record company, the corruption finally comes into view. Not to say there have not been other law
suits for artist being undermined—I could name numerous others, some even being
with EMI—but Leto, the lead singer of 30 Seconds to Mars, documented the
process.
It began with Leto, his brother Shannon, percussionist, and guitarist Tomo
Miličević, deciding to break away from EMI. The original deal made in 1998
consisted of creation of five records. In California, though, even if the deal
has not been satisfied, but has extended over seven years, which it had, the
band has every right to breakaway. 30 Seconds to Mars knew this.
EMI on the other hand refused to accept their loss. Suing for 30
million, the band would still be in 2.7 million dollars of debt after paying.
With this in mind, Leto wanted to take this to court. In front of a
jury, who would side with a musician opposed to a record label who obviously
holds all the cards? Any label holds the cards. They have control of the money,
even if they don’t exactly know how their industry fully works—the reason it is
crumbling, and it has been since rock bands started in the 50’s and 60’s. In
essence, the labels have been taking advantage of their musicians. For those
who don’t care about the money and more about the music, and for new musicians
who don’t necessarily know how the music industry works, this is a visual:
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| Credit to: Artifact Documentary Produced by Bartholomew Cubbins |
This is not every case, though. The music industry has begun to fall
as teenagers and others scam the internet for “free” music; therefore, record
labels have created a new deal called 360. Instead of allowing the money from
merchandising directly support the band, record labels are capable to collect
money from every facet in which money is given.
Which is why I believe 30 Seconds to Mars should have stayed
independent. They would be funding themselves, which they did during this law
suit—creating a recording studio in the basement of a Hollywood Hills house,
buying their own producers & technicians, marketing themselves. I have to
have an omnimax view, though. Leto
brought it into perspective with one, simple, but not so simple statement. “Name
one band that is independently labeled that has continued worldwide success.” Miličević
could not answer.
Not to say people have not made it big over the internet because it
has happened. But those people are sought out by the record labels. They’ve
established themselves, and rarely turn down the deal. They are well aware of
the opportunities that are available to them by taking the deal. Sadly, though,
not everyone knows of the corruptness of the music industry.
If there is anything I wish I could’ve seen 30 Seconds to Mars create
would be a new business. If they had taken advantage of their opportunity when
EMI began to regroup by firing 2,000 employees, 30 Seconds to Mars had an opportunity
to hire and create their own business. Their goal was to change music business,
they did. But if they created their own record company with employees who had
experience and be a welcoming, non-blinded business who clearly taught their
artist and musicians of the interworking, eventually others would have to
follow suit. There would be trust—no blackmailing, no suing, no undermining.
But 30 Seconds to Mars did a tremendous job in standing up for themselves. The long journey, stress-to-the-brim days, and sleepless nights paid off. After 211 days of disputing lawsuit a new contract was signed to terms written by 30 Seconds to Mars and accepted by EMI.
Although, 30 Seconds to Mars was never paid for their first two
albums, their third album This Is War,
inspired by the lawsuit sold over 2 million copies.
