CONTROLLED NARRATIVES

Previously released, I was inspired to share this thought for a number of reasons: I am a former professional dancer (and choreographer); Will Smith, Dr. Dre, Boys II Men, Shanice, and Johnny Gill to name a few. I worked for SAG-AFTRA as the lead organizer for professional dancer, choreographer (and recording artist) members. I am a founding advisor for the first established union of its kind, Choreographers Guild.

Also previously released, Chappell Roan, Lady Gaga, "Drink Champs" NOREAGA, Snoop Dogg and many others appear to mean well as it pertains protections for recording artists in the form of an organized labor organization. However, in their efforts what they plead for is at odds with what has existed in the interests of recording artists for 70+ years. This is not an ideal snapshot, but it's consistently the best SAG-AFTRA has to offer against this MISCONCEPTION.

Previously released, this is the episode that kind of pushed me over the edge of fearfulness; the first episode. I wrote this out of expert aggravation. It is false. Record companies are nothing like banks. Professional recording artists are not personally subject to loans and interests as some may like to cause you to believe. Record companies are partner employees of recording artists. The distinction is baked in contracts on a deal-by-deal basis. Recording contracts are record deals....

Now that professional performers in the Television and Film industry have victoriously reached an agreement with the AMPTP (Alliance of Motion Picture and Television Producers), thereby suspending a 118-day strike, we found it fitting to address a widely shared misconception circulating throughout Recording Artists community for far too long; that they don't have a union of their own. Truth is, SAG-AFTRA (Screen Actors Guild and American Federation of Television and Radio Artists) is the exclusive union that has been representing Recording Artists and Professional Singers for decades. Who knew? 

The  journey and aspirations of professional dancers, namely those that work extensively in the recording industry is long overdue for serious and fair recognition by artists, labels and other related employers that benefit from the esteemed performing artists that do the work. 

In this inaugural installment, CONTROLLED NARRATIVES creator,  Craig Baylis addresses the unfounded rumor that record companies are like banks or pay day loan outfits that lure recording artists into irreconcilable debt disguised as advances.