By this time, most of you are probably trying to figure out how a 14 pound turkey is supposed to fit into that tiny little browning bag, or you’re stuck in an airport somewhere trying to reunite with a family that will be driving you crazy within about twenty minutes, if you ever do manage to arrive. If so, then the point of Thanksgiving may already be starting to grow a little hazy.

Having spent the last several Thanksgivings in Italy, on a single-minded mission to educate the unknowing locals about the pleasures of this peculiarly American holiday, I know that it can be difficult to explain what this event is all about, especially in times like the present. As one Italian friend asked, “Thanksgiving, yes… I see. But for what? “

With blessings few and far between in the music industry these days, one could be forgiven for focusing solely on football and food on Thursday. Still, particularly in the hard times, one should always be mindful that even the worst of times have their mitigating factors that allow us to survive and fight another day. Well, at least most of us will survive, unless we’re Guy Hands and EMI.

In the spirit of gratitude for past acts of kindness and hope for the future, here are five things for which we songwriters and publishers can thank our lucky stars. Feel free to make your own list, or offer up suggestions—we need all the help we can get.

This year, let’s be thankful for:

1. Our Friends
No one survives in this business on his or her own. Not only do we have our own personal networks of contacts, cronies, and colleagues, we are fortunate enough to have dozens of organizations both large and small that support the efforts of songwriters and music publishers. Some go out and get our money for us. Some offer career advice. Some recognize outstanding achievement. Some fight for our rights at a government and industry level. Here’s to the whole lot of helpers: ASCAP, BMI, SESAC, NARAS, NARIP, RIAA, Songwriters Hall of Fame, Songwriters Guild, NMPA, AIMP, etc. If you don’t know what those acronyms stand for, it’s time you do some research. You may be missing out on a valuable ally.

2. Little Girls and Old People.
Never thought I’d see this happen, but the truth is that music is no longer a crucial element of youth culture. That spot has been handed over to a whole collection of pastimes from social networking to electronic games. The people keeping us in business these days are adults and their 10-13 year old daughters. Don’t believe me? Go ask Justin Bieber, Taylor Swift, Michael Buble, Susan Boyle, and every top touring act of 2010, almost all of whom are old enough to be Justin Bieber’s grandparent.

3. Hipsters, trend-chasers and buzz-mongers.
There’s certainly enough of these people out there. If you haven’t seen ‘em, just go and spend a few days at SXSW, or MusExpo, or check out any edition of Music Week. No matter how many times these characters chase the new trend that never quite catches on, or fork up massive advances to buzz bands that never make it out of Williamsburg, or fill up endless amounts of blog-space waxing on about an act so obscure that it will never be more than a flea on the industry long-tail, they’ll always have a home in a business endlessly devoted to the next big thing.

For small independent publishers looking for opportunities, that’s a great thing. Because while the hype-sters and the cooler than thou types are drawing everyone’s attention in one direction, a smart, savvy, and yes, conservative publisher can take his or her pick from dozens of proven, steady income-earners to go in business with. They might be songwriters whose catalogs survive on oldies stations, or heritage acts that sell year after year to their core audience, or jazz, classical and world music acts that barely register on the industry radar screen. They’re not too cool or sexy, and they won’t get you any mentions in the A&R Worldwide newsletter. But they will make you money, and they’re being all but ignored by the A&R staffs of most major music companies. For that, I say thank you.

4. Sub-publishing, if not sub-publishers.
Those of you who follow this blog know that several recent postings have dealt with the opportunities and challenges related to sub-publishing. Like most blessings, this one can also be a bit of a curse. For those looking to spread their business to other foreign territories, the subject of sub-publishing is primarily focused on finding partners in other territories where your music might be effective. That’s an opportunity that often winds up being more of a source for frustration than real income.

The problem is that most sub-publishers are simply not very good. Most companies are simply offering lip-service to foreign publishers—promising to promote their music in the local territory, but rarely doing anything but the most basic collection functions, and sometimes not even that. If you’re counting on your sub-publishers to create a global presence for you, you’re likely to be disappointed.

In fact, the bigger opportunity in regards to sub-publishing is often to become a sub-publisher for other companies. By offering to represent viable catalogs in your local territory, you create a whole new set of business relationships, build your roster without having to make a major financial investment yourself, diversify your song catalog, and improve your cashflow—and that’s not even mentioning the 15-20% that you can often take as your percentage. For a small publisher, picking up other catalogs to sub-publish in your local territory is one of the easiest and most cost-effective business strategies you can hope to find.

5. The suits
And finally, a good word for the lawyers. That’s unusual. However, the truth is that the biggest growth area in the music publishing business for the next 10 years will likely be lawsuits—particularly the large-scale, class action kind. Having already seen distributions from YouTube and Napster cases, and in anticipation of receiving payouts from the late payment fund set up by NMPA as part of the recent negotiations over digital payments from record labels, music publishers are anticipating a windfall. Sooner or later, dozens of major internet media and music businesses will be forced to settle up for music that they’ve been using without a license for the last 5-10 years. It won’t be easy or quick, and it won’t happen without a fight. But given that the copyright laws are clearly on our side, we are likely to eventually walk away with some money, with a little help from our trade organizations, and of course, the lawyers.

I know—it’s not the most uplifting list. Anytime you’re actually thankful for lawyers, lawsuits, trade groups, Justin Bieber and heritage rock acts, you know that it’s been a tough year. Nevertheless, we’re still fortunate to be in a business where we are able to spend our days working with music and songwriters. There are a lot worse ways to make a living.

Most of all, I’m thankful for the indomitable spirit of the Music Business Weasel that lives in all of us. Sure, it’s a business that is often short-sighted, ridiculously speculative, and maybe a little bit sleazy. At the same time, it’s a business of survivors. The people I work with each day are clever, full of ambition, endlessly determined, and always sure that tomorrow will bring the big hit that makes it all worthwhile. That’s the kind of weaseling I most admire, and it’s what assures us that there will always be a music business, in some shape or form, for us to profit from and complain about in the future.

Have a great holiday and thank YOU for your support of the blog over the past 12 months. See you in December!

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