The Manager’s Playbook 056: Jacob Paul - Music Publishing 101, Master vs Publishing, Mechanical Royalties, Global Royalties, Black Box Royalties & Catalog Ownership

For decades, a shadowy organization called The Aleminati has kept lemon on top and lime in the shadows. Look around, lemon-forward sodas, even lemon-forward songs. We ran the tracks, slowed them down, reversed them, and squeezed out the truth. That's lemon propaganda right there. But now, seven up is fighting back with their new lime lemon soda. Join the seven uprising, flip the sip. You could get to 100,000, a million, 10 million monthly listeners on Spotify, and not collect a single dime of your publishing royalties, and nothing in the system would tell you that you're doing anything wrong. Right? It's on you to understand, wait a second. There's a different type of income stream that I need to be monetizing as a music creator, and it's on me to raise my hand and actually put in these song registrations and collect those royalties. [pause] Jacob, what is publishing? So, music publishing is the business of making sure that songwriters get paid whenever their songs are played, whether it's played on Spotify or Apple Music, or YouTube, or a place like TikTok, or Instagram, or if it's played in a concert, or if it's played because I went to a record store and I bought vinyl, all of those places generate songwriting royalties. And music publishing is the business of making sure that those royalties get to the songwriter. Okay. And then, what is the difference between then publishing and the recording? Right. So, that's a great question. The way I would break it down is that whenever you release music, there are two copyrights and two streams of money that you need to be collecting. And recording is the money for the actual record, like the production, the arrangement, the drums, the vocals. That is money you get paid by default through a label or through a distributor. The publishing is the money you get for the song, right? That's like the actual music and the lyrics. And the thing about publishing that's so difficult is that you don't get paid your publishing royalties by default. You have to actively raise your hand and navigate a system in order to take that money out of the system. Right. And a lot of people will assume that the publishing will get paid through their PRO, their ASCAP, or their BMI, right? But that's not the case. Exactly. So, I think a hard thing with publishing is that people have lots of assumptions and lots of misconceptions about how to take their publishing income and make sure that they're collecting it globally. One good start is to register your songs at your PRO. So like in the United States, that could be ASCAP or BMI. But it's not the whole picture, right? PROs generally collect directly in one country. And then I only collect one kind of publishing royalty. Like in this case, for ASCAP and BMI, performance royalties. But there are multiple kinds of publishing royalties. And there's, what are performance royalties? So performance royalties are one type of publishing royalty. And it's generally tagged to the public performance of a song. So originally, performing royalties were because of the invention of like radio. Right? It's like, okay, now people aren't buying records, but they're tuning into a radio station. And my song, my composition is getting played. Well, like, how am I going to get paid for that? Right? Okay. Well, we'll come up with something called a performance royalty. And we'll have these organizations called performance rights organizations, PROs, go out and license to the radio stations and collect that money and pay them to publishers and songwriters. That's one part of the puzzle. But then there are different kinds of publishing royalties that PROs like ASCAP might not capture. Like the second big type of publishing royalties is the mechanical royalty. Right. Totally different part of the picture and not collected by ASCAP. Right? So I think the reason why songwriters who have real big, you know, songwriting catalogs and significant publishing money that they want to collect, go to a global publishing administrator is to make sure that they're not just collecting one type of royalty in one country, but that they're collecting every single type of publisher royalty globally. Yeah. So the way that I always learned about publishing is just basically ultimately what it comes down to is the exploitation of a copyright and certain rights within the copyright. So one of them, well, you just mentioned two, there's the performance rights and then the mechanical rights. What is a mechanical right? So mechanical right originally was about like if you're actually making a mechanical reproduction of a song right? That's how far back this thing goes. And like it literally goes back to things called player piano rolls. Whereas like you would literally buy pianos that had machines in them and you would feed in sort of like these rolls of paper that would mechanically play a song. And what the songwriters and the composer said was like, oh wait, people are buying these rolls of papers. How do I get paid? That's the mechanical royalty. What's interesting about publishing is that it's such a confusing landscape of all these terms that almost feel like a foreign language. But when you go into the history, there's a reason why they exist. So the mechanical royalty was for literally the mechanical reproduction of player piano rolls and then later records. Like you're literally using a machine to take a piece of wax and put a musical composition on it. That's mechanical royalty. Same thing with performance royalties. Okay, people are performing my song on the radio. I need a royalty for that. The problem is that when you zoom out the 2026, now the most important source is just streaming, right? And so we have this sort of complicated landscape of publishing terms. But at the end of the day today, people are just going to Spotify and Apple Music or YouTube and they're listening to music, but still those places pay both mechanical and performance royalties. Even though it's totally separate from what the original sort of like intention of those was, it's still a really important part of the publishing landscape. And it's incredibly not like complicated to navigate that landscape as a songwriter to make sure that you're just collecting the money that is rightfully yours. So again, that's what the business and music publishing is. It's to take a song that they say this song's being played and listened to around the world across thousands of different digital platforms in live settings and settings where people are going to maybe a vinyl shop and buy it. All of those royalties need to find a way to get to the songwriter and our job is to make sure that they get to you. And as long as I've been in this business, some of this stuff is still confusing to me. So like, and I love the way they just explained it, like you broke it down very easy and digestible to understand. But so I'm clear, actually, there is no mechanical and the master recording, right? It's only mechanical on the songwriting portion of it. Exactly. Traditionally, what would happen is that the mechanical royalty would be paid by labels because if labels are selling CDs or vinyl, they're getting, let's say, you know, $20 for the vinyl, they would then have to pay the mechanical royalty to the songwriters and publishers from the labels. That still happens today. If you go out and you buy a CD, not as many people buy CDs anymore, but that still happens today. If you go to record shop and buy vinyl or a CD. If you're on a label, the labels, yeah, the labels would have to pay it in that case. But the label won't pay you as your songwriter, your mechanicals, right? That's where if you're a songwriter. And by the way, when I say songwriter, that doesn't just mean someone who own the right top lines and lyrics, a songwriter could be an artist who has published who rights helps write their songs. Maybe a producer who maybe isn't a vocalist or isn't an artist, but is contributing musical material to songs, or it could be a pure songwriter who shows up the studio maybe comes up with top line melody ideas or lyrics. All of those different types of roles are songwriters. What's a top line? A top line would be like a melody. So like, it depends like often like in pop, you might have some songwriters and some of them are signed to us. You know, I work at cobalt and co-sign. We have certain writers in a roster who mainly they show up to the studio and they help contribute melody and lyrics. They might not be beatmakers. They might not be artists. But they're still part of the equation when it comes to publishing and songwriting rights. Anyone with a share of a song needs to be collecting their songwriting royalties in order to be making all of the income that should be theirs through their music career. So to your question about labels, that's a separate piece of the pot. Labels are signing artists and they're paying master royalties to those artists. Maybe they'll pay some points to producers. But they're not collecting songwriting royalties. And that's where music publishers come into the equation. And what you just said, this is like, this enters, then here enters cobalt and co-sign. So talk to me about cobalt because it's a publisher. It's not one of the major three publishers, but it's up there. Cobalt is like cobalt. As long as I've been in the business, I've always heard about cobalt and the differences of cobalt and the ability of cobalt. It kind of operates like, how do I say this? It operates like one of those that is just like definitely for the songwriters. It doesn't operate like a conglomerate. You know what I mean? So cobalt is interesting in that first off, what is cobalt? It's the biggest independent music publishing company in the world. So aside from the majors, cobalt is the biggest music publisher by revenue in the world, but it built its business in like a fundamentally different way from the majors because the majors built their business through acquiring ownership of copyrights. Whether that's on the publishing side or on the recordings, the master side, they sign artists, they sign songwriters, and they take a share of ownership of the songs. They've done that for decades and decades and decades, and now they're the majors. So cobalt built its business by being a services company and not taking ownership over songs, but just saying, hey, as a songwriter, I'm going to help you navigate this incredibly complicated landscape. I'm going to register your songs as fast as directly as possible. I'm going to collect your money as directly as possible from everywhere on the world, and we'll charge an administration fee for the service of doing that for you, but we don't own your work. maybe it's a three year deal at the end of which you could go somewhere else. And over the last 25 years, that's how Cobalt went from being like a startup to being the biggest indie. Like we represent songwriters from Max Martin to Paul McCartney, to Childish Gambino, to Stevie Nicks, to Carol G. You know, we built up I think trust in that way. - So much. - Yeah, it's just a little bit. - But you know, I think what we do is fundamental to what publishing is, which is at the core, it's helping songwriters get paid when their music is played. It's more complicated than it should be. Our job is to make it simple and to cut out as many middle and as possible and to just let songwriters earn the money that is theirs. - All right, but we're gonna take a little break because if you're listening and thinking, fuck, I could really use some guidance right now. And you're serious about building your career in the music industry. I'm now offering private strategy sessions. These are fully personalized, just you and me tackling whatever you need in your career with over 16 years of experience, working with artists, managers and brands. I can help you map out your next moves. Now, whether that's structuring your team, scaling your brand, navigating the industry, even figuring out what steps to take, whether to go to a distributor or to a record label to figuring out what are the best deal points. I can help you with your career with where you're at. You can now book a one on one with me through my canonly and you can find the link in the description. Now, let's get back to the pod. - So now talk to me about cosine. Okay, so cosine is a new service, new-ish service that we launched about 12 months ago. And the goal of cosine is to take everything that we built in terms of cobalt, in terms of the infrastructure of registering songs and collecting royalties as quickly as directly as efficiently as we can. And cosine just puts it in the most flexible format possible for a new generation of artists and songwriters and producers who have real money to collect on the publishing side. They're really earning songwriting royalties, but they want something that's really flexible in terms of a deal. - Okay. - 'Cause what we saw is that there's this landscape where you have big companies with lots of resources, but they still generally have a pretty old school model of operating in the business, right? Where maybe you're getting locked into a co-pub deal or even a traditional admin deal where you're not giving up copyright ownership and might have a longer term length. And there are a lot of artists more and more that we see, and not just artists, but producers and songwriters, who either one don't want a traditional deal ever. They don't need the traditional infrastructure. They are committed to being independent or maybe they might want a traditional deal at some point in the future, but they're just not ready very yet. And the last thing that I think artists should have to do and I've seen this is sort of almost get hustled into the wrong situation just because they feel like I need to cover this base and this is what's available and now you've signed up to something that maybe won't serve you in a long term. So for cosine, we just said, look, we'll create something that's super flexible, it's rolling quarterly deal, but you can tap into cobalt's global infrastructure for collecting your songwriting royalties. And that's really what cosine is. It's a door to the biggest independent publisher in the world, but in a really, really flexible format. And it's also a selective service in the sense that, you know, we wanna make sure that the artists and songwriters who are coming to cosine are have enough money to collect that we can throw a lot of resources at making sure we're maximizing that income. So we're not being this selective 'cause we wanna say no to people, but we wanna just deliver a very high quality of admin service in a flexible format that people who are ready to take that kind of step of us. - What does that look like when you say to be ready? Is there a floor in terms of like how much the revenue is? - You know, generally I would say I'll put it this way. I think that if you have $25 in publishing royalties to collect, there are lots of bigger services that you can go to that, you pay a hundred bucks and you can sign up and they let anyone in and they have hundreds of thousands of songwriters. I would say that works if you have $25 to collect. If you have $25,000 or $25,000 to collect, that's where it's probably worth stepping up your infrastructure and whether that's cosine or another bigger publisher, that's sort of more than the zone that we'd be playing. - And it's important to note that because a lot of independent artists, because I feel like this is predominantly for the indie artist, the DIY artist, a lot of them believe that they're actually getting it from their aggregator, which is where their distributor like their, you know, their district, their Zoom Corps. - This is a, sorry. - Go for it, no, no, no, explain the difference here. - Here's the crazy thing about publishing is that you don't get paid your publishing royalties by default. - It's fucking nuts. - It's crazy, right? 'Cause your master royalties, you can't get music on the Spotify without going through a distributor, right? Without going to a district, a tune corps, even a more indie distributor label services or label. You can't get your music on Spotify without that, and that distributor needs to pay you your master royalties. But here's the thing, you could get to 100,000, a million, 10 million month listeners on Spotify, and not collect a single dime of your publishing royalties, and nothing in the system would tell you that you're doing anything wrong, right? It's on you to understand, wait a second, there's a different type of income stream that I need to be monetizing as a music creator, and it's on me to raise my hand and actually put in these song registrations and collect those royalties not just in one place, but in literally 100 places around the world. And I think that's why the notion of like a publishing administrator is so important, because the truth is, if I'm a songwriter and an artist, and I say I wanna just 100% do this myself, I'm gonna collect all my publishing royalties myself, I would have to go, like the amount of money I would spend in like a count set of fees that purees are on the world would be like $10,000. And I still probably wouldn't cover everything, and I'd be spending, I'd be now spending a full-time job in trying to maximize my royalties. - Collectionizing royalties. - When you're really a songwriter and like, you gotta make music, right? So I think that's where, you know, what CoSign does, what cobalt has done for the last 20 years, is build an infrastructure to just say, we are gonna collect this money as directly as we can from DSPs, from streaming services, and we're gonna be a single place that you can go, send in your music to maximize your registrations around the world, so that you can collect the money, that's yours, by the way, this is your money as a songwriter. So what money is being collected? And what is typically being missed in the scenario? So what's being collected are global publishing royalties, which can be, you know, if you are a significant, if you're an artist who's starting to build a sitting catalog, we're talking thousands, tens of thousands, maybe hundreds of thousands a year, right? And I think what's most often missed, I think it depends. I think that there are some artists and songwriters who honestly don't know publishing exists, then they're missing all of it. I think that there's a second category who, and this is, by the way, there's no shame in being this category who say, okay, I will sign up to my PRO, I'll make sure I register there. It's a good starting point. You're still probably missing out on at least 50% or more if a lot of your streaming activity happens outside the US, right? So this is where, you know, any artist producer or songwriter who gets to a certain level, you notice that they tend to have publishers who are handling this for them. Yeah, it's not because they want to just have more deals that they're signing. It's because they want to maximize the value of the royalties that they're collecting, and that's where we sort of enter into the world. Right, consider your point. If you're signing up for a PRO, I'd say a ASCAP or a BMI, they're only collecting in the US, I'm not collecting anywhere else. Yeah, and I can actually give a little more detail on that. Yeah, please. So people ask, you know, why isn't just signing up to ASCAP or BMI enough? First, let me say ASCAP and BMI are important parts of the ecosystem and they're important partners for us. And so can in Canada. So can in Canada, PRS in the UK. Capital Cameron Kennedy. Oh, my God. Shannon out Canada. We got Canada representation in the US. Yeah, absolutely, all the time. Well, what you'll find with the PROs are a couple things. One is that they only collect one type of publishing royalty, which is performance royalties, generally, in the case of ASCAP and BMI. The other thing is that they only collect directly in one territory. So for ASCAP, that would be the US. They can sometimes cut side deals with other PROs, called reciprocal deals, where they will collect, you know, the UK performance from the UK society or the France performance from the France society. The issue there is that-- It's called Canada in ASCAP. It's at that point. Yeah, yeah, yeah. The issue there is a couple things. One is that every single PRO takes their own cut. You know, so we can create a kind of a daisy chain of different territories taking their cut, which also slows down for the money to get to you. Time is money, right? So you have more sort of third party middlemen. It slows it down. And often, you don't get the best transparency. If on your ASCAP statement, you'll see something that's like, you know, international. So there's nothing wrong with-- always sign up to ASCAP first. But if you want to really address, I think, the global picture of publisher royalties, this is where you would go to a place like co-sign, for example, who is registering it directly everywhere. And also, where possible, bypassing some of the traditional PROs to collect more directly from just streaming services, where we have infrastructure in place that allows us to do that. So again, that's why it's not that ASCAP, you know, PROs are bad. They're really good. But it's just in order to really maximize global collections, not just performance, but also mechanicals, not just in the US, but also internationally. That's where a global publishing administrator can, like, really help level up someone's business. Why do you think that misconception is so common? I think that the publishing system has become so complicated that in a lot of ways, people don't necessarily feel set up for success. So I don't think it's because there's any conspiracy around, oh, just registered the PROs and you're fine. I just think that there are a lot of bases to cover. And I think that's where the value of having a single place that you can go, submit your songs and your splits on the songs and just say, go out and register this everywhere. That's where that becomes such a valuable thing. tool for building up someone's business. So again, I think it's a misconception that comes out of the fact that the landscape is too complicated. It doesn't set people up for success to try to tackle it one by one by one. And I think the value, you know, in my career of really representing songwriters, working at Cobalt, you know, we launch the coastline is to take this really complicated system and make people feel more empowered to take charge of their publishing, but also to simplify their setup so that they can just collect it directly as possible and send their songs to one place and then know that they're good. So as literally coastline is, I go online, I log in, I put in the application and then at some point I hear back whether I get accepted into coastline and then off to the races. Exactly. I mean, what if you're accepted to coastline, getting set up can take 10 minutes, right? It's like you get set up, you look at the coastline sort of publishing agreement, which is a rolling quarterly agreement. It's non-exclusive. You can get set up on coastline and deliver one song and then decide, you know what? I don't want to deliver the rest of my album. That's totally fine. Obviously, you can leave on a rolling quarterly basis. It's just sort of set up to be a tool for people to deliver their songs and have the global Cobalt's admin team do the work of registering around the world as directly as possible from streaming services to cut out those third party mental men and pay them quarterly. So exactly. It's a single place to go to have your songs registered everywhere, including by the way ASCAP and BMI and your, you know, if you are in Canada, so can, you know, we register at your home PRO as well. In addition to everywhere else around the world, just to maximize your publishing revenue as a musician, you know, getting paid everything or road is fundamental to being able to survive, to continue to make your art, to continue to invest into building your audience. And time is of the essence for artists. We respect people's time. And it's like, we want to make this really, really, really simple so that you can focus on the important stuff, which is writing songs, which is investing in your art, which is growing your audience. What is coast signs admin splits? So our admin split is flat 80/20, obviously 80 in the favor of the artist or the songwriter, 20% flat admin fee for co-sign. That is always at source, right? And that is the same in every territory. We don't make it higher if it's somewhere far away. We don't make it higher if it's a certain type of like performance royalty. We're going to double it. We don't do any of that. It's just the idea is to make it as simple and flexible as possible. So 20% admin fee for as long as you want to work with coast sign and no other monthly fees or anything like that. No, absolutely not. Yeah. We do not have a set of fee. We don't have a monthly fee. I think that's something that probably does differentiate coast sign from some of the services that are open to everyone, which again, it's good that these services exist. I think it's important to have lots of options, especially for people just starting out. But for us, we don't feel like we should be paid a dime until we collect you money, right? We don't want to like charge you in order to pay you money. So if you are accepted to co-sign, it's free to join. It's also free to apply. And once we start bringing in your publishing royalties, our admin fees is the straight 80/20 split. And as you mentioned, you're on a quarterly basis. It's not an agreement. But as you mentioned, if you wanted to, and I say, I don't really like coast sign, I want to go somewhere else, or somebody's all of a sudden just giving me these incredible offers to do a co-pub deal or admin deal with an advance with one of the majors or whatever it may be, I can take down my entire catalog and take it somewhere else, or can I not 100% that in many ways is the point. We all do that. It's kind of funny because when we launched, so we launched co-sign like 12 months ago. And I remember having conversations with some high ups in the building of co-pub, who are like, you know, our people are going to take advantage of what we're building. And I think I believe a couple of things. First off, you should have options as an artist. You know, if you get started on co-sign and start building up your catalog, and then it's time to, you know, maybe move on to a more traditional publishing setup, power to you. We want to be part of that journey. I want to give you the keys to be able to navigate your career in that way. I also believe that if you do, you probably know this also like working in the industry, working in management. Sometimes you don't have, sometimes the best way to build a long-term relationship, but someone isn't to lock them in, but they just do a good job, right? Yeah, absolutely. We'll get you set up. Hopefully you'll find value. And we'll stay. We've actually found that there's been very low, like, attrition rate so far, you know, we're a year in. But yeah, I mean, I think the problem that we're trying to solve is that there haven't been really flexible solutions out there that were also very high quality. And that's like core to what we're doing. Like the minute we have a really long term or something like that, then we're no longer providing that almost like USB and value to industry. So that's just that, you know, it's like, if you build it, they'll come. This was our bet that we took, which is like, I bet that there are more and more artisans on writers who know that they need to be collecting their publishing, know that they want a lot of premium support in doing so, but also want a lot of flexibility. That's why we took this risk. And, you know, we're very invested in it. It's going very quickly. So yeah, I mean, it's not trying to go into, you know, like, you know, a hard pitch on this, but it really is. I'm honestly trying to plug holes, like, poke holes in this. Yeah, I mean, you know, it's having a hard time finding. I think that we're trying to look at the industry and solve like just genuine problems that exist. And for us, a genuine problem was like, there aren't enough good flexible options. I think, you know, if you can solve problems for people, yeah, then I think you can build a very rigid business. And I think one thing that you guys have really identified that I do appreciate is that, you know, not everybody's collecting just seven figure revenue on the publishing every single year, but there's a lot of folks out there who are collecting five to 10 K out there on an annual basis that is not going to collect it in a room and no, it's just out there, right? And that's life changing money. And I know sometimes people laugh at that, but, you know, depending on who you are, the difference between if you're an artist and you're sleeping on couches and you can collect another 25 K year that you didn't know we're out there because of publishing. That can be the difference between you having to work three jobs. And you now being able to focus on music more full time. You know, we have people, you know, young producers and artists on cosine who have shares, not even necessarily big shares, but maybe small shares on Billboard top 10 songs on cosine on cosine, right? And crazy. It's crazy. And, you know, for them, it's like before that moment happened to them, they were grinding, they were struggling, and then they realized like maybe if I turn on this income stream and see what's out there, this can make a difference, you know, even five or 10% on a Billboard top 10 could be six figures per year for multiple years, just collecting that publishing money. And the difference between collecting it and not is the difference between being able to make full, like music full time. And now you're still working those five jobs. And like, it's not just about money, like that's about culture. Like if you can, if we can make, you know, if we can take 2,000 more people in a year and allow them to make music full time, what are you unlocking in terms of what they're going to create, how they're going to impact culture and how they're going to inspire the next generation of kids behind them who are going to do it. So it's like, it's real, like this is serious to us, right? Like it's not just like, oh, you know, make some money, any 20 deal. It's like, no, like we want to move someone from struggling and not finding a way to make this work to realizing they can unlock income that will allow them to be full time artists. Speaking of publishing royalties, what are the main types of publishing royalties that are out there? Absolutely. I would say there's generally three big buckets. We talked about two. Yeah. So we talked about performance. Yeah. We talked about mechanicals. Historically, they come from different places. Today, honestly, mainland, they just come from streaming. That's Spotify or Apple Music or YouTube. Performance as well. Exactly. Performance and mechanical. So it's important to collect both if you're a streaming artist, which I think most people are. The other big piece is Sync royalty, which is a little bit of a different kind of animal. It's like if I have my song licensed on TV for an ad or TV show or a movie or something like that, then that would be a Sync license. There's a master side of that and there's a publishing side of that and publishers help collect that as well. Then they're the smaller, weirder kind of publishing royalties like print. If you go out and you buy sheet music, that's a print royalty. Those exist as well. All of those fall under the umbrella. Forget about those old time publishing. That's the OG publishing royalties. Literally publishing was like books. It was like 1800s. Go out and buy sheet music. That's a music publisher. Obviously today it's a much smaller piece of the pie. But yeah, those are the most important types of royalties. I think the tricky thing is that they're handled in different ways in different countries by different organizations and societies. A global publishing administrator is who helps bring it all together and make sure that you're collecting. All of it. The Aleminati has spent decades keeping lemon on top and lime in the shadows. Their lemon agenda has infiltrated everything, even our music, that hits on named after the color of lemons. Not a coincidence. Big lemon has been pulling strings in the industry for years. Think about it. But now seven up is fighting back with their new lime lemon soda. Now lime comes first. Seven up. Flip the set. Which publishing royalties do most artists overlook? I would say most probably mechanical royalties because I think that the PROs that are a little bit more well known, you know, ASCAP, BMI, in the UK, it's PRS, France, it's Sossum, and Canada, so can. They almost become like institutions of the country that everyone kind of learns about. But I think the mechanicals are a little bit less well understood. So I would say mechanical royalties Please number one and number two. really international world, these like music and streaming is becoming more and more global, and often a smaller percentage as an American artist, often a smaller percentage of your overall streaming picture is coming from the US. So I think a lot of people don't think about, you know, how am I going to maximize the value of collecting not just where I live, but also internationally, and I would say that that's a big piece of the puzzle that people often overlook as well. Yeah, got you. Songwriters as well, kind of the same thing, mechanicals? Yeah, I mean, I think I'd say that this is across artists, producers, songwriters, anyone who really is owed publishing royalties, and I would say sometimes, sometimes producers in a way can have the hardest at like like time with it because I think sometimes producers get in the mindset of, "Well, I'm selling beats, you know, I'll get in advance," and that's kind of where it ends. Maybe I'll try to get points on the master, but they might not realize like, well, first off, I should be negotiating for publishing. If you're a producer and you're contributing musical material to a song, like that's part of the composition of that song, and you want to be advocating for yourself to get publishing, and I think sometimes producers maybe don't think of like, "Am I registering these songs? Am I making sure I'm collecting these shares?" Because, you know, it's producer, you're not necessarily getting a big check from the label, you're not necessarily getting a check from District Kid. You know, you might get your advance for the session or for the beat, and then really your publishing catalog is where you want to be building your residual business, and you know, it really is about building a business. I think that the beauty of publishing is that it compounds, right? You release five songs one year, the next song, it's, the next year, it's 10 songs, the next year's 15. Each year, people are still listening to that music, but you're adding to it, and these royalties can really, really compound, and that's where we can talk about the power of ownership and the power of administration is like, not only is your songwriting catalog, your body of work, and not only is it a revenue stream, it can become over years and years an important asset, where like, that's where people start thinking, really big about ownership, and what's the legacy of this catalog? Is this something that I want to keep forever? Is this something where down the line when it's time to retire? I want to sell or I want to give it to my kids and my grandkids? You know, I think that the earlier producers can start thinking that way, about their businesses, the more options they're going to have as they build their careers. Important word that you said there, and I love for you to just break that down. What does compounding mean? Compounding means that the value grows more and more as time goes on. Not just, oh yeah, and other five songs, you know, $1,000 B, another $5,000. No, it's that the more you add to your catalog, if you're properly registering that catalog and you're collecting your songwriting royalties, and then you're adding to it, your income is growing not just like this, but almost like exponentially over time, and the key is time, right? Because publishing royalties don't last in the system forever, right? So when a song comes out, if you have publishing on that song, you want to find a way to register it, you want to add it to your catalog, and you want to make sure that you have your business trade, that you have your data straight, that you can see how much you're earning per year, and how much you're earning every three years and our five years, and how that's increasing, because as you get deeper and deeper into the game, especially as a producer, but also as an artist and a songwriter, that catalog becomes something that can, that you can leverage in a lot of different ways, whether that's again, by selling parts of it, or whether that's by keeping ownership of it, and having it be a really powerful income stream, or something that you can give on as a legacy. So when I say compounding, I mean ownership, registering quickly, and allowing the benefits of your growing music catalog to become a more and more valuable asset over time. So you would say then, there is meaningful money as a songwriter or a producer, even if you're not a famous artist when it comes to. Absolutely. Often, some of the people who have the most valuable publishing catalogs are not the biggest celebrities in the world. At Cobalt, we represent a producer who I think is pretty famous, because he's been so successful. It was in Max Martin, right? If you were to say, who's the most famous musician in the world, and you ask 10 people, they probably wouldn't say him, but he is one of those songs, but you know his song and someone like that can build an incredibly valuable catalog. And again, as a producer and a songwriter, you might get paid for a session, but that's, you know, it comes it goes. The way that you build residual streams of income over time, he is by finding a publishing administrator, registering those songs, and building your publishing catalog. So I would say for artists as well, but especially for songwriters and producers, if you're trying to really build a sustainable living off of music, learning about publishing, learning about how to collect those royalties is absolutely like fundamental to just being able to have longevity in this business. Let's say I got a hit record, billboard top 10. Congratulations. Thank you. You're welcome. What type of money could I expect on the publishing side? Yes. Obviously not every top 10 is the same, but I would say, you know, billboard top 10 songs in total at 100% share. On the publishing side over three, four years are often hitting seven figures, right? Low mid high. I think it depends on the song, but I'll put it this way. We have writers on coastline who are producers or who are songwriters who might have not 100% but maybe 50 or even 25 or even 15 or even 10% of top 10 billboard songs. And even just registering a share like that quickly, you know, not waiting too long since when the song comes out, you will generally see that you're generating maybe low six figures, maybe mid or even high six figures over the course of one, two or three years. So it's unlocking a salary. It's unlocking not only a salary, but a pretty good salary. So that's where it's like you don't have to be, you know, the Grammy-winning artist whose face is on the album artwork to make real money. Even if you were just part of the puzzle of a really successful song that doesn't have to be a billboard top 10, it could just be something that, you know, really had a moment on Spotify, maybe it had 10, 50, 100 million streams, that is real income that can be the difference between you struggling and grinding and all the sudden like, oh, this is actually a pretty comfortable job. The key is you need to one understand there's publishing in this. And two, figure out how am I going to make sure I'm unlocking those earnings from the system where they're like locked up until I go out and get it. And that's where something like a publishing administrator that's obviously what we do a cosine helps songwriters unlock money that should be theirs that they just need to get from their success. So what you said, the sooner you do it, the better. Why is that? So this is I think a really challenging thing about publishing royalties, which is they don't stay in the system forever, right? At a certain point, if you wait two, three years, you know, the PR Rose streaming services, it's called unallocated royalties, right? They don't want to just hold and be sitting on that money forever. So at a certain point, they just liquidated, quote unquote, and they might pay it out into things called the black box where they'll pay it to the majors because they don't want to be sitting on the money anymore. So what's important to know, if you're a songwriter, if you're an artist, you're a producer, and you release a song or a song was released that you have publishing on, you know, you can make maybe wait, you know, few months, but you really want to be on top of sending in that registration ASAP so that you can make sure that you're collecting the full lifecycle of royalties that are associated with that song. So it's crazy. It feels like almost like you shouldn't be able to release a song on Spotify without you seeing like a public service announcement, like, yeah, there's publishing, collect this, like, that's sort of what I'm trying to do right now. Yeah, right. This would be like, hey, there is publishing money, collect your money. It literally belongs to you, right? But that's when I say you don't want to wait too long because I've seen lots of artists, lots of producers. Some of them, it's because they don't know about publishing royalties. Other times, it's because they say, you know, I'm just waiting on my big deal. Like I'm going to get a giant check, a co-pub deal. We can talk about what that means. You know, I'm just going to wait on it. So I'm not going to register the song because I'm just waiting to get my big publishing advances. And then what happens is like a year goes by, maybe two years go by, maybe three or four years go by, and like maybe that deal just for whatever reason doesn't materialize the way they think it will. And then all of a sudden, you're looking backwards and you're saying, oh, there was $100,000 of royalties. There was $500,000 of royalties. Maybe it was just $25,000 of royalties, whatever it is that I could have collected and I just didn't because I was waiting on the sideline. So that's what I mean, which is I say, it publishing royalties are your money. The best way to collect it is to be quick. And when the song comes out, just say, hey, I'm going to go to my publishing administrator, whether that's cosine, whether that's a different company. And I'm going to make sure, hey, the song came out. I, you know, these are the splits on the song. Here's what I control. Go out, register globally so you can turn on that tap of royalty for yourself. Let's talk about the black box. So the black box is a really challenging part of publishing landscape. And what it means is if you as a songwriter and artist, a producer or someone who should be collecting your publishing royalties, if you don't go out and register that song to make sure you're collecting that songwriting income, and a certain amount of time goes by the PR Rose. How much time? It's not the same in every territory and every PR in every platform. I thought it was two years. It's generally two years. And that's what I would say, you know, don't weigh more than two years. I think that's a good rule of thumb. But there is a little bit more complexity around it, which we don't need to get into. It's probably not that important. Here's what I'll say. You don't want to wait one year, right? Because if you wait past that certain amount of time, What the PROs or the streaming services will do is they'll just say hey, you know what we don't want to sit on this money No one's claimed it so we're gonna put it into the black box Which means that in general it will just get paid out to the major rights holders who can then do with it Whatever they want and we say the major right holder your target I'm not gonna show any Warner and Universal music group and it'll go to the artists that are on those labels It will go to whatever those companies want to do with it and they have different ways of distributing it But the important thing is that it won't go to you as the songwriter when it's your royalty And this is I think Why it's so important for artists and producers and songwriters and also their managers and also their representatives and also the people who are in their life Trying to make sure that they are getting their business straight to understand If you have writing credit on a song and that song comes out it is a ticking clock Right you need to make sure that you are raising your hand and that you are submitting that song to every global registration Society so that you can collect the songwriting royalties and so that they don't fall into that pool of black box where they're just going to the majors And it's kind of messed up that the system works that way like it sort of almost feels like if you could write a conspiracy theory about like the music industry It's like oh if people don't know that they should be getting their money, then we just pay it to The major music companies like that sort of crazy. Yeah, but it's how the system is set up and I think that's why We're so focused on education for people to understand hey publisher royalties exist if you are a songwriter This is literally your money. It's not anyone's as money. It's not the majors money. It's not spotifies money It's your money and also to build tools to just make it easier for people to unlock that money So that it's not going to fall into the black box, but it'll fall into your bank account The Aleminati has spent decades keeping lemon on top and lime in the shadows Their lemon agenda has infiltrated everything even our music that hits on named after the color of lemons Not a coincidence big lemon has been pulling strings in the industry for years Think about it But now seven up is fighting back with their new lime lemon soda now lime comes first Seven up flip the set How much money would you say is in that black box? There are different estimates when we look at it. I'll put it this way. We think that there is At least one billion dollars. That's billion with a B of Uncollected publisher royalties that aren't reaching the proper songwriter or producer or artist annually or over the amount of time I go what do you mean a billion? We think that any given amount of time right now There's a billion dollars of unallocated royalties that are not being collected Right, and that is I think for us a massive problem because who should be getting that money every day artists songwriter producers This isn't like a billion dollars. That's not making its way to like you know a giant bank or to some rich Corporation this is a billion dollars. It's not making it its way to working musicians, right who are Sacrificing every day grinding every day to refine their craft to write better songs to collaborate with other artists to build their audiences And there's a billion dollars that belongs to them that isn't getting to them And I think our mission and my personal mission in this business is to get people to understand that money exists It belongs to you if you're a songwriter and you need to learn how to take advantage of the tools available to you to Just claim it and collect it and it's not really trying to make it more complicated than it needs to be like we can get into Here's the difference between performance and mechanical and sink and here's the his historical places they come from all That's really interesting to understand but I would say to an artist or a songwriter to keep it really simple It's just this if you write songs there is songwriting royalties that are owed to you You don't get paid them automatically by default. So it's time for you to understand that there are tools out there for you to make Sure that you're unlocking those royalties for yourself so that you can keep it moving and keep building your career and at the end of the day I don't want artists to have to spend their entire lives thinking about this But they need to understand that it's out there so that they can collect what theirs and if we can shrink that billion to a much much smaller number like then we've done our jobs Fair enough and I think you know what's important about this is just like you know, there's there's motos There's consequences, but really at the end of the day what are the consequences, right? And so like your motive obviously your business you're trying to generate revenue as well Like I mean, that's just the reality of it, but there is a win-win situation here when it comes down to because the consequence of it is like cool We're going to generate our 20% and revenue and soon co-sign doing this, but at the same time you are now able to collect your Revenue as well you're 80% As a songwriter, right? I think that's why we set up our business to one be aligned the songwriters and you ask like Why don't you have the fee to join it's like because we don't want to charge you to help you make your money like we shouldn't get paid until we're helping you get paid Mm-hmm. And I also think that that's why we structured it to be very flexible because I think where the music business sometimes goes off the rails is when The companies sort of take advantage of the fact that maybe the artists who are signing to them don't fully understand The business, right? And so they'll say hey, you know what I'm going to help you collect your publisher royalties or I'll help promote you on Spotify or Whatever type of service you can imagine and then they sign up to something that actually locks them in for much longer So yeah, I think for us good business means providing a service that's useful, which is helping you maximize your global publisher royalties Doing away that's fair So like we get paid only when you get paid the better you do the better we do and also giving artists flexibility to understand that like artists journeys evolve over time And the right setup for an artist in year two might be different from year four or year eight or year 15 And you know, I think the more tools we can build that don't take away options, but add to options is Just helping to move the industry forward and ultimately that's how I think you gain trust with artists over time is like not by Taking away their ability to evolve, but just giving them a tool that's valuable and giving and and And encouraging them to evolve over time. Yeah, I want to talk about a couple of other revenue collections whether they're publishing rights or not Sound exchange Neighboring rights. Let's talk about sound exchange first To explain what that is sound exchange publishing rights there sound exchange is different from publishing rights It's actually a part of a master right and what it focuses on is Master rights that are associated with public performance and broadcasts in the United States So traditionally in the United States there aren't master rights or royalties that are paid from radio That's actually a little controversial and it sort of goes back to A lot of lobbying that was done like a hundred years ago around the nature of radio royalties But in digital radio there is a master royalty they can be paid and sound exchange is the organization that helps sort of cover that Neighboring rights are a very similar type of master royalty again. It's not publishing. It's well It's tied to the recording and what it is it's not in the United States, but internationally When there is radio play and public performance Not you know the publishers obviously get paid their performance royalties often through the PR Rose and through publishers But outside the United States in many territories There's also a recording royalty associated with the public performance. That's called Neighboring rights That doesn't get collected a lot of times too a lot of time. It doesn't get collected especially You know artists in the United States who honestly don't really know that much when neighbor rights Because it's like almost like the little like weird-step child and like the music business in US But if you're an American artist and your songs are getting radio play in Europe Or in Asia or you know around the world Neighbor rights could be an important piece of the puzzle And it would be helpful to find someone who can administer those rights for you as well Do those go into a black box as well? If they don't get collected. It's a good question I wouldn't I did truth is not only answer. I wouldn't be surprised I think in general most of these organizations aren't trying to hold on to royalties that haven't been claimed forever So there probably is some kind of um liquidation process. I guess is the word you would use yeah But the specific is of it. I don't know as much so you still Collecting all these rights and revenues and all this stuff. I mean like would you say that The system for publishing is broken or is it just outdated? I think that the system for publishing is Way more complicated than it should be In 2026 and I think it's interesting like It's complicated for reasons that have to do with like legit things that happened in history The invention or radio Oh, man like how am I gonna collect if I'm a songwriter? How am I gonna get paid for that? Well, okay Performance royalties the invention of the player piano back in the 1800s or the invention of a vinyl right? Okay, now record labels are selling these things called records But I'm a songwriter. I'm not the artist. How am I gonna get paid? Okay mechanical royalty, right? So there are all these things that make sense I think at the time and it's always the question of if I'm a songwriter How am I gonna get paid and we've been answering that question in different ways over history and that's created these different types of royalties But again if we zoom out to today most people are really just You know listening music by going to YouTube or by going to TikTok or we're going to Spotify or what have you And it feels like it should be much more unified than it is I think that the challenge for 21st century publisher like cobalt or cosine is to take that complexity and to eliminate as much of it As possible had to say okay rather than relying on a giant network of sub publishers to do the work for us in different territories or rather than relying on You know every single PRR around the world to collect everything for us like maybe we can find a way since you know We're the biggest independent publisher of striking more direct deals with the DSP's with the with the Spotify's and the YouTube's and the Apple music of the world Maybe we can find a way of creating collection societies that rather than being one, you know, each country of the different one, maybe we can create a global collector's society, which is something cobalt did. It's called AMRA, where they just said, OK, streaming AMRA, AMRA, AMRA. - OK. - And we're getting into like the weeds, and I love it. - Yeah. - But it's like, that's part of cobalt's history was saying, OK, we'll strike direct deals with DSPs wherever we can. And we'll also create a global PRRO called AMRA that will do its own direct deals with the streaming services, so that rather than having a really, really fractured, complicated publishing landscape, we can try to simplify which does two things. One, it cuts out third party middlemen in the collections chain who are all taking their whatever percent. And the more middlemen you have, not only do they take a percent, they also just slow shit down. It's like, it just takes longer to get to you. There's more chance for someone to make a mistake. There's more chance for a delay or an error that can then cost you money or cost you time. So I would say that the system is fractured and that it's out of date and that it's the job of modern music companies to make it less fractured, more direct, more unified. And to just give that data and that information to artists and songwriters and their managers and their lawyers and to say, look, it is a complicated world out there. To be fair, there are billions of transactions every day that are publishing transactions in a form of streams, across platforms, across countries, across thousands of different digital services. Like, that is complicated to give the industry some credit. Like, that is complex. But it's our job to make it less complicated and to present it in a format for artists so that they can just leverage the technology that we have to collect that money. So I think it is an outdated system and I think that, you know, for us, it's not putting our hands up and saying, man, I don't know what we're going to do about it. I guess we'll just sort of charge an even higher royalty rate. No, it's building technologies, building tools, it's building systems to just do a better job. And like, that's what we stake our business on because as I said, with cosine, like, it's a rolling quarterly term every three months. If we stop doing a good job in three months, our entire business would be gone. It's like, it could literally go from where it is now to zero if we aren't trying to solve these problems. So I think, you know, it's outdated, but it's also a challenge to the industry to do better and to just provide value in a landscape that is a little bit more complicated and complex. So we now know that there is publishing on Spotify, YouTube, Apple, your DSP, is there, is there publishing to be collected on Instagram, TikToks of the world. And there is. Okay. Cobalt has direct deals in place with NETA. That's like, you know, obviously Facebook, Instagram. This is part of the global PRO with TikTok. No, these are direct deals that we have in place. Those bypassed the PROs entirely. We have direct, we're the first publisher to have direct reporting with TikTok. Right. So even on those platforms, which we don't maybe think of as quote unquote music streaming platforms. There's music on them and there's revenue on them. There's ad revenue. There are different kind of commercialized places where people are listening to music. And that means that songwriters should be getting paid. So it's our job as a publisher to strike deals with those platforms to make sure that our catalog, our repertoire, our songs of our clients who we represent are getting paid when those songs are played, even on more of a social platform. There's a blanket license. Like blanket license with them. There are different types of licenses with different of the DSPs. So some of them are more blankets. Some of them are something that might be closer to what you would see at a Spotify. But the important thing for us is that if there's a new platform out there that's like has music on it and starting to really make revenue that we're making sure our catalog is protected. And that's part of the advantage of also having a publisher, right. When we say, okay, Cobalt, we're the biggest indie publisher. It's not just to like beat our chest and say, like, isn't that cool? It's because we have market share and you can turn that market share into striking better deals with these platforms in order to make sure that we are collecting the most money that we can on behalf of our clients. It's just significant money. So like say, I don't like 50% of the publishing of a song and it's going crazy on TikTok. Can that be significant money that I'm collecting from that? There could be real money you're getting from TikTok. And there are not obviously that that if it's a big song, a TikTok, it probably also translate to the more premium page. But of course I show me like, here's my revenue from TikTok or Cobalt, like if I'm going after that. If you go under the coastline portal, you can see your revenue cut up in a lot of different ways. It can be by territory, it can be by payment source, it can be by streaming platform. Absolutely. So speaking of that in terms of the different types of deals and publishing, right? We're talking about co-pub and we haven't even explained what a co-pub deal is. Absolutely. And I love for you to explain it. And I love for you to tell me if you think it's a good idea or a bad idea to have a co-pub. It's a great question. So first off, what is a co-pub deal? A co-pub deal is almost like the OG publishing deal. And really what it means is it's any publishing deal where as a songwriter, which that can be an artist or producer or a songwriter, I signed to a publisher and they collect my royalties, but they also take a piece of ownership of all the songs I give them. Traditionally in a co-pub, they take half of the publisher's ownership of it. Right. So which not to be confused with the songwriter owner. Right. So there's two sides to it. Often in publishing, there's the publisher's half and the songwriter's half. In a co-pub deal, they basically take ownership of half of the publisher's half. So it's like often 25% of the total copyright. Yeah. There are also full publishing deals where they take ownership of the entire publisher's share. Right. And that's why you're giving away basically 50% of your song. It was just fucking wild if you ever signed one of those. I'm sorry. I'm saying it. Right. So you don't have to say about that. So the question is, why do these deals exist? I think that traditionally they exist honestly because publishers are just trying to get as much ownership as they can. But in theory, is it a good idea? I'll give you just my personal opinion. I think that often if you're really early in your career, when you sign a co-pub deal, what you're doing is you're selling low generally. It's like we always see in finance, you want to buy low and you want to sell high. Generally in a co-pub deal, you're just selling part of your catalog just to get in the door. And I think artists really need to think carefully about it. It could make sense. If you're signing to a publisher who maybe creatively are going to open doors or going to change your life, they're going to be really meaningful advance and they're going to help you get to that X level, then you could make the argument, OK, I'm selling part of my catalog, but they're really going to help me level up. I think the issue is that a lot of the time those things don't happen. Right. So what you've really done is you've just kind of sell, you sold part of your catalog really early in your career, but you haven't really unlocked those doors that you thought. And I think that's where it's important for anyone who owns pieces of songs, whether you're an artist or producer or a songwriter, to understand there's a different option from a co-pub deal. And what that option is called an admin deal, an administration deal. And that really is sort of what co-bolt built its business on over 20 years. And that's what co-sign only offers by default. And what an admin deal is is, OK, I'm going to sign up, but I'm not going to give ownership of my songs. I'm just going to say go out, collect my money, and I'll pay you a percentage for a certain amount of time of what you collect from me. But once that term is over, I can then take those songs and I can go somewhere else. And I haven't, I don't have to leave 25% of it behind forever. Right. So admin deals, I think, are best for artists who want to preserve their ownership of the asset that they're building. And who want to preserve their optionality to be able to take that catalog and do something different with it in the future. So co-pub deals, I'd say they're old school, I'd say it's selling part of your catalog probably sooner than most people would think. And it could maybe sometimes be there I move for you, but you really want to understand that you are going to get something that's going to help you level up from it. Not just that you're chasing what you might think is a big check, but in reality it's kind of just selling your catalog for pennies on the dollar. If you had kept that ownership and built that catalog over time. Are there any other types of deals that publishers do? So another key thing to understand is that there's a different option from a co-pub deal called an admin deal or the full term is administration deal. And that is the type of publishing deal where instead of giving away your ownership, you keep 100% of it. And in an admin deal, what happens is that you sign up to a publisher, they'll go out, they'll register your songs, they'll pay you, your publisher royalties, but only just for a flat, like a fee, an ad, it's called an admin rate or an admin fee. So maybe it'll last for a year or for three years, but the point is once that term is over, you still keep ownership of 100% of your songs. You can then sign that catalog to somewhere else, you can sell it down the line, you're preserving your ownership in your catalog and you're just paying your publisher the way you would pay like a service provider. The way you'd pay someone who's doing a service for you, but isn't necessarily taking ownership over all your creative work. So I think a lot of times when people think about only going to do a pub deal, they almost by default just think, well, I'm going to have to sell part of it or they'll take life of copyright, quote, unquote ownership over it. That isn't the only way to go. And the truth is cobalt built its entire business by doing admin deals and said, look, there's a different way. And that's how we became the biggest independent publisher saying, look, we're not trying to own your shit. We're just trying to provide a service. And for the service, and you know, if we don't do a good job, you can move on and still retain ownership of your catalog. Jacob, I really appreciate this man. Is there anything else that you think that we said that we didn't cover here? Because you really broke it down in a very soft way. Thank you for having me. It's really great to be here. I mean, I think that we had a great conversation. I think that if I leave the audience with anything here, just to understand few right songs. There is a spat. stream of money that belongs to you, that you don't get paid by default. You need to raise your hand. You need to make sure you're unlocking that income. And, you know, just don't leave that money on the table. It is hard enough to be an artist. It's hard not to be a producer. It's hard not to be a songwriter. I'm in this business because I came up making music and knowing that it's a grind. And you just, it's literally your money. And it's up to you to go out and get it. And like, for me, as a publisher, you know, I spent my career working at Cobalt, we co-launched CoSign. Our goal is just to help make that easier and to be a source of information for the whole community to just understand this, this income is this, it's yours. Just go out and get it. You know, your money. So I'm just happy to be here. And, uh, and listen, actually, you have me. No, of course, and listen, we all love Cobalt. We also love CoSign at the manager's playbook. Now, hey, just guess what? I didn't even notice these water bottles were here. Oh, shit. Look at CoSign. I want the crazy coincidence. Crazy coincidence that CoSign is on here now because they are really going to say, you know, officially sponsoring. You know, I appreciate it. So I appreciate that as well. But you know what? The truth of the matter is, and this is a reality. But like, even if you don't go with a Cobalt or you don't go with a CoSign, regardless if you go with one of the majors or whatever, it may be just collect the fucking money because the positive money is out there to collect. That is the most important thing to take away from this. Um, and I'm also like, yeah, we're genuinely fans of you. We're happy to be here. We're happy to be supporting. But yeah, like beyond Cobalt, coSign, Sony, any other platform that's out there, no matter where you are in career, like it's just helpful to learn enough about this to understand that you can cover this base because it can change your life. Like the difference between collecting this and not collecting this could be the difference between you making this a full time career, loving this up so you can support your family by house. Like it's really just important to educate yourself enough to be able to take advantage of the tools that are out there. So I appreciate you letting us talk about it today. I think the audience of the manager's playbook just leveled up, man. Thank you. Pick up some Coca-Cola at a store near you. We just moved into our new house and I didn't realize just how close we were to the neighbors. That's when my friend told me about Blinds.com. Blinds.com isn't a medication, but it can improve how you feel about your home. Customers who shop at Blinds.com experience excellent customer service from consultation to installation. Side effects include increased privacy and better sleep. Talk to your partner today and see if Blinds.com is right for you. Shoplack Friday all month long at Blinds.com. Don't miss huge deals dropping every week.