SHOCKED: “Ya’ll Are Still Broke” Songwriter Tiffany Red Accuses Beyonce Of Stealing Writers Publishing! 😱 

Tiffany Red, a Grammy-winning songwriter with 17 years of experience in the music industry, has taken to social media to address concerns about artists allegedly stealing publishing rights from songwriters. As the founder of the 100 Centers, a nonprofit advocating for songwriter compensation, Tiffany Red is vocal about her experiences and the challenges faced by songwriters in the industry.

In her online commentary, Tiffany Red clarifies that she doesn’t engage in baseless claims or defamation, emphasizing her organized approach and dedication to presenting backed-up information. She highlights her extensive experience in the music industry and her advocacy work for the fair compensation of songwriters.

Tiffany Red provides specific examples of her own experiences, revealing that many artists she has written for received publishing credits on songs where they didn’t actively contribute. She cites instances with artists like Zenda, Tamar Braxton, and Seven Streeter, detailing the percentage of publishing they received on songs she primarily wrote.

The songwriter underscores the importance of publishing as her main source of income and expresses frustration with artists receiving credits they did not earn. She mentions that her decision to call out Beyoncé stems from Beyoncé’s significant influence, labeling her the “Michael Jackson of Our Generation.” Tiffany Red believes that Beyoncé, with her power, money, and cultural impact, could potentially reshape the industry’s precedent and bring attention to the challenges faced by songwriters.

By sharing her personal experiences and addressing the issue on a public platform, Tiffany Red seeks to raise awareness about the struggles of songwriters and prompt a positive change in the industry, particularly regarding fair compensation and acknowledgment of their creative contributions.

In her passionate and detailed commentary, Tiffany Red, a Grammy-winning songwriter and advocate for songwriter compensation, addresses the issue of artists allegedly taking publishing rights from songwriters in the music industry. Tiffany Red asserts that her claims are not baseless, emphasizing her extensive experience, advocacy work, and organized approach to presenting information.

Tiffany Red recounts her efforts, including speaking directly to publishers, digital service providers (DSPs), and various music industry organizations, in an attempt to address the challenges faced by songwriters. Despite her advocacy, she states that songwriters are still facing financial struggles in the industry.

The songwriter refutes claims of her commentary being propaganda, asserting that there is a prevalent practice in the music industry where artists, regardless of their status, take publishing credits they did not earn. She emphasizes that this is a systemic issue and challenges the notion that negotiation with artists like Beyoncé is easy. Tiffany Red highlights the power dynamics, alleging that those who work with Beyoncé often remain silent due to contracts and fear of reprisals.

Tiffany Red criticizes the exploitation of writers in the industry, mentioning specific instances with artists like Zenda, Tamar Braxton, and Seven Streeter. She asserts that celebrating artists in the studio does not reflect the reality of exploited writers who face challenges in receiving fair compensation for their contributions.

The songwriter addresses the power dynamics in the industry, stating that there is an implied threat of exclusion and retaliation for those who try to negotiate fair deals without influential gatekeepers. She challenges the notion that being managed by gatekeepers should be a prerequisite for fair treatment.

Tiffany Red’s commentary also delves into the racial and cultural dynamics in the industry, expressing disappointment that exploitation exists even within the black community. She criticizes capitalism in the industry, stating that it is rooted in exploitation and slavery.

Towards the end of her commentary, Tiffany Red discusses her comments about Beyoncé not winning Album of the Year and connects it to the artist’s business practices. She believes that Beyoncé, as a prominent figure, has the power to reform business practices within her team and calls for a change in the exploitation of creatives.

In conclusion, Tiffany Red’s commentary provides a powerful and critical perspective on the challenges faced by songwriters in the music industry, particularly in relation to publishing rights, exploitation, and the need for systemic reform.