And I got noticed. I built up that whole thing, and it culminated with me getting sued by Sony Music. Cheer music might sound like it's from another planet, but it's governed by the same copyright laws as the rest of the music industry. Cheer mixes touch on two sets of legal rights—performance rights and master use rights—which have to be licensed separately.
Performance rights apply to a song's notes and chords. Gyms and cheer competitions pay performing rights organizations, like ASCAP and BMI, which in turn pay songwriters, for the privilege of playing their notes and chords in public. Master use rights are a bit trickier. They concern what happens to a copy of a song recording, which is typically owned by a record label.
You can't edit a song and sell it in a cheer mix without the label's explicit permission, and fees can start in the thousands of dollars, in the unlikely event that permission is granted at all. That's where Bryan slipped up, and he wasn't the only one. At first, Bryan didn't think it was real. That's what we did: we remixed. I always thought I was promoting these artists. I had artists reaching out to me , wanting me to use their songs.
So he hired a bankruptcy attorney and settled. Sony is powerful, but in cheerleading, they're no Varsity Spirit.
Varsity sells uniforms, runs training camps, and hosts competitions, from the neighborhood level to the sport's marquee events: the National High School Cheerleading Championship, College National Championships, and, for private club teams, the World Cheerleading Championship. There's no better measure of cheerleading's growth in the 21st century than the company's valuation.
Varsity sets the rules for just about every cheer competition in America—either directly, through events hosted by their subsidiaries, or indirectly, through the sport's non-profit national governing body, USA Cheer. In , after the Sony suit, USA Cheer issued new music guidelines, which Varsity immediately adopted, circulated among coaches , and even explained in a helpful minute video.
What's more, USA Cheer created a list of " preferred music providers ," who are the only approved source of those covers and originals. These aren't record labels, but some independent cheer music companies with names like Muscle Mixes Music and MyFitJam, which sign agreements to properly license their work and grant teams the right to use it. Mark Bryan, whose cheer business is still going strong , is on that list too.
Nowadays, every team, at every cheerleading competition in America, must submit a paper copy of their music license or face disqualification. Varsity even has a formal policy whereby a team can challenge the validity of another team's license.
Jude's Children's Research Hospital. If they're right, the check gets torn up. If the challenge is in vain, the donation serves as a penalty. In Netflix's Cheer , there's always a melancholy sense of the future looming. As the championship approaches, the escalating pressure stems partly from the knowledge that it's all about to end: there's no professional cheerleading league for athletes to join after college, and soon graduates will face life without a highly structured team of literal cheerleaders to support them.
In the cheer music industry, that makes athletes-turned-musicians twice as compelling: Not only do they deeply understand complex choreography; they've found a way to stick close to the sport they love. Patrick Avard, the founder of New Level Music , is one such artist. He got into cheer 25 years ago, performing on one of Georgia State's first co-ed high school teams. With this experience, you can rest assured that our cheer music mixes will highlight your routine perfectly.
Well, lots of reasons, but most importantly because.. After many years in this industry it is refreshing to find someone so professional who is also great at music AND get this - on time! I almost don't want to share how great he is, because I truly feel like Mark is a gem in this industry. Don't forget us when you're booked up and busy Mark!
We love using Cheer Cutz and hope to for many years to come. Back then, people were just cutting and pasting pieces of songs together. We write and produce and arrange and compose virtually every piece of music in every mix. We have music releases and lyric videos and people follow the music of the teams that they love.
So, the main components are your stunting — sometimes people combine that into one stunt section, sometimes two stunt sections — and then there are basket tosses. Then, they have standing tumbling and running tumbling, which is exactly what the name says. You have your dance component, and then you have your pyramid, and then you have jumps. Those are the main components. Whenever I build a mix, I sort of identify all the different sections and I try to coordinate the music to line up and change with transitions of the choreography.
The main components of a cheer mix will be really powerful and energetic drums, sound effects that match the skills, custom vocals. Typically, for me, tumbling needs to be fast-paced and really amped up and energetic. The stunt sections are typically a little bit more open, a little bit more melodic. Then, pyramids. Sometimes people like to put a big emotional ballad in a pyramid. It makes it feel more dramatic and heartfelt. Then, the dance is just whatever the team feels like they can get down to.
With Navarro as our example, what are some of the themes you try to touch on when writing lyrics? So we always make sure that we write about their history. We talk about the titles in some clever and creative way. They always have a hip-hop dance, so we always make sure that their dance is a hip-hop style. Sometimes we might find ways to say clever or funny things about one of their biggest rivals that was brought out in the show.
Maybe a bird reference. How much say does Coach Monica have over what goes in the music? At what point do you get a video of the performance and you get to start soundtracking it?
What I do is coordinate with the team and we set a date [for me to get the video], then I typically put my production date the following week.
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