Daily Edit | Mar 11

Jawnino, Yamaha’s creator pass, the status economy, and TikTok survives in Canada

Author

Radio Edit Team
March 11, 2026

Jawnino
“Mattress”
True Panther 

Weekends, though, were reserved for church. Jawnino loved playing football but never experienced the rite of passage of playing Saturday or Sunday league with his pals. “My parents wouldn’t let me play for a club,” he says flatly. “We used to knock on people’s doors on Saturday mornings and go to church on Sundays. The whole weekend was locked off.” He had to content himself with kickabouts with his “church guys”, but you get the sense that didn’t quite cut it. Adhering to religious dogma meant that, technically, Jawnino couldn’t make music either. It’s an experience he alludes to on “Mattress” – a murky collaboration with New York City rapper and producer deer park – on which he juxtaposes the hedonistic luxury of being in “Armani button-up suits, doing CK”, with the stark image of “handing out the mics, washing off sins” in church. “I’m showing the actual bullshit I was going through when I was younger,” he explains. “I wasn’t allowed to make music. That song is my way of finally laying it all out.” -Crack

3 / 11 / 2026

Headlines

Instagram Post

Signings

A Simple Guide to PROs and Why Money Is Often Left on the Table — The first thing you need to know is that PROs are the organizations that administrators and publishers use to collect publishing performance royalties. Understanding what they do—and what they don't do—is crucial for collecting all your publishing income.

In the US, there are three main PROs: ASCAP, BMI, and SESAC. They collect ONE type of publishing royalty: performance royalties. When your song plays on radio, in restaurants, retail stores, or streaming services—anywhere it's publicly performed—your PRO collects that money.

It's important to understand that performance royalties are only one piece of your publishing income. PROs do NOT collect mechanical royalties. Some organizations abroad may handle both, and when they do, they're referred to as a CMO or "collective management organization." But in the US, these are separate systems.

Mechanical royalties get paid every time your song is reproduced (streamed, downloaded, pressed onto vinyl). In the US, The MLC collects mechanical royalties from streaming services. Your PRO has nothing to do with that. If you're only registered with your PRO, you're missing every mechanical royalty from every stream and download.

Your PRO only collects performance royalties in the US. If your song plays on radio in Germany, France, Japan, or anywhere else, your PRO doesn't collect that money directly. They have reciprocal agreements with foreign PROs, but these are slow, inefficient, and often incomplete:

• Foreign societies deduct fees and taxes before sending money to your US PRO
• Your US PRO deducts fees before paying you
• You lose 20-30% to administrative fees
• That's IF the foreign society reports correctly

This is why people use administrators: Administrators obtain direct affiliations with international territories and ensure accurate collections, reduced fees, and tax exemptions when applicable. An administrator also collects mechanical royalties on your behalf from various organizations internationally.

The bottom line: If you're only registered with a US PRO, you're missing:
• All mechanical royalties from streaming and downloads
• International performance royalties (or losing significant percentages to fees)
• Proper tax treatment on foreign collections
• Efficient collection from territories where your music is being used