“Then I had “23” on my computer and as soon as she heard it she was like ‘I think I can pull it off.’” “Her album was pretty much done but I felt there was a whole catalogue for what me and this girl could do.” He ended up executive producing Bangerz. "She said she connected with it because it reminded her of some parties she’d been to,” said Williams. Originally pegged as a hit for Rihanna, Will was pitching the song as a mature version of Cyrus’ “Party in the USA.” After a fortuitous meeting with RCA executives in early 2013, Cyrus heard the track. Williams’ crossover appeal resonates in Miley Cyrus’ anthemic “We Can’t Stop,” which has sold over 2.9 million copies, according to Nielsen SoundScan. “It started off with me being all the way influenced by Atlanta and southern music but I knew my sound had to grow – I started learning melodies.” Though Williams grew up listening to hip-hop, as a teenager he began educating himself on country and pop. For his debut album, Williams will receive 4.5% of the royalties assigned to each song, on top of publishing royalties. Most producers make money in three ways: earning advances (upwards of $75,000 per song for producers like Will, even low six figures for Swizz Beatz) receiving 3-4% of royalties per track (about 5 cents a song) and half the $0.091 publishing royalties per copy, which are split between songwriter and producer (around $0.045 for each single sold).
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