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Jizah: Music is no longer an expression and art, success and money come first
Slovenia🏛️ PoliticsCenter8/31/2026

Jizah: Music is no longer an expression and art, success and money come first

The article features an interview with Jizah, a figure connected to the music industry, discussing his career path from retail to music publishing. He recalls starting in the late 1980s and early 1990s, working in record stores and gaining insight into different music genres. He later moved into music publishing, working with artists like Melodrom and contributing to the launch of Kreslin’s album 'Cesta.' Jizah emphasizes the importance of catalog management and rights administration, especially for independent bands who often overlook these aspects. He highlights the evolving landscape of music distribution, including streaming platforms and artificial intelligence, and stresses the need for professionals to handle these complexities.

Jizah, a Slovenian music industry veteran, has voiced his concerns over the evolving role of music in contemporary society, stating that “music is no longer expression and art, primarily success and money.” His comments come amid growing debates within the music sector about the commercialization of artistic creation and the shifting dynamics of artist-zalozba (record label) relationships. In an interview with POP TV, Jizah reflected on his journey through the music industry, tracing his roots back to the late 1980s and early 1990s, when physical media such as vinyl records and cassettes were still dominant. He described how he began working in a music store, which served as both a place to listen to music and gain insight into what others were consuming. This experience eventually led him to open specialized music shops across Ljubljana before transitioning into management roles within the industry. Jizah’s career took a pivotal turn when he was invited by the record label Nika to work on communication strategies for artists. He emphasized that while many musicians from the hip-hop scene knew him from earlier collaborations, they were initially uncertain about his role. However, his deep understanding of music allowed him to take charge of promotional efforts, including organizing tours and managing the release of albums. One notable example was his involvement with the band Kreslin, whose album Cesta saw a well-planned launch. Jizah explained that his approach focused on bringing music directly to local audiences rather than relying solely on traditional media coverage. This strategy helped establish a closer connection between artists and their fans. Over time, Jizah's interests expanded beyond promotion to include the management of intellectual property rights and the integration of music into advertising. He noted that this shift began with his collaboration with Klemen Klemen, a fellow musician with whom he continues to work. Today, Jizah is heavily involved in cataloging and reissue projects, particularly with the company Vinili. He views these efforts as crucial for preserving musical heritage, especially for young independent artists who often lack the resources to maintain their legacy. He pointed out that just two decades ago, few could have predicted the rise of streaming platforms, artificial intelligence, and the current state of copyright management. When asked how artists should understand the value of a record label, Jizah stressed that the primary function of a label is to support the creative process. He argued that artists must focus on their craft, while labels handle the complexities of distribution, marketing, and adaptation to new technologies. Jizah runs his own micro-label called Beton, which operates more as a fan-driven initiative than a profit-oriented business. He admitted that while financial success isn’t guaranteed, the label serves as a form of patronage, offering guidance and connections without altering the artist’s vision. Jizah acknowledged that the decision for an artist to sign with a label can vary. Some artists seek out labels based on personal connections or shared artistic values, while others are discovered through industry networks. He emphasized that labels play a vital role in monitoring the music scene and identifying emerging talent. His perspective highlights the importance of maintaining a balance between artistic integrity and commercial viability, ensuring that music remains relevant in an ever-changing landscape. In recent years, Jizah has become increasingly focused on the long-term sustainability of music careers. He believes that the role of a label extends beyond immediate sales, it involves strategic planning, networking, and adapting to technological advancements. As the music industry continues to evolve, Jizah’s insights offer a glimpse into the challenges and opportunities facing artists and labels alike. His reflections underscore the enduring significance of music as both an art form and a business, even as its boundaries continue to blur.

How this report was made. Objective News wrote this report from 2 source articles, using AI-assisted synthesis under our methodology. It is our own text, not a copy of any single outlet. Read our methodology.

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2 reports

Slo-Tech logoSlo-TechIndependentCenterFactual 85Objective 708/31/2026
Sony and Warner Music are suing Anthropic

Sony Music Publishing and Warner Music have filed a lawsuit against Anthropic, alleging illegal use of copyrighted content in training their Claude AI models. The companies claim Anthropic obtained millions of copyrighted works, including lyrics and sheet music, from torrents and other pirate collections without proper licensing. They seek $150,000 in damages per violation, which could result in billions in penalties. This lawsuit joins others from Universal Music Group, ABKCO, BMG, and Round Hill Music, all accusing Anthropic of using unlicensed content to train Claude, allowing the AI to reproduce songs like 'Eye of the Tiger' and 'Ain't No Mountain High Enough'.

Bias read (Center): The article presents a balanced account of the legal dispute between copyright holders and Anthropic, focusing on the allegations and potential consequences without overtly favoring either side. It reports on multiple parties involved and does not take a clear ideological stance.

Why factuality (85): The article reports on a lawsuit filed by Sony and Warner Music against Anthropic over alleged unauthorized use of copyrighted content in training their AI models. It mentions specific companies involved (Universal Music Group, ABKCO, BMG, Round Hill Music) and details the claimed damages ($150,000

Why objectivity (70): The article presents the lawsuit from the perspective of the plaintiffs (Sony and Warner Music), using terms like 'nezakonito rabo' (unlawful use) and 'škodo' (damage), which carry negative connotations. While factual, the tone leans toward portraying Anthropic as the wrongdoer without presenting co

24ur (POP TV) logo24ur (POP TV)IndependentCenterFactual 75Objective 658/29/2026
Jizah: Music is no longer an expression and art, success and money come first

The article features an interview with Jizah, a figure connected to the music industry, discussing his career path from retail to music publishing. He recalls starting in the late 1980s and early 1990s, working in record stores and gaining insight into different music genres. He later moved into music publishing, working with artists like Melodrom and contributing to the launch of Kreslin’s album 'Cesta.' Jizah emphasizes the importance of catalog management and rights administration, especially for independent bands who often overlook these aspects. He highlights the evolving landscape of music distribution, including streaming platforms and artificial intelligence, and stresses the need for professionals to handle these complexities.

Bias read (Center): The article discusses personal career experiences within the music industry and does not engage with political issues, policies, or figures directly. It focuses on professional development and industry practices, which are not inherently politically charged.

Why factuality (75): The article provides a detailed personal account from Jizah regarding his entry into the music industry, including specific details about working in record stores during the 80s and 90s, cassette tapes, and his transition to working with a record label. These claims are internally consistent and ali

Why objectivity (65): The article presents Jizah’s perspective in a first-person narrative, which naturally introduces subjectivity. While it does not overtly favor any particular viewpoint, the tone leans toward self-promotion and reflection on past experiences, which may influence the perceived neutrality. The language

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