The dominance of royalty-based investment in music has been disrupted by the rise of 360° deals. New models are emerging to sustain creators and producers: crowdfunding is adopted by major labels, ad agencies bet on music companies, cashflow fuels creativity...
Moderator:
Allen Bargfrede, Executive Director, Rethink Music, Associate Professor, Berklee College of Music (USA)
Speakers:
Benji Rogers, Founder and CEO, Pledge Music (USA)
Mike Tunnicliffe, Chief Growth Officer, GroupM/WPP (USA)
The last video in a 3-part series on how to file a federal trademark with the United States Patent and Trademark Office (USPTO). This video series will take you step-by-step through the filing process. The third video takes you through the screens of the USPTO online system.
This video covers topics that a producer of a reality TV show, documentary, or other television or film project need to understand, such as, talent/cast/crew agreements, participant releases, clearances, location agreements, product clearance, characters and names similar to real people, film clips, music, and the clearance of other protected property.
In the 27th episode of This Week in Music. Ian Rogers host's the MIDEM conference Visionary Monday talk with Wendy Clark from The Coca-Cola Company as well as GRAMMY award-winning artist and producer Mark Ronson. The trio discuss Coca-Cola's new music initiative and their partnering with Mark Ronson to create the sound of the 2012 Olympics.
We sat down with John Williamson and Brandon Smith of Music Dealers / Bandit Productions and discussed licensing, management, as well as other endeavors they are involved with.
Rapper Kosha Dillz shares some wisdom on self-promotion when you're on a limited budget. It's a nice mix of specific suggestions and general principles for any DIY promoter or artist.
On May 11th, 2011 Entertainment Linx attended the 2011 SESAC Awards. Among the artists and award winners in attendance Rico Love took home the title of Songwriter of the year. In case you aren't familiar with the name, his resume includes Beyonce’s “Sweet Dreams”, Usher’s “There Goes My Baby”, and “Hey Daddy (Daddy’s Home)”.
Hillary Scott of the group Lady Antebellum also took home top honors winning Song of the Year for Lady Antebellum's “Need You Now.” The song is now over triple platinum and was at the top of the Billboard charts for 5 consecutive weeks.
Others in attendance included Bryan-Michael cox, Chrisette Michele, and Traci Hale just to name a few.
Established in 1930, SESAC is a service organization created to serve both the creators of music and music users through music licensing and timely, efficient royalty collection and distribution. The second oldest and fastest growing performing rights organization in the U.S., SESAC is known for its diversified repertory that includes genres ranging from Adult Contemporary, Urban, Jazz, Rock, Americana, Contemporary Christian, Latin, Country, Gospel, Dance, Classical and New Age. For more information on SESAC and their history visit their website, at http://www.sesac.com/About/History.aspx
Also be sure to check out our coverage below and on our youtube page.
Interview with Ron Spaulding who is the President at Fontana Distribution.
Take Action to support our Music Community against illegal downloading www.musicrightsnow.com
Sonicbids http://www.sonicbids.com , the website that helps bands discover and book gigs, and Diesel:U:Music (D:U:M) http://www.dieselumusic.com , Diesel’s worldwide collaborative music support network, today announced the launch of the Stupid for Music World Cup <http://music.diesel.com/> . Styled after the World Cup, indie bands and their fans will battle it out for a chance to win a range of prizes from Diesel, including p.a. systems, recording time, video production, a professional PR campaign and a gig of a lifetime. Bands aren’t the only winners in this competition. Diesel also wants to see how stupid for music fans can be, so they will be involved in a head-to-head battle with a chance to win a range of prizes from swag, a 60 second in-store grab, ghetto blasters to a dance mat machine and a two night excursion to an exquisite Diesel event.
In celebration of D:U:M’s 10 year anniversary, Diesel is leveraging Sonicbids Brands as their digital music marketing agency in their search to find a band and fan to take the coveted Stupid for Music World Cup title. The competition will include a series of heats and knockout rounds (each more stupid than the last), which includes having fans ink a band name on their body, build a band shrine, use your favorite bands poster as street spam, video tape your reaction if the band were to break up, etc. Every stage must be uploaded to the Stupid for Music World Cup site for voting. Diesel will be hand-picking two thirds of the bands that make it into the heats but one third of the bands will be chosen because of the band’s adoring and insanely stupid for music fan base. So, rally together and register your bands and tell your fans to start pledging their loyalty, here: www.music.diesel.com <http://www.music.diesel.com/> .
“It’s not new for major consumer brands to use music in their marketing campaigns but what is new is the way and the rate that large consumer brands are tapping into the power of independent music. So, when Diesel came to us, we were enthusiastic to work with them as they are perfectly positioned to use rock & roll to reach their customers,” said Sonicbids Founder and CEO Panos Panay http://panosbrew.sonicbids.com . “Independent artists are authentic, entrepreneurial and eager collaborators, and brands like Diesel get that. We’re really excited to work with Diesel on this competition as it not only engages our members but also their fans by showing just how Stupid for Music they really are.”
This competition is open to all Sonicbids members and non-members will get a free trial subscription to the Sonicbids site when creating a Stupid for Music World Cup profile. For more information on Sonicbids, visit: www.sonicbids.com.
About Sonicbids
Sonicbids is the website the helps bands get gigs and promoters book the right bands. Our community includes more than 275,000 bands and 21,000 promoters and licensors from all around the world. With festivals, clubs, colleges, music licensing and much more, Sonicbids offers a diverse range of gigs for every kind of musician. In fact, last year alone, more than 71,000 gigs were booked on the site. The company was founded in 2001 by Panos Panay and continues to focus on its core mission of empowering the artistic middle class. Get a gig or book a band at www.sonicbids.com <http://www.sonicbids.com/> .
Diesel:U:Music
Throughout its 10 year history as a yearly unsigned music talent awards, D:U:M has unearthed some of the most exciting new artists of the last decade such as, Mylo, Diplo and more recently, The Cool Kids. D:U:M now operates as a worldwide collaborative music support network with strong friendships with some of the most talented artists, labels, radio stations, journalists, and producers in most countries. The all new D:U:M relaunched in 2009 to set off on a grand tour of the world for two lucky winners, meanwhile uniting musicians and music fans through an extensive series of on and off-line activities, creating opportunities to discover the best in new music, and providing musicians with a platform of actual tangible support. And now in 2010 the website is about to be propelled into the future. www.dieselumusic.com/ http://www.dieselumusic.com
Bungie Studios Audio Director and Composer Marty O'Donnell and Sound Designers C Paul Johnson and Jay Weinland discuss the creative and technical challenges for creating the ultimate gaming experience.
Three timeless principles that apply to all music promotion, regardless of the technology or era.
The world doesn't need two Pandoras. But just maybe, some room exists for a variation on a theme. That is the thinking behind iSound, a beta-phased newcomer that is creating a Pandora-style service for up-and-coming artists.
Pandora does play deeper tracks and obscure artists, but the emphasis is typically on more familiar content. At New Music Seminar last week, Pandora CEO Joe Kennedy revealed that 90,000 different artists are being played during a typical week, and that just 30 percent of DIY submissions are accepted into the system.
So, does a niche exist for a niche alternative? Currently, iSound is preparing a total relaunch of the concept next week, according to early details shared with Digital Music News. And, the approach means fewer restrictions - including the freedom to endlessly skip through songs. It also opens the ability play the same song over and over again, interactively.
On top of that, iSound encourages artists to upload their content and boasts a catalog of more than 288,000 artists. Registered users stand at 250,000, just a fraction of the 60 million recently disclosed by Pandora. The somewhat rough beta is at iSound.com, for those that want an early peek.
Source: http://www.digitalmusicnews.com/stories/072610isound#23E2J67ZZVZzUl9mjga9pw
Eight music publishers have sued LimeWire LLC of massive copyright infringement, even as a federal court in New York is considering a request by the Recording Industry Association of America (RIAA) to shut the file-sharing software maker down over a similar complaint.
The music publishers's lawsuit, filed this week in U.S. District Court for the Southern District of New York, charges LimeWire with facilitating "pervasive online infringement" of music copyrights.
The companies filing the lawsuit are members of the National Music Publishers' Association (NMPA) and include EMI Music Publishing, Sony/ATV Music Publishing, Universal Music Publishing Group and Warner/Chappell Music, Inc.
LimeWire, Lime Group LLC, company CEO Mark Gorton and its former CTO Greg Bildson are all named in the lawsuit, which was filed as a related case to the one filed in the same court by the RIAA against LimeWire and Gorton.
A statement by the music publishers said it will seek "equitable relief and damages" from LimeWire for the alleged copyright infringement. Copyright statutes provide for statutory damages of up to $150,000 per violation.
The suit is likely to push LimeWire even closer to being shuttered , coming just weeks after federal Judge Kimba Wood of the U.S. District Court for the Southern District of New York found LimeWire and CEO Gorton liable for inducing and enabling massive copyright infringement with its software.
Wood's ruling was in response to a motion filed by 11 recording companies accusing LimeWire of knowingly allowing and actively encouraging users of its software to indulge in massive music piracy.
In a 58-page ruling, Judge Wood upheld virtually all of the arguments presented by the recording companies in their motion, and ruled that LimeWire had failed to implement in a "meaningful way" any technical barriers that would have made it harder for users of its software to illegally share and download music files.
The judge's ruling has so far prompted two separate motions from the RIAA, one asking the court to permanently shut down the company, and the other seeking to freeze its assets.
LimeWire has said that it is still seeking to hammer out a settlement with the recording companies. In an e-mailed statement following the NMPA lawsuit, a company spokeswoman said that Limewire "definitely" wants publishers at the table.
"We have had many promising meetings with labels, publishers, songwriters and artists alike about our new music service and a business model that will compensate the entire industry," the statement said.
"Publishers are absolutely a part of that solution, and we're hopeful that this action will serve as a catalyst to help us get to there," it said.
Source:
http://www.pcworld.com/article/199355/music_industry_hits_limewire_with_yet_another_lawsuit.html
The Copyright Act actually gives content creators the powerful right to regain ownership despite what a contract may say about transferring rights. As with everything, the devil is in the details, but if you are an artist, actor, producer, production house or other creative person or company, especially from the late 70's or early 80's because the first test of this right is soon, you need to know your rights.
Remember when people used to sit around and listen to music together? Of course, those moments still exist, but the digital music experience is often a private pleasure.
So how to reconnect? Pandora is addressing that question by integrating itself into Facebook, a huge move towards networked listening. At a top level, the integration allows friends to quickly share stations with their Facebook friends, part of a much broader "Open Graph" build-out for Facebook. Pandora is a major component of that expansion, and was discussed prominently by Mark Zuckerberg during a keynote at the F8 Developer Conference on Wednesday.
The idea is delightfully simple and connected. Pandora users can easily link their Facebook profiles and friends into their stations, or, opt-out to remain private. But why not hold hands on this new discovery commune? "I've been testing out the service while we were developing it and I have to say it really brings a wonderful new human dimension to the listening experience," Pandora founder Tim Westergren relayed.
Source: http://www.digitalmusicnews.com/stories/042110facebook
Great, right?
Absolutely. What it does mean is that it has created a generation of musos who are doing everything for themselves and are more skilled, knowledgable and educated on how to self-manage, distribute, book and hold the power and rights for their band, where traditionally a label and management have done everything for the band and kept them at arm’s length of the business side of the industry. There’s a good and bad point to the old arrangement. Good that the artists get time to be artists (i.e.creative) and bad, that they don’t see what’s going on and very quickly lose control and knowledge about what is going on in their own band (and often money that is rightfully theirs.) Remembering that knowledge is power, that’s a bad position for bands to be in.
Somewhere along the way, an imbalance happened and musicians became expected to do and know it all themselves ALL the time. It seems to me that there is a middle “working class” of bands, who lose out both ways. They are expected to create amazing music as well as do all of the management tasks, book the band’s tours, manage all the promotion and publicity, be the graphic designer, get the album/EP distributed, document all sales, co-ordinate studio time and much more.
Solution? Well, that’s where the music industry shift has been great too. As it turns out, the shift in power in the music industry has given rise to an entrepreneurial spirit and industry workers are now drilling down on specific elements in the music industry and working as consultants or contractors to combat the loss in numbers of 9-5 jobs in the music industry. This means that there are a lot of opportunities for bands to work on a non-exclusive, one-off/periodical basis with industry workers, with possibilities for creating long-lasting relationships.
It seems to me that the best way for an artist to multi-task, once they hit a certain level (most likely when the band has too much on their plate business-wise and hopefully enough money to pay) is to start building a team around them who can be delegated tasks. A trusted group of skilled individuals/businesses who can be called upon and hopefully paid when tasks need to be achieved. It’s exactly why non-exclusive, fee-for-service, no lock-in contract, artists/labels hold all the rights, it’s self-directed and you can claim all your payments all the time.
The band or the manager can now be the label, negotiating distribution deals, while hiring publicists and a plugger for radio, as well as working in conjunction with someone to gain sync opportunities.
The biggest question to ask is: What does the band need to do themselves and what can be delegated and paid for?
Who do you want on your team?
Source:
http://blog.musicadium.com/marketing-promotions/building-your-team/2549/
