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Lie #3: The death of the major label will make it easier for artists to succeed.
The Lie: No more major labels to choke the supply! No one to hold the artist back!
The Truth: Sadly, the avalanche of unfettered, unwashed content was never quite filtered by the music fan. Instead, it was all mostly tuned out, except by a small number of trusted curators. Which means, most artists are deluged in all that stuff, and have a hard time gaining traction.
"We've had 10-11 years of American Idol, so you've had 100 or 110 top ten people, and you can count on your hand the number of careers that have sustained off of that," Irving Azoff said late last year. "So that just tells you that even with the massive exposure of network TV, how hard it is to make it in the music business."
Tory MP John Whittingdale, the chairman of the committee, said his fellow MPs were "unimpressed by Google's continued failure to stop directing consumers to illegal, copyright infringing material on the flimsy excuse that some of the sites may also host some legal content.
The continuing promotion of illegal content through search engines is simply unacceptable, and efforts to stop it have so far been derisory."
"I think it's a continued race to the bottom and we're gonna fight to continue to have a value to the artists and the music that we put out," Big Machine CEO Scott Borchetta told Billboard over the weekend.
Well, news flash: If we keep making $0.000001, we're not gonna be able to afford to keep making records. So there is a value there and we're going to keep pushing to make sure that value is appreciated by everyone."
Claiming to be a leader in the fight against piracy is Google's first mistake This past week Google issued a report, How Google Fights Piracy, in which
This past week Google issued a report, “How Google Fights Piracy,” in which the tech giant attempts to explain what a great job it’s doing leading battle against online piracy. After reading it I think a more accurate title would be “Why Google Shouldn’t Have to Fight Piracy Because it Offers so Much Other Good Stuff.”
Classic Rock Revisited:
The Internet changed a lot for the industry; piracy has certainly had a hand in changing the game. Do you think that piracy can be beneficial to some of those bands starting out? How has it affected you?
How could it possibly be positive? If you go into a store and you see a car that you like, you can't just drive off with it. The cost and the blood and sweat and tears that go into making music is the same thing, it's not free. Try telling the engineer and the producer that they have to work for free. It's utterly bizarre. It's like just going into a store and taking things off the shelves. It's stealing. The reason there are no bands coming out now is that the money that was once there is not there anymore. So what happened was, in essence, by pirating music, you kill the music industry. The music industry died because of the piracy, and now all the fans will have no new music. Isn't that wonderful? It's a direct consequence of that.
The rights of songwriters are under attack. Pandora Media Inc., which controls 70% of the US streaming market, has launched an aggressive campaign to pay songwriters and composers less than a fair market share for their work – even as the company’s revenue and listener base has soared.
So, as a legal layman but active observer of these things, it seems to me Mr. Lessig’s presentation, though charming, contains at least two fallacious premises. The first is that the positive aspects of remix culture are actually threatened by the copyright system; and the second is that remix culture is universally positive.
I don’t know of any cases in which rights holders are stopping “the kids” from singing the songs of the day on YouTube. But there are plenty of cases in which adults are profiting from remixing culture in ways that benefit neither fans nor creators. While it’s almost rote these days to call everyone a shill, I don’t think this is very helpful.
I prefer to assume intelligent people mean what they say and believe in their positions, and Lawrence Lessig is certainly an intelligent man. Of course, that might be why his ideas are ultimately so dangerous.
Today Pandora won a truly Pandora-style “victory” in the ASCAP rate court by getting a federal judge to rule that Pandora–a monopolist in webcasting–can use the out of date ASCAP consent decree to force songwriters to license to them.
Liberation Music has belatedly realized it chose the wrong adversary for a copyright dispute. Citing the need to protect a copyrighted song, the company had sought to suppress the work of Harvard Law professor Lawrence Lessig, a leading theorist of openness on the Internet. Although the company apparently has withdrawn its challenge, Lessig is right to pursue a lawsuit to protect free expression for people with fewer academic and legal resources.
A new Artists Rights collective is forming by Artists & Creators, for Artists & Creators. There is a group meeting in Brooklyn on Sept. 24th. Sign up here to get more details about the CCC and request meeting information: http://contentcreatorscoalition.org/
WHO WE ARE
A dedicated group of artists, creators, and stakeholders are forming a new and unprecedented coalition. This coalition will allow the people who create the content that powers the web — recording artists, songwriters, journalists, filmmakers, producers, photographers, visual artists, and performers — to join together and exercise their collective voice in shaping the future of their industries.
From the forthcoming documentary Unsound: Bad Religion guitarist and Epitaph Records founder Brett Gurewitz talks about how large tech corporations make millions of dollars selling advertising- essentially making people the product, without them even realizing.
The promise of free or cheap music is often used to draw eyeballs to websites, apps, and social networking platforms, allowing corporations to make large amounts of money from advertising.
The public is generally unaware and happy to have free/cheap music, corporations make tons of money from advertising, but how is the musician benefiting from this?
"People think they're sticking it to 'the man' by not paying for a record, BitTorrenting and all this stuff. They're not [sticking it to 'the man'].
They’re sticking it to their favorite band, they're sticking it to their favorite artist, and ultimately, they're stucking it to themselves. Because eventually, those [artists] won't be able to tour so readily.
A lot of bands are gonna break up. A lot of bands already have broken up.
"Artists must therefore recalibrate not only their expectations with respect to payments (they should expect nothing), but also their approach generally."
There you have it, artists should expect nothing. Not that George Howard doesn’t make valid points earlier about the meaninglessness of Spotify royalties to musicians. Although the irony of how bad he misses the point is astounding.
So what happens when you can't even send a DMCA letter? Here's a letter from Salim Ghazi Saeedi, an independent (and recognized) Iranian guitarist and composer who's trying to figure out how to remove his music from the sketchy Russian website myfreemp3.eu. He's looking for advice on what to do.
Former Longpigs star and current co-CEO of Featured Artists Coalition Crispin Hunt calls for labels to reveal Megaupload mogul 'as the self-interested privateer that he is'. By Stuart Dredge
Earlier today, Hunt spoke at the annual general meeting of British music industry body the BPI, providing an artist's view on digital disruption, piracy and relations with labels. And he talked about the importance of songs:
"Songs that we are now being told are valueless, by self-proclaimed revolutionary freedom fighters, posing as Robin Hood. Self-interest masquerading as idealism, champions of liberty and free speech, complete with revolutionary beret in the case of chubby Che Guevara Kim Dotcom, hell bent on furthering his own corp
Chief executive Lohan Presencer explains why his company has filed a copyright infringement lawsuit against the streaming music service
Last year we noticed something on Spotify. Users of the service were copying our compilations. They were posting them as their own playlists and calling them "Ministry of Sound". We assumed it was an oversight on Spotify's part and contacted the company to request it remove the offending playlists. It declined, claiming there was no infringement and it wasn't its responsibility to police its users.
Several rounds of legal letters later, this dispute will now be settled in court. We believe we have a clear cut case. After 20 years and more than 50m album sales, the value and creativity in our compilations are self evident.
We've been watching with interest a story developing over at Digital Music News. The site ran a guest editorial by Jeff Price promoting his new YouTube Content Management System Collections Service, Audiam. It's interesting to note how Price targets distribution companies as the black hats but does not criticize YouTube for their less than stellar “Openess and Transparency” with artists.
So when Google protects it’s interests it’s “business” but when musicians protect their rights it’s “censorship”.
"I know that what we’re doing flies in the face of the Kickstarter Amanda-Palmer-Start-a-Revolution thing, which is fine for her, but I’m not super-comfortable with the idea of Ziggy Stardust shaking his cup for scraps. I’m not saying offering things for free or pay-what-you-can is wrong. I’m saying my personal feeling is that my album’s not a dime. It’s not a buck. I made it as well as I could, and it costs 10 bucks, or go **** yourself.”
A Florida federal judge has handed down a huge ruling, determining that Hotfile*is liable for copyright infringement.* The lawsuit led by the Motion Picture Association of America on behalf of its member studios was a path-breaking and controversial one when it was filed in February, 2011.
What made the case one to watch from a legal standpoint was the argument by Hotfile, one of the top 100 trafficked sites in the world, that it had safe harbor from copyright liability and had no vicarious liability for what users were doing. The dispute gave U.S. District Judge Kathleen Williams an opportunity to address the kinds of questions that have come up in the Supreme Court's Grokster decision, as well as Viacom's dispute with YouTube and Universal Music's dispute with Veoh. Namely, what kind of knowledge and control is necessary before an Internet Service Provider has a legal duty to clean up copyright infringements on a network.
Monday, August 26, 2013
This is a cool article, click on the link to read!!
written by Jim Breen
Jim is a studio owner, producer and musician who lives and works in Jupiter Florida, one of Palm Beach County's most beautiful areas.
The Internet pirates have made me, and thousands of other musicians, walk the plank. We now have to swim in shark-infested waters where the big fish gobble up our dues and the pirates laugh their way to the bank.
I believe this basic injustice must be remedied – Internet pirates are white-collar criminals. They should pay the royalties they have stolen or be answerable to the law, like looters, burglars, and fraudsters.
McDonald's, Nissan, P&G, Pepsi and possibly one or two other brands will help launch iTunes Radio when it debuts in September.
Because iTunes Radio will not allow users to search and play a song on-demand, it's most immediate competitor will be Pandora, the No. 3 company in terms of U.S. mobile advertising revenue market share in 2013, according to eMarketer.
Pandora mobile ad revenue is projected to increase 43% year over year, from $376 million this year to $539 in 2014.
Who knew Prince had a comical side. The Artist Formerly Known As Prince selected a photo of comedian Dave Chappelle dressed as him and holding a plate of pancakes for the cover art of his new single “Breakfast Can Wait.”
Neil Young made a big splash when he brandished a yellow object on Late Night With David Letterman last year. This was the mystical Pono audio player, inspired by Young apparently seeing a woman listening to music white earbuds presumably connected to an iDevice, and lamenting that she would never know top-notch sound quality.
Researcher tests role of visual information in assessing performance | A new study by Chia-Jung Tsay, a musician and Harvard Ph.D., examines the power of visual information in evaluating classical music.
Just months ahead its new Beats Music service launch and a planned product expansion, parent Beats Electronics is on the hunt for a major new investor that will infuse cash to fuel growth. Beats revenues top $1 billion annually and the company controls 59% of the U.S. premium headphone market. In March, Beats announced a $60 million investment from Warner Music owner Len Blavatnik's Access Industries and other investors. Sources suggest that may have gone sour, and that the new round will come in the form of debt financing with a possible minority ownership stake. A portion of the funds...