from the copyright-does-inspire-some-creativity dept
So, yes, copyright may have inspired this song... to be put into the public domain.
by Mike Masnick
Fri, Feb 8th 2013 6:40pm
by Mike Masnick
Thu, Jan 24th 2013 2:45pm
by Mike Masnick
Thu, Jan 10th 2013 2:31pm
by Tim Cushing
Mon, Jan 7th 2013 5:39am
"The Power of Money. What does money mean to you? How do you put a value on the things you care about? Is money the same thing as worth? Like it or not, money means that some people are rich and others poor, some considered successful, others failures. It determines your healthcare choices, education, clothes and how long you have the heating on for – whether you can have the things you want. But money is made up. Without our participation in the illusion, it's meaningless – in fact, if meaning equated to value, we would happily burn all the money tomorrow. Gaggle, of course, uses money. But Gaggle is an exercise in the power of other things as well – otherwise we wouldn't, and couldn't, exist. The Power of Generosity, Inventiveness, Courage. The Power of Flirting, Improvising, Blagging, Hard Work and Being Nice and Polite. The Power of Friendship, Faith, Obligation, Ambition, Anxiety…..Dreams. Without these Powers this track would not have been made. This song is precious. And yet, we're told that 'a single' is almost valueless. And that pisses us off. So we have done a budget of how much this single 'cost'. The many hours it took to write, arrange, compose, master; the expertise of all the musicians, technicians, designers, producers involved; the combination of all the Powers described above and more – we've totted it all up as best we can and… …we are putting this tune to market for the sum of £3000. The power of money? Let's see."Well, good luck with that. It's been said time and time before, the customer has little to no interest in your fixed costs. This factor is completely irrelevant to purchase decisions, which are most often based on a more subjective perception of "value." While Gaggle may value their creation highly, it would be ignorant to assume that potential purchasers will value the track accordingly. In an era where creative output is at its highest, the sheer number of competing, cheaper options would be enough to bury this track's chances, even if Gaggle decided £5 was a reasonable amount to ask. (It isn't.)
by Tim Cushing
Thu, Jan 3rd 2013 7:26am
Classical music and hymns are replacing rock and pop on BBC Radio Cymru as the deadline for a rights deal with leading Welsh-language musicians passes.
The right to broadcast the songs of 331 Welsh-language musicians and music publishers rests with Eos - the Welsh word for nightingale - from today.
The BBC said Eos had rejected a substantial offer to settle the dispute shortly before Christmas. As no agreement was reached, Radio Cymru has implemented changes to its broadcasting hours and programme content.
BBC Cymru Wales said in a statement on Monday it was "very disappointed" an agreement had not been reached and confirmed Radio Cymru programmes would be affected.
"Radio Cymru's commitment to support and develop Welsh music is a longstanding one - and we have listened carefully to the concerns of Welsh-language composers and artists during this dispute," the statement said.Once again, the desire to make a cash grab has overwhelmed the desire to be heard. And it always seems to be "representatives" of the artists that keep cutting ahead in line to get their hands out first, often at the expense of the very artists they "serve."
The musicians broke away from the Performing Rights Society (PRS) to join a new agency, claiming they were being short-changed for their work. The dispute arose from a change by the PRS in 2007 which many Welsh language artists claim cut their royalty payments by as much as 85%.Rather than attempt to get PRS to pay this "fair share," Eos has decided to go after the broadcasters who had nothing to do with the severe slashing of royalty payments, which fell from £1.6m in 2007 to £260,000 in 2009. Eos is acting on the recommendation of research paper published in 2009 that presented a way to generate (or at least ask for) nearly 10 times the going rate per minute of broadcast time.
The report says artists who broadcast on BBC Radio Cymru receive 49p for every minute of airtime, collected by PRS. However, it says Radio Cymru is treated like an English local radio station, rather than a national broadcasterAt that point, a spokesman for BBC Wales (quite logically) claimed that this was a dispute between PRS and its Welsh members, and that these two entities should attempt to solve it on their own. Unfortunately, Welsh artists decided it would be better to set up their own organization and tangle with the BBC directly. The end result? An outcome that overreaching rights organizations all over the world are familiar with: no additional income and the loss of an outlet.
The report argues that if the station was available on the UK DAB network of digital stations, artists would earn £4.71 per minute, nearly ten times as much. It said a Welsh-based royalties agency would be aiming to bring back in something more like the larger DAB royalties fees.
"Welsh language repertoire - Radio Cymru relies on that for its broadcasting," pointed out the report's joint author, Deian ap Rhisiart. "If the whole composers and publishers en block declare they are terminating their membership with the PRS, then the BBC haven't got any choice but to deal with them - that's the scenario."
by Mike Masnick
Fri, Dec 28th 2012 8:22am
“The copyright in this sound recording and artwork is owned by Mumford & Sons. Warning: all rights reserved. Unauthorized copying, reproduction, hiring, lending, public performance and broadcasting prohibited.”You can see a scan of the back of the CD here, which includes the warning on the left:
“If this disc was made in Mexico, then it may be that I don’t have the right to lend it to anybody under the plaintiff’s view in the Kirtsaeng case,” Bridges said. “That actually highlights the importance of the Supreme Court’s pending case.”Of course, while the Wired article suggests this is a new thing, Sneeje helpfully points out that it's not that uncommon. And, if you look around, you can find the same terms on other albums as well, including by Roger Waters and Kanye West -- so it's not fair to blame Mumford & Sons specifically for this.
by Leigh Beadon
Mon, Dec 17th 2012 8:38am
One of the running themes we discuss here is the difference between gatekeepers and enablers, but there's also a third category that overlaps both of the others to some degree, and is more relevant than ever in a media-saturated world: curators. Though recommendation and matching algorithms are taking on some of the curation roles that humans used to fill (or that didn't exist before), nobody has ever suggested that there's no longer a need for hands-on human curation of media.
When it comes to music, the classic curation role is the radio DJ—but, like so many traditional fixtures of the industry, that role has increasingly (though not universally) drifted away from creative personal curation and towards safe, commercially-dictated playlists. Music blogs and podcasts have stepped in to fill the void, and today the best barometer of what's worth listening to is online, not on the airwaves—especially for those listeners interested in discovering the most compelling acts emerging from small, independent scenes.
Perhaps no genre feels this more acutely than hip-hop, which still enjoys widespread radio play as one of the dominant pop genres of the past decade, but where even the most widely acclaimed indie acts with a decade of rock-solid releases under their belts struggle to get onto DJ playlists. Rapper/producer/indie hip-hop fixture El-P (who dropped by with a guest post earlier this year) recently took to twitter (found via egotripland) and gave a straightforward rundown of why so much of radio is broken and what DJs need to do to fix it. The self-proclaimed "rant" was in response to an New York DJ who was asked why he didn't play underground records that had a lot of audience buzz, and responded by saying "you don’t just get a slot, you earn a slot"—but even without context, El-P's points serve as a perfect summary of what it means to be a curator in the modern music landscape. You can view the full set of tweets on the egotripland post, but I've copied the sum of the text below:
if you're a radio station that doesn't break new great records because they haven't "earned their slot" you might be forgetting the point.
unless of course you are talking payola. then i get it.
not to state the obvious but that's kinda why radio is dying. the internet lets you listen to ANYTHING ANYTIME. its a simple truth.
being the gatekeepers of what people hear only works if they actually have to get by you in order to hear it, and thats just not the case.
therefore in order to be competitive with the new paradigm radio programmers need to re-examine their whole approach or what it all die.
*watch it all die, i mean.
just my 2 cents. fuck do i know.
which is not to say radio has lost its power. but to not see that on the horizon if everything remains on the same path is foolish.
personally i feel like radio dj's should have more autonomy to play what they like/not have to choose from pre approved content. might help.
it certainly would encourage the music to grow if everyone wasn't desperately trying to make jams that they think fit in with that criteria.
and that would lead to more and renewed interest in traditional radio broadcasts, which would lead to more money for everyone.
but hey i come from an era where we had cats like @StretchArmy and bobbito launching the careers of people who go platinum now. im spoiled.
look at whats happened to the newspaper industry. no one wants their news a day later anymore. theres a metaphor in there somewhere.
also there are clearly many amazing stations that do just what im talking about and breed serious listener loyalty.
it ain't like i'm speaking some sort of hidden esoteric knowledge/philosophy here. but its worth bringing up now and again.
anyone way its just the opinion of one man. #fuckdoiactuallyknow
one more thought: music is a representation of human consciousness, and like human consciousness it is expansive and varying.
it wouldn't hurt for everyone to consider their role in the purveyance of that consciousness a little closer.
put simply:ultimately the only thing that should be a deciding factor in radio play is if the dj likes your shit or not. trust who you hire.
if the people consistently dont like what he plays hes by definition a bad dj. you should fire him. but he's the music guy. let him be that.
aight "rant" officially over. WHO WANTS SOME FART JOKES!
We seem to have created an environment in which wonderful music, newly discovered, is difficult to treasure. For treasures, as the fugitive salesman in the flea market was implying, are hard to come by -- you have to work to find them. And the function of fugitive salesmen is to slow the endless deluge, drawing our attention to one album at a time, creating demand not for what we need to survive but for what we yearn for. Because how else can you form a relationship with a record when you're cursed with the knowledge that, just an easy click away, there might be something better, something crucial and cataclysmic? The tyranny of selection is the opposite of freedom. And the more you click, the more you enhance the disposability of your endeavor.Of course, this is a common complaint -- that digital abundance is somehow devaluing our experience of art. It's a close cousin of the idea put about by the copyright industries that the lower the price of something, the less you value it (neatly confounding two quite distinct concepts -- "price" and "value".) But the post by Spies rises above that, partly because it is so poetic in its phrasing, and partly because it gets down to specifics. Here, for example, is his description of some of the pleasures enjoyed during that now-lost era of analog scarcity (the music was already digital, but the packaging wasn't):
When I returned to my dorm, I unwrapped the cellophane and turned the album over in my hands, flirting with it, searching for clues about what lay within. The cover image of the singer seemed to tell the story of a man who, perhaps in order to avoid great pain, had entered oblivion, but done so in style, with a cool cigarette sticking straight out of his mouth. The question was: How did he get to oblivion, and why did he seek it out in the first place? The answer, needless to say, was the CD itself: the music, the sonic promise.There seem to be two distinct elements here. The first is "clues" for the music: that cover image of the singer. In the pre-Internet days, such images had considerable power because they were one of the main ways musicians were visualized for the public. Today, a simple image search will bring up hundreds, if not thousands of images of musicians engaged in lots of activities, both cool and uncool. But for anyone who was truly "searching for clues" about the music, even the uncool images might, in their authentic awkwardness, offer vital hints.
The other element, of course, is the music itself, and its "sonic promise". But again, to understand any given piece of music, is it not useful to have access to the pieces written before and after it by the artist, the pieces that influenced it, and those that it influenced? Or what about all the pieces written in that year, or for the same musicians, or played at the same venue? Those complex cuts of the totality of recorded music -- the rich and surprising playlists that people make and share -- are something that the Internet with its digital abundance is uniquely well-placed to supply in a way that CDs never could. Isn't that multidimensional richness something to be welcomed, not feared?
On the one hand, Spies seems to be saying that today it's too easy, that we don't do enough to earn the pleasure of our music by spending time as we did in the old days:
if I was going to buy a CD, back when I bought them, I had to eke out some time, and even pray for a little luck, as I could spend hours in a dimly lit store, and leave with nothing. So I had to make a conscious decision that I was going to take my chances.
But on the other, he seems to be lamenting the fact that it's just too hard, that we can never know whether we have found what we are looking for, because there is always more to explore:
how else can you form a relationship with a record when you're cursed with the knowledge that, just an easy click away, there might be something better, something crucial and cataclysmic?
Perhaps he just needs to recognize that, as in so many domains, the shift from analog scarcity to digital abundance brings with it a need to change our own ways of thinking and listening. Now, the difficulty of finding music that we like -- the hours spent bent over racks of CDs in that "dimly lit store" -- has become a challenge that is physically trivial, but mentally far more demanding because it is unconstrained and almost limitless in its extent. It's no longer about arriving at that definitive record that is "crucial and cataclysmic", but more about enjoying the journey through, and connections between, entire sequences of wonderful musical performances.
I suspect that the generation now growing up with digital abundance will have no difficulty forming their own deep and important emotional bonds with collections of music that they have discovered not through a slow process of seeking and finding in the physical world, but by constant, high-velocity adventures through an equally valid digital space.
by Mike Masnick
Thu, Dec 13th 2012 12:07am
But what’s more spectacular than the times, places, and races is Anthony’s unusual and creative marketing campaign and his unorthodox methods for connecting with fans and formulating his own brand. It’s something we’ve never really seen before. And as some of the post-Olympic sponsorship money begins to dry out for elite swimmers, it could be a precedent going forward -- a way to generate and self-brand and connect with fans, a way to keep going.A big part of this was an IndieGoGo campaign last fall, which raised $12,704, by really reaching out to his fans. And, as with typical crowdfunding campaigns, he's let some of his unique personality come through with the campaign and the possible awards. Since he's well known for dabbling in music as well, he offered to write people their own songs. And, of course, he also has offered up private swimming lessons for big donors as well.
What struck me about this is an entirely new way for swimmers to fund some of the more expensive swim tours out there. By providing creative incentives – like singing a song, or making a phone call – Anthony is literally giving back to the swim community dependent on the amount of support he gets. Also, throughout the Tour, Anthony’s journey is being updated. So not only can you donate, and then receive an autographed postcard, but you can also feel like you’re on the World Cup tour with him. Check out his Tweets, or his website. He’s uploading pictures of him talking to kids in Sweden, traveling around Russia.Of course, some may argue that there's nothing "new" here. And, to some extent, that's absolutely true. Lots of people are doing crowdfunding for different things these days. But it's still neat to see that these kinds of ideas are permeating into different areas where they haven't been used before, and that people elsewhere are taking their cue from some of the success stories in the music business. At the very least, it suggests that, perhaps, those embracing these new music business models aren't just on the right path, they're blazing a nice trail for tons of other areas as well.
It’s almost like Anthony has embraced some of the rock band roots he has and created his own “rock tour” of Europe, partially funded by his very own street team of loyal supporters. What’s amazing about all this is that bands have been doing this for years. Start-ups, films, photographers, long-distance athletes, too. And now, we’re seeing Olympic swimmers take to the Internet, to help fund their travels and excursions and training.
by Michael Ho
Thu, Dec 6th 2012 5:00pm
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