I’m going to start trolling my music creator friends.
Not by commenting on their “check out my new release posts.”
I’m going to troll them by capturing the royalties that they WILLINGLY leave on the table by refusing to be more proactive when it comes to the business of music.
The independent music community turns its collective back on nearly a billion dollars in unclaimed royalties and unlicensed usage every year from domestic and international sources, despite the fact that artists are generally distributing music wider and further across more varied platforms and apps than ever before.
If you’re going to leave money on the table, I’ll go ahead and pull up a seat and take your share.
Brief, yet interesting, data-driven analysis on the impact of streaming.
In streaming’s earlier years, when doubts prevailed across the artist, songwriter and label communities, one of the arguments put forward by enthusiasts was that when streaming reached scale everything would make sense. When asked what ‘scale’ meant, the common reply was ‘100 million subscribers’. In December, the streaming market finally hit and passed that milestone, notching up 100.4 million subscribers by the stroke of midnight on the 31st December. It was an impressive end to an impressive year for streaming, but does it mark a change in the music industry, a fundamental change in the way in which streaming works for the music industry’s numerous stakeholders?
Streaming Has Piqued Investors’ Interest
The streaming market was always going to hit the 100 million subscriber mark sometime around now, but by closing out the year with the milestone it was ahead of schedule. This was not however entirely surprising as the…
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This is an in-store music video network. It streams new videos for major artists and promotes independent artists in over 130 sneaker retail stores across the United States. The network earns upwards of 3 million impressions by teen and young adult shoppers every month (unlocking unique exposure and new fan opportunities for indie artists). It was founded in 2012 by the then VP of Marketing & Music of the retail chain Shiekh Shoes after he was laid off. The retail chain became the laid-off employee’s customer and has been so for over 4 years now.
The entrepreneur has since earned a master’s degree in music business, has helped over two dozen other music tech entrepreneurs with their startups as a business consultant, mentors music entrepreneurs through SXSW, and has taught music business at UCLA and a number of top music production schools such as SAE Institute in Los Angeles.
I was the laid-off employee and this is how I turned lemons into lemonade.
#entrepreneurship #musicbusiness #hustle
Songwriters, performers, authors and creators meet your new copyright overlord: Eric Schmidt of Google.
These are dark days for all creators and copyright holders. After a two month campaign by Google funded astroturf group Public Knowledge, the newly appointed librarian of congress Carla Hayden (herself a Schmidt/Soros acolyte) has fired Maria Pallante the register of copyright. Pallante was the only one standing between Google and what is left of the copyright system.
This firing is virtually unprecedented in US history. The Librarian of Congress generally leaves the Register of Copyrights to run the affairs of the copyright office. However in the last two months the main Google mouthpiece in Washington DC Public Knowledge has been clamoring for her head. Why?
Mainly because she has been a fierce advocate for creators. But over the last year she had the courage to stand up to Google and Public Knowledge as…
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In a typically backstabbing lame duck kabuki dance, Google has fired Maria Pallante, the head of the U.S. Copyright Office. This is a real tragedy because Register Pallante was even handed and concerned about treating everyone involved with copyright fairly–consumers as well as creators, not to mention cooperating with Google and Amazon in permitting the filing of millions of NOIs to the great detriment of songwriters.
Pallante was locked out of her computer this morning, according to two sources who spoke with Library employees. Earlier, [the nominal head of the Library of Congress] had called several members of Congress to tell them about her decision. Later, she called the heads of several media business trade organizations to give them the news, according to one who received such a call.
It is hard to believe that the nominal head of the Library of Congress would fire Register…
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Two vastly wealthy multinational media companies are exploiting a copyright law loophole to sell the world’s music without paying royalties to the world’s songwriters on millions–millions–of songs. Why? Because Google and Amazon–purveyors of Big Data–claim they “can’t” find contact information for song owners in a Google search. So these two companies are exploiting songs without paying royalties by filing millions of notices with the Copyright Office at a huge cost in filing fees that only megacorporations can afford–an unprecedented land grab in nature, size and scope.
That’s right–Google and Amazon are falling over themselves to use their market power to stiff songwriters yet again. And as I will show, it is not just obscure songs that are affected. New releases, including one example from Sting, are also targets suggesting significant revenue loss to songwriters. (I go into this in more detail on this series of posts.)
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