Publishing Podcasts

I was recently asked to review several podcasts that are related to music publishing and digital music liabilities. In doing so, I have expanded my personal learning network to include several free podcasts that were found on iTunes. I have started subscriptions to Oxford Internet Institute, USC Libraries and The Music Law Podcast.

Image
The easiest to digest and my favorite of the three sources is The Music Law Podcast. Narrated by entertainment attorney Mark Quail, I listened to two podcasts pertaining to publishing appropriately titled “Music Publishing Law” parts one and two. The two podcasts spoke on the different types of royalties, licensing, publishing contracts and the general duties of music publishing companies. Reinforcing the basics of music publishing is the greatest personal benefit to adding this to my learning network, as I would like to start my own publishing company.

The USC Library is the second source to which I now subscribe. I listened to “The Future of Publishing in the Digital Age: Two Views,” which was delivered by N. Lynne Withey and Katherine Hayles. Withey explained the current and future states of the publishing industry. Primarily, digital publishing is used for its convenience. As technology advances, publishing companies will reform their processes to match. Publishers should be prepared to have creative works in digital archives that can be transmitted and utilized in various digital formats. Hayles spoke on how digital tools changed the way we think. She argues that digital formats contain more information than traditional formats. It will be interesting to hear more views like the two featured on this podcast. Following the evolution of protecting and licensing copyrighted works is paramount to a thriving publisher.

Image
The last of the three podcasts I reviewed comes from Oxford Internet Institute. Matthew David narrated “Peer to Peer and the Music Industry: The Criminalization of Sharing.” I found this podcast interesting as it illustrates how peer-to-peer sharing is not a new phenomenon but as technology advances, infringement increases. David describes the evolution of record label business models and the impact of peer-to-peer file sharing sites. Publishing, of course, is not immune to the harm of file sharing. It is legal for the public to upload and download only small parts of an entire copyrighted work. However, the result is just the same as if someone made multiple copies of one copyrighted item and distributed the copies to other people which is illegal. New technologies and processes are expected to continue affecting the digital rights management of a publisher.

The Music Industry vs. LimeWire

For just over 10 years, LimeWire created a platform for its users to freely distribute digital music without properly licensing the music and therefore inducing copyright infringement. LimeWire began in May of 2000 and after several well publicized court cases finally ended with a federal injunction in October 2010. The company’s software was easily downloaded to the user’s computer and was accessed with several membership plans. Most users opt for the free version that allowed them to share and download copyright protected video and audio files.

One of the biggest changes that has occurred in the recent evolution of the music industry is the predominately electronic distribution channels in which users receive their music. Unfortunately, this makes it easier for piracy of copyright protected works to occur. With file sharing sites such as LimeWire facilitating the distribution without legal sale of music it has been said that singers, composers, songwriters and record labels have lost billions of dollars in revenue.

The Grokster case paved the way for the entertainment industry to go after file sharing sites in efforts to not only recover lost revenue but also to ultimately shut down operations promoting what is now deemed as illegal file sharing. In the Grokster case, the United States Supreme Court ruled that business with the intent to of encouraging copyright infringement should be held liable. Grokster was eventually shut down. Currently, the Grokster’s site hails a message to all visitors that 1) sharing copyright protected material is illegal and 2) “There are legal services for downloading music and movies. This service is not one of them.”

Since the ruling in the Grokster case, numerous entertainment companies and advocacy groups have brought filing sharing sites to the courts. According to the a press release by the National Music Publishers Association, eight of its filed suit against LimeWire seeking damages for knowingly facilitating copyright infringement through LimeWire’s web application. The publishing companies originally sought $150,000 for every song that was illegally shared through LimeWire. The case eventually settled and the terms were undisclosed.

In October 2010, the injunction filed by the Recording Industry Association of America (RIAA) against LimeWire was approved in federal court. Judge Kimba Wood found LimeWire’s creator, Mark Gordon, completely liable for the application’s user’s copyright infringement. This was a huge win for the entertainment industry as one of the major players of illegal file sharing would soon shut down operations. The RIAA argues the huge drop in revenues is directly linked to file sharing sites like LimeWire. Estimates from the RIAA indicate a drop from $14.5 billion 1999 to $7.7 billion in 2009.

Had a great time sweating for ESPN

Today a few classmates and I were extras at a promotional taping for ESPN. It was HOT.

Famous and Breaking the Bank

Many aspiring artists have goals both professionally and personally that when met are often overshadowed with financial illiteracy. Fame and fortune have many costs but for the sake of this blog entry, let’s focus on the financial aspect. Too often we hear of musicians filing for bankruptcy due to various reasons. And in some cases musicians declare bankruptcy more than once. The most notable repeat offender, Toni Braxton, recently filed for bankruptcy a second time.

When Stanley Burrell, also known as MC Hammer, was signed to signed to Capitol Records in 1987 I am sure he was not thinking of the financial woes he would meet just years later. It was reported that Burrell spent an estimated $12 to $20 million on a custom-build mansion alone. Forbes estimated Burrell’s net worth at $33 million in 1991 but only 5 years later was claimed a debt of approximately $13 million. A lavish lifestyle with homes, furnishings, cars and an entourage without the proper financial aptitude is to blame for Burrell’s bankruptcy.

A record deal does not secure an artists’ wealth by no means. In fact, the artist only receives monies after the record label recoups the costs spent toward producing and marketing the recorded music. Whether it is a bad contract signed or the upkeep of celebrity image, poor financial management is to blame.

The Grammy Award winning Toni Braxton is known for a string of hits in the 90’s, her show in Las Vegas, Dancing With the Stars, and her financial failures. A repeat offender, Braxton declared bankruptcy first in 1998 and often the public rumored a bad recording contract was at fault. Later in 2010, Braxton filed for Chapter 7 bankruptcy protection. According to court documents, Braxton had debt ranging from $10 to $50 million while only holding $10 million of assets. Resilient, Toni Braxton continues to entertain. Braxton is currently working along side her family in Braxton Family Values airing on WE tv.

Big dreams and a record deal should not be synonymous with fame and fortune. Financial mismanagement will certainly have an artist dreaming of another chance at making it “big” someday.

Fan-Funding Made Easy

One of the most common hurdles faced by the do-it-yourself artists when beginning new projects is funding. Major record labels bring to the table major marketing and production budgets that are not accessible by independent artists. Many independent musicians lack the financial resources needed to properly promote, manufacture and create recorded music.

There are a variety of ways that indie artists circumvent inadequate funding. Technology today allows artists to reach fans effectively and more cost-efficiently than ever before. Social media, home studios and digital music retailers are becoming more prevalent in the music industry, which also equates to lower costs for the DIY artists. Sites like Kickstarter.com, Artistshare.com and Indiegogo.com provide a platform for fan-funded projects to develop.

Through Artistshare.com, Yeahwon Shin, a South Korean vocalist and arranger, is releasing her U.S. debut album with the help of her fans. Her project’s page on the site shows video footage of Shin throughout the recording process. Click on the month and watch the progress she makes on the record. There are various messages from the Shin on the page to view as well. However, access to some of the messages requires donations.

Fans donations are broken down by purchase prices. The donations provided by Shin’s fans vary as does the benefits received. Prices for purchase range from $12.95 for the ‘Yeahwon Download Participant’ to the $12,500.00 ‘ArtistShare Executive Producer Participant.’ By purchasing the album, fans may receive a credit listing on the physical CD, a chance to participate on a track, an invitation to a recording session, VIP access to Shin’s performances for an entire year, an opportunity to name the album and more depending on the price paid.

Kickstarter.com is another popular site for indie artists to use as a platform for raising funds. Panacea, a hip-hop group from Washington D.C., used Kickstarter.com to fund a limited vinyl pressing of their album ’12 Step Program.’ The band gave fan-packages in exchange for donations. One premium donation of $1,000.00, which sold within 24 hours, gave a fan the chance to be included on the record. By the end of the first day of the project’s posting on kickstarter.com, nearly one-third of the goal had been met. The group raised the needed funds in less than 5 days.

Starting point: GRAMMYU

It was not a hard decision to make when I thought about of which trade associations I would pursue. Being an active seeker and sometimes participator in the happenings of the music industry, I had a list of organizations that I already monitored. The various benefits of these trade associations are not always exclusive to its members. For example, some associations have industry-related programs which involve supporting changes to legislation or educating the community. I joined GrammyU, a network created by The Recording Academy, so that I could learn more about the current trends, regulations, and developments influencing the music industry. So far, the most valuable benefit of my membership with GrammyU is the networking opportunities made available.

By providing musical performance opportunities, networking, and educational programs, GrammyU prepares members for careers in the recording industry. GrammyU has chapters all over the United States and caters to university students. The Florida Chapter, based in Miami, Fl, holds networking events each month located in different cities throughout the state. The first GRAMMYU meet-and-greet that I have attended was in Tampa. The event gave me an opportunity to introduce myself to other participating members of GrammyU, prospective members, as well as several current members of The Recording Academy.

Recognizing the achievements of industry professionals is what most people think of when they hear of the association. The Recording Academy’s members include producers, singers, songwriters, managers and many other professionals within the industry. Other than producing the GRAMMY Awards, The Recording Academy also established the GRAMMY Foundation, MusiCares, and GRAMMY’s on the Hill. The Recording Academy helps amplify the voice of the professionals in the music industry when adjustments to legislation are needed. Preserving the integrity of the industry and cultivating the talented minds that are the current and future members of the music community are the primary goals of the association. Of all the trade organizations to choose from today in the music industry, a membership with The Recording Academy was a good place for me to begin.

Chimamanda and the Single Story

We have all heard stories before. When we think of places unknown it is easy for us to revert to only what we have been told. Sometimes what we have been told merely describes only one shade of the vast colors in a landscape. We could not know otherwise and therefore we have fallen victim of a single story. A landscape of people and places go misunderstood with a palette incomplete. The danger of the single story is what Chimamanda Adichie spoke about at the TED convention in 2009.

A Nigerian native, Adichie is a novelist who warns of the misunderstandings that come when limited information is known about a people or place. Adichie has been victim to both sides of the single story. She tells of the undeniable shame felt when realizing that her conception has been wildly incomplete at times when the single story engulfed her view. Conversely, the same narrow mind, single-colored palette, she used on others was the very same used to illustrate her. For Africa is full of color, people, ideas, ambition, and life but some of us only see a dark shade of catastrophe, poverty and disease.


I have felt the shame of which Adichie spoke. It has been easy to hear and believe just one idea. The challenge is to believe that there is more to know, accept ignorance and have an open mind. Adichie’s speech inspires me to take on that challenge. The great stories are often the ones that teach and inspire us. Chimamanda Adichie is a storyteller who has done just that. I am often eager to learn more of people and places that I have previously known little for I do not want to continue as another victim of the single story.


Take a minute to listen to the story that has inspired me.