Sell Off Music

Music Sales by Way of Digital Distribution

MiniNova intros a stats bonanza

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A few months ago top BitTorrent meta-tracker and SuprNova successor, Mininova started distributing content for anyone that wanted to put media in-front of their millions of users. This weekend the good folks at Mininova upgraded their Content Distribution service to include stats generated though Google Charts API. The stats themselves are an interesting window into the pull of specific types of content in different areas of the world. More fodder for algorithmic marketing efforts that can process the data and pull out usable insights into what people want and how they want to get it.

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Content Owners Must Consider Fair Use Prior to Issuing Takedown Notices

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I haven't posted here in several months but this case warrants mention. Yesterday, the District Court for the Northern District of California issued a ruling in Lenz v. Universal that would require content owners to consider whether a particular use is a fair use before issuing a takedown notice under the Digital Millennium Copyright Act ("DMCA").

The case originates from a home video posted on YouTube that features a baby dancing to the Prince tune, "Let's Go Crazy." Universal sent a takedown to YouTube, which complied and sent notice of the removal to the poster, Stephanie Lenz. Lenz responded by requesting that the video be reposted because it constituted a fair use and therefore did not infringe Universal's copyright. The video was later reposted and remains there today.

Lenz filed suit, alleging misrepresentation pursuant to 17 U.S.C. Section 512(f). Among the requirements for filing a takedown notice, the content owner is required to affirm that it has a "good faith belief that use of the material in the manner complained of is not authorized by the copyright owner, its agent, or the law." It is Lenz's contention that Universal did not have such a good faith belief because it did not consider whether her use was authorized by the law as a fair use.

Universal moved to dismiss the case for failure to state a claim. Universal's position is that fair use is not a matter it must consider before issuing a takedown notice because fair use is merely an excused infringement of copyright rather than an authorized use.

This issue touches on one of the odd paradoxes of copyright law in the U.S. Fair use is almost universally spoken of as a "defense" to copyright infringement, rather than a permitted use. However, as pointed out by Bill Patry (in an earlier post that I cannot currently find), this dichotomy is frequently overstated.

The court looks to the language of the statute, wherein Section 107 provides that "[n]otwithstanding the provisions of sections 106 and 106A, the fair use of a copyrighted work . . . is not an infringement of copyright." Because fair use is not an infringement of copyright, it is not contrary to the law, and if it is not contrary to the law then it necessarily must be permitted. Therefore, one can only conclude that an act which is "not contrary to the law" is one that is "authorized by law." The court continues:
Accordingly, in order for a copyright owner to proceed under the DMCA with �??a good faith belief that use of the material in the manner complained of is not authorized by the copyright owner, its agent, or the law,�?? the owner must evaluate whether the material makes fair use of the copyright. 17 U.S.C. § 512(c)(3)(A)(v). An allegation that a copyright owner acted in bad faith by issuing a takedown notice without proper consideration of the fair use doctrine thus is sufficient to state a misrepresentation claim pursuant to Section 512(f) of the DMCA. Such an interpretation of the DMCA furthers both the purposes of the DMCA itself and copyright law in general. In enacting the DMCA, Congress noted that the �??provisions in the bill balance the need for rapid response to potential infringement with the end-users [sic] legitimate interests in not having material removed without recourse.�?? Sen. Rep. No. 105-190 at 21 (1998).
This is a very interesting holding because it places the fair use analysis on the front-end and seems to entirely eliminate the notion that "fair use" is only a defense to copyright infringement. It seems to make perfect sense and perhaps sheds some clarity on the role fair use will play in our industry in the future.

Of course, at the same time it places a far greater burden on the content owners. Prior to this ruling, content owners were issuing takedown notices for any use that was not licensed by them. Certain fair uses are clear - news-reporting, for instance. However, now the content owners must review all of the personal videos posted and determine whether or not such use is fair. The courts have had a bearish time making this determination on their own and I imagine it will be even more challenging for the content owners to get it right. And, if they fail, they risk being on the hook for a bad faith finding. Then again, it could be that if the content owner can show it made a good faith effort to determine whether the use was fair, but was wrong, then the court could not find that the takedown was issued in bad faith.

It should be remembered that the court is not saying Lenz's use is a fair use, but only that Universal had the burden to evaluate whether or not it was a fair use prior to issuing the notice. Hopefully, the parties do not settle and the case is allowed to proceed on the merits, so that both users and content owners will have a decision to rely on to help all of us figure out what is and is not a fair use in our current media environment.

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HDTV and Music

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It seems that the preferred quality of video content goes up while preferred audio quality stays the same or goes down.

HD video has a portal to distribute high quality, high bandwidth, content. Music content is at the mercy of internet bandwidth.

A fundamental difference is the context. Video has many different levels of experience. HDTV, standard TV, web based HD and standard TV served by the networks, YouTube, and mobile video (iTunes).

Music has one level. iTunes and Amazon are about as premium an experience as you can get when it comes to making a purchase. iTunes is as good as it gets when listening to a library of music. Music social networks like hypem and last.fm are good but the quality isn't better (audio or experience quality).

Can we create different tiers and formats to experience music beyond what we have now? Can we create a 'high definition' experience?

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Compilation Records

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A few days ago I got a compilation record by Ed Banger Records. It struck me how cool compilation records were and how long its been since I've listened to one.

Compilations give fans an overall perspective of what a label is all about. They give insight into a label's culture. They provide a spring board for more specific purchases. They allow a fan to sample a label's wares. And most importantly, they are a great representation of what a label believes in.

Our industry needs stuff that can help fans make a connection between the artist and the supporting label.

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Musicians and Their Friends

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The traditional way of marketing music or any product for that matter is to use the communication technology available to tell as many people as possible about the product. Turn on the TV or listen to the radio. Advertisers are randomly trying to tell everyone about their product.

What is the whole point of trying to contact as many possible customers? ....to reach the taste makers - the real fans. Marketers use radio and TV is to tell everyone in hopes that the taste makers are listening.

In many ways we've been treating the internet in the same way. This new communication tool is being used to try and tell everyone about a band. How many friends can we get on a MySpace page? How many people can we follow on Twitter? How can we get our music listed on every mp3 blog? If we do all that, someone who cares will listen right? Ummmmm.

The web isn't like TV and radio. Today an artist or band can find their real fans, the influencers, easily. How? The real fans will use the web to search out their favorite artists and bands. Those are your peeps. Get to know them. Treat them well because they are going to talk about you.

If you can amaze an audience with a performance and a song, then the puzzle of how you need to use the web to connect with your fans will all fall into place. It'll be obvious what needs to be done. The fans will tell you.

We, as the music industry, need to use the web to communicate with fans, not talk at them.

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Artists Need a Home Base

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As entertainment producers we have all this freedom to create what we want and distribute those creations how we see fit.

There aren't any limits on what we can produce and distribute. Filters? They don't exist.

I will argue that there needs to be filters. Regardless if you enjoy what a filter like a record label or movie studio puts out, there is a level of quality that is evident in what they produce. That's the whole point of a label or studio! To serve up the best stuff!

These filters have been hit in the wallet by the change in digital distribution but it doesn't mean they aren't important anymore. We still need people who care about music to pick the best of the best, nurture it, help push it along and then show it to the world.

In the future are all bands going to connect with fans direcly on their own, without support? That sounds like a great idea but I'm not sure that it is possible. What I do think is that record labels can connect with fans directly. The filters can make these connections. So much of the work that a band takes on with the DIY style of connecting with fans could be transfered to a label or filter if the right relationship was established. That is what artists need; support! Once an artist or band reaches a certain level, they as individuals can't take on all the communication work that is needed. That's where great managers, and great labels come into the picture. A great manager can change an artist's life. A great label can do the same!

A label is a home. A place where an artist feels comraderie. A place where they feel they belong. A place they can run to.

Connecting with a fan directly is the future. The artist connecting one on one with a fan is part of it. The label needs to stand behind that communication and help that happen. Labels need to be behind the 'one on one' connection propping it up, supporting it, and pulling it all together.

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Use Care in Connecting With an Audience

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There are many channels that an artist can use to broadcast themselves today. We all know this. And, we all know that it has become incredibly popular in recent years.

Personal branding, and DIY production/broadcasting methods seem to be mentioned everywhere today.

Ok, cool, but we all know the what. Lets look at the why. Why are audiences attracted to this?

I've decided that its all a matter of authenticity. When an artist broadcasts directly to an audience, he or she is making a gesture that they themselves are real and authentic. I think that is what audiences are increasingly becoming attracted to. Its what they've been missing.

You may think that this is obvious but I don't think it is to a lot of people and groups using social media tools. These tools must be used for the purpose of making an authentic connection. Not every recording artist should Twitter, or blog, or have a YouTube channel.

As an artist, take care in using this stuff. The 'use it all' approach won't resonate with your fans. Take the time to find out what is going to work for you and what you can be creative with.

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What is the Point of Touring?

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Is it to increase your friend count, entertain, simply play music in front of people, connect with people, feel like a rock star? To you, the musician, what is the point of touring?

What *really* is the point of touring? Answer: To personally knock the audience out of their seats with your performance so they leave wanting more.

Here are a few things that will be helpful.

Surround yourself with a handful of people who believe in you who aren't parents and aren't in the band. Put yourself in a location that feels comfortable. Be surrounded by artists with similar goals and similar paths. (Great stuff comes from bands feeding of of each other. Movements start when bands feed off of each other.) And, make sure someone responsible is running your 'show'.

Play enough that you are making money doing it. There is one really good way of measuring how well you are doing as a band. If people are paying to come see you then you are connecting with an audience.

Make sure your manager or someone who cares is keeping track of some numbers for you. If you've been gigging for eight months and you are starting to see a rise in your monthly take at shows then good for you. If you see a spike at month two when you opened for Death Cab, but then the line dropped way back down, then you might think twice about putting so much time and energy into landing that opening spot when all it did was gave u a spike and bragging rights.

If you can get yourself on the road and build up to the break-even point and then on to putting money in your pocket, you are on your way. Today's world is different with people broadcasting themselves in every direction, but as a band or musician who wants to be a real pro it really isn't that different. Just play. Having a pro knock my head off with a performance never gets old or cheap.

So the next time you feel like you need to be on tour opening for some amazing, act ask yourself why. Do you need to be on this tour because you mesh with the band and you bring something to the table, or do you just want their fans that they worked hard to get to see you?

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Technobabble: The Language of Web 2.0

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This is part of the presentation I gave in Chicago, it started off the sessions and was intended to give people an understanding of the terms, phrases and language of Web 2.0 pundits and users. In a strange twist, all the audio from this session was lost and so the presentation is sans audio.

The story on the first two slides is that those words were literally something I heard during the Start-up Riot here in atlanta. I use that as an example of both the extreme nerdiness of which I am sometimes a part as well as how every much the language of Web 2.0 has moved beyond MBA speak. The point I try and drive home with these slides is that you need to know the lingo to be a part of the game and you need to understand the lingo to play it. I no longer include The Long Tail in presentations because it is so hard to convey the idea, the controversies and rebuttals without either spending 10 minutes on it or getting uber geeky and referring to power laws.

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Omon Ra in Montreal

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This is for all the Montreal peeps and people who are going to be in Montreal on Thursday:)

Tessa of Fixture Records is a friend that Dan and I made through working on AjiSignal.

If you are in Montreal on Thursday go check out the Fixture Records release party for Omon Ra's The Halls of Medicine.

Details
Thursday, August 7th 9PM at Divian Orange (4234 Saint-Laurent)
Cover: $7 includes an advance copy of the record

More details are on Omon Ra's MySpace page.

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