Failure is a part of every entrepreneur’s journey, and Cody DeLong experienced his share early.
At 16, he began booking and promoting local heavy metal and punk concerts where he grew up in Fremont, New Hampshire. He walked into school one morning after pocketing $1,000 from a successful concert the night before, thinking he had a pretty sweet gig. But it didn’t always turn out so well. At 18, he found himself several thousand dollars in the hole after a show he booked in Exeter, New Hampshire, bombed. He borrowed the $3,000 from his mom to make up the difference.
WASHINGTON, June 17, 2014 – Sen. Patrick Leahy, D-Vt., and Rep. Doris Matsui, D-Calif., on Tuesday introduced a bill, the Online Competition and Consumer Choice Act, that would grant the Federal Communications Commission the authority to bar so-called “paid prioritization” agreements between internet service providers and content providers over the last-mile of a broadband connection.
Whether it’s as simple as a band recording a new album, raising funds for musicians to head overseas to tour, or simply a great music-related initiative, the likes of Kickstarter, Pozible, Pledge Music, IndieGoGo and their online brethren are helping to realise the previously unattainable dreams of musicians the world over. Here, we’ve once again handpicked a few of the latest to cross our paths that we think you should totally consider supporting.
Today, Representatives George Holding (R-NC) and John Conyers (D-MI), will introduce the RESPECT act, a bill meant to create a limited performance right for the use of sound recordings by satellite and Internet radio companies.
A pair of legislators this week introduced a bill that would require online music services to pay copyright fees for pre-1972 recordings.
The Future of Music Coalition said it was pleased Congress at least was recognizing the importance of compensating artists, but said that, unfortunately, the bill “doesn’t offer performers the full suite of rights afforded to artists who made recordings after February 15, 1972.” The group called the bill a step in the right direction, but added that “adding scaffolding to an already unwieldy structure may not be the best way to ensure artist compensation across the board.”
When you’re listening to vintage recordings on digital radio services, it makes a huge difference to the people who played on them whether they were made before or after February 15, 1972. If Pandora or SiriusXM play a track from, say, Lou Reed’s Transformer, which he recorded that summer, his estate and the performers will get a modest royalty. But when Al Green’s “Let’s Stay Together” beams soulful grit across the digital ether, the Reverend gets a check only for his share of the songwriting. Clearly, he should’ve waited to cut the record until after Valentine’s Day.
With news of Apple’s $3 billion acquisition of Beats Electronics breaking today, Billboard reached out to prominent executives and thinkers from across the music industry to get their thoughts on the deal.
Everyone’s vying to turn streaming into something that will be profitable, but for the winner, revenue may not come to a music service alone. Apple is fundamentally a lifestyle hardware company. Beats Electronics is a powerful lifestyle brand. The downturn in download sales means Apple has a brief window of opportunity to get into the streaming market with a service that can be easily integrated into their OS. It’s still a walled garden, but there may be more walls.read more
The FCC by stepped bipartisan opposition as well as the music community. Last month, Eddie Vedder, Michael Stipe, and Tom Morello joined many other artists in signing an open letter to the commission protesting the change. But protests by musical advocacy groups such as the Future of Music Coalition and Free Press have been applied in vain.
The statement, “The next 120 days are going to be big,” tweeted by the Future of Music Coalition portends an ongoing fight against e-stratification.