When talking about music’s devaluation over the past decade, its nearly impossible to avoid sites like Grooveshark as part of the discussion. Join us this week as we explore how music became free, as we talk to Aram Sinnreich and Stephen Witt about their new books that focus on piracy, bootleggers, and anti-copyright religions. Jim Mahoney and Ari Herstand also take part in the discussion, and talk about the ongoing game of whack-a-mole with the file sharing site, Grooveshark.
On April 13, Congressman Jerrold Nadler introduced the “Fair Play, Fair Act” (H.R. 1733) into congress. The bill itself is designed to create a level performance royalty for artists across all listening platforms, instead of having different amounts paid to artists depending on whether or not the audience chooses to listen on terrestrial radio, satellite radio, or online. In this episode, Portia speaks directly to the congressman about the creation of the bill, and then toggles over to Ted Kalo of musicFIRST to talk about the likelihood of the bill’s passing. Valerie Day of the band Nu Shooz (best known for their 1986 hit “I Can’t Wait”) closes the hour with a frank discussion about how much she’s made from thirty years of radio play in the U.S.
In this episode, Portia discusses the changing nature of scenes with Jon Fine (the author of “Your Band Sucks”), Marnie Stern (8G Band), and Claudia Meza (Explode Into Colors). In the age of the internet, are local, geographically specific music scenes important to artists success anymore? Tune in and find out what these folks have to say on the subject!
This month, the FCC ruled internet radio company Pandora could buy a small radio station in Rapid City, South Dakota. So why does Pandora want to run a small, Top 40 station in one of the nation’s smallest markets? It turns out this small station could reap big rewards for Pandora. We talk NMPA CEO David Israelite, Paul Resnikoff of Digital Music News, and Casey Rae of the Future of Music Coalition.
Episode #3 of the Future of What focuses on “Direct To Fan” sales, which have exploded in recent years thanks to the internet. Jessica Boudreaux and Marc Swart of Summer Cannibals and New Moss Records talk about their merch strategies as both band and label. James Reling from Kill Rock Stars speaks on his super-fandom and which artists in particular he follows intently. Ben Hubbird of CD Baby explains the changing role that the company has played since their inception in 2003. Tim Bierman, manager of the Pearl Jam “Ten Club”, talks about the importance of giving fans what they want when they want it. Benji Rogers of Pledge Music ends the episode with an explanation of how Pledge Music is different than other crowd funding sites, and the importance of engaging the “super fans”.
Episode #2 of the Future of What focuses on sync licensing, which is the process by which music is sync’d to picture, as is the case in advertising, movie trailers, etc. Justin Ringle of the band Horse Feathers sits in the studio with Portia this time around, and they talk about his recent tour(s) and the series of sync/placements that he had with the California Dairy Board. Rounding out the hour, Portia speaks with Matt FX about what its like to secure music for an of-the-moment show like “Broad City”, and Carianne Marshall (of SONGS Music Publishing) explains the importance of sync licenses to an artists’ career. Sohrab Nafici (Director, Music/legal at Warner Bros.) caps the episode off with his insight into the historical and current trends within the sync business.