Several high profile artists moved away from sampling in the late 90’s, after a smattering of lawsuits were brought against artists like De La Soul, Biz Markie, 2 Live Crew, etc. for the use of unauthorized samples in some of their biggest hits. As a result, the familiar sounds of hip-hop, pop, and electronica changed dramatically in the decades that followed, as people were both scared off of sampling, and/or confused by the myriad of clearances and fees needed to sample legally. To solve this dilemma, Tracklib has stepped into the arena to act as both a clearinghouse, and conduit between sample based producers and the companies that own both sides of the material that producers want to use in their derivative works.
Under the current distribution model, labels and rights holders typically only get paid once a month by their distributor, and those payouts are often for streams and downloads that occurred well before the pay period. In an era where artists and labels are able to see nearly real-time usage data for their catalog, these delays in payment have made rapid growth difficult in some cases, and now there are companies stepping in with solutions. On this episode, we speak with Bruno Guez of Revelator and Daniel Dewar of Paperchain about their efforts to increase the liquidity of assets for rights holders by advancing payments to them based upon their catalog’s performance on DSP’s.
The Copyright Alternative in Small-Claims Enforcement Act of 2019, or C.A.S.E. Act, is currently making its way through Congress, and it stands to have a significant impact on musicians and labels across the country. As it stands now, if you’re a musician who’s had their music used without a license, your only recourse is to go to a federal copyright court to defend your claim of ownership, which often costs hundreds of thousands of dollars in court and attorney(s) fees, and you must travel to D.C. for the hearing. The C.A.S.E. Act seeks to change that reality by creating a small claims court, that would be much more accessible to artists and labels, both financially and physically, since proceedings can happen remotely.
Like every other role in the music industry, the face of management is changing to meet the current needs of artists. With fewer and fewer labels investing in artist development, the work of building a team up around an artist has started to land more and more on the shoulders of managers. In our exploration of this topic, we speak with Brian Dubb of Centralized.me, who has developed a web based “virtual management” application that helps developing artists manage themselves, as well as Adina Friedman who works for the management company, “Friends At Work.”
For the last eleven years, Merlin has been championing the independent music community in a variety of ways. During that time the organization has put over two billion dollars into the pockets of indie labels and distributors, through its negotiated deals with DSP’s like Spotify, et. al., and the organization is only continuing to grow its reach internationally. On this episode, we talk to Charles Caldas, the man at the helm of Merlin for the past eleven years, along with Jorge Brea of Symphonic Distribution and Katie Alberts of Reach Records, who both use Merlin’s services for their businesses to great advantage.
In previous episodes, we’ve discussed the diminished role that music criticism plays in today’s market, and now we’re turning our focus towards music journalism at large. With more and more magazines and newspapers going out of business, writers find themselves with even fewer publishing options, and they’re being forced to look for work outside of the music industry.