Sometimes, things simply happen. There are a few coincidental moments which start a whole chain of terrific encounters. Now, if this leads to discovering new music, it gets a full-fledged Mike-Masnick-“connect with fans” experience. Somewhat surreal, yet very real.
It’s been about two weeks ago when I received a tweet from netlabel Rec72. They recommended an artist to me, Zoe.LeelA - in particular because of ContentSphere’s Creative Commons focus.
To be honest, I get a LOT of recommendations, links, or artist followers via Twitter. And I really like that. I follow each and every person back who’s in the music business. That’s the premise. But I don’t have the time to check back all music (which is a shame).
Luckily, I did this time.
Zoe.LeelA’s EP “Queendom Come” went straight into my playlist. Sure the guy (or girl) from Rec72 doesn’t know my likes and dislikes… but he aimed into the blue and hit exactly.
It’s electronic music, spiced up with a grain of hip-hop, and a good deal of soul. Let me put it that way. Where Sarah Fimm tends to be more percussive, Zoe.LeelA’s tunes have that melodic hook that keeps stuck in your head. It’s one of that rare occasions you are glad they do.
Apart from Sarah Fimm, it is (at times) that Ladytron comes to mind, or Charlotte Martin’s “Stromata”. Or even Massive Attack’s “Mezzanine”.
Continue reading "Zoe.LeelA - Lush Electronic Soul From Berlin" »
Entries tagged as creative commons
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Tuesday, February 9. 2010
Zoe.LeelA - Lush Electronic Soul From Berlin
Monday, October 12. 2009
Germany's Collection Society GEMA Having a Rollercoaster Ride?
Several times I mentioned GEMA (Germany’s collection society) and hassles artists as well as event managers and other people are having in dealing with them. Yet, all2gethernow’s panel on collection societies made me feel some relief in looking forward.
Continue reading "Germany's Collection Society GEMA Having a..." »
Continue reading "Germany's Collection Society GEMA Having a..." »
Thursday, September 3. 2009
The GEMA Presumption as an Entry Barrier (Pt. 3/3)
At all2gethernow, I am going to discuss the topic as a part of the #camp. Furthermore I’m participating in the discussion on “Collection Societies and Rights Management”. Hopefully, many of you will join us to discuss. Those who can’t be there in person, please join our community. There, you will be able to submit suggestions and comment on anything.
So, please take this series of articles as some kind of basics to what I’m going to discuss with all of you at all2gethernow. No matter whether it’s online or offline. Posts are published day by day.
[English translation of part 3 is coming soon. Due to organisational tasks at all2gethernow, it will take an additional one or two days to translate. Since the text is available in German already, I just posted it in advance for all German readers.]
Teil 1&2 findet Ihr hier:
“Die GEMA-Vermutung als Markteintrittsbarriere (Teil 1/3)”
“Die GEMA-Vermutung als Markteintrittsbarriere (Teil 2/3)”
Glaube ist gut, Wissen ist besser.
Gleichgültig, wie das Urteil eines (notwendigen) Sachverständigen zum Thema aussieht, der Beleg für die Verfügbarkeit einer hinreichenden Größe frei lizensierten Materials muss vor Gericht erbracht werden. Denn die GEMA-Vermutung ist gängige Rechtsprechung und wird erst vor dem BGH endgültig widerlegt werden können. Aber die Schwierigkeit liegt in der Nachprüfbarkeit. Der GEMA liegen neben ihren stets aktuellen Geschäftszahlen natürlich auch die Zahlen der zu verwertenden Titel vor - wo aber sind die belegbaren Zahlen frei lizenzierter Stücke?
Aufmerksamkeit.
Darüber hinaus hat die GEMA Pressesprecher und Lobbyisten. Nicht die Künstler, die ihre Werke GEMA-frei anbieten. Für die Verbraucher existieren letztere Künstler nicht. Selbst wenn international renommierte Künstler wie Trent Reznor oder die Smashing Pumpkins Titel unter Creative Commons veröffentlichen - die Masse des Publikums nimmt es nicht wahr. Es erscheint unwichtig. Die meiste Beachtung für diese Aktionen, Marketingstrategien und teilweise auch Geschäftsmodelle wird den Künstlern durch das Web zuteil. Continue reading "The GEMA Presumption as an Entry Barrier (Pt. 3/3)" »
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