It's been surely bizarre: Imagine the almost naked architecture of an industrial building's hall from 75 years ago, and a vaudeville figurine in lingerie playing her ukulele right below the ceiling up on an open stair. With a quiet yet growing voice she started. No mic at all. Not that she was in need of one: "I'm a creep... I'm a weirdo..."
Here's the latest & hottest & absolutely stunning terrific update on all2gethernow: None other than Amanda Palmer, legend of DIY marketing comparable only to Trent Reznor, is coming to all2gethernow. We are in an absolute frenzy she's willing to do a Q&A session as well as a one-off gig. A kind of impromptu one. True AFP style.
The number of exhibitors was said to be low. Due to online piracy. This is what Dieter Gorny, CEO of German Body of Music Industry (BVMI) told the public when Popkomm (founded by Gorny), Germany's most important and one of Europe's largest music business conferences was cancelled on 19 June. Then, Jana Herwig blogged from Vienna: "Can't you do anything about it and make it happen yourself, bottom-up style? #unkomm".
No matter what an expert's study on the case might look like, the proof of availability for a sufficient number of free licensed content to counter GEMA's presumption has to be brought forward to court. The "GEMA assumption" is part of German jurisdiction, therefore it's much likely the ruling has to be found at Germany's highest court, the Federal Court (BGH). But the true challenge is its verifiability.
The licence market is protected by the GEMA presumption. The income of composers, authors and providers (labels) of GEMA licences is protected. Where's the threat? They are "threatened" by new providers, say authors of works under Creative Commons licence. Those are constrained in selling their licenses. Free licensed songs would represent a product substantially expanded by valuable properties. It is no substitute product but nevertheless a competitive one.
The line between private use and commercial use is not that clear, and it is not explicitly defined by Creative Commons. The definition rather relies on the author being the licenser. But in case you are about to license a work - just ask the author if the purpose you are intending is considered private or commercial use. The metadata of any work licensed under Creative Commons should allow for a contact option.
Dear all, holding the role of the curator of Forum I (“Collection Societies & Rights Management”), on behalf of all2gethernow e.V., I’d sincerely like to invite you to take part in our press conference in Berlin on 1st Sept. respectively alert you to Berlin’s upcoming all2gethernow - a new music and culture convention.
The New York Times’ online archive holds the oldest message in regards to the topic of piracy in music industry. It originates from 13 June 1897, the founding time of music industry. „Canadian Pirates“ mailed counterfeit records across the border and sold them for a tenth of its real price. The industry bewailed a 50% loss in turnover demanding the postal sevice to filter items out.
Reznor's point is straight forward and easy to understand. Bottom line is, master music & online tools, work hard, deliver something good - and sell something unique other than music. Because you can't rely on selling (recorded) music in itself. Music is ubiquitous. And it's free. Cash is about extras.
This whole GEMA (Germany's collections society) apparatus of rules, conditions and rates really is complex. If I get anything wrong - be it either to GEMA's advantage or disadvantage - please tell me and I'm going update my article. Email me or simply post a reply below. I gladly will stand corrected. I don't know what it looks like with ASCAP et al. - I can't imagine it to be worse than here.
