A Seminar in Music Business Strategy with Berklee Professor John Kellogg

I'm John Kellogg I'm the assistant chair of the music business management department here at Berkeley and I teach two courses the introduction to the music business course which is a survey course and advanced negotiation techniques which is a workshop course where the students get together and I give them certain fact patterns and and really monitor and advise them on the correct manner to negotiate various agreements with in the entertainment industry general music business practices are structures of record companies publishing companies as well copyright and extense piece on copyright we talk about the production of Records we talk about live performance we talk about it's a space basically a survey course that covers a number of things and I think set students up for future studies so it's an intro course that students aren't required to take in our program so we get a lot of students across the college that aren't music business management majors that take that course and it interest them into going on and declare themselves as music business majors the primary goal is to really educate the students as to the business principles that they're on to need if they're going to get out in this business and really be able to manage certainly they need to understand the vocabulary of the industry which is certainly in particular as it is in most industries but also understand the concepts and there's so many concepts I start my introduction to music business course with with saying that the music business is really a combination of law business principles and politics and the students you know look at me and wonder what we mean politics and I let them know how the laws are influenced by the political system how it's very important for us as musicians and people in the music business to be active in lobbying for our interest depending on which standpoint you come from industry so we try to give them a background so people so that they understand from the record company side as well as from the artists side so that they understand that they have competing interests but this it's really a matter of trying to negotiate some way for everyone to benefit from that arrangement I speak to high school students at times and that particularly at that age I tell them the most important thing are the three RS reading writing and rithmetic and I break it down like that and I let them know how important it is for them to get those basics and I told them the story I hated math in high school so I only took the basic math courses I took algebra I didn't go on to trigonometry I avoided that course so after the 11th grade I was finished with math and while I was in those math courses I said I would never you why am i studying this I would never use this then when I got at a record business and in the music business I recognized how important that was and it to be able to figure out percentages and to be able to use those algebraic equations for your benefit to even understand how and if you were going to be paid so I tell them that that's important for them to get that basic understanding at that level understand as well as writing and reading because what's written in the contract and if you can't read what's in the contract you aren't going to be able to understand those things so at that age I just try to tell them to get the best general education and can and also not to avoid some of the things that they might think are really tough subjects I think to be successful they also have to have great social skills I mean this is a business of relationships I feel even as a musician it's all about a relationship that you're trying to create with the audience and that's the thing that I love about the music business to me it's a heart-to-heart type of activity and this is what I tell a lot of the musicians if you're going to hear as well perform in front of 10 people if you only have 10 people touch that 10 people there and if you touch the Tempe from the next time you come they'll be 20 there will be 25 and that to me is the hope for the music business when people are so disturbed and think that the music business is dying and they'll never be successful they don't recognize that if you continue to go out and touch people you will build your audience you will build an audience that's going to be connected with you and it's going to support you and I think that's what's happening even in this most recent instant incidents of Radiohead putting out their material and saying look pay us what you want because they know if that people get the material and they like it they will support the artists some of them will pay more than what they ask because they want to support their art and I think that the industry is really getting at that point that musicians have to understand you have to develop those relationships so you have to understand that social skills are very important you have to love people you have to love music and you have to love people forget about the money if you do that the money will come but that should not be the primary motivation I say that the copyright is the most valuable asset in the music industry at this point I mean there's a lot of people that are trying to do away with pop copyright but I look at that it's a very very valuable I said and I look at that as a black person I look at it how valuable it is to black musicians and artists and how it always has been and I say that that black talent to blacks is like oral is to Arabs it's one of our most valuable natural resources so we have to protect those assets and I see it with my clients I see it with the work I've done you know I tell a story in my class about going to a movie in 2009 next Friday a movie with Ice Cube by calling hip hop movies and sometimes I go to those movies to see if anybody's using some sampling some music from some of my clients I'm sitting in the theater and about a quarter of the way through the movie I hear a track in the background a funky groove the background it's a song that sounds real good enough can I say to myself man I've heard that's a great crew I know that song from somewhere one is dead yes what that's the one I know that sounded and the voices came in it was my voice and it was the song that I recorded with cameo on the first album twenty thirty years before and of course my first reaction was oh wow my voice is in a movie you know you really wait for that day and then I thought about it and I said wait a minute I only made $100 a week on living in New York City to record perform and do everything with that group I didn't make hardly any money I didn't sign any contracts and it really made me wonder how come I'm not getting paid and that's what drove home the point to me that every time the music gets played somebody gets paid every time the music gets played somebody gets paid so I tell my students if you're an artist songwriter homie or producer I'd say you need to get paid not played and I felt I've been played because I written didn't write the song but I performed on it and it really made me wonder about my rights twenty twenty-five years later and I think it's important for musicians and young musicians to understand the value of the copyright and how long it lasts you know life plus you know seventy years it's it's amazing so those are the kind of things that I stress that they really understand the value of copyright is one of the most important things because that is one of the primary ways to protect one of the primary ways to protect your creations and your creative work is ticularly in today's world because so many major publishing companies are doing coke publishing deals so the songwriters are in essence forced to form their own companies yeah I definitely advise them to start their own publishing companies and particularly in today's market because so many things are happening with the internet social networking sites and from what I understand a lot of the people in publishing companies now are interns and people that they bring in to really shop the copyrights to the creative departments at the advertising agencies - movies - for TV soundtracks and they have young people on in those departments that are looking for songs and I think that they're connecting at a whole new level so you can really have an unknown songwriter that could write a great song and have the ability to get it out to Hollywood and have it possibly used in a TV or a movie or soundtrack more so than ever before so that's a long answer to say yeah I think it's very very wise for them to start a publishing company immediately it isn't hard it isn't as difficult as they might think and it's definitely worthwhile because you want to set up an entity to protect those assets the copyright well the first thing I think you should do is certainly file a copyright with the US Copyright Office which is a very expensive proposition at $45 a registration now many people will put it in the form of a collection or a compilation with a title and a number of tracks and filed in under one form that certainly makes sense I think that that is at least a way to protect as many songs as possible under one registration although it can be a double-edged sword because at some point if one of those songs on that compilation becomes popular and becomes valuable then it's it's very important to go back in and file a separate registration which you're allowed to do for that particular song I had an incident in my law practice where I had a client that one of the songs was sampled on an artist who sold about 700,000 units and he couldn't find his copyright registration he says I filed a copyright for this song and I just can't find it and it without the registration you can't go into federal federal court well finally after you know a month or two of research he finally found that he had found it under compilation you know and with about 12 songs on one registration form and and that enabled us to be able to proceed so it's very bright I advised people that don't have a lot of money because I know forty five dollars if you want to do that per song that's going to be prohibited for most new artists but if you're going to do that then it's very important to recognize that as the value of the particular song decreases that it's important to go back in pull that out and file it under a separate form I advise people to really start on a local basis go to the clubs see artists that you feel are developing and get with those artists picture music to them performing yourself in clubs build up a following the artists that are coming through town trying to get backstage try to pitch it to the to the to the artists that are coming through you can you know it can be done so I say start on a local regional basis first although I think things are changing dramatically once again with the internet they have certain services taxi as one service that you can use to register and I had a client from years ago just call me about a month ago and said look I set this to tax in somebody's contacted me they want to license my music and I was glad to hear it because he's an older artist now great songwriter great vocalist but I said you need to definitely definitely need to license it because that's really how people are breaking into the business now through all of these alternative means not necessarily radio play but television and movie so I think that that's a good way to get started Terry McBride and network management is doing in interesting combinations of online activities and giving things away allowing people to remix you know artist material without any charge just to build up their commitment to the artist and so it's I've been thinking about that a lot recently I think it would be very wise for artists that are starting to say look download it you can keep it tell your friends email it to your friends I think it's a great promotional tool just as American companies do they give away free product I think that artists need to do that as well but for a different reason it's not just to sell the product at some point I believe that you if you do that you build up an audience there but I'll be willing to pay even if you follow the Radiohead model say look I'm putting this music out I'd like for you to pay something and if they like you enough they're gonna be willing to support your art I used to rail against record companies when I first started teaching and doing seminars back in the mid 90s and over the course of time I've appreciated I have more appreciation for what major labels do and I tell this to my students in clients that you have to recognize that record labels do spend a lot of money to try to promote you and it's a tough very expensive job I feel and it's an amazing thing to think that there is a company that on Tuesday November 17th or whatever date it is that will have your music in Tougaloo Mississippi in Albany New York in Omaha Nebraska all over the country one day and in the promotion the marketing costs that are involved in that are very significant so I don't really against major labels as used to but you have to recognize that currently it's very tough to get a major label deal the major labels are cutting back tremendously they have to they are selling records like they used to so it's it's it's a it's a long long shot I don't think it's something that that you should just rule out it and say well I don't want to deal with a major label at all if you want broader distribution and you want national recognition than a major label is the way to go now how do you get there I go back to the logo and the regional developing a local and regional audience if you start selling on your own you press your own CDs 2500 copies and within a month time you sell out 2500 copies in stores on a local or regional basis the major labels are going to see that on sound scan and they will come after you because they want that kind of artist that is building an audience so I think a lot of young people get into the industry with with the wrong ideas in mind it just want a major label deal when they need to recognize no one you need to do is build an audience and a following because that's what record labels want to see one they want to see that you have an audience and two they want to see that you can produce quality recordings and it doesn't take you a long time to do it they want people that record companies can make money without product so they look for people that can produce product great product quickly and have a loyal audience if you want to go from 25,000 units to possibly a quarter of a million or 300,000 units within a year's time it might be kind of tough for you to do that depending on the genre that you're in as well that makes a big difference as well but that could be a tough proposition even in spite of the money that you might make from selling 10,000 units on your own ten thousand CDs on your own still to be able to have a record distributed and marketed all over the country my requirement an investment of hundreds of thousands of dollars which an act really may not have so it's a trade-off you have to decide what you're doing it for and why you're doing it and so I think that's something that artists need to consider taking a picture right now the major labels still have an influence in will have prop for the next few years but I think it's going to decrease over the years and artists should I think develop their followings if they can through social networking and viral marketing is very important they have sites now where you can actually go and have the audience's demand that you come to their town you place your information and if enough people demand that you eventful calm is a site that allows artists to put their information up and if people sample the music and liked it they will demand of the list that they want them to come and perform in their town and if they get over 100 people there then the act and say look go find a club and have the club owner contact us and we'll put you on our tour schedule so I think the opportunity for artists to really do it on their own is greater than ever before I think it's wonderful thing as long as the internet remains free and once again it gets into politics and I think artists really need to be involved to make sure that they don't put roadblocks in our way as far as the use of the internet funneling things toward certain companies and other interests that could happen I think it's a great opportunity right now for artists to get in really build their own career and I think the focus will get away from selling records to the most part I threw major label distribution and through just distribution land distribution and gentlemen when you have the digital sell a product I think that that's going to become very very important in certain major artists are really regular heads doing it and of course you have a Trent Reznor with Nine Inch Nails that I think his next album he'll probably do possibly just digital and maybe do some kind of distribution deal for a CD so it will have some kind of combination but I think it's I think it's very exciting what's happening to the music industry I might of what a lot of naysayers would say it's probably the best time to be a musician and to be able to make a living from making music I think radio is still going to be very important and not only ready over the internet sites and other sites that have to license that performance right ASCAP BMI and SESAC to me are still in the best position because there is no way to know how often your music is going to be played in all of those various cities I named earlier across the country all across the world so if you have an organization like that and I understand that their earnings are going through the roof now because of all of the various uses so I definitely advise joining ASCAP BMI or CSI you can go a little website on ASCAP wants you to have had the song performed before my experience has been BMI has been a little more lenient I don't know if I should say that on camera maybe a lot of people may not appreciate that but ASCAP wants you to list that it has been performed and I know that really kind of disturbs some young people that are coming up with music as it you know say look my record isn't played on the radio I can't join a scapula they require that it be performed that means if you perform it in a club you can list that as a performance of a particular work showing that you are a viable owner of a copyright that is is is being publicly performed so that's the only one of the main restrictions and I think a lot of people get hung up on but I don't think that they have to when they recognize to set up a showcase I think that that's always always been the bottom line for me I mean I when I was a kid I started I listen to the radio I love the radio but I went to my first concert was Della Reese and Smokey Robinson in the miracles you know and I mean this young Smokey Robinson in the miracles they were tremendous fire react I mean I was caught up in it and I loved it from that point on and from there the other artists that I really admired were artists that I saw and I was touched by their performance and that's the reason why I couldn't wait for the next record to come out to buy and I think that that's really what it comes down to is and this is why I try to tell particularly the students here and any students I speak to that it is a heart-to-heart your touching people's hearts if you can touch people to move people's hearts and spirits everything else to me follows from that all of the other business aspects public performance sell of records all of that to me follows that I think it kind of got turned around you know in the last century you know it was originally that that people would go to vaudeville and exceed their performers and will like when records came in and suddenly became a little strange I remember as a young guy when I first started recording my group never expected to make money from records we were only using records for promotion and then we sold singles at that time so we were just trying to get a record deal to get someone to promote us so that we can go out and perform then in the 70s and 80s as songwriters and producers became the driving force behind the industry and so creative people song writers and artists who were songwriters and producers were able to make money from the record business then it the dynamic change they got used to making a hundred thousand dollar advance in addition to their performance income and songwriting income but now I think it's discharging you aren't going to have those big record advances and those who panic to me aren't in it for the right place maybe the way you should be at it because you love the music you love going out touching people I think it's a matter of going out this afternoon if I have a song I've written and going on the street corner and singing the song then going from the street corner going to a club as the club owner around the corner here's who is this person outside singing so up and inviting you in people don't recognize a number of artists I remember back in 1990 I went to a conference in our meeting in Chicago and my wife and I walked outside the hotel and walked down and there was a group on the corner playing guitarist maybe a bass player female singer and a lead singer and they were doing covers in their own arrangements of old hits old doo-wop hits and he sounded so great there was a big crowd or like on gee people just watching them and there were tremendous and at that time I was heavily involved that just moved to New York and I was involved and I was so impressed by them I said look I want you to breathe so this is my idea I said I wanted to bring you to New York and I want you to stand outside of 1290 Avenue of the Americas where Charles Kopelman's who was huge in the industry at that times office are doing a lunch hour because when Charles comes out and hears you guys I think he's going to want to sign you I never did do that but that was my thought on the same thing was happening in Chicago in the 80s with our Kelly our Kelly who's a big artist now used to sing on the L train at the station stops just with this keyboard and he sang so it happens like that and this is the thing that's the thing people really don't they see the image and they think it's all about the image no it's about the talent it's a about the talent at the very root level touching audiences at the very root level I think what happens with record companies and this is something that the leader of cameo told me he said that people want to be involved in me with my band because they don't know I have talent and they know I'm going to make money and they want some of that money it was a this was you know as we were recording the first album this wasn't at a time when the group was so big this was the first album and and he was right and you know that act went on although I left the act went on to have international success but it took ten years after that for them they had that you success which is something else people even recognized that I preached in my classes it is an overnight thing you to recognize even in this day not like in my day in my day you clearly had to pay your dues I mean it was like you really didn't make it for the most part until you were in your 30s because you played the club's before that but now you can do it a little early but you do have to take the time and pay your dues you want to get a good royalty rate I think there's a lot of good texts out now and a lot of good books that help artists to understand and I think the industry is sensitive to that now I think even record companies know that the artist now is a result of reading books like pass ones book my book take care of your music business recognize that we get we giving hints to people as to what you need to look out for so you want to have a decent royalty rate if you're with a major label you don't want to have Co publishing if you can get around that you don't want them to participate in merchandising however I found I've done a couple of deals recently where record companies now are insisting upon those provisions as a result of the downturn they want to participate in a number of revenue streams so that but still you need to be able to negotiate it so that it if it is a colle publishing deal maybe it's just for publishing for the songs that you do on your record you try to limit that you don't want to have cross-collateralization of your songwriters royalties your mechanical royalties or gets your artist account various things like that I think are the things that you don't want to have an excessive amount of albums you know four to six max which is a big difference it used to be eight to ten until maybe six or seven years ago so then things are getting a little better for artists but you have to be able to recognize those types of in contrast it'd be great to say that they're going to do it you're gonna they're going to be committed to it we could do a video and they're going to commit to giving you a certain amount of funds for marketing and promotion I haven't been able to get that in new artist deals I was able to get that in one new artist deal where there was competing labels and the act was you know a new artist that was really hot but for the most part the average artist isn't going to be able to negotiate those things in their first deal then I'm going to commit to that but then I just marketing promotion they'll be there if they're good company they're paying for the cost of producing that record hopefully in a better studio than you normally be able to get into but yeah that is it that's a tough one once again that's when it gets down into relationships because hopefully that person in the record company you have a relationship with and you know that they're going to at least give you your shot and this thing people understand as well these contracts are most of the albums are option albums it's one man album with option albums so you want to be with a company that you that believes in you and you want to be with a person in that company that's going to be with you that's why I say it's so important to build social relationships because a person that signs you may not be there in a year's time so you want to be able to develop other relationships to continue to make that happen and what you want is to be able to get that first shot and maximize it so that then you're in a better position to go in and renegotiate and say look I need marketing dollars I need money for a street team can you commit that and you might be in a position to do it but it's all going to be based on your sales oh it's very very important because you can sign your life away literally you know a lot of artists once again when the contracts were based on terms of one year with for one year options but within each contract year you had to record two albums and if you didn't recorded two albums in that year that year would be extended until you finish the second album resulted in certain artists being contractually obligated for up to 20 years prints signed in 1977 and didn't get out of his Warner Brothers contract until 1990 1997 and I think you still owe two albums now granted I'm sure he went in and renegotiated the contracts maybe you added some albums on but that just goes to show you that it's very important when you sign that contract to make sure that there are terms that are going to basically take you out of the game because you want to be in a position that if things aren't happening for you at a particular label you have a definitive time when the contract is up so that you can move on into something else so it's very important to have a lawyer I'll look at it and there are organizations if you can't afford an a lawyer that does it regularly they are usually valent volunteer Association volunteer lawyers for the arts and every town and you really need to find an attorney that I was in the same position with my band when I was in college you know we got offered a deal and we had to go to a criminal lawyer didn't know much about it he went through the contract we said this contract is home most new artist contracts are cool so you have to have someone that has the experience to let the artist know yeah this is horrible I can change a few things that will at least give you the shot and if you get have the shot you become successful and you sell a lot of units then you can have someone come in really negotiate things more in your favor it's it's crucial that's crucial I remember when I was at college I would go to library every night study at my treat was after I finished studying I go to the stacks of Billboard magazine and take them out and start reading so I've been reading them since I was 18 and the great thing about that was that I saw the pictures of the record executives and the name so I can associate the names with those executives so then as I started building my band and getting with other people like when I go to New York because then New York you'll see these people walking down the street going to lines you can recognize it they're very approachable people in the music industry make their money off of people you know the average customer so they are going to turn anyone away and if you melt their names they really appreciate that so it's very important that's one way to network then going to conferences as well or in educational conferences that are really going to help you understand contracts understand accounting understand the methods of production meeting people are is very very important being able to to just and you meet them a number of ways performing in the same towns performing in the same clubs that's how I met the leader of cameo he had his own band and I had my own band and we used to perform on the same circle we were in the same times at the same time we got to know each other so when I when my band disbanded and I moved to New York first call I made was Larry black and he said man we're going to the studio tomorrow you know I'm glad to see you you're commuters in the studio tomorrow you know I've been waiting years to record a record that would have the chance to be played on the rail and then in one day I'm you know I'm in the studio it's crazy so that's the kind of thing you build that up over time and this is what I tell the students here the people that you're working with right now are the future leaders of the entertainment industry makes your network in every day so you have to keep in mind that how you treat people right now it could have an impact on your career now because as I was told years ago I found it to be very true you meet the same people growing up that you meet going down and now that I've had a long career I've been able to see that people that have crossed me so to speak have never stayed around you know and I'm still I'm amazed but it let me know that everyone thinks this is such a backstabbing and it is to a certain degree but it depends on the people that you're dealing with and how you conduct your business because you can have a disagreement with someone but at least they will respect you for your position and that's the most important thing social skills networking crucial when people backstab and do things it's such a small industry that word will get around about that Anakin it can keep you from having opportunities that you might have had if you hadn't taken certain action that was detrimental to other people because that word spreads very quickly that this person that's you don't want to be bothered with that person okay and once again you can have disagreements I've had disagreements with a lot of people but at the end of the day I feel and I trust that they respected my position even though I was very firm yeah that they were expecting my position so I think that you know it's a fine line you have to recognize social skills once again not doing things in an underhanded manner because you can have a lot of success possibly doing things in underhanded manner for a certain period of time and people across the music industry forever that have done that you know in my lifetime particularly in the realm of black music yeah a guy named Jim Griffin Navy names again but he you know he he was a pretty rough guy man it's Teddy Maile I haven't heard anything about Griffin a long time should my very very successful multi multi-millionaire I don't know if he's out of jail I think he's still around but you haven't so you know and you heard stories at least I heard stories as to how they conducted their business so it follows you it follows you I'd say support your children if you've raised them the right way support them it isn't that bad I remember having discussions with my father who was a singer as well and I was not professionally but I mean you know his sister and brother had a gospel group his father was a preacher they perform in Kentucky and what kind of had a little recognition I guess in Ohio and you know back years ago when they were children and he wanted to be a sinner but he told me he said that's a hard life he would tell me and that was the extent of what he said but he was as supportive as he could be under the circumstances and I'm glad he gave me my space to do what I've done I think right now is probably the best time for artists to really start and have control over their destiny and their career then it has been since the music business really really started at least the recorded music business started because of the possible social networking sites and selling digital sales on your own and in that respect I think if someone has the talent and they have the knowledge to put it together I think it can be a they can have a wonderful life making music all I wanted was to make music and make living and I think that's probably what most musicians want and I think right now it's probably the best time for that to have it happen and I think I think even the parents recognize that I I've spoken with a couple of the parents here just one just recently and they recognize this new opportunity in the record business and in the music business and their music in general and I was really glad to see that because for years even my parents were concerned you're going into music such a crazy profession there's no benefits there's not it can be a very very rewarding type of career and the opportunity for economic stability I think is probably going to be better than ever in the future who sampling isn't allowed without permission I think I same thing first really became popular back in the early 90s that wherever I would speak on panels or lectures I would say don't sample don't sample and people would really get upset you know some of them well may a minute this is an art form innocence I said don't sample because as I say I approach this business as being an asset building business copyrights are pieces of property they're assets as some LeFrak was a great developer from New York that developed LeFrak City and Queens his son-in-law was Martin banner of EMI and Martin told him Sam you're in real estate man you need to open up a publishing company he said you think real estate is great publishing is the best and Sam did that he opened up a record company and a publishing company and afterwards he said you know you're right it is the best you said at least with copyrights I don't have to go in every three or four years and put down new carpet and paint the walls you know the copyright just sits there and it earns money so that's the approach that I take with clients and with people and I'm advising if they can write I respect sampling more now I appreciate it particularly like Kanye West last album I like the current album as well because I appreciated his historical perspective putting art pulling artists from the past Curtis Mayfield and Bill Withers and Gil scott-heron into and I think it was great just giving letting people know what the roots of this hip-hop music where it really comes from but as far as building your assets it's horrible because you're giving away pieces of your songs and pieces of your income generating power sampling is using the actual digitally inserting a song into another so not a song a recording into another recording is really technically so what sampling is but it's also using snippets of a song of a song in another recording and your aren't using the actual recording but you're using a melody or you're using phrases from that and there isn't any specific amount they talked about a four-bar rule if you use less than four bars then you couldn't be sued for copyright infringement that's a myth you know you can use OneNote if it's that's a substantial portion of that other song that was the key thing in the other song you can be sued for copyright infringement so if you've got a sample clear it do I advise you to sample if only if you really really have to but if you have any kind of creativity whatsoever to write your own music and write something original do it because that's where the value is that is a piece of property just like a building where people come in and rent out the apartments and you can collect rent from your tenants when people use your songs in the future they have to come to you and have to pay you that's a very tough issue in which to me gets into bigger issues as to what it's going to be the future of the recording industry as far as selling and you know as recently as a couple of months ago when the Rick Rubin had an article in The New York Times he kind of addressed that I was kind of pleased to see that he kind of agreed with other people Dave Cusack and Guerlain hard from Berkeley here that have said wait a minute I think it's really going to be a matter of licensing the music and possibly having the Internet service providers pay a portion of their income maybe from the sale of the equipment the iPods have them pay into a big fund and pay the creators from that I think that it's so pervasive I really think that consumers under 25 don't have any concept whatsoever about buying music I don't know I get hopefully they're doing surveys on that right now because I think as time goes on we're going to find out it just isn't there so we have to go to a whole model change and part of that model could be that concept where the songs are registered through possibly some kind of government agency and the agency collects money from other sources Internet service providers people the manufacturers of equipment for that access and use music really as their focal point and then people will just be able to have music at any time they'll be able to access it wherever they are and the creator's will be compensated and people we'll be satisfied with it it's a tough model but I don't think we can overcome the download and I know filing the lawsuits has had an effect this recent judgement against the woman in Minnesota for two hundred and twenty two thousand hopefully it's sending shivers throughout the spines of all these college students all across the country but and it said of fact it's had an effect on when I've heard that it has decreased it but I don't see it going away and I'm afraid that the younger generation is will never be used to mind physical items like CDs I mean it's just going to be too easy to be accessible on so I think the model the more I look at it I think it's really going to have to come down to possibly a change in the system that will adequately compensate the creators and provide the music basis that people will be able to access it all the time I think it's going to go over the course of time you're going to continue that pain using phone number time probably during my lifetime the rest of my life little problem you still have some element of there being some paid CDs even and you know you look at vinyl records and they're still making them I understand it seems like there's a couple of companies that manufacture violin they're doing very well because nobody else is doing it but it's still a product it has some market share it's just not going to have this greater market and we've seen it over the course of time we saw a vinyl records went down cassettes went up CDs costs cassettes to go down CDs came up and now that you've just got the CD you know that's what I tell people this isn't new going back to the singles business and that isn't new that's what it was back in the 50s or 16 years old singles you know that's really what the business was so it's all cyclical so I just think it's a transition that we're going through I think it's great as musicians I think it's great as entrepreneurs I think and from what I can gather having taught in is it business program so that four or five years students get it they recognize look this business is changing I can be a big part of it I can do my music I can possibly own it and that's the reason why I think they're flocking to these music business programs across the country and I think that's encouraging for young people even if you want the musician because the musician is going to need someone to navigate I went to a conference a couple of weeks ago and someone advocated that the model should be for groups should be to have a tech person an internet guru that is a member of your group and all that person does is navigate what you're doing on the net as far as the social networking and they get an equal share just like a group member and I thought that was a brilliant concept so people that can't play they can't make music there is a place for them in the music business and I think that's the wonderful thing that young people have to look forward to there's going to be all kind of ancillary types of services that are going to have to be provided to this new wave of musicians that's that's going to create a whole new world of great music and great music business opportunities thank you you

Channel: ArtistsHouseMusic

Views: 46,113

Rating: 4.9000001 out of 5

Keywords: Contracts, Copyright, Future, of, Music, Legal, Schools, Networking, Record, Deals

Id: 88uKi0to-ms

Length: 49min 41sec (2981 seconds)

Published: Thu Mar 22 2012