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21khz: The Art of Money In Music

Jeff Price (Founder TuneCore, spinART Records and Audiam) and journalist Ted Gerstein (Author: Bomb Squad, Former Producer ABC News Nightline) explore the behind the scenes mechanisms of the music industry allowing artists, producers, record labels, songwriters and technology innovators to make money off music. Learn why $30 billion dollars is generated off of music and whose pockets it ends up in.
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21khz: The Art of Money In Music
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Now displaying: November, 2018
Nov 26, 2018

Paul Resnikoff - Founder, Digital Music News
Season 2/ Episode 5

The second season finale of the original Star Trek back in 1969 was an odd episode. You will see where I am going with this in a moment.....

Yes, Kirk and Spock are in the top of the show, Kirk and Spock are at the close of the show, but the meat of the show, the entire episode, is taken up with the story of some guy named - "Gary Seven." Gary Seven is a human who, as it turns out, was kidnapped by aliens and sent back to earth to protect us from... whatever, that's not the point...

The point is (and was), Gene Roddenberry was using one show - Star Trek, to promote another show, in this case, a show about some guy named - Gary Seven. (In the end the show, something of a Doctor Who Ripoff, never got picked up and the whole affair is now nothing more than a fantastic bit of a Star Trek Trivia... but, again, that's not the point.)

So with all that in mind you will notice that Jeff and I are in the top of today's show, we are in the close of the close of today's show, but the meat of the episode, most of this show is taken up by a guy named Paul Resnikoff.

Paul Resnikoff is no Gary Seven.  Paul created and runs - Digital Music News (www.digitalmusicnews.com), the most comprehensive and up to date site on the current state of Digital Music.

"Digital Music News is the information authority for music industry and technology executives."

We’re a highly influential source of news and industry analysis for millions of readers worldwide. Our audience is comprised of highly-targeted decision-makers from every segment of the business, including recordings, publishing, streaming, live concerts, talent development, venture capital, and broader tech.

Digital Music News 

Gary Seven
Paul also happens to run a podcast of the same name, and if you like 21Khz, you'll love the Digital Music News podcast.

This particular episode we're sharing focuses on the lawsuit surrounding,  "Blurred Lines."  That was the 2013 Robin Thicke/ Pharrell Williams song that, because of accusations of copyright infringement by the Marvin Gaye Estate, ended up in some five years of litigation. The central issue in that case, Who wrote the song? Robin Thicke and Pharrell Williams or Marvin Gaye?

It's one of those stories that hits the sweet spot for music, and business and copyright.

PLUS...

Come back in a few weeks; we'll have our take on the "Blurred Lines" case, we'll have an interview with Judith Finell. Judith was the world-renowned musicologist with the unenviable assignment of having to convince a jury that, the music they were hearing, didn't just sound like something Marvin Gaye might have written. It was a piece of music indeed written by Marvin Gaye.

Nov 7, 2018

What a piece of the Merrie Melodies? How about Bette Midler? Etta James? Santana?

Well, they have all been for sale.

One of the goals of this podcast has been to figure out all the ways music can generate money. We know about album sales, we've talked endlessly about streaming rights, we've discussed those "big fat juicy contracts" (that don't exist anymore).

But what about music futures? Ever wanted to be modern versions of Randolph and Mortimer Duke? (Go ahead look it up, I'll wait). What if you could buy the rights to a piece of music that already exists, and is already generating an income? Well, Royalty Exchange, a company based out of Denver, Colorado allows you to do just that.

But buying a song is different than buying Frozen Concentrate Orange Juice futures.

Music brings along its own set of regulations and mechanisms for reporting and tracking sales and distribution. The ASCAP's and BMI's of the world see to it that music is monitored and reported with the idea of eventually paying the owner any particular piece of music. So in the case of a song, past performance may be a predictor of future earnings (with, of course, all the usual caveats).

It's a conversation that fascinated me from the beginning.

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