New York, NY (September 30, 2008) - In this stage of the Internet’s development a lot of grey area still exists. Websites come and go, offering a new take on how we use digital media, but very often, they’re ahead of corporations in their experimental methods of distribution and interaction. Muxtape.com is one recent casualty of the blurry “legal” lines that define the age of rapid technological developments that outpace laws that define the digital realm.
Muxtape started innocently enough. Founder Justin Oullette was a former college DJ looking for a very simple way for people to share their love of music with friends. On an investment of $95,000 from his former boss, Justin started the site in March of 2008 and within 2 months it had nearly 100,000 users. Muxtape’s popularity was essentially based on a very simple concept: Any user could upload mp3s to make a digital mixtape that existed as streaming links, and then they could embed the playlist anywhere they wanted, to share it with as many friends as possible. Seems pretty simple and harmless, right? Not according to the RIAA and the major labels. Six months later, Muxtape was taken offline amid discussions with the RIAA over legal issues and licensing problems.
Talks with the RIAA and the majors have since dissolved, and Muxtape is now being relaunched as a portal where musical artists can upload their own mp3s, and create a profile to promote any aspect of their musical output, which includes a calendar, photos, comments, or downloads and sales of their mp3s. The average person would chalk up this situation as the major labels overreacting and the RIAA stepping into maintain a sense of damage control, but this is really just another case of an industry that’s stuck in a perpetual state of technological limbo. In actuality, they’re probably just as confused as everyone else, which leads to their all-or-none perspective. If they let Muxtape.com continue on its path of “legitimizing” piracy, tons of other websites would use them as a model for what was acceptable in an online environment.
What Muxtape was intended for is a tricky legal issue as far as digital media is currently defined. They weren’t acting as a source for pirated material in the same way as a bit torrent site, but they were complicit in “alleged” piracy by allowing users to upload their own mp3s, where some could have been legally obtained. That’s the sticking point, though: it’s the assumption of the RIAA that illegal mp3s were consistently uploaded. It’s understandable that major labels can’t possibly encourage any form of piracy, so even a small tinge of it on the site would be cause for alarm; what is interesting, though, is that Muxtape was in the process of obtaining licensing and dispensing proper royalties through talks with the RIAA and the major labels. These discussions subsequently dissolved, however, and the RIAA had Muxtape’s Amazon account shut down and their password changed.
For a little while it seemed like the major labels saw promise in the simplicity of the technology Muxtape had created, but they obviously considered it more of a threat instead of understanding its potential as a promotional tool. This concept is what’s repeatedly been surging through the music industry for, essentially, the last 10 years. Does a middle ground exist for these major labels where they can benefit from new technologies while still maintaining control of their most valuable asset, their intellectual property copyrights? Right now, the Internet is in a perpetual state of flux and no one completely knows what the future of the digital realm is. What is important, though, is that these technological advances aren’t stymied by a nervous industry the second their profit margins are called into question. As it is, we’re seeing a lot of reluctance on the side of the industry towards embracing the massive potential that these new technologies offer. Having been so successful with an ancient model for so long, the industry is scared to embrace anything that might possibly “reinvent the wheel”.
Right now is a very important time because everyone is watching the tiniest development for what may become the answer to everyone’s question: Where is the compromise that meets the needs of the average consumer and the corporate behemoth? In truth, every major label wants to get their product out to the largest possible consumer sector; that’s the bottom-line of every for-profit business. But it’s exactly why the issues that arise around Muxtape.com are so pertinent. The industry could have a monster of a promotional tool on their hands for promoting any type of artist, from the most obscure to the most mainstream, but instead, they would rather quell original, simple innovations, and try to control every aspect of the hierarchal distribution model. They’re basically doing themselves a disservice by trying to use their own resources to maintain order in an industry that’s been completely turned upside down.
Record labels and the RIAA have the infinite spectrum of the Internet to tap any new technology or innovation they’d like. Yet with an army of programmers designing software/tools/concepts that the average consumer wants, the suits are disregarding almost all of these ideas as a parasite in the very fabric of government copyright. The real value of the Internet is that these average users have an ability to pinpoint specific issues and then create software/websites to distinctly solve the dilemma. No one even knew what a social networking site was until some guy named Tom came up with it, probably in his bedroom, and now an ancient Australian billionaire (Rupert Murdoch) made Tom a cultural milestone, likely, forever. The music industry needs to realize websites like Muxtape only benefit the big picture of the industry’s monetary stability, even though at first glance, they seem to be harming it. It’s very shortsighted to only assess these new mediums in what they’re doing for us now, instead of realizing the massive potential they could effectively unleash.
New York, NY (September 30, 2008) - What’s up Loud.com readers? My name is Zack Einhorn and I run an entertainment company/management and A&R consulting firm called Dice Music Group. I was asked by the homie JP to chronicle my experiences as an industry insider (a title I like about as much as “blogger,” but I digress). Each week I will be writing about my experiences in the music industry, sharing some perspective on hip hop and hopefully dropping a few gems that may help other aspiring music moguls.
Before I get into this week’s particular blog, I want to tell you a little bit more about what I’m doing so you know where I’m coming from. My partner and first management client is producer J. Cardim. J has worked with a number of artists including Lil Wayne, Cassidy, Styles P, Talib Kweli and many more. We are a few weeks away from releasing a J. Cardim mixtape called, “Your Favorite Rapper’s Favorite Producer.” The mixtape is hosted by DJ Envy and features an anthology of previously released songs that J produced. This mixtape will act as a precursor to an upcoming compilation, which will be comprised entirely of exclusive material. As of right now, my other management clients include rappers G-Eyez and Affiliate, as well as alternative hip hop/pop duo e.s.p. I also perform freelance A&R duties for Sha Stimuli and newcomer Tuge of BMF.
I began this week with a quick meeting at the So So Def offices with hip-hop staple DJ Envy. My meeting with Envy was two-fold: I was hand-delivering the master copy of the mixtape he is hosting for J. Cardim , and I also wanted to play him some beats for his upcoming compilation. Envy’s currently untitled compilation will be a follow up to his 2003 release, Block Party, which featured street classics from a plethora of hip-hop heavyweights including Jay-Z, G-Unit and Styles P. Knowing Envy, I’m sure his sophomore effort will read like a hip-hop Who’s Who.
The beat listening session went really well, actually; Envy picked several J. Cardim beats, one of them being a synth-heavy street anthem-type track he intends to give to Jadakiss. I’m a huge Jada’s fan and I’m definitely looking forward to hearing him on some more J. Cardim production (Jada also featured on a J. Cardim beat for the upcoming LOX record).
After our listening session, Envy shared some details with me about an upcoming So So Def project he’s A&R-ing (if that’s a word). The project is the debut album of rapper Q Da Kid, the first signee to TAG Records (as in TAG Body Spray, as in Proctor and Gamble, as in big $). While a fresh face, Q is far from a newcomer. In 1999, Q made his rapping debut on Violator Management’s first compilation as part of rapping trio Da Franchise. Da Franchise included Konvict Music’s Red Cafe and the star of the upcoming Notorious B.I.G. biopic, Gravy.
Q is really about to have things on smash; he’s got his own MTV reality show entitled “Road to Success” coming up, and his recent mixtape is packed with mixshow-ready songs and freestyles featuring guests Jermaine Dupri and the newest member of HBO’s Entourage, Bow Wow. It was definitely great to meet up with Envy. I’ve been fortunate to meet a lot of people, and between his DJ gigs, mixtape hosting, A&R work and radio grind, Envy’s extremely busy. I appreciated him taking time out of his schedule to host J’s mixtape and to meet with us.
Later in the week, I stopped through Allhiphop.com’s event at SOB’s and caught some excellent performances by State Property, EPMD, Vic Damone, Sha Stimuli, Skyzoo and Fred Da Godson. State Property and EPMD ran through their respective classics and the newcomers held their own, with Sha Stimuli (I might be partial) and Skyzoo as the standouts. Def Jam A&R Lenny S, Producer/DJ Statik Selektah, Manager Dan Green, DJ On Point, J Hatch, Timbaland’s artist D.O.E., Producers Dre and Vidal, and Charlie Baltimore were some of the many notable audience members. While it was nice to catch up with my peers, performers and attendees alike, the show ran slightly long and I think some people lost interest towards the end.
At the time of this writing, I am currently about to board a flight to San Antonio for my cousin’s wedding, so I’m out of here, but come back next week and hear me ramble some more. Til then…
New York, NY (September 30, 2007) - Some pics from Tip’s free show over at Knitting Factory on Church and Leonard last night. For more, head over to Brooklyn Vegan or Village Slum.
New York, NY (September 30, 2008) – We here in the building are continually in shock as to the number of emcees who think they couldn’t use $100,000 – both the dope ones and the wack ones. Obviously the emcees who’ve signed up and are knee-deep in heavy work have made a commitment to do everything in their power to get the money and the deal, for better or worse… but what about the rest of you? Where are you? What’s the hold-up? Are you too good for the contest? You think the contest and the money are not real? For all the non-believers… Steve’s got a few words for you.
And he’s not picking up Asher’s phone call while he’s talking, either LOL.
New York, NY (September 29, 2008) - iTunes has become the industry standard for legally downloading MP3s, but other major players in the tech field are attempting to zero in on Apple’s massive market share. New services launched by MySpace Music and Amazon have recently forced Steve Jobs & Co. to head back to the drawing board. At stake? Only the future of the digital media marketplace. iTunes ease of use and all inclusive software is still the reason why its number one; no one has yet to fully engage the consumer in a way that Apple has done with seemingly no effort. And that’s exactly why everyone else wants a piece of the current market. Because beyond that, there’s endless room for future expansion.
MySpace looks like the number one contender to take a piece of Apple’s market share. They’re overflowing with the very asset Apple didn’t realize they needed to integrate when they first developed their software: a social network. MySpace brings over 100 million already existing users to their new music service, and that’s just as of 2006. Apple has proven successful because their products work so well and are so easy to use. If Apple had a fully integrated website and their seemingly magic products, they would literally be unstoppable. This is exactly the model MySpace is attempting to create, and with corporate backing from the monolith of Rupert Murdoch’s News Corp, the future doesn’t look too good for Apple.
Apple’s biggest problem is they have to put energy and resources into finding customers and procuring repeat purchases. They’re profit revenue only exists if people repeatedly use iTunes as their main venue for purchasing music. Once people start slowly getting swayed to other websites and music services, it won’t be long until they can’t possibly maintain their gigantic market share.
MySpace not only brings their 100 million users to the table, but now that they’re joining forces with Amazon’s MP3 store, it really looks like the perfect combination of the new realm of digital media. Why would someone go to iTunes to buy a song, then go on MySpace to tell their friends about it, and then use a different site to create a playlist to share with ftheir riends, when all of these functions can be integrated into a single website, and on top of it, they were all specifically created to seamlessly merge with each other?
With MySpace Music, you can log into your MySpace account, use the Amazon MP3 store without a separate user ID, purchase songs, make play lists, and then share all your recent finds with all of your MySpace friends, all while staying within your own MySpace page. MySpace and Amazon are both well aware that the success of iTunes is at least partially due to its ease of use, and they’ve simply one upped Apple and combined everyone’s favorite applications into a single venue.
Another aspect that makes this interesting is that Amazon’s MP3 store is DRM-free and has nothing do with a pay subscription service that limits how a listener gets to use their music. There’s no strings attached with Amazon or MySpace; you purchase it, you can put on any device, and then just as easily, you can instantly share it with your friends. With MySpace Music, you can make an infinite number of play lists (with up to 100 songs), and then trade them with friends, take songs from their lists, or add your own songs, which makes the number of combinations seemingly endless. MySpace is one of the only companies to emerge out of the new Internet culture that really has the ability to tackle iTunes, and with the addition of Amazon, it’s a concept that actually seems realistic.
Not only is Amazon partnering up with MySpace, but they will be the sole provider of MP3s for the new Google mobile platform Android (which will only be available on T-Mobile’s G1 device). Owners of the G1 can browse, search, and preview MP3s with their regular cell connection, but to actually download MP3s, you’ll need a WiFi connection. The major difference between Amazon’s MP3 store on the Android system and iTunes is that without WiFi, you can’t access iTunes whatsoever. Amazon at least gives you every function of its store, minus purchasing with just a conventional cellular connection. They want the entire experience to run smoothly, with perfect integration between Google and Amazon’s different platforms. Just the idea that Amazon’s MP3 store is specifically tailored for the Android operating system shows you how hard they’re trying to hammer away at Apple’s quasi-monopoly in the digital music realm.
Apple’s had a really good run with iTunes, and while the tech is impressive, a lot of it has been due to the timing of their services with an exploding industry. But it seems now like these other tech companies have had enough time to play catch up, and now they’re getting set to cash in on the fruit of their labor to leap ahead. There’s so much expansion still left in the digital realm that there may just be enough room enough for a handful of service providers, but I’ll bet MySpace, Amazon, and Google aren’t trying to share the marketplace; they’re trying to strong arm it from the tightly held clutch of Steve Jobs’ Genius Lab, and at least right now, they just might be able to pull it off.
New York, NY (September 29, 2008) – We waited a minute to post this so the Royce/Budden thing could settle down. Nickel was in town for a showcase the day we recorded this, and he was fresh off dropping The Bar Exam 2 over at DX. He addresses a number of topics, including why he made the mixtape, what it’s been like helping guide his brother’s career, the death of Proof and its effect on Detroit, as well as reconciling past beefs. Peep:
New York, NY (September 29, 2008) – Holy shit. First of all, the beats son is picking are dope, and secondly, the people he got in this one are crazy. How’s he gonna get my favorite rapper of all-time to set it off???
New York, NY (September 29 , 2008) – Some new heat from Joell, courtesy of OnSmash (they were on their grizzly this morning!!) First joint is off of the upcoming “Free Agent,” and was produced by Statik Selektah. Hopefully it sees some radio spins. Second joint is off the Green Lantern/Nas mixtape. If you ain’t know, you slow.
New York, NY (September 29, 2008) – After all the snippets and threats of a leak, delays and speculation, rumor and half-truths… here it is. It’s OK. B.J. Penn would mop the floor with Mayweather.
New York, NY (September 27, 2008) - Ahh, yes. Haven’t done one of these in a while. And it shows. Shit this took forever to compile. Thank God it’s over.
New York, NY (September 26, 208) – The homies over at SubCon have linked up with the New Music Cartel for an exclusive design contest. Basically, come up with some hot shit and your design could be featured in the Sub Con threads 09 line. AC has details:
Rules and Regs are http://subconthreads.com/contest.htm here.
New York, NY (September 26, 2008) – SPK has been doin his thing on Loud.com for a hot minute, and he sent over this playlist he put together of some of the production he’s done for other artists. It features CNN, Prodigy, KRS-One and a grip of others. Get familiar!
New York, NY (September 26, 2008) - When MySpace first emerged, it was heralded by indie artists and labels as an innovative way for artists lacking the promotional budget of those signed to the majors to develop a fan base and reach an audience they may not have been exposed to otherwise. As MySpace grew and became more mainstream, though, it was purchased by Rupert Murdoch’s News Corp (which also owns Fox), and slowly began to offer services that catered more directly to larger corporations. It’s understandable, then, that as the changes progressed, indie record labels that had used MySpace’s services from jumpstreet would start to feel slighted.
Now, with the launch of MySpace Music with all it’s bells and whistles, there are not only hurt feelings amongst the indie population, but also rumors of potential antitrust lawsuits against the popular social networking site rumbling. While MySpace has already reached agreements with all the major record labels as far as distribution of music and streaming rights are concerned, they have yet to even attempt negotiations with smaller independent labels, much of whose material was already accessible through previous incarnations of the service.
The new version of MySpace Music will not only serve as a go-to for streaming music, but it also features a platform for users to purchase ringtones, artist branded merchandise, and, in the future, even concert tickets - all huge earning possibilities not only for the smaller artists, but for the smaller labels, as well. Though there is a part of the site specifically for indie labels and artists to upload their tracks on MySpace Music, some labels claim their music has been blocked from being uploaded. According to MTV News, Impala, an overseas indie label, has officially begun to look into the possibility of an antitrust lawsuit against MySpace. Another possible complication in this whole ordeal is that in many instances, music owned by indie labels overseas is distributed by major labels elsewhere, which means that the issue of the rightful recipient of the royalties from all possible purchases and streaming would be up for debate.
MySpace Music, with the support of Universal Records, Warner Music, and Sony BMG, has already gotten some huge sponsorship deals with the likes of McDonald’s and Toyota, and will be offering the songs it streams for download and purchase through Amazon.com. Derailing this venture in the face of antitrust lawsuits, which is possible considering overseas indie labels have been victorious in similar suits brought against major labels about to merge, would certainly be a major blow to the company.
New York, NY (September 26, 2008) – Featured producers Play-N-Skillz chopped it up at the Cashmere Agency studio in Los Angeles this week, talking about the $15,000 producer portion of the contest and giving you and inside scoop on how they go about crafting a beat. DOPE!
New York, NY (September 26, 2008) - Rock the Bells will take it’s excellent line-up of emcees to the international stage next month, launching it’s “inaugural series of festivals in Europe” in Prague, Czech Republic on October 31st. There are six scheduled shows, and will feature a combination of Nas, Mos Def, Pharcyde, EPMD, Scratch, Supernat and De La Soul. For more info, get over here. The below, courtesy of AHH, peep:
…The chance to take part in a major milestone in Rock the Bells and Hip-Hop history proved to be too good to pass up, according to Nas.
“I’ve been down with Rock The Bells since day one, and I’m excited to be a part of Hip-Hop history for the first Rock The Bells festivals in Europe,” said the Queensbridge rapper, who will perform classic songs in addition to new material from his latest release Untitled. “It’s an honor and blessing to share the stage with so many artists that I truly love and appreciate on so many levels.”
Like Nas, Mos Def will take the stage to perform new tracks from his highly anticipated new album The Ecstatic.
The rappers won’t be the only entertainers on hand for the international Rock the Bells trek. All four original members of the Los Angeles-based collective the Pharcyde will reunite on stage for the event, which also includes performances by Supernatural, former Roots member Scratch, De La Soul and EPMD, who will join the tour in Prague, Amsterdam and Birmingham.
New York, NY (September 26, 2008) - Next month, Loud.com is teaming up with Strong Arm Management and their Producer’s Swapmeet series for an event here in NYC. You see who’s going to be involved on the flier, below are the particulars. If you’re in the tri-state area and are looking to get some shine, this is the spot for you. Don’t talk about it - BE ABOUT IT!
The Producer’s Swap Meet - KING OF NYC BEAT BATTLE
Where: Don Hills 511 Greenwich St. at Spring St.
When: Sunday, October 12th
The Particulars: 21+ w/I.D. | DJ Kasino on the 1’s & 2’s | Industry & Celebrity Judges in Attendance
The winner receives:
Cash prize
Feature (music & interview) on Loud.com
Free pass to the 2009 Dynamic Producer Conference
Meeting with EMI’s Omar Grant
Free Music Blast from DigiWaxx
INSTRUCTIONS ON REGISTERING FOR PRODUCER’S SWAP MEET’S KING OF NYC BEAT BATTLE
2. AFTER PAYING YOUR REGISTRATION FEE EMAIL US YOU TOP 3 BEAT BATTLE TRACKS TO SENDMEYOURBEATS@GMAIL.COM. PLEASE PUT “KING OF NYC BEAT BATTLE” IN SUBJECT LINE.
3. CLICK HERE TO READ THE RULES OF THE PRODUCER’S SWAP MEET KING OF NYC BEAT BATTLE
4. WE WILL NOTIFY THE TOP 14 PRODUCERS THAT THEY HAVE BEEN PICKED BY MONDAY, OCTOBER 6TH.
5. IF YOU’RE NOT PICKED YOU STILL HAVE A CHANCE TO BE IN THE BATTLE BY COMPETING IN THE WILD CARD ROUND THE NIGHT OF THE BEAT BATTLE.
New York, NY (September 25, 2008) – Boy Sand and Loud.com have teamed up for a unique series, chronicling son’s travels and show experiences in a super-hype/dope blog that’s a lot of fun. Episode One is below for your viewing pleasure, cataloging the experience at THE LUNCHROOM 1 YEAR ANNIVERSARY Party. Go in!!!
