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Past Thoughts:
Author Archives: Eric Beall
Interview with Peter Bliss
If we are to bring the music business back to prosperity, it will inevitably be through bolstering and supporting the network of musicians, songwriters and producers that make up our local music communities. That’s what Peter is doing with his new organization, and I’m proud to be a part of it as well. Continue reading
Interview with David Hoffman
In what may be the best marriage yet of music and social networking, turntable.fm debuted this summer to rave reviews. One of those instant fans was my A&R colleague at Shapiro Bernstein, David Hoffman. Having educated our office on the endless possibilities of this new service, David recently sat down with my Berklee intern, Jorge Oliveres, to share the good news—two young guys looking at one exciting new facet in the future of music. Continue reading
Posted in Education, Music, Technology
Tagged A&R, ASCAP, BMI, Career Strategy, David Hoffman, Jorge Oliveres, Legal, Music Industry, Music Publishing, Performance Rights, Radio, Spotify, Turntable.fm, Uncategorized
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Hello Mr. Brightside
’ve been waiting about 5 years to write this particular blog. I can’t say that it’s done with total confidence. Like a person in the desert finding a fresh pool of water just ahead, I’m a little afraid that what I’m seeing is just one more mirage. It’s not written with much joy either. There are far too many talented music people, on both the creative and business sides of the industry, who are still out of work to unabashedly celebrate the moment. But with all the caveats and caution, I still think it’s time to go on record:
There’s light at the end of this deep, dark tunnel that we’ve been in. Continue reading
Posted in Education, Music, Technology
Tagged Baidu, Disney, icloud, Music Industry, Spotify, Turntable.fm, Uncategorized, universal, Walmart
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Try Try…Try Again
Determination and realism are only helpful when they’re closely intertwined. Without a balance of both qualities, you can be assured of either rushing headfirst off a cliff, or throwing in the towel without realizing you’re only inches from the goal. It’s true that you should never give up. But doing the same damn thing over and over is not going to work either. You need determination all right. But you need to be realistic about what “determination” actually means:
Determination is an endless capacity for reinvention. Continue reading
Posted in Education, Music, Technology
Tagged A&R, Billy Man, Career Strategy, Hot 100, Jonas Brothers, Justin Timberlake, Kara DioGuardi, Music Industry, Music Publishing, Record Labels, Stargate, The Script, U2, Uncategorized
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Putting Publishers To Bed With A Blanket
The current system of licensing, particularly in regards to mechanical and synchronization licenses, doesn’t work and must be fixed. Who could dispute it? As Israelite quite honestly points out, after all the legal sturm und drang about YouTube, if Google came to the publishing community tomorrow and completely acquiesced to all demands, offering to pay whatever it took to license the rights they needed, the publishers would be completely incapable of actually doing the licensing necessary. On a legal, practical, and PR level, that doesn’t put the publishers on particularly solid ground. Continue reading
Tomorrow’s Forecast
Negotiating season is over, and for once a new music technology is being brought to consumers with the blessing of the music industry—we’ve not been blindsided, ignored, or misled. Or at least we don’t know it yet. In fact, for the first time in decades, the music industry and the publishing business in particular acquitted themselves quite nicely at the bargaining table, not sticking in the fork to gouge a promising innovation but not settling for table scraps either. Maybe ten years of trouble has taught us something. No one wants to mess up what might be the last great hope for the music business. Continue reading
This Year’s Model
I had a couple of A&R meetings at the major labels this week, and it was clear that regardless of who stays and who goes—which is the only real topic of discussion at any of the four major companies these days—the needs of a music company in the 21st century are pretty much the same across the industry. Falling revenues, reduced A&R staff, a singles-oriented market, and an audience with an attention span barely sufficient for a twitter posting are the realities that everybody has to face. Across the board, the companies that sell music on a national or global level are all looking for the same three things… Continue reading
The Boys and Girls of Summer
Everyone likes an intern that is full of questions. But not the following questions:
“Will you listen to my band? “
“What do you think should be my career focus? “
“What’s the best way to work my way into a full-time gig at the company?”
“Can you introduce me to your contact at the company across the street?”
These are questions about you. The questions that are interesting to the people at the company are about them—the company itself, the artists or songs that the company represents, the people who work there, or the business strategies that are paying off or not paying off. Try:
“What were the key factors in deciding to sign that particular act? “
“What areas of this company will be the growth sectors in the next few years?”
“What are the skills that this company feels are the most important for entry-level employees?”
“How long have you been doing business with Joe across the street? How did that relationship develop? “ Continue reading
Looking Out For #1
Earlier this week, EMI Music Publishing made news by announcing that EMI would be taking back from ASCAP the responsibility for licensing digital rights in North America– EMI will now be able to “bundle” their rights together (mechanical, performance, and synchronization) and license them all directly, negotiating their own rates and terms, to digital services, rather than allowing ASCAP to negotiate and licensing the performing rights. In one sense, it’s a step closer to the “one-stop” licensing long-sought by digital services and many in the music community. Continue reading
Living In the Past Beats Dying In the Present
Here’s a shocker: Billboard reports that Germany has now overtaken the UK as the #1 European market for music.
This is while obscure, little-known UK acts like Adele, Tinie Tempah, and Taio Cruz are sitting at the top of the charts around the world– and the biggest selling track in Germany last year was by Unheilig. How is this happening? How can the country that gave us the Beatles and the Stones fall behind the country that gave us Falco and Milli Vanilli? And what does it mean to the future of civilization? Continue reading
The New Shmoo 2
If you were at SXSW this year, then you’ve probably already noticed that the power structure has shifted drastically at gatherings like this– with the advertising, media and branding companies moving to the forefront, and the old-time record execs left standing outside the Fader Fort trying to schmooze their way in. This is because music is now far more valuable as a means of attracting a specific demographic and defining a brand to that demographic than it is as a stand-alone product. A hot indie band may not sell much actual music, but it can be extremely effective at drawing a very specific audience to a brand, or making that brand a little cooler and edgier than it is. Even when they own a record label, companies like Mountain Dew or Converse are not in the music business. They’re in the marketing and branding business. They simply use music to do their marketing and to define their brand. But if that’s the role music plays, then musicians, songwriters, and A&R people are going to have to be able to think and communicate clearly and analytically about their act’s audience, the audience’s buying power, and the qualities or values that the act conveys. Continue reading
If The Shmoo Fits…
Just last week, the Copyright Royalty Board released the statutory royalty rates for Internet radio royalties, which are royalties paid by webcasters for the streaming of sound recordings. It’s not exactly the pot of gold at the end of the rainbow. At the same time, it’s actually a step forward from where we were several years ago.
The published rates apply to “noninteractive streaming”, which refers to streams that do not allow the listener to specifically select each individual track– it covers everything from radio-like “broadcasts” to what are termed “pureplay’ webcasters like Pandora. And more importantly, these rates are for royalties paid through Sound Exchange to performers on the “sound recording”– that’s in addition to the royalties paid to music publishers and songwriters, through ASCAP, BMI and SESAC. If you are a performer who writes and publishes his or her own music, you should receive royalties from Sound Exchange (representing your earnings as a musician and/or owner of the sound recording) and from ASCAP, BMI or SESAC (who collect your money as the composer and publisher of the song). Continue reading


