jessevondoom

I've also got to sing the praises of WebFWD — my organization, CASH Music, was part of the first class and it was invaluable to us. Great people, continued support, and an experience that helped shape the organization. Highly recommend you share your open project ideas and apply.

No way of knowing? Really? None?

For starters, Google: https://www.google.com/#hl=en&q=major%20labels%20invest%...

Doesn't take long at all to find out that the deals struck with majors included not a decent percentage, but actually ownership. Ownership means access to a revenue stream — good for labels, bad for artists who don't receive royalties on investment revenue.

Go beyond that one Google search, you can quickly learn that indie labels — the folks who win more than half the Grammys — don't get the same arrangement. So the music one their labels actually subsidizes the competition. They're not all that happy about that.

And lastly: artists. You can listen to them. Plenty are outspoken. For every Metallica getting onstage with Spotify there are many others essentially saying that they receive nothing — and that makes sense because the payouts are designed to work at scale, not at the level most working musicians operate.

Saying all this without judgement. I think the streaming market could be a good one for artists if it were more geared to driving direct purchases — but thinking about it as the answer is a problem. It's the start of exposure, like radio used to be, not the end goal.

Sure.

Open source by itself isn't a tax-exempt action, but for many it's an important part of releasing free software for the public benefit. Services for the public benefit that are open to all can generally be framed as tax-exempt activity, but the lawyers at the IRS who review 501(c)(3) applications are tax attorneys, not software/tech specialists so a lot of confusion ensues.

Our review came back arguing that providing open source software is not only non-exempt, but actually provides a competitive advantage in the market because some companies would be paying for the same service, therefore they are at a disadvantage — even though they would have the same access to that free software as anyone.

Talking to other nonprofit directors and experts it seems like the arguments around open source are inconsistent at best. It makes sense because the IRS generally fast-tracks more common arguments and passes off specialty cases (think software) to individual reviewers. As enough case-law builds up they'll provide a more consistent decision based on internal protocols.

Out of the scope of your question, but the end result for us is that we're doing a bunch of legal wrangling, establishing more outreach and education efforts (which were always part of our mission) and getting ready to re-apply by year's end. It's not unrealistic to think a full ten years will pass from the start of the organization to the point where we get 501(c)(3) status.

I understand the perspective that operations and growth challenges for a nonprofit are generally the same, but there are some pretty huge differences too.

My own organization is a nonprofit startup. Our 501(c)(3) application took four and a half years in review. During that time we had no final status so rule out most foundational support and as a nonprofit there's no equity investment either. Essentially we had to scrape for what help we could find little by little without much to offer in return. Luckily we're in a high-profile space (music) so we could return enough PR while building.

The IRS eventually denied our application for status. It's not uncommon, especially in the open-source space, but luckily we now have a major law firm representing us pro bono, we hold credible domestic nonprofit status (at the state level) and we've build up enough of a reputation. We're still cut off from most grant-making, but we're finding ways to be creative.

My point is that the administration of the organization itself is no trivial matter, and it's especially difficult to carve out a space for yourself as a nonprofit if you don't fit a traditional nonprofit mold. (And innovation in the nonprofit space is vital — both in the models and the regulation. Sadly the latter lags behind.)

Not a complaint at all, but I'd definitely argue that the differences are many. And for nonprofit startups without a 501(c)(3) you're going to face a challenge, even if you're supported by a fiscal sponsor. It's similar waters for sure, but a whole different ocean.

The source never gets distributed to the end user, so there's no violation of the GPL. (This use case / loophole is the reason the AGPL was written.)

Effectively closing the source with a loophole and removing user choice. I'm not saying it's right or wrong, but it knocks the "for the good of WP users" argument they use down a few pegs.

Your girlfriend didn't recognize penises?

Well the thing with printing is that the K part of CMYK is actually not the darkest black, yet it's 100% K that's used to print a book.

Fully saturated rich black (100% C+M+Y+K) is usually a little too jarring against a bright stock — take a look at most high quality books and notice that the stock is off-white and the ink isn't nearly as rich as #000 black on screen.

I think the original point as a lot of merit. Staying even just a little bit further from #000 or even pure grays (try #335, etc) can give more even tones and keep contrast high while reducing fatigue.

You're right about comparing art to print though — different goals, even though the conclusion is valid.

Revenue models are all actually different, and kind of messy. In the US, radio pays out royalties for publishing but not for performance/mechanical. That means the rightsholder for publishing gets paid, but not the performer of the piece. (Aretha Franklin gets nothing from radio plays.) It's an antiquated law based on the idea that radio is doing promotional work for the artist (most other countries pay both.)

Pandora pays a compulsory streaming rate. Similar to radio they're allowed to play what they like as long as it's not on-demand. Hence you can only skip so many times, and you can't request a specific song. They pay both publishing and performance royalties so rightsholders for the publishing and recording get paid.

Spotify, as an on-demand streaming service, has to negotiate direct deals with rightsholders to use the music. So when you see them paying out a lower rate than Pandora it's because they've traded equity to major labels in exchange for better rates — a very clever way for majors to get money directly from subscribers without needing to distribute it to artists. Independent labels and musicians also need to authorize Spotify, but have less negotiating power so they don't get ownership stakes and have to choose to be completely absent from the system or take the rate offered them.

Different payout rates for free versus paid users, which also varies from country to country based on negotiated royalty rates. I'd also assume exchange rates come into play.

I know Dan and a few of the others involved in this project and their passion is both amazing and warranted. Data is becoming and indispensable tool in the modern newsroom, and it makes sense that the pairing of seasoned journalists and creative developers is key to uncovering new stories today.

Pretty exciting stuff, and I can't wait to see what they do next.

It's a little silly to say that record labels only curate content. Of course that's the easiest thing to replace. They also negotiate IP rights in every country in the world, handle any sample clearance, handle accounting for the publishing and sync copyrights on every individual song for every release, handle accounting of royalties for every credit songwriter and player for each track released across every service and distributor, front large sums of money to make recordings possible, front large sums of money to make touring possible, fulfill merchandise globally, market the music, handle production of product, handle distribution of product, mediate between the dozens of parties involved in nearly every transaction, and take the heat for the entire process.

Yes there are a lot of really bad record labels, but the hard working people at Sub Pop, Domino, Mom+Pop, and dozens of other indies are integral to the success of artists. Marginalizing them or even playing devil's advocate claiming all they do is content creation is silly. It's akin to saying all Facebook does is "make a website."

The music industry is far more complex than people assume — so while massive change is certainly needed, thinking that a simple HN upvote system is remotely related to the work of a label is silly.

Vilifying all labels based on the majors is like vilifying all startups on the behavior of only Oracle or Google.

Yeah that's right. It's a little over-reported. It's also EMI publishing not the label.

The original lawsuit brought by Universal is quite a bit more serious: http://news.cnet.com/8301-31001_3-57332246-261/grooveshark-e...

Just to clarify...you gave Apple permission to make money off of your work, right?

And I'm curious — really asking not being passive agressive — do you see an iOS app developed by an independent developer as belonging to both the developer and to Apple?

I'd say that Apple's 30% is a commission based on the sales and service they offer, and yes it's worth it...especially given the market position and the fact that there's verification of IP ownership, etc. But in the end the app itself belongs to the creator, just as the music belongs to the artist (or label, depending on the deal.)

Seems a bit like perspective, but it goes deeper: if the music belongs to the artist who created it then they should have the right to pull it from a service and expect reasonable effort to keep it out of the service — YouTube's content ID does a commendable job. (Though it is abused by some of the majors...but the algorithm itself is really solid.)

He edited "shithead executives" down to just "executives." I was responding to the original text.

And yes, some labels make money off of the backs of artists, some are really great and make money with artists. Just like some streaming services work out licensing deals before launching a service and others don't.

By the way, there's also this link up on DMN:

http://www.digitalmusicnews.com/permalink/2011/111512

I've spoken with a lot of label heads from the more influential names on the list and they were in no way okay with being listed, some actively upset by Grooveshark providing a bad list. The comments echo that, albeit with too much hostility at times.

I personally work with hundreds of artists and MANY of them have been treated terribly by customer service when trying to initiate take-downs. When urged to sign licensing deals it's all or nothing, and if they choose nothing the music remains up on the site regardless. Really — having worked with literally every streaming company I've never seen a higher rate of artist and indie label dis-satisfaction. Not an accusation but a blunt observation.

As for rude: you just demonstrated it. If you think you're giving away 70% of "your money" you don't get it. You're getting a 40% commission of THEIR MONEY. Your money has been made of the backs of creators, and to turn around and call those indie label executives shitheads doesn't endear you to anyone no matter how many concerts you go to.

The only accusations being made, not by me, are the ones in the lawsuit: which claim that Grooveshark executives were uploading content illegally to their own system. If true this is one of the more offensive things I've ever seen from a startup.

Yeah Rdio is pretty great, and they give artists access to an under-publicised affiliate program allowing them to earn money off the audience they drive to the platform. Solid iOS app. Personally my favorite of the streaming services.

I'd also keep an eye on eMusic. It's more geared towards downloads, but they offer a lot of really great editorial content for discovery plus they offer multiple streaming radio stations for members. They've got smart people so I think they might make a surge in features.

A lot of people are into MOG.com as well. I have issues with their CEOs attitude towards licenses and how the money goes to creators, but otherwise the catalog is strong and they offer solid access across multiple platforms.

I work in music, with a lot of indie labels and musicians, and for once the ENTIRE industry is inline on something. Grooveshark has been actively hostile to artists requesting their music be removed from the service, their terms are unfriendly and their staff is rude, and if even a fraction of the allegations against their management are true they should be held personally accountable.

Everyone in this industry understands playing fast and loose with regulations but Grooveshark repeatedly crossed the line and has made only hollow attempts at seeing artists compensated. For once this isn't RIAA greed, it's acceptable and appropriate action.

This is incredibly helpful. I run a small OSS/music nonprofit and as you'd imagine there's not a lot of money in that. Having just gone through the process of looking around for insurance for my family I can say that is was an amazing contrast to the overwhelming and unpleasant experience of using insurance provider sites.

I'm notoriously cheap, but would happily shell out a commission or even a one time fee for the service — keep it this simple and straightforward and you'll not only have a compelling business but a tool that really helps people.

Summary: "kind of, but not really." Only in the comments is the name LiveScript mentioned. I remember actually playing with JS as LS in the Netscape 2.0 days.

So the gist is kind of there, but if you want actual history I'd suggest :http://en.wikipedia.org/wiki/JavaScript#History

For a more practical membership-share or coffee-club type of set up restrictions make sense...but in this case I think the anonymity of it all is the interesting part — seeing the behavior patterns emerge naturally and anonymously will be very telling.

One thing that's interesting and only hinted at in the article is the fact that this could also swing retailers who don't currently accept AmEx into doing so. Most people here know that AmEx fees are significantly higher than Visa/MC, so the added benefit to AmEx is expanding their network or even becoming a more favored payment option — through additional offerings and better service.

It's true. And the current push to record a record while in a busy touring cycle is crazy but apparently working. It's sometimes easy to forget that touring musicians are basically working 15+ hour days of long drives, load-ins, etc -- all away from home and family. I really admire his work ethic, and it's great to see someone enjoy their work so much.

Just for the record: I know Jonathan a bit and he markets himself as himself. The story of programmer to musician is 100% true and both are things he's pretty much always done.

As for the money side of it...the difference between a programmer salary and where he's at now is that his current level of income is probably a spike -- the arc for most musicians is usually steep -- and he's working his butt off for that spike.

So maybe it's a marketing thing, but only if you count being yourself in public as marketing.

It's a good question. I did read an interview with (I think) Charlie Kindel who was talking about their approach to designing WP7 (sorry, can't find the link.) His story implied that it was somewhat different by design as an attempt to speed up access to the most common mobile functionality.

I guess you'd say that even if you were forced down that route, but it's still interesting to see good design and different thinking coming out of Redmond.

I'm pretty impressed by the path MS has taken with their mobile platform — rather than simply aping iOS or Android they're trying new ideas and it seems like they've put a lot of legitimate thought into how people interact with their mobile devices.

It may wind up serving a different consumer space than the Android or iPhone app-heavy consumer, and that's why it's interesting.

Was wondering the same thing, but I've got no idea. Curious if blur from the visual scan of denser grooves has anything to do with it. Really interesting sound.

And for the record, there are some pretty unique distortions here. I know a lot of artists who'd be pretty excited about the samples themselves...there's something special about them being a byproduct of a unique process as opposed to a clicked button or three in protools.