Gallbladder Surgery Yoga

Rights, future and the AKM.

The role of collecting societies in the theory has never been more important than now - and that's what makes it fast and hard as never oscillate between curse and blessing for the musician and forth.

This week I was invited as a guest to a panel discussion on Rights Management under departure series "New Sounds" . First and foremost was the interested and well informed audience brought a problem in more detail, the pattern is similar to the Climate Change: Everyone has known for a long time about it, everyone finds it terrible, but the totality of the person concerned is incapable of anything meaningful on the other hand to do. Abstract: The huge rights and licensing confusion in the music business threatens a meltdown of the "industry" to create.

What is it then? Since then, the physical media is becoming a discontinued model and the consumption of music further and further away from the property towards general availability (keyword streaming) is, is a clear legal basis and data becomes crucial. The "business" is increasingly moving into the virtual, where could initially move from YouTube to Napster Spotify many in a (mostly consciously sought / selected) gray area. Even services that are now ready, in principle, for playing and distributing music to pay it difficult to properly pay or settle at all and - as with the aforementioned panel discussion colleague Steffen Wicker ( simfy.de ) was allowed to run.


background are incomplete, unstructured, or simply incorrect data. Often, no one knows who the songs are really, really who is entitled to money. And that in turn is because there is no significant data standard and each settlement finds itself in the jungle - which the industry lags behind reality by decades.

The "industry" in this context not only the major labels and publishers, but also the collecting societies. You all have to answer clearly serious errors in their data processing and recording, especially the sleepy erupted by the age of Internet development completely (which is a must in 2011 found a little strange). The victims are primarily the perpetrators, so the artists.

as diverse the problem is with all its implications, it would be easy (in theory) a solution: All it needs is a global database - or at least a common data standard. Since year and day are discussed at the Popkomm and Midem various approaches and solutions, recent experiments are not the first and probably not the last of it.

would Ironically, the very societies that held a decisive advantage in your hands: data. The AKM (for example) works for years, of somewhat equal footing with all sides of the industry together and acts as a kind of buffer for data management and analysis - and does it all the doomsayers did not even that bad.

The biggest disadvantage is that they have missed the developments of the Internet as well as the associated critical choices (compared case introduction of the radio played a crucial role collecting societies to compensate the copyright works used). The role as the main Partner of all authors and users was so massive and undermine sustainable.

The sad thing is that the artists now completely up in the air, they have their former "lawyer" - not to say her voice (the AKM is organized on a cooperative and is one of its members, that authors and composers) lost.

sad facts: When entering into a contractual relationship with the AKM with the originator of the Cooperative much more rights to manage, as it is able to manage effectively. Distinct money will be essentially only then by analogy ("per play") distributed if the relevant amounts and large enough are. Something that the AKM example, even in the case of gotv impossible has (for many beneficiaries in our environment, a considerable amount that is not assigned).

The question in this context, however, is whether they will ever be able to much smaller amounts that could be generated from Internet Plays in future to collect, let alone to be settled. The problem is reflecting the same for the other societies, they are responsible for or may be in the future. If they fail in this case as a simple database problem, namely the "data deluge" process can not? How then do spotify, simfy and iTunes mean? The failure of all the "only" heads of old and rigid structures?

And it would be tempting to say: It is time that globalization in the field collecting societies feeder holds. Were it not for the enormous cultural significance that they have to bear. The SKE-Fonds the Austro Mechana example, one of the most significant and important supporter of the "little ones" in this country. Would it give this institution the same way if we as a single, centralized, European collecting society would have?

I'm so again on "New Sounds" back to where Mark Chung the only right thing to say added: "We must conquer the collecting societies back." you have their permission, they had their strengths, they have responsibility - so it's well worth the walk through the institutions to compete and to change it. However, can well be that it is already too late to get there.

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Nappy Rash Or Ringworm?

As it is with the festivals.

As will actually a large festival programmed? And why? Would turn to a series of contributions brand "sex education" to. Let's start with a gentle approach to a complex subject.

Like the Amen in prayer comes year after year the Hurrah-and-screaming Gee whiz, given the programming of the major Austrian festivals. There is that only a handful, and they are in the hands of a cartel-like conglomerate that has cemented his power in this area long ago as Google in Web search engines. Why? Because it is acting smart and festivals has seen as high-functioning capitalist market. Would you

heartbreaking naively, one would be in indeed upset about it. If we take these childish childish property to the side so one can deny the makers of its undeniable success nor condemn him. After all, the gentlemen run a business and just like the vast majority of other businesses, it is they feel that to do economically as possible. So far, so (economic) good, and logical.

As concert promoters and festival operators I have indeed two ways: I make what I am or what I'm screaming the market. Where the "big ones" are, we know. Who is on this "page" complains can thank God that there is enough supply on the "other" fall back and pray so well that one day not about 40,000 people flock to Seewiesenfest.

We enter exactly where ultimately the very fine line between "culture" and "economy". These terms have been deliberately set in quotation marks ultimately only synonyms for "How do I get my money" one hand, and "How do I define my target audience" other. And we remember how close are these two mountain sides.

En detail.
The more an artistic quality, most coherent program is put together, the sooner we find either a small, autonomous organization behind it - or a juicy funded cultural apparatus. High culture is a development business - The argument about what civilization really is, is therefore infinite. Where money is, are also envious. Provision should be highly subsidized, but to grapple but extremely sharp and courageous programmed festivals like Kremser donaufestival with plenty of criticism. The Vienna Popfest were immediately placed under political intentions, but because it relies on cultural funds of the city. Both examples are culturally valuable and important intervention in a market that would be very dull without them standing outside.

The opposite model depends on the wind, the entfläucht the crowd, and calls it the market (or at all equal to "Voting"). one hand, this would be a similarly sharp programming obsolete to weak-minded, the other one, this does not so far away from the benefices of the taxpayer, as we may think at first glance. The bow tie in this case is then called simply "location policy". The Frequency will therefore not take place because of scenic beauty in St. Pölten, but because the city has the location made (financially) attractive: With regional economic development, infrastructure support and various forms of concessions and incentives (such as by reducing the Lustbarkeitsabgabe that a municipality may by private treaty or not). The proximity to the attractive large market of Vienna does the rest.

The arguments for the placement of a festival in a particular place are all that is right and logical - it is pure economic development. After all, thousands of people come into town and spending money the festival brings the name to the media and so on. has

With culture in the traditional sense, the whole little to do. The purpose and intent behind by the events so this is where his parting line: the major companies conducting such festivals, are businesses and not hold their crowds for the peace of the world interested in music, but to make money - you ask for in Harry Jenner: Music is a business - as simple as that is back to the beginning.

I have deliberately called radical and examples which could also be mentioned that flow in which the two concepts very much into each other. As far as we are in our discussion but that does not.


we bridles the horse again on a different side. I have a round table on "Great Festival" once remarked cynically that a high double-digit percentage of visitors but probably because of moves one way or another band to the festival, but unaware of thanks to booze neither the one nor the other 50 bands. That may be exaggerated be, but brings me to my next point: The lineup is only the definition of "caste" to be part of you think. You drive for social reasons for such a festival, it feels like-minded people. Looks exactly like the I've already years ago (still do in order for a festival magazine journalism) said. Only: The box thinking is probably just as well as fewer alcohol-rich events with a high "cultural" level.


The music may actually be back side issue for large events with it - but at least it serves as a social recognition. The "mega events" are by no means a "cultural events" as they meet in the transport documents or the idea of a cultural politician. Irony of history: they define our society and its culture (keyword Woodstock) the deciding factor. Stay up to us to improve anything in this picture.

to be continued ...

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