Adam Singer is a musician and “social media guru” who used his expertise in both fields to find a more harmonious means of online promotion. As a relatively “unknown artist”, Singer saw little return on efforts to profit from his works as CDs and digital downloads, selling only a few copies with “mixed results”. It was at this point that Singer chose to release his music under a CC BY-NC license.
The choice was not motivated from a promotional standpoint – Singer turned to CC licensing after the “realization [he] would rather have [his] music reach more ears as the money [he] was making was worth far less than the joy of being able to share it with others” – but it spurred unintended promotional results. A recent post on TheFutureBuzz outlines the results of Singer’s choice – soon, he found his music appearing on music blogs, had people on Twitter soliciting him for original music for video, had his music featured on online web radio shows, saw a fan remix video pop-up on YouTube, and saw traffic to his MySpace page increase dramatically.
It is obvious to those who listen that Singer’s music is of high-quality, but by encouraging the free sharing and reuse of this music he was able to reach a far greater audience than he had previously. The story, heard many times before in a variety of incarnations, brings about echoes of Tim O’Reilly:
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Obscurity is a far greater threat to authors and creative artists than piracy.
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After discovering the dozens of unauthorized and possibly infringing remix videos that resulted from his adamant calls not to remix his interview with CC founder, Lawrence Lessig, Stephen Colbert is mad. He’s so mad he featured a new segment and music video challenging fans not to remix his show any more. He reiterated this demand in a staccato a capella, so that fans could clearly understand what he was saying and not sample his words. If someone were to remix his show or audio book, they certainly shouldn’t upload it to the special section of Colbert Nation soliciting uploads, either.
CASH Music, the CC license using music label/creative community we have discussed numerous times before, just launched a wonderful new Creative Commons Portal for understanding how CC licenses can be utilized by record labels and artists.
The portal is beautifully designed with an emphasis on simplicity – an introduction to CC, hypothetical uses, and real world examples are the only foci. Meant to grow an expand overtime, the portal is a great resource for record labels looking into how they can adopt CC. As CASH expands upon its mission to “develop open source tools for artists and promote best practices in the music industry”, resources like the CC Portal will become increasingly more valuable.No Comments »
Hugs and kisses backatchu JD, and everyone else who requested Creative Commons support, then patiently worked around its absence by putting CC links in their tracks’ credits or about fields, slapping CC marks in their header graphics, and other reasonable zaniness. Situation rectified: starting today, you can select a CC license right from the Edit Track page.
Creative Commons’ mission is “to increase the amount of creativity… in ‘the commons’ — the body of work that is available to the public for free and legal sharing, use, repurposing, and remixing.” A worthy goal, we think, so if © strikes you as too restrictive, we hope you’ll take a gander at the various licenses and find something that better captures the freedoms you want your work to carry.
At a basic level, we aim to have licensing be as simple and easy as possible, a goal that is more fully accomplished when content-sharing sites like Bandcamp integrate CC license options directly into their UI. Kudos to Bandcamp for the integration and much thanks to all the Bandcamp users who requested it in the first place. You can learn more about Bandcamp at their FAQ page – to see the licenses in action, check out this artist page from Paul and Storm.1 Comment »
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In December we held our second CC Technology Summit at MIT in Cambridge, MA. I think the day provided a great perspective on what we’re doing at CC and how others are building a real community around it. If you weren’t able to attend, we now have audio and video available. And if you missed the first one, the video for that is available as well.
We’re currently thinking about plans for the next event; if you have feedback or suggestions, email them to email@example.com.
L.A.-based record label and former Featured Commoner Vosotros just went live with their latest release ¡ YES WE PUEDE !, a compilation of artists covering American public domain classics in honor of next week’s Presidential inauguration. The album features some amazing L.A. artists and is released under a CC BY-NC license, allowing others to share and remix the tracks for noncommercial purposes as long as Vosotros and the artists are properly attributed.
Choosing CC for the project is in spirit with the incoming administration’s license use. ¡ YES WE PUEDE ! joins DJ Z-Trip’s Victory Lap in the “awesome CC-licensed music inspired by the Barack Obama” category.
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As you might have heard by now, YouTube has begun to mute videos containing ‘unauthorized’ music or audio. What does ‘unauthorized’ mean? We’ll leave that for the lawyers to decide, but it probably has something to do with negotiating permissions for the right to use music in advance from rights holders.
Instead of dealing with the suits, why not consider using Creative Commons music in your next YouTube video? Here’s a ccMixter playlist of 100 Attribution licensed music tracks that you can download and use freely so long as you give attribution to the original creator. YouTube has even been so kind as to include these tracks inside their AudioSwap feature, thereby enabling you to automatically add a soundtrack to your video even after it has been uploaded to YouTube.4 Comments »
After hearing his massively successful Obama Mix, MoveOn.org contacted DJ Z-trip to create a new “Victory Lap” mix celebrating Barack Obama’s election for the inauguration. Just as he did with his original mix, Z-trip has licensed his new mix one under our Attribution license, allowing anyone to reuse, remix and share it, even commercially.No Comments »
CC founder Lawrence Lessig appeared on the Colbert Report last Thursday talking about his latest book, REMIX. The segment was great, and hilarious, as is typical for Colbert — and double plus fun for copyright geeks and activists, as Colbert challenged the audience to not remix the interview “with some great dance beat, and then it starts showing up in clubs across America.”
Lessig pointed out on air that because he didn’t waive his joint copyrights to the segment, he and Colbert are joint owners, and either can exploit the work freely. In this case Lessig has published the interview under CC BY, allowing anyone to remix or even commercially exploit the work for free.1 Comment »
This is a good opportunity to celebrate that the world of CC music is amazing for its depth and growth, not only for singular successes. One of many indicators is that Jamendo is on the cusp of reaching 15,000 openly licensed albums. They’ve put out a call for best of 2008 lists. It turns out fans have been building such lists all year, which is great, as discovery is the challenge.
My discovered on Jamendo in 2008 list follows. Except for the last track, you probably won’t enjoy this much, but that’s not the point — there are lots of other people discovering CC licensed music (at Jamendo and elsewhere) — follow them and you could be too. Or, if you share my taste in noise music…
KORIZA (Komitet Operativnoy Razrabotki Industrialnyh Zennostey Avangarda) from Saint Petersburg, Russia. They've released one experimental mathcore single, New Orlean Sunset Club that is deeply satisfying but a little too mellow. They are supposedly working on "new material, that will be much more experimental, vanguard & violent." CAN'T WAIT.
Dr Pombo: Trastorno de la personalidad Rock electrónico psicodélico from Ermua, Spain. Recommed the track La mano de Dios.
Desarraigo of Ningúnlado (Nowhere), Mexico does very short, violent tracks with a drum machine, screaming, and GNU/Linux. On Polvo recommend Criadero De Polvo, which adds night sounds, a 46 second epic.
En Busca Del Pasto, an improvisational project from Madrid, Spain, has released 24 albums on Jamendo. Improvisación para dúo, Nº 4 («Pan y vino») is heavier on electronics and sampling than typical for EBDP. Parte segunda from that album is excellent.
Daniele Torelli of Reggio Emilia, Italy works with the electronic band Yue and put out We Don't Care (single), a snappy little song.
Merci-Merci does lo-fi slow dance punk from La Rochelle, France. Souvenirs d'un océan disparu's Océan Pacifique is a very pleasant listen.
Tom Fahy led a prolific group of musicians in St. John's, Canada. Fahy died June of this year, a huge loss for music. The group's output of 70 albums on Jamedo ranges stylistically from instrumental rock to jazz to classical, with many variations. Some recommendations include Endgame: A Tribute to Bobby Fischer, instrumental rock, hear Defence; Hotel, raga influenced jazz, Epilogue; Little Fatty: Studies in Atonality, classical, Little Fatty No. 1; and 1986, instrumental rock, Miss Rose Tells The Future. [Edited March 2013; see note below]
Telemetrics Callsign 65:41 Noise and samples from Whitehouse, Ohio, USA. 25 minutes of easy on the ears listening.
Jamison Young, a musician and activist from Australia but based in Prague, Czech Republic, had a surprise this year from Shifting Sands Of A Blue Car when its Memories Child was featured in the X-Files: I Want to Believe movie. Not my usual type of music, but it grows on you. No reason for it to not be in heavy rotation on a supermarket PA near you.
Individual tracks listed above are assembled at http://www.jamendo.com/en/playlist/97841. All are available under CC BY or CC BY-SA.
Update (March 28, 2013): Tom Fahy‘s music is no longer available on Jamendo, but it is now hosted on Internet Archive. We’ve updated the links to the Internet Archive listings.No Comments »