Lluís Gendrau is the publisher of the Enderrock Group, a company that specializes in Catalan music and publishes three popular music magazines: Enderrock (pop and rock), Folc (traditional music) and Jaç (jazz). Enderrock – in collaboration with the government of Catalonia – recently included two CDs full of CC-licensed music, Música Lliure and Música Lliure II, free within the page of its magazines. The songs on the Música Lliure discs are available for free download at culturalliure.cat. Read more about this project in our new Featured Commoner interview.Comments Off
Lluís Gendrau is the publisher of the Enderrock Group, a company that specializes in Catalan music and publishes three popular music magazines: Enderrock (pop and rock), Folc (traditional music) and Jaç (jazz). Enderrock – in collaboration with the government of Catalonia – recently included two CDs full of CC-licensed music, Música Lliure and Música Lliure II, free within the page of its magazines. The songs on the Música Lliure discs are available for free download at culturalliure.cat.
Creative Commons spoke with Gendrau about this exciting project and his experience in using CC licensing.
Creative Commons: What inspired Enderrock to release the Música Lliure CDs under Creative Commons licences?
Lluís Gendrau: In Catalonia, there have been musicians working informally with methods similar to Creative Commons for a long time. Groups like Pomada, for example, that do folk fusion with electronic music, freely broadcast their work independently of the SGAE (the Spanish society for the management of authors’ rights), but without making use of licences of any kind. Something has been cooking for some time. On coming into contact with Creative Commons Catalonia, and on learning of the experience of Wired magazine, we brought a handful of artists together who would opt for this model of license, with no aim other than to publicize a different way of distributing music.
CC: How did the government of Catalonia become involved with this project?
LG: The project grew out of a commission from the Catalan government. Catalonia has had an unheard-of experience in the last three years, where the government has used free software and Creative Commons licensing in some of its official programs. Unfortunately, the political situation has changed now and it will probably be difficult for an experience like this to be repeated.
LG: We gave the musicians total freedom to choose what kind of licence they wanted to make use of, and the immense majority opted for a licence that permitted the remixing and sampling of their work – especially those artists starting off from electronic or improvised bases.
CC: How did you convince the musicians to be part of this project?
LG: Some of the musicians were already publishing their music independently of the traditional system of authors’ rights management. Some of the musicians weren’t, but were artists that we believed would be ready to participate in an experience like this. We started off with a hundred or so groups, ranging from new groups to established ones, and in the end, we worked with around thirty groups covering all styles, from hip-hop to punk, electronic to folk – even jazz and improvised music.
CC: Had any of the songs been released before by other labels? Will any of them be released on the musicians’ future CDs?
LG: The majority of songs were previously unpublished, and that has been one of the attractions of the record. A lot of them were made specially to be included in the two Música Lliure records, others were works that for one reason or another had been left in the drawer. Some had been published by alternative record labels or published by the artists themselves.
CC: When you were planning the project, what reactions to the idea of using CC licensing did you encounter from the artists, their labels, and their managers?
LG: Obviously, in some cases we met with greater willingness than in others. In the case of the independent record labels like Propaganda pel Fet! or BankRobber, there was total willingness, because they already had a philosophy and way of working that was along these lines. The same occurred with artists who self-publish. But there was also receptiveness on the part of the managers and concert halls.
CC: What were their reactions after you released the CD?
LG: Reactions have been very wide-ranging and the Spanish media has given the project ample coverage. There is still a lack of public debate over the new forms of authors’ rights management, but we’re happy that the appearance of this CD has provoked reactions on all sides, from those most staunchly in favor of copyleft to the SGAE itself.
CC: How was the CD featured at the Catalan Internet Festival?
LG: The CD was presented three times in concert form, in which groups like Conxita, Pirat’s Sound Sistema, Plouen Catximbes, Roig, LaMundial.net and Guillamino performed. All their songs may be heard on musicalliure.cat.
CC: Would you say the CD was a success?
LG: We believe we have opened an interesting door. The independent labels have started new relationships with artists and producers, debates have been organized at festivals, and the people in charge of public radio – and private programmers also – are studying the possibility of creating a channel specializing in free music.Comments Off
The powerful new film Children of Men is notable for many things: its bleak artistry, riveting story, and elegant direction, just to name a few. A very cool aspect of the movie that the critics may not have much appreciation for, but that we here at Creative Commons surely do, is its use of a CC-licensed audio sample, taken from the excellent CC community sound library Freesound.
Friendly freesounder “6am” just brought it to my attention that the major motion picture Children of Men uses a Freesound sample, and properly credits the sample! You can see for yourself from this image that was sent to me. The sound in question is the “male loud scream” from thanvannispen. This is quite an amazing first! Go go freesound power!! And congratulations thanvannispen.
The sample is licensed to the public under CC Sampling Plus, making this a really great example of how CC’s non-exclusive noncommercial licenses can easily work in tandem with separate commercial licensing arrangements. Nice going to everyone involved!Comments Off
A “shareholder” account (which qualifies for revenue sharing) is now free and the spit is 80 percent for users and 20 percent for Lulu.Comments Off
In yet another example of our community taking the lead, over 20 ccMixter musicians over the course of eight months and hundreds of emails (including two viruses that wiped out the project each time forcing two re-starts) all under the watchful eye of cdk have unleashed Mega Collaboration – Welcome to Mixter. But the story wouldn’t mean much if the results didn’t pan out. Clocking in at over 13 minutes (!) the result could easily have come from any DJ Spooky album. At times experimental at times funky but never losing it’s emotional, soulful edge cdk and friends paint a vivid emotional landscape through instrumentation, textures and beats that will not be soon forgotten.Comments Off
Pump Audio is a really cool company that works with independent musicians to get their music licensed in commercial media projects. You simply submit your work to Pump, and if they can find someone who wants to use it in their project, Pump will handle the arrangements and pay you 50% of the resulting licensing fees and/or royalties.
What a smart idea! Music supervisors in need of a high volume of quality, reasonably-priced music now have a terrific one-stop shop to turn to when scoring their projects. (Pump’s customers include companies like MTV, NBC, HBO, New Line Cinema, and Saatchi & Saatchi.) By facilitating connections between mainstream media and individual creators, Pump has created a marketplace where anyone in the world with talent can easily sell her or his creativity — without a formal relationship with a record label or other traditional music company. Best yet, Pump’s deals are totally non-exclusive, meaning that you’re free to take advantage of any other opportunity that comes your way.
Wow, Pump really gets it. Which is why we couldn’t be happier to announce that they’re now offering a variety of Creative Commons license options on their site for musicians who want to allow various forms of non-commercial use of their work. You can read more about this cool development in the press release we sent out announcing the collaboration.Comments Off
Check out dpop, a cool new music portal featuring CC-licensed podcasts and songs by Spanish pop groups. The site is really easy to navigate and features lots of great mp3 downloads from acts working in various styles of rock and electronic music.
From dpop’s site:
dpop is an independent platform to promote spanish artists supporting free culture, and licensing their pop creations under a Creative Commons license or any copyleft license.
Thanks, Ignasi!Comments Off
Jamendo (an innovative music community site using CC licenses) has launched its advertising revenue sharing program with artists. The picture below explains the deal. Click on it for an explainer.
See last month’s post on Jamendo reaching 2000 albums and adding new features. Congratulations once again to the Jamendo team!Comments Off
Apparently January is open access month for NYU’s Free Culture organization. They are holding two events within the next two weeks dedicated to open access.
Saturday Jan. 13, 2007 12-5pm
Freeculture.org is holding their “Taking Action on Open Access” event in NYC where they will be tackling the issue of how to advocate for open access on university campuses. The event is free and open to the public.
The event will be interactive, with presentations from influential professionals working in the Open Access world followed by smaller working groups.
RSVP to oa [at] freeculturenyu.org or via their facebook event post.
Saturday Jan. 19, 2007 5-7pm
Cory Doctorow will be speaking on “State of the Copyfight 2007: Looking up, not out of the woods yet” at the Courant Institute in Room 109. The presentation is free and open to the public and is brought to you by Free Culture @ NYU and NYU ACM.Comments Off
Creative Commons Netherlands has released the physical cd/dvd with musical and visual talent from the Lowlands. I’ve been one of the people behind this project and I can assure you this was one of my most difficult projects I’ve ever done. Although we’ve made some mistakes and had some setbacks, I’m more than happy with the outcome. I wasn’t the only one working on this off course. It certainly could not have been done without the help of various people:
Thanks to Marco Raaphorst for the excellent mastering (although I forgot to mention this on the package, sorry Marco!!!!), thanks Guno and Sander for helping us with the difficult task of picking a mere thirteen songs from more than a 130(!) songs sent in by more than 50(!) different artists. Thanks to Paul Keller and Syb Groeneveld (public projectleaders of Creative Commons Netherlands) for making this project a reality, thanks to JobJorisenMarieke for doing a great job with the graphical and dvd design, thanks to Tapes for an excellent printing and pressing job and last but not least thanks to all the participating creatives on this cd/dvd! Without your work there wasn’t a cd/dvd!
The story was picked up by Nu.nl, one of the most popular Dutch news sites. Congratulations to CC-NL!Comments Off