<?xml version="1.0" encoding="UTF-8"?>
<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	>

<channel>
	<title>Music Business Journal &#124; Berklee College of Music</title>
	<atom:link href="http://www.thembj.org/feed/" rel="self" type="application/rss+xml" />
	<link>http://www.thembj.org</link>
	<description>Music Business Articles &#124; Music Industry News</description>
	<lastBuildDate>Wed, 01 Feb 2012 21:19:32 +0000</lastBuildDate>
	<language>en</language>
	<sy:updatePeriod>hourly</sy:updatePeriod>
	<sy:updateFrequency>1</sy:updateFrequency>
	<generator>http://wordpress.org/?v=3.2.1</generator>
		<item>
		<title>Toward Global Rights</title>
		<link>http://www.thembj.org/2011/12/toward-global-rights/</link>
		<comments>http://www.thembj.org/2011/12/toward-global-rights/#comments</comments>
		<pubDate>Tue, 20 Dec 2011 19:19:43 +0000</pubDate>
		<dc:creator>Peter Alhadeff and MBJ Staff</dc:creator>
				<category><![CDATA[Business]]></category>
		<category><![CDATA[December 2011]]></category>
		<category><![CDATA[Featured Articles]]></category>
		<category><![CDATA[business]]></category>
		<category><![CDATA[CISAC]]></category>
		<category><![CDATA[computer]]></category>
		<category><![CDATA[GDR]]></category>
		<category><![CDATA[IMR]]></category>
		<category><![CDATA[intellectual]]></category>
		<category><![CDATA[journal]]></category>
		<category><![CDATA[marketplace]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[property]]></category>
		<category><![CDATA[radio]]></category>
		<category><![CDATA[satellite]]></category>
		<category><![CDATA[smart phone]]></category>
		<category><![CDATA[TV]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3354</guid>
		<description><![CDATA[Music is a complex commodity bundled with many rights. As intellectual property, it requires licenses to transact legally. But in today’s marketplace, clearances from owners or intermediaries can be difficult to track both nationally and internationally. Often, many parties are involved before permission can be granted for a single trade. In effect, it may be [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/12/toward-global-rights/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>The Politics of European Online Music Rights</title>
		<link>http://www.thembj.org/2011/12/the-politics-of-european-online-music-rights/</link>
		<comments>http://www.thembj.org/2011/12/the-politics-of-european-online-music-rights/#comments</comments>
		<pubDate>Tue, 20 Dec 2011 19:19:30 +0000</pubDate>
		<dc:creator>Giuseppe Mazziotti</dc:creator>
				<category><![CDATA[December 2011]]></category>
		<category><![CDATA[Music Law]]></category>
		<category><![CDATA[CISAC]]></category>
		<category><![CDATA[commission]]></category>
		<category><![CDATA[copyrights]]></category>
		<category><![CDATA[EU]]></category>
		<category><![CDATA[european]]></category>
		<category><![CDATA[law]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[online]]></category>
		<category><![CDATA[politics]]></category>
		<category><![CDATA[rights]]></category>
		<category><![CDATA[UK]]></category>
		<category><![CDATA[union]]></category>
		<category><![CDATA[US]]></category>
		<category><![CDATA[Work for Hire]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3351</guid>
		<description><![CDATA[Boosting the music business in the Internet age has proven to be a tough proposition. Online copyright infringement still has the edge over legitimate music. Moreover, the music industry has faced dramatic losses in the off-line markets that have not been offset by the increase of revenues from the on-line music sector. In Europe the [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/12/the-politics-of-european-online-music-rights/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Shackles of Copyright Law:  Brazil’s Tecnobrega</title>
		<link>http://www.thembj.org/2011/12/breaking-the-shackles-of-copyright-law-brazil%e2%80%99s-tecnobrega/</link>
		<comments>http://www.thembj.org/2011/12/breaking-the-shackles-of-copyright-law-brazil%e2%80%99s-tecnobrega/#comments</comments>
		<pubDate>Tue, 20 Dec 2011 19:19:17 +0000</pubDate>
		<dc:creator>Luiz Augusto Buff</dc:creator>
				<category><![CDATA[December 2011]]></category>
		<category><![CDATA[Music Law]]></category>
		<category><![CDATA[Copyright]]></category>
		<category><![CDATA[Creative Commons]]></category>
		<category><![CDATA[Nollywood]]></category>
		<category><![CDATA[Oona Castro]]></category>
		<category><![CDATA[Open Business Models]]></category>
		<category><![CDATA[Piracy.]]></category>
		<category><![CDATA[Ronaldo Lemos]]></category>
		<category><![CDATA[Tecnobrega]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3348</guid>
		<description><![CDATA[The crisis in the recording music industry has diminished the breadth and diversity of record label catalogs at a time when there are more artists and musical works than ever. Around the world, moreover, local and regional music may be in danger of becoming marginalized as the traditional distribution structures focus just on pasteurized product. [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/12/breaking-the-shackles-of-copyright-law-brazil%e2%80%99s-tecnobrega/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Anatomy of Modern Branding:  Aedhmar Hynes</title>
		<link>http://www.thembj.org/2011/12/the-anatomy-of-modern-branding-an-interview-with-aedhmar-hynes/</link>
		<comments>http://www.thembj.org/2011/12/the-anatomy-of-modern-branding-an-interview-with-aedhmar-hynes/#comments</comments>
		<pubDate>Tue, 20 Dec 2011 19:18:59 +0000</pubDate>
		<dc:creator>Aaron Bolli-Thompson</dc:creator>
				<category><![CDATA[December 2011]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[aedhmar]]></category>
		<category><![CDATA[CEO]]></category>
		<category><![CDATA[communication]]></category>
		<category><![CDATA[facebook]]></category>
		<category><![CDATA[hynes]]></category>
		<category><![CDATA[IBM]]></category>
		<category><![CDATA[Internet]]></category>
		<category><![CDATA[marketing]]></category>
		<category><![CDATA[meda]]></category>
		<category><![CDATA[MTV]]></category>
		<category><![CDATA[Public Relation]]></category>
		<category><![CDATA[social media]]></category>
		<category><![CDATA[Text 100]]></category>
		<category><![CDATA[World Technology Summit]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3345</guid>
		<description><![CDATA[Aedhmar Hynes is a world leader in new media communications. As CEO of Text 100, she has won numerous prizes, and most recently the World Technology Summit Award for Contributions To Marketing &#38; Communications. Text 100 has grown to twenty-eight offices worldwide employing over five hundred staff members, and its client roster includes IBM, MTV [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/12/the-anatomy-of-modern-branding-an-interview-with-aedhmar-hynes/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Kobalt Music Group:  Redefining Music Publishing</title>
		<link>http://www.thembj.org/2011/12/kobalt-music-group-redefining-the-role-of-a-music-publisher/</link>
		<comments>http://www.thembj.org/2011/12/kobalt-music-group-redefining-the-role-of-a-music-publisher/#comments</comments>
		<pubDate>Tue, 20 Dec 2011 19:18:38 +0000</pubDate>
		<dc:creator>Alexander Scott Alberti</dc:creator>
				<category><![CDATA[Business]]></category>
		<category><![CDATA[December 2011]]></category>
		<category><![CDATA[deal]]></category>
		<category><![CDATA[digital 3.0]]></category>
		<category><![CDATA[dr. luke]]></category>
		<category><![CDATA[gwen stefani]]></category>
		<category><![CDATA[joss stone]]></category>
		<category><![CDATA[kelly clarkson]]></category>
		<category><![CDATA[Kobalt]]></category>
		<category><![CDATA[max martin]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[publisher]]></category>
		<category><![CDATA[publishing]]></category>
		<category><![CDATA[ryan tedder]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3342</guid>
		<description><![CDATA[Music publishers have long played an integral role in the careers of songwriters. Regardless of whether or not a songwriter is a developing talent or an established name, or if full or administrative services are provided, music publishers can be invaluable to songwriters through the protection and exploitation of their songs as commercial assets.  In [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/12/kobalt-music-group-redefining-the-role-of-a-music-publisher/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Google’s Music Offensive</title>
		<link>http://www.thembj.org/2011/12/google%e2%80%99s-music-offensive/</link>
		<comments>http://www.thembj.org/2011/12/google%e2%80%99s-music-offensive/#comments</comments>
		<pubDate>Tue, 20 Dec 2011 19:18:21 +0000</pubDate>
		<dc:creator>Jeremy Moccia</dc:creator>
				<category><![CDATA[Business]]></category>
		<category><![CDATA[December 2011]]></category>
		<category><![CDATA[Amazon]]></category>
		<category><![CDATA[Cloud]]></category>
		<category><![CDATA[facebook]]></category>
		<category><![CDATA[Google]]></category>
		<category><![CDATA[iTunes]]></category>
		<category><![CDATA[MOG]]></category>
		<category><![CDATA[Rhapsody]]></category>
		<category><![CDATA[Spotify]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3411</guid>
		<description><![CDATA[Google announced a new addition to its roster of digital offerings, Google Music. This long awaited service followed trials of its beta version (see MBJ, Nov. 2011).  The reader may recall that there were many doubts as to both the viability of the service and its launch date, which has finally come. Google Music surprises [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/12/google%e2%80%99s-music-offensive/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Beyond Social Media</title>
		<link>http://www.thembj.org/2011/12/social-media-disenchantment-and-beyond/</link>
		<comments>http://www.thembj.org/2011/12/social-media-disenchantment-and-beyond/#comments</comments>
		<pubDate>Tue, 20 Dec 2011 19:18:21 +0000</pubDate>
		<dc:creator>George Howard</dc:creator>
				<category><![CDATA[Business]]></category>
		<category><![CDATA[December 2011]]></category>
		<category><![CDATA[Amazon]]></category>
		<category><![CDATA[bezos]]></category>
		<category><![CDATA[facebook]]></category>
		<category><![CDATA[henry ford]]></category>
		<category><![CDATA[industrial revolution]]></category>
		<category><![CDATA[mad men]]></category>
		<category><![CDATA[social media]]></category>
		<category><![CDATA[zuckerberg]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3334</guid>
		<description><![CDATA[The purpose of this article is to suggest some reasons for the failings of social media, as well as to offer suggestions for its better usage. The promise of social media, it must be remembered, was to reduce intermediation.  Prior to the Industrial Revolution, markets revolved around the direct interaction between buyers and sellers; both [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/12/social-media-disenchantment-and-beyond/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Sponsors Take Over</title>
		<link>http://www.thembj.org/2011/12/sponsors-take-over/</link>
		<comments>http://www.thembj.org/2011/12/sponsors-take-over/#comments</comments>
		<pubDate>Tue, 20 Dec 2011 19:18:09 +0000</pubDate>
		<dc:creator>Frederic Choquette</dc:creator>
				<category><![CDATA[Business]]></category>
		<category><![CDATA[December 2011]]></category>
		<category><![CDATA[cadillac]]></category>
		<category><![CDATA[cd-rom]]></category>
		<category><![CDATA[computer]]></category>
		<category><![CDATA[dvd]]></category>
		<category><![CDATA[dylan]]></category>
		<category><![CDATA[escalades]]></category>
		<category><![CDATA[mountain dew]]></category>
		<category><![CDATA[musician]]></category>
		<category><![CDATA[Recording]]></category>
		<category><![CDATA[red bull]]></category>
		<category><![CDATA[sponsor]]></category>
		<category><![CDATA[TV]]></category>
		<category><![CDATA[victoria secrets]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3339</guid>
		<description><![CDATA[In the 1960s and 1970s, the consensus among major artists was to avoid corporate sponsors. The only true sponsor was an artist’s record label. Musicians with recording contracts were proud to keep their music separate from the world of commerce and corporations. This changed in the 1980s, and especially in the 1990s.  The appearance of [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/12/sponsors-take-over/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Occupy Movement and Music</title>
		<link>http://www.thembj.org/2011/12/the-occupy-movement-and-music/</link>
		<comments>http://www.thembj.org/2011/12/the-occupy-movement-and-music/#comments</comments>
		<pubDate>Tue, 20 Dec 2011 19:17:46 +0000</pubDate>
		<dc:creator>Zosia Boczanowski</dc:creator>
				<category><![CDATA[December 2011]]></category>
		<category><![CDATA[Music and Society]]></category>
		<category><![CDATA[civil rights movement]]></category>
		<category><![CDATA[dylan]]></category>
		<category><![CDATA[guthrie]]></category>
		<category><![CDATA[lennon]]></category>
		<category><![CDATA[morello]]></category>
		<category><![CDATA[occupy]]></category>
		<category><![CDATA[revolutionary]]></category>
		<category><![CDATA[seeger]]></category>
		<category><![CDATA[wainwright]]></category>
		<category><![CDATA[zuccotti]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3330</guid>
		<description><![CDATA[Music is inseparable from its time in history and watershed events often leave their own legacy.  Revolutionary fervor produced &#8220;The Liberty Song&#8221;, &#8220;The Battle Hymn of the Republic&#8221; was used to drum support for Union soldiers during the Civil War; and &#8220;The Suffrage Song&#8221; encouraged women ’s rights in the early 1900s. In addition, the [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/12/the-occupy-movement-and-music/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>R.I.P. EMI</title>
		<link>http://www.thembj.org/2011/12/r-i-p-emi/</link>
		<comments>http://www.thembj.org/2011/12/r-i-p-emi/#comments</comments>
		<pubDate>Tue, 20 Dec 2011 19:17:03 +0000</pubDate>
		<dc:creator>Haven Belke</dc:creator>
				<category><![CDATA[Business]]></category>
		<category><![CDATA[December 2011]]></category>
		<category><![CDATA[BMG]]></category>
		<category><![CDATA[EMI]]></category>
		<category><![CDATA[Guy Hands]]></category>
		<category><![CDATA[Terra Firma]]></category>
		<category><![CDATA[UMG]]></category>
		<category><![CDATA[Warner]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3327</guid>
		<description><![CDATA[EMI, the British company, has been a driving force in the music industry since 1887, when Emile Berliner invented the Gramophone.  Since then, EMI has broken into many fields, including publishing and recording, and has always been considered a top competing company. Last month, on Friday November 11, 2011, it was announced that EMI had [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/12/r-i-p-emi/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Music Supervisors and Synch Licenses</title>
		<link>http://www.thembj.org/2011/11/music-supervisors-and-synch-licenses/</link>
		<comments>http://www.thembj.org/2011/11/music-supervisors-and-synch-licenses/#comments</comments>
		<pubDate>Mon, 28 Nov 2011 19:55:20 +0000</pubDate>
		<dc:creator>Andrea Johnson</dc:creator>
				<category><![CDATA[Business]]></category>
		<category><![CDATA[Featured Articles]]></category>
		<category><![CDATA[November 2011]]></category>
		<category><![CDATA[Copyright]]></category>
		<category><![CDATA[CSI-NY]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Grey’s Anatomy]]></category>
		<category><![CDATA[Licenses]]></category>
		<category><![CDATA[Licensing]]></category>
		<category><![CDATA[Movie]]></category>
		<category><![CDATA[Music Supervision]]></category>
		<category><![CDATA[MXSup]]></category>
		<category><![CDATA[One Tree Hill]]></category>
		<category><![CDATA[Rescue Me]]></category>
		<category><![CDATA[Show]]></category>
		<category><![CDATA[Supervision]]></category>
		<category><![CDATA[Synch Licenses]]></category>
		<category><![CDATA[True Blood]]></category>
		<category><![CDATA[TV]]></category>
		<category><![CDATA[Video Game]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3264</guid>
		<description><![CDATA[After watching prime time dramas such as ABC’s Grey’s Anatomy, the amount of new music that a show like this introduces to the public is astonishing: “Anyone’s Ghost” by The National, “Abducted” by Cults, “Chameleon/Comedian” by Kathleen Edwards, “Hit It” by Miss Li, and “Echoes” by Mostar Diving Club. Who is responsible for introducing all [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/11/music-supervisors-and-synch-licenses/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>US Welcomes the European (Dance) Invasion</title>
		<link>http://www.thembj.org/2011/11/us-welcomes-the-european-dance-invasion/</link>
		<comments>http://www.thembj.org/2011/11/us-welcomes-the-european-dance-invasion/#comments</comments>
		<pubDate>Mon, 28 Nov 2011 19:55:09 +0000</pubDate>
		<dc:creator>Bartosz Mrugacz</dc:creator>
				<category><![CDATA[Business]]></category>
		<category><![CDATA[November 2011]]></category>
		<category><![CDATA[Afrojack.]]></category>
		<category><![CDATA[Dance]]></category>
		<category><![CDATA[David Guetta]]></category>
		<category><![CDATA[Dubstep]]></category>
		<category><![CDATA[Europe]]></category>
		<category><![CDATA[Guetta]]></category>
		<category><![CDATA[House]]></category>
		<category><![CDATA[Lady Gaga]]></category>
		<category><![CDATA[Rihanna]]></category>
		<category><![CDATA[Tiesta]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3261</guid>
		<description><![CDATA[Today more than ever, electronic dance music has gone mainstream in America. Electronic productions by Stargate in Lady Gaga and Rihanna songs, and dubstep elements in Britney Spears’ hits are just a few examples of the popularity of electronic genres. Today, the likes of David Guetta, Tiesto, and Afrojack are  well known in the US. [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/11/us-welcomes-the-european-dance-invasion/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>Preparing Artists for Stardom:  Angelo Ellerbee</title>
		<link>http://www.thembj.org/2011/11/preparing-artist-for-stardom-interview-with-angelo-ellerbee/</link>
		<comments>http://www.thembj.org/2011/11/preparing-artist-for-stardom-interview-with-angelo-ellerbee/#comments</comments>
		<pubDate>Mon, 28 Nov 2011 19:55:00 +0000</pubDate>
		<dc:creator>Aaron Gottlieb</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[November 2011]]></category>
		<category><![CDATA[ALICIA KEYS]]></category>
		<category><![CDATA[ANGELO ELLERBEE]]></category>
		<category><![CDATA[Artist Development]]></category>
		<category><![CDATA[DIONNE WARWICK]]></category>
		<category><![CDATA[DMX]]></category>
		<category><![CDATA[GINUWINE]]></category>
		<category><![CDATA[JAMES MTUME]]></category>
		<category><![CDATA[MARY J. BLIGE]]></category>
		<category><![CDATA[MICHAEL JACKSON]]></category>
		<category><![CDATA[MTUME]]></category>
		<category><![CDATA[NINA SIMONE]]></category>
		<category><![CDATA[OPRAH]]></category>
		<category><![CDATA[ROBERTA FLACK]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3258</guid>
		<description><![CDATA[Angelo Ellerbee is the founder and CEO of Double XXposure Media Relations, a full service public relations, marketing, and artist development firm.  Ellerbee’s client roster is deep and diverse. He has worked with some of the top artists in the industry including the likes of Mary J. Blige, Alicia Keys, Michael Jackson, Ginuwine, Roberta Flack, [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/11/preparing-artist-for-stardom-interview-with-angelo-ellerbee/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Sound Recordings in 2013: A Legal Brief</title>
		<link>http://www.thembj.org/2011/11/sound-recording-in-2013-a-legal-brief/</link>
		<comments>http://www.thembj.org/2011/11/sound-recording-in-2013-a-legal-brief/#comments</comments>
		<pubDate>Mon, 28 Nov 2011 19:54:50 +0000</pubDate>
		<dc:creator>Devon Spencer</dc:creator>
				<category><![CDATA[Music Law]]></category>
		<category><![CDATA[November 2011]]></category>
		<category><![CDATA[1976]]></category>
		<category><![CDATA[Copyright]]></category>
		<category><![CDATA[COPYRIGHT ACT]]></category>
		<category><![CDATA[Devon Spencer]]></category>
		<category><![CDATA[intellectual property]]></category>
		<category><![CDATA[protection]]></category>
		<category><![CDATA[recordings]]></category>
		<category><![CDATA[Reversion]]></category>
		<category><![CDATA[Sound]]></category>
		<category><![CDATA[sound recordings]]></category>
		<category><![CDATA[SUPREME COURT]]></category>
		<category><![CDATA[Work for Hire]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3255</guid>
		<description><![CDATA[The Mayans were partially right when they predicted something drastic would happen at the end of 2012. Yet even if the mystery of the world coming to an end will remain, one thing seems clear: copyright laws in the United States may be changed forever. As 2013 marks the first year when any transfers of [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/11/sound-recording-in-2013-a-legal-brief/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Kickstarter: Fresh Money by a Deadline</title>
		<link>http://www.thembj.org/2011/11/kickstarter-fresh-money-by-a-deadline/</link>
		<comments>http://www.thembj.org/2011/11/kickstarter-fresh-money-by-a-deadline/#comments</comments>
		<pubDate>Mon, 28 Nov 2011 19:54:39 +0000</pubDate>
		<dc:creator>Haven Belke</dc:creator>
				<category><![CDATA[Business]]></category>
		<category><![CDATA[November 2011]]></category>
		<category><![CDATA[Charles Adler]]></category>
		<category><![CDATA[crowdfunding]]></category>
		<category><![CDATA[funding site]]></category>
		<category><![CDATA[investors]]></category>
		<category><![CDATA[kickstarter]]></category>
		<category><![CDATA[Perry Chen]]></category>
		<category><![CDATA[project]]></category>
		<category><![CDATA[Yancey Stickler]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3252</guid>
		<description><![CDATA[Kickstarter, a for-profit company that started in April 2009, broke into the “crowdfunding” market with a new take on financing projects in music, film, art, technology, design, and other creative ventures.  One of its founders, Perry Chen, wished to organize a concert for The New Orleans Jazz Festival in 2002 . Chen was prepared to [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/11/kickstarter-fresh-money-by-a-deadline/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>The Rock in Rio Festival</title>
		<link>http://www.thembj.org/2011/11/the-rock-in-rio-festival/</link>
		<comments>http://www.thembj.org/2011/11/the-rock-in-rio-festival/#comments</comments>
		<pubDate>Mon, 28 Nov 2011 19:54:28 +0000</pubDate>
		<dc:creator>Luiz Augusto Buff</dc:creator>
				<category><![CDATA[Business]]></category>
		<category><![CDATA[November 2011]]></category>
		<category><![CDATA[AC/DC]]></category>
		<category><![CDATA[Al Jarreau]]></category>
		<category><![CDATA[branding]]></category>
		<category><![CDATA[Brazil]]></category>
		<category><![CDATA[City of Rock]]></category>
		<category><![CDATA[Concert]]></category>
		<category><![CDATA[Concert Industry]]></category>
		<category><![CDATA[Elba Ramalho]]></category>
		<category><![CDATA[festival]]></category>
		<category><![CDATA[George Benson]]></category>
		<category><![CDATA[George Michael]]></category>
		<category><![CDATA[Gilberto Gil]]></category>
		<category><![CDATA[international]]></category>
		<category><![CDATA[Iron Maiden]]></category>
		<category><![CDATA[James Taylor]]></category>
		<category><![CDATA[Lollapalooza]]></category>
		<category><![CDATA[Maracana Stadium]]></category>
		<category><![CDATA[Ozzy Osbourne]]></category>
		<category><![CDATA[Queen]]></category>
		<category><![CDATA[Rio de Janeiro]]></category>
		<category><![CDATA[Roberto Medina]]></category>
		<category><![CDATA[Rock In Rio]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3249</guid>
		<description><![CDATA[Nearly two months ago, and after a ten-year hiatus,  Brazil witnessed the return of the Rock In Rio Festival. The event, considered the biggest of its kind in the world, has developed its own international profile, with Madrid and Lisbon editions in Europe. Roberto Medina, one of the most successful advertising entrepreneurs in Brazil, has [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/11/the-rock-in-rio-festival/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Voice Altering Code</title>
		<link>http://www.thembj.org/2011/11/the-voice-altering-code/</link>
		<comments>http://www.thembj.org/2011/11/the-voice-altering-code/#comments</comments>
		<pubDate>Mon, 28 Nov 2011 19:54:19 +0000</pubDate>
		<dc:creator>Kaylee Hyman</dc:creator>
				<category><![CDATA[Business]]></category>
		<category><![CDATA[Music and Society]]></category>
		<category><![CDATA[November 2011]]></category>
		<category><![CDATA[Andy Hildebrand]]></category>
		<category><![CDATA[auto-tune]]></category>
		<category><![CDATA[Bell Labs]]></category>
		<category><![CDATA[Black Eyed Peas]]></category>
		<category><![CDATA[Homer Dudley]]></category>
		<category><![CDATA[Jay-Z]]></category>
		<category><![CDATA[Ke$ha]]></category>
		<category><![CDATA[T-Pain]]></category>
		<category><![CDATA[Vocoder]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3247</guid>
		<description><![CDATA[Auto-Tune is the reason why some pop stars sound amazing on a record but terrible in real life. It corrects pitch in a vocal performance and disguises off-key inaccuracies and mistakes.  As well, it makes artists like T-Pain, Ke$ha, and The Black Eyed Peas sound special. The use of technology to alter the pitch of [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/11/the-voice-altering-code/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Google and the Majors: a Zero Sum Game</title>
		<link>http://www.thembj.org/2011/11/google-and-the-majors-a-zero-sum-game/</link>
		<comments>http://www.thembj.org/2011/11/google-and-the-majors-a-zero-sum-game/#comments</comments>
		<pubDate>Mon, 28 Nov 2011 19:54:07 +0000</pubDate>
		<dc:creator>Megan Graney</dc:creator>
				<category><![CDATA[Business]]></category>
		<category><![CDATA[November 2011]]></category>
		<category><![CDATA[EMI]]></category>
		<category><![CDATA[Goggle+]]></category>
		<category><![CDATA[Google]]></category>
		<category><![CDATA[iTunes]]></category>
		<category><![CDATA[MP3]]></category>
		<category><![CDATA[Music Beta]]></category>
		<category><![CDATA[Spotify]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3242</guid>
		<description><![CDATA[A few months ago, Google lost patience with the major labels and launched its own license-free Music Beta Site, an annoyingly slow, song-by-song, upload locker service. Now, Apple seems to have something better with the labels’ consent and Google seems ready to come to terms by acquiring the proper licenses. Rumors point to the imminent [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/11/google-and-the-majors-a-zero-sum-game/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Song Download and Performance Rights</title>
		<link>http://www.thembj.org/2011/11/song-download-and-performance-rights/</link>
		<comments>http://www.thembj.org/2011/11/song-download-and-performance-rights/#comments</comments>
		<pubDate>Mon, 28 Nov 2011 19:53:56 +0000</pubDate>
		<dc:creator>Nachman N Susson</dc:creator>
				<category><![CDATA[Music Law]]></category>
		<category><![CDATA[November 2011]]></category>
		<category><![CDATA[2ND U.S. CIRCUIT COURT]]></category>
		<category><![CDATA[ASCAP]]></category>
		<category><![CDATA[ASCAP BOARD OF DIRECTORS.]]></category>
		<category><![CDATA[COPYRIGHT ACT]]></category>
		<category><![CDATA[DIGITAL DOWNLOADS]]></category>
		<category><![CDATA[LYRICISTS]]></category>
		<category><![CDATA[MUSIC-SHARING]]></category>
		<category><![CDATA[PUBLIC PERFORMANCE]]></category>
		<category><![CDATA[PUBLISHERS]]></category>
		<category><![CDATA[ROYALTY COLLECTION]]></category>
		<category><![CDATA[SCOTUS]]></category>
		<category><![CDATA[SECOND CIRCUIT]]></category>
		<category><![CDATA[SECTION 101]]></category>
		<category><![CDATA[songwriters]]></category>
		<category><![CDATA[SUPREME COURT]]></category>
		<category><![CDATA[SUPREME COURT OF THE UNITED STATES]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3237</guid>
		<description><![CDATA[On October 3rd 2011, the Supreme Court of the United States refused to hear the case of American Society of Composers, Authors and Publishers (ASCAP) v. United States.  This case would have dealt with the question of whether the category of a public performance extends to downloading a song via digital download. ASCAP asked the [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/11/song-download-and-performance-rights/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Confluence of Live and Recorded Music</title>
		<link>http://www.thembj.org/2011/11/the-confluence-of-live-and-recorded-music/</link>
		<comments>http://www.thembj.org/2011/11/the-confluence-of-live-and-recorded-music/#comments</comments>
		<pubDate>Mon, 28 Nov 2011 19:52:15 +0000</pubDate>
		<dc:creator>Nadirah Vincent</dc:creator>
				<category><![CDATA[Business]]></category>
		<category><![CDATA[November 2011]]></category>
		<category><![CDATA[AEG]]></category>
		<category><![CDATA[Anschutz]]></category>
		<category><![CDATA[ecommerce]]></category>
		<category><![CDATA[Live Nation]]></category>
		<category><![CDATA[music business]]></category>
		<category><![CDATA[Paciolan]]></category>
		<category><![CDATA[Ticketmaster]]></category>
		<category><![CDATA[UMG]]></category>
		<category><![CDATA[Universal]]></category>

		<guid isPermaLink="false">http://www.thembj.org/?p=3235</guid>
		<description><![CDATA[Early in 2010, Ticketmaster, one of the largest ticket distribution companies merged with Live Nation, a top venue and concert promotion company. The merger caused antitrust concerns, and the Department of Justice gave its approval only on certain terms. Ticketmaster had to first divest itself of its ticketing subsidiary Paciolan, which Comcast Spectator bought, and [...]]]></description>
		<wfw:commentRss>http://www.thembj.org/2011/11/the-confluence-of-live-and-recorded-music/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
	</channel>
</rss>

