The Accidental Blockchain Evangelist

PledgeMusic founder and CEO Benji Rogers did not set out to become the leader of a movement when he posted his now-famous essay last November describing how the blockchain — the technological underpinning of the cryptocurrency Bitcoin — could be used to untangle the notoriously Byzantine world of music licensing and payments. Here is new developments in crypto. It was more a thought experiment than a business plan. But his ideas struck such a chord in the industry that Rogers has been thrust into the unwonted role of leading spokesman for the use of blockchain in the music business.

PledgeMusic CEO Benji Rogers

PledgeMusic CEO Benji Rogers

“I could never have imagined that the article I wrote would have the impact that it has,” Rogers would write a few months later in a follow up post. “In the short time since it came out, I have been overwhelmed by offers to speak publicly, offers of help and even offers to fund ‘what you are building.’ So I need to be clear here before we begin: this is not something that I am building.”

There are many in and around the music industry who would like to try, however.

By putting the blockchain at the center of his proposal Rogers helped spark growing interest in the industry in using the technology to bring transparency to the famously opaque world of music rights, where simply identifying who owns a musical work or recording, and who is entitled to be paid for which uses, can be near-impossible, keeping works out of the hands of would-be licensees. Blockchain was a major topic of discussion at this year’s SXSW conference, where it bore for full slate of panels. Read More »

Fighting Fraud And Piracy With Blockchain

Anyone who has ever posted a photograph or original piece of artwork on the internet knows that credit is fleeting. No sooner is it pinned, retweeted or shared then any metadata or watermark linking it to its source is stripped away or simply left behind as it spirals across social media platforms. By the time it reaches the end of the viral chain, even if someone wanted to offer proper attribution that information is all-but impossible to find.

A growing number of entrepreneurs are starting to tackle the issue of digital attribution and authentication, however, by leveraging the Bitcoin screenshot-www.verisart.com 2016-03-24 18-34-07blockchain. This month, New York-based Blockai and Los Angeles-based Verisart went live with new services that allow creators to register their works on the blockchain to create a permanent, indelible record certifying their patrimony and ownership.

The startups join a growing list of blockchain-based authentication services targeting the graphic arts, including Monegraph, ConSensys, ascribe, Stem, Mediachain and others. Just as the blockchain provides an open, self-verifying and decentralized ledger of Bitcoin transactions, it can also be used as a self-verifying database of other types of time-stamped events, such as the registration of a copyright. Those records, moreover, can contain a variety of kinds of data, including a hash of the work itself, the metadata to be associated with it, and information about permitted uses. Thus, any new instance of the work without that metadata would not match the original record and would be shown to be a copy. The permanent records also make it possible to recover the metadata even after it has been stripped away through subsequent uses of the work. Read More »

Turning Contracts Into Code: Why SoundExchange’s ISRC ‘Lookup’ Tool Matters

SoundExchange, the digital performance royalty collection agency, along with the international record industry association IFPI, this week unveiled its long-awaited portal that allows users to look up the IRSC number for nearly 20 million unique music recordings, along with associated metadata.

The lookup tool has been in the works for years and its launch represents an important milestone in the music industry’s often fitful effort to bring its scattered record-keeping up to date with the myriad ways music is used and consumed today. The database can be searched by track title, artist Music-Dials-Guitar-Case-Moneyname, release (i.e. album) title, version, recording date and file type. Metadata can be downloaded and incorporated with playback applications by digital music services.

The International Standard Recording Code (ISRC) system was established as an ISO standard for assigning unique identifiers to individual sound recordings in 1989 and is overseen by IFPI, the international federation of national recording industry trade associations. Compliance with the system was for many years spotty, as record companies continued to rely on their own in-house systems for identifying and cataloging recordings. Since 2006, however, the use of ISRCs has grown more consistent and widespread, thanks in large measure to Apple’s insistence that labels provide ISRC numbers for every track sold through the iTunes Music Store. More recently, streaming services such as Spotify and Pandora have embraced ISRC to track song-plays for royalty purposes. Read More »