Publishers believe their best-case scenario comes from negotiating with digital music service providers on the free market, without the current constraints of consent decrees. The debate over consent decrees is ultimately not about if we’re going to get to that point, but how. That’s a better place for songwriters, artists, publishers, and labels, as well as companies like Pandora, Spotify, YouTube. We’re living in a world where transactions can be tracked and measured, and then reported back to everyone, in real-time. Music publishers and digital services are trying to get the best deal they can as the industry shifts from one era to another. Just as everyone in the ‘20s knew the automobile was changing transportation, not everyone agreed on how the transition should occur. Like just about everything else for the past 10 years, this is about the seismic transition from a physical music industry to a digital one. What’s all of this drama between Music Publishers, Digital Services, and the Justice Department about? Here are some answers to questions I’ve been getting from friends across the music and technology industries. Not sure what’s going on? You’re not alone. The problem is there are so many details to keep up with that it’s hard to know what everyone is talking about. On the other side are music industry leaders who claim the entire business of songwriting is in jeopardy. To hear the tech industry tell it, the current licensing environment makes it almost impossible to build meaningful technology for music consumers. We’ve already signed the lease, began the permit process, and we hope to be open by August 2020.There’s a lot of hot talk within the music industry about ASCAP and BMI consent decrees, digital music rights, and the future of music publishing. It’s a large interior renovation project, but much of the mechanical infrastructure is already in place. “We played around with the floor plans for probably four months, shifting things around until we got a plan we were really satisfied with. “The extra square footage enabled us to look at the concept in a different way,” Kinsolving says. I’ve played it in Florida and Indiana and it’s really fun, plus nobody else has it in the Middle Tennessee area.”Īlong with the bowling area, the design includes a 24-hour, 125-seat diner with a patio area, a 5,000 square foot music venue with a balcony and patio area - featuring two stages to accommodate both large and smaller more, intimate performances, a game room, and a bar and lounge area. “It’s a little like bowling crossed with a pinball machine. Plans for the 32,000 square foot complex now include 16 lanes of bowling, featuring both conventional ten-pin bowling along with a new, high-tech variation called Hyperbowling. With more room to expand the reformulated “Eastside Bowl” not only found a new home but expanded into a multi-entertainment venue. There’s the balcony.” Within five minutes I’d laid the whole thing out. I swore I’d never build or own another music venue, but I couldn’t help thinking, “You could put a stage right there. There was already a mezzanine level built in. We walked into an old shipping and receiving area. “We’d been in the K-Mart before but never seen what was behind the walls of the retail area. “We were walking around looking at it,” Kinsolving says. Despite their disappointment, Rubin, Kinsolving, and Pierce didn’t give up on their vision they just moved it a little further south, to the former K-Mart building at 1508 Gallatin Pike. But when the deal fell through, it definitely felt like a gutter ball. With former music venue owners and designers Jamie Rubin (The Family Wash) and Chark Kinsolving (The Cannery, The Mercy Lounge), and Nashville businessman and investor Tommy Pierce (A+ Storage of Tennessee, The Basement East) at the helm, it looked like a perfect 300 score was in store. A little over a year ago, the buzz about the revitalization of the old Madison Bowl building in north Madison was stirring excitement.
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