To hear the recording industry tell the story, copyright is the only thing protecting musicians from poverty and despair. Of course, that’s always been a myth. Copyright was designed to benefit the middlemen and gatekeepers, such as the record labels, over the artists themselves. That’s why the labels have a long history of never paying artists.

I spent some months following BTS and Blackpink and others, butchering my algorithmic recommendations in the process, and concluded that there are four key things all K-pop bands do to cultivate their fandoms. I’ll describe each below, along with examples of how founders and execs can modify these tactics to build passion for a product, brand, or mission. No dancing required.

The digital media industry wants to eat its cake and have it, too. Even as they tell you that you've just bought a "license" and therefore have no rights under copyright, they tell their workforce – the creative laborers who composed, arranged and performed the music – that you're buying your music, not licensing it.

That's because all the record deals from the prehistory of digital music have two different royalty rates: when a musician's work is sold, they get a low royalty rate (12%-22%). When that same work is licensed, they get a 50% royalty.

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Now, a musician has managed to drag digital music into the realm of classical physics, ending its quantum indeterminacy. Electronica pioneer Four Tet has successfully wrung a settlement out of his label, Domino, who will now be forced to treat his digital recordings as licenses and pay a 50% royalty, rather than the 13.5% they'd insisted on.

The list below is updated continuously by Jeffrey Sonnenfeld and his team of experts, research fellows, and students at the Yale Chief Executive Leadership Institute to reflect new announcements from companies in as close to real time as possible.

Also: sortable, searchable, filterable database interface.

I was under a common engineer misapprehension that BFE [Big Freaking Enterprise] sales requires playing golf, inviting clients to steak dinners, and having budgets beyond to reach of small businesses. This is not 100% true: you can hack the BFE procurement process to your advantage. Let's dig into how.

• Legally release your version of any song in 1--2 business days.
• You can talk to a real person who will handle everything for you.
• We clear 100% of the rights you need, guaranteed.
• You get proof of licensing in your email (PDF document).
• Each request is securely saved online in your account

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• $13.59 per song plus royalties.

Sometimes I get asked "have you ever seen someone do XYZ to acquire customers?" Turns out, the highest vote of confidence I can give is, "No I haven't, and that's good -- that means there's a higher chance of it working. You should try it."

What ARE all these letters? Even music veterans are sometimes confused. But it's important to understand the difference between your ASCAP and your UPC, because they all play an essential role in earning revenue from your music copyrights.

No, cryptocurrency is not a currency at all: it's an investment vehicle. A tool for making the rich richer. And that's putting it nicely; in reality it has a lot more in common with a Ponzi scheme than a genuine investment. What "value" does solving fake math problems actually provide to anyone? It's all bullshit.

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Maybe your cryptocurrency is different. But look: you're in really poor company. When you're the only honest person in the room, maybe you should be in a different room.

Are you prepared to receive and process privacy access requests in compliance with the GDPR? The following guide will help you understand your role in promoting access to data and how to create a system that saves you time and prevents damage to your reputation.