Megan
 Himel
 
Berklee
 College
 of
 Music,
 Valencia
 

 

 

 
Culminating
 Experience
 
Reflection
 Paper
 
Due
 July
 3,
 2015
 

 

 

 

 

 

Crowdfunding
 and
 the
 Music-­‐Making
 Paradigm:
 
A
 Case
 on
 PledgeMusic
 

 

 

 

 
This
 document
 contains:
 
Reflection
 Paper
 


 


 

MEGAN
 HIMEL,
 CE
 REFLECTION
 PAPER
 2015
 |
 1
 OF
 10
 

Summary
 

 
My
 Culminating
 Experience
 was
 one
 of
 the
 options
 presented
 at
 the
 beginning
 of
 the
 
school
 year,
 open
 for
 application:
 a
 case
 study
 and
 accompanying
 teaching
 note
 on
 
PledgeMusic.
 

 
This
 project
 fell
 somewhere
 between
 a
 research
 and
 consulting
 project:
 it
 required
 a
 
great
 deal
 of
 investigation
 into
 one
 company
 (PledgeMusic),
 while
 being
 in
 the
 service
 
of
 another
 institution,
 Berklee’s
 soon-­‐to-­‐be-­‐formed
 publishing
 entity.
 
 Moreover,
 it
 is
 
written
 based
 on
 the
 standards
 for
 a
 case
 and
 teaching
 note
 as
 established
 by
 Case
 
Centre,
 rather
 than
 one
 of
 the
 4
 styles
 presented
 during
 our
 Music
 Business
 Seminar.
 
 

 
Results
 

 
The
 case
 and
 teaching
 note
 I
 am
 submitting
 for
 this
 CE
 is
 a
 work
 in
 progress.
 
 The
 
information,
 story,
 and
 teaching
 method
 are
 completed,
 but
 will
 be
 subject
 to
 revision
 
by
 Alexandre
 Perrin
 (who
 is
 co-­‐authoring
 this
 with
 me)
 and
 the
 approval
 of
 Benji
 
Rogers
 (Founder
 and
 President
 of
 PledgeMusic).
 

 
Once
 these
 revisions
 by
 parties
 other
 than
 myself
 are
 completed,
 supporting
 documents
 
(such
 as
 worksheets
 or
 slides)
 can
 be
 generated.
 
 Since
 Berklee’s
 publishing
 entity
 will
 
not
 be
 ready
 until
 the
 end
 of
 2015
 or
 early
 2016,
 we
 have
 some
 leeway
 in
 taking
 this
 
through
 the
 remainder
 of
 the
 editing
 and
 publication
 process.
 

 

 

 

MEGAN
 HIMEL,
 CE
 REFLECTION
 PAPER
 2015
 |
 2
 OF
 10
 

Process
 
 

 
I
 dove
 into
 this
 project
 with
 very
 misaligned
 expectations.
 
 I
 did
 not
 fully
 understand
 the
 
difference
 between
 a
 case
 study
 (as
 a
 standard
 research
 method)
 and
 a
 case
 for
 the
 case
 
method
 of
 teaching.
 
 Prior
 to
 my
 attendance
 at
 Berklee,
 I
 had
 never
 been
 exposed
 to
 the
 
case
 method,
 although
 it
 was
 common
 for
 my
 teachers
 (and
 myself,
 as
 a
 teacher)
 to
 
reference
 and
 engage
 with
 different
 research
 and
 publications
 as
 part
 of
 the
 
coursework.
 
 
 

 
I
 began
 much
 more
 research-­‐focused:
 I
 wanted
 to
 learn
 as
 much
 about
 what
 made
 
PledgeMusic
 tick
 as
 possible.
 
 I
 read
 literature
 on
 the
 music
 industry,
 on
 crowdfunding,
 
and
 PledgeMusic.
 
 I
 may
 have
 read
 every
 article
 about
 Benji
 Rogers
 and
 PledgeMusic
 
ever
 published.
 
 The
 more
 I
 learned,
 the
 more
 questions
 I
 had,
 and
 the
 less
 certain
 I
 was
 
about
 the
 direction
 of
 the
 case.
 
 
 

 
Meanwhile,
 my
 personal
 interests
 at
 Berklee
 were
 changing.
 
 Instead
 of
 focusing
 on
 
curriculum
 development,
 my
 attention
 began
 to
 turn
 to
 marketing.
 
 Specifically,
 I
 began
 
to
 wonder
 about
 consumer
 insights
 and
 the
 appropriate
 application
 of
 that
 knowledge.
 
 
PledgeMusic’s
 model
 of
 selling
 to
 the
 superfan
 in
 a
 way
 that
 lets
 them
 engage
 at
 
whatever
 price
 point
 they
 desire
 while
 incentivizing
 pre-­‐payment
 and
 social
 sharing
 
through
 behind
 the
 scenes
 content
 is
 an
 excellent
 consumer
 insight,
 based
 on
 Benji’s
 
gut.
 
 I
 grew
 curious
 about
 the
 kind
 of
 data
 a
 pool
 of
 early
 adaptors
 could
 provide,
 and
 
very
 much
 wanted
 to
 redirect
 my
 research
 into
 an
 analytics
 capacity
 –
 there
 were
 so
 
many
 potential
 insights
 that
 it
 was
 addictive.
 
 In
 pursuing
 this
 line
 of
 inquiry,
 I
 learned
 
three
 things:
 first,
 the
 type
 of
 information
 I
 wanted
 to
 uncover
 was
 something
 people
 

 

MEGAN
 HIMEL,
 CE
 REFLECTION
 PAPER
 2015
 |
 3
 OF
 10
 

were
 willing
 to
 pay
 a
 premium
 for;
 second,
 the
 scale
 of
 analytics
 I
 was
 curious
 about
 
was
 beyond
 the
 scope
 of
 my
 CE,
 and
 something
 that
 organizations
 pay
 analysts
 
hundreds
 of
 thousands
 of
 dollars
 a
 year
 to
 generate,
 and;
 finally,
 in
 PledgeMusic’s
 eyes,
 
the
 data
 belongs
 to
 the
 artist.
 
 Using
 it
 for
 other
 purposes
 requires
 permission.
 
 
 

 
With
 this
 line
 of
 inquiry
 was
 taking
 me
 in
 one
 direction,
 I
 was
 struggling
 to
 schedule
 
interviews
 and
 acquire
 the
 information
 I
 wanted.
 
 The
 interviews
 I
 conducted
 occurred
 
in
 March
 and
 April,
 pushing
 back
 my
 writing
 process.
 
 I
 learned
 that
 the
 marketing
 data
 
I
 was
 interested
 in
 was
 not
 available
 to
 me
 in
 the
 depth
 I
 desired
 for
 a
 comprehensive
 
case;
 much
 more
 information
 was
 available
 for
 an
 introductory
 business
 model
 case.
 
 
 

 
The
 direction
 of
 the
 case
 was
 something
 I
 could
 not
 know
 until
 I
 conducted
 the
 
interviews
 and
 requested
 data,
 but
 I
 made
 the
 mistake
 of
 reading,
 researching,
 and
 
preparing
 intensely
 in
 advance
 of
 these
 interviews
 and
 data
 requests.
 
 My
 vision
 for
 
where
 I
 wanted
 the
 case
 to
 go
 was
 dramatically
 different
 from
 where
 the
 information
 
PledgeMusic
 was
 able
 to
 share
 with
 me
 would
 allow
 me
 to
 go
 while
 maintaining
 quality.
 
 
If
 I
 were
 to
 do
 this
 again,
 I
 would
 have
 done
 a
 brief
 review
 of
 Benji
 and
 PledgeMusic,
 
conducted
 one
 or
 two
 interviews
 and
 data
 requests,
 and
 then
 done
 a
 follow
 up
 
literature
 review
 based
 on
 the
 direction
 that
 information
 pointed
 me.
 
 If
 I
 had
 followed
 
this
 method,
 I
 would
 have
 been
 significantly
 more
 efficient.
 
 
 

 
As
 it
 stood,
 however,
 the
 end
 of
 April
 rolled
 around
 and
 I
 had
 finally
 collected
 all
 I
 was
 
going
 to
 acquire
 from
 Benji
 and
 PledgeMusic.
 
 I
 could
 no
 longer
 fight
 the
 direction
 the
 
case
 was
 going,
 and
 I
 had
 to
 abandon
 much
 of
 the
 information
 I
 was
 looking
 into
 in
 


 

MEGAN
 HIMEL,
 CE
 REFLECTION
 PAPER
 2015
 |
 4
 OF
 10
 

order
 to
 find
 more
 relevant
 information
 for
 the
 case
 as
 business
 them,
 rather
 than
 a
 
marketing
 one.
 
 

 
Lesson
 plans
 are
 simple
 for
 me
 –
 and
 a
 teaching
 note
 is
 basically
 a
 detailed
 lesson
 plan,
 
therefore
 not
 a
 problem.
 
 The
 surprising
 struggle
 I
 had
 was
 writing
 the
 case
 itself.
 
 The
 
style
 is
 different
 than
 most
 writing
 I’ve
 done
 in
 the
 past,
 and
 a
 good
 case
 plays
 with
 the
 
information.
 
 I
 discovered
 that
 not
 only
 to
 I
 need
 to
 withhold
 information
 in
 a
 case,
 but
 I
 
need
 to
 place
 information
 in
 the
 story
 in
 a
 way
 that
 forces
 students
 to
 judge
 both
 what
 
is
 useful,
 and
 how
 to
 organize
 and
 apply
 the
 useful
 information.
 
 I
 err
 on
 the
 side
 of
 
including
 too
 much
 and
 being
 too
 straightforward,
 so
 writing
 the
 case
 has
 been
 an
 
interesting
 exercise
 that
 goes
 against
 my
 instincts.
 
 It
 was
 also
 a
 significantly
 longer
 
process
 than
 I
 anticipated.
 
 In
 fact,
 I
 wrote
 the
 case,
 then
 deleted
 half
 of
 it
 when
 I
 went
 
back
 in
 for
 the
 teaching
 note.
 

 
Next
 Steps
 
 

 
The
 next
 steps
 for
 this
 case
 is
 to
 go
 to
 Alexandre
 Perrin
 for
 revision,
 and
 then
 to
 Benji
 
Rogers
 for
 approval.
 
 From
 that
 point,
 we
 will
 generate
 the
 appropriate
 teaching
 
materials
 (worksheets,
 slides,
 etc.)
 and
 submit
 for
 publication.
 
 Publication
 will
 not
 
occur
 until
 late
 2015
 or
 early
 2016
 due
 to
 the
 lack
 of
 a
 publishing
 entity
 at
 Berklee
 right
 
now.
 
 Berklee
 is
 in
 the
 process
 of
 creating
 an
 entity,
 and
 this
 case
 is
 slotted
 to
 be
 the
 
first
 publication.
 

 

 

 

 

MEGAN
 HIMEL,
 CE
 REFLECTION
 PAPER
 2015
 |
 5
 OF
 10
 

Contribution
 to
 the
 Discipline
 and
 Profession
 
 

 
This
 case
 will
 be
 published
 and
 made
 available
 to
 music
 business
 classrooms
 
everywhere.
 
 It
 explores
 business
 models
 in
 the
 context
 of
 (a)
 crowdfunding,
 and
 (b)
 
music.
 

 
Impact
 on
 Me
 

 
The
 most
 valuable
 thing
 I
 drew
 from
 this
 project
 was
 the
 value
 of
 consumer
 insight.
 
 
Even
 though
 PledgeMusic
 goes
 with
 its
 gut
 and
 general
 observations,
 the
 activities
 at
 
PledgeMusic
 have
 the
 power
 to
 reveal
 very
 interesting
 trends.
 
 I
 am
 curious
 about
 the
 
things
 we
 can
 learn
 by
 looking
 closely
 at
 those
 who
 love
 music
 –
 they
 are
 the
 early
 
adopters
 of
 musical
 innovations,
 and
 have
 the
 potential
 to
 function
 as
 a
 early
 warning
 
system
 for
 the
 next
 trends
 in
 content
 and
 engagement.
 
 More
 importantly,
 I
 am
 
interested
 in
 how
 that
 information
 can
 and
 should
 be
 used
 to
 improve
 the
 fan
 
experience
 and
 the
 artist’s
 financial
 sustainability.
 

 
Other
 

 
I
 haven’t
 decided
 whether
 I
 love
 or
 hate
 this
 style
 of
 writing
 and
 teaching.
 
 That
 being
 
said,
 I
 may
 have
 accidently
 signed
 myself
 up
 to
 write
 another
 case
 when
 this
 is
 done.
 
 
 

 
If
 I
 were
 to
 do
 this
 over,
 I
 would
 not
 have
 done
 a
 case
 on
 PledgeMusic.
 
 There
 are,
 
however,
 two
 cases
 I
 would
 write
 related
 to
 PledgeMusic:
 


 

MEGAN
 HIMEL,
 CE
 REFLECTION
 PAPER
 2015
 |
 6
 OF
 10
 

1. A
 marketing
 case
 based
 on
 an
 artist
 launching
 his/her
 first
 PledgeMusic
 
campaign.
 
 Following
 either
 the
 artist
 or
 the
 campaign
 manager,
 we
 would
 
examine
 best
 practices
 for
 a
 PledgeMusic
 campaign,
 as
 well
 as
 how
 to
 
personalize
 the
 process
 based
 on
 an
 artist’s
 goals,
 tools,
 and
 fan
 base.
 
2. An
 economic/value
 based
 case
 in
 which
 an
 artist
 (or
 artist
 manager)
 needs
 to
 
decide
 how
 to
 go
 about
 funding
 and
 releasing
 the
 artist’s
 next
 album.
 
 Students
 
would
 have
 to
 weigh
 services
 provided
 against
 cost
 to
 artist,
 comparing
 several
 
options
 (traditional
 record
 deal,
 DIY,
 bank
 loan,
 personal
 investment,
 
PledgeMusic,
 Kickstarter,
 Patreon,
 etc.).
 

 
Bibliography
 

 
Bannerman,
 S.
 (2013)
 ‘Crowdfunding
 Culture’,
 Wi:
 Journal
 of
 Mobile
 Media,
 Vol.
 7,
 No.1
 

 
Bhadrapur,
 S.
 (2013)
 Crowdfunding:
 Emergence
 of
 a
 New
 Trend
 in
 Indian
 Film
 Making,
 
Case
 Study.
 Bangalore,
 India:
 Amity
 Research
 Center
 

 
Billings,
 K.
 (2013)
 Jayce
 Varden
 on
 PledgeMusic.
 Available
 at:
 
http://www.thembj.org/2013/12/for-­‐service-­‐and-­‐superfans-­‐pledgemusic-­‐and-­‐jayce-­‐
varden/
 (Accessed:
 30
 November
 2014)
 

 
Byrne,
 D.
 (2013)
 How
 Music
 Works.
 San
 Francisco,
 USA:
 McSweeney’s
 Publishing
 

 
Cann,
 S.
 (2007)
 Building
 a
 Successful
 21st-­‐Century
 Music
 Career.
 Thomson
 Course
 
Technology
 

 
Cords
 for
 Music
 Chats
 with
 Benji
 Rogers,
 Founder
 of
 PledgeMusic
 (2014)
 Cords
 for
 Music,
 
18
 September.
 
 

 
Cyber
 PR
 (2012)
 What
 Seth
 Godin
 Can
 Teach
 The
 Music
 Industry
 -­‐
 Part
 1.
 Available
 at:
 
https://www.youtube.com/watch?v=JXmcxuckvsA
 
 

 
Dvorak,
 J.,
 van
 Houwelingen,
 J.,
 Klipper,
 M.,
 Paulsson,
 M.
 and
 Hulsink,
 W.
 (2014)
 Equity
 
Crowdfunding
 -­‐
 Symbid
 Entering
 the
 U.S.A.,
 Case
 Study.
 Erasmus
 University:
 Case
 
Development
 Centre
 

 
Edison
 Research
 and
 Triton
 Digital
 (2014)
 The
 Infinite
 Dial
 2014.
 
 

 


 

MEGAN
 HIMEL,
 CE
 REFLECTION
 PAPER
 2015
 |
 7
 OF
 10
 

Frydrych,
 D.,
 Bock,
 A.,
 Kinder,
 T.
 and
 Koeck,
 B.
 (2014)
 ‘Exploring
 entrepreneurial
 
legitimacy
 in
 reward-­‐based
 crowdfunding’,
 Venture
 Capital,
 16(3),
 pp.
 247–269.
 doi:
 
10.1080/13691066.2014.916512
 

 
Hekman,
 E.
 and
 Brussee,
 R.
 (no
 date)
 Crowdfunding
 and
 Online
 Social
 Networks,
 Case
 
Study.
 
 

 
Herstand,
 A.
 (2014)
 PledgeMusic
 Looks
 To
 Change
 The
 Future
 Of
 The
 Album
 Release.
 
Available
 at:
 http://www.digitalmusicnews.com/permalink/2014/01/30/pledgemusic
 
 

 
Hypebot
 (2015)
 Benji
 Rogers,
 Founder
 And
 President
 Of
 PledgeMusic,
 Looks
 Back
 On
 
2014.
 Available
 at:
 http://www.hypebot.com/hypebot/2014/12/benji-­‐rogers-­‐founder-­‐
and-­‐president-­‐of-­‐pledgemusic-­‐looks-­‐back-­‐on-­‐2014.html
 
 

 
IFPI
 (2014)
 IFPI
 Digital
 Music
 Report
 2014:
 Lighting
 Up
 New
 Markets.
 
 

 
IFPI
 (2015)
 IFPI
 Digital
 Music
 Report
 2015:
 Charting
 the
 Path
 to
 Sustainable
 Growth.
 
 

 
Ipsos
 MediaCT
 (2013)
 The
 Digital
 Music
 Consumer
 -­‐
 A
 Global
 Perspective.
 
 

 
Kerr,
 W.
 R.
 and
 Brownell,
 A.
 (2013)
 Homestrings,
 Inc.:
 Diaspora-­‐Based
 Financing
 and
 the
 
Crowd
 Funding
 of
 Development,
 Case
 Study.
 Boston,
 MA:
 Harvard
 Business
 School
 

 
Kickstarter
 (no
 date)
 Kickstarter
 Stats
 —
 Kickstarter.
 Available
 at:
 
https://www.kickstarter.com/help/stats
 (Accessed:
 18
 June
 2015)
 

 
Kickstarter
 (no
 date)
 Rewards
 —
 Kickstarter.
 Available
 at:
 
https://www.kickstarter.com/help/handbook/rewards
 (Accessed:
 25
 June
 2015)
 

 
LeBlanc,
 L.
 (no
 date)
 Industry
 Profile:
 Benji
 Rogers.
 Available
 at:
 
http://www.celebrityaccess.com/members/profile.html?id=654
 
 

 
Leleux,
 B.,
 Schmidheiny,
 S.,
 Daar,
 C.
 and
 Lugger,
 V.
 (2013)
 Licia
 Chery
 and
 My
 Major
 
Company:
 Crowd
 Financing
 to
 Stardom,
 Case
 Study.
 UK
 and
 USA:
 IMD:
 Real
 World.
 Real
 
Learning
 

 
Lindvall,
 H.
 (2009)
 Behind
 the
 music:
 The
 future
 of
 fan
 funding.
 Available
 at:
 
http://www.theguardian.com/music/musicblog/2009/dec/10/future-­‐fan-­‐funding
 
 

 
Mark,
 K.
 and
 Parker,
 S.
 (2012)
 Devium’s
 Dash:
 Crowdfunding
 a
 Venture
 on
 Kickstarter,
 
Case
 Study.
 London,
 Ontario,
 Canada:
 Richard
 Ivey
 School
 of
 Business
 Foundation
 

 
Mulligan,
 M.
 (2015)
 Meeting
 the
 Needs
 of
 the
 Always
 On
 Fan
 

 
Nielsen
 (2013)
 Turn
 It
 Up:
 Music
 Fans
 Could
 Spend
 up
 to
 $2.6B
 More
 Annually.
 Available
 
at:
 http://www.nielsen.com/us/en/insights/news/2013/turn-­‐it-­‐up-­‐-­‐music-­‐fans-­‐could-­‐
spend-­‐up-­‐to-­‐-­‐2-­‐6b-­‐more-­‐annually.html
 
 

 


 

MEGAN
 HIMEL,
 CE
 REFLECTION
 PAPER
 2015
 |
 8
 OF
 10
 

Passman,
 D.
 S.
 (2012)
 All
 You
 Need
 to
 Know
 About
 the
 Music
 Business:
 Eighth
 Edition.
 
New
 York:
 Simon
 &
 Schuster
 

 
Peoples,
 G.
 (2012)
 Five
 Digital
 Startups
 to
 Watch
 in
 2013.
 Available
 at:
 
http://www.billboard.com/biz/articles/news/1483930/five-­‐digital-­‐startups-­‐to-­‐watch-­‐
in-­‐2013
 
 

 
Pham,
 A.
 (2013)
 PledgeMusic
 Redesign
 De-­‐Emphasizes
 Crowdfunding.
 Available
 at:
 
http://www.billboard.com/biz/articles/news/5922985/pledgemusic-­‐redesign-­‐de-­‐
emphasizes-­‐crowdfunding?utm_source=twitter
 
 

 
PledgeMusic
 (2013)
 ‘PledgeMusic
 Wins
 Grammy
 Music
 Technology
 Lab’,
 PledgeMusic
 
News,
 27
 February.
 Available
 at:
 http://www.pledgemusic.com/blog/477-­‐pledgemusic-­‐
wins-­‐grammy-­‐music-­‐technology-­‐lab
 
 

 
PledgeMusic
 (2015)
 Data
 Request
 1
 

 
PledgeMusic
 and
 Nielsen
 (2013)
 ‘The
 Buyer
 &
 The
 Beats:
 The
 Music
 Fan
 and
 How
 to
 
Reach
 Them’,
 
 

 
PledgeMusic
 (no
 date)
 Available
 at:
 http://www.pledgemusic.com/
 
 

 
PledgeMusic
 (no
 date)
 Charities
 on
 PledgeMusic.
 Available
 at:
 
http://www.pledgemusic.com/charities
 
 

 
Pritchard,
 E.
 (2013)
 Crowd
 Funding:
 An
 Analysis
 of
 Various
 Platforms
 [INFOGRAPHIC].
 
Available
 at:
 http://www.verticalmeasures.com/internet-­‐marketing-­‐2/crowd-­‐funding-­‐
an-­‐analysis-­‐of-­‐various-­‐platforms-­‐infographic/
 
 

 
Rogers,
 B.
 (2012)
 ‘How
 Music
 Streaming
 Services
 Could
 Help
 Artists,
 Fans,
 Labels,
 
Charities
 &
 The
 Music
 Industry’,
 Hypebot
 Blog,
 1
 June.
 Available
 at:
 
http://www.hypebot.com/hypebot/2012/06/how-­‐streaming-­‐services-­‐could-­‐help-­‐
artists-­‐fans-­‐labels-­‐charities-­‐and-­‐the-­‐music-­‐industry-­‐as-­‐a-­‐whole.html
 
 

 
Rogers,
 B.
 (2015)
 April
 21
 Music
 Business
 Seminar
 21
 April
 

 
Rogers,
 B.
 (2015)
 ‘Going
 Direct-­‐To-­‐Fan
 in
 a
 Streaming
 World’,
 PledgeMusic
 News,
 11
 
June.
 Available
 at:
 http://www.pledgemusic.com/blog/going-­‐direct-­‐to-­‐fan-­‐in-­‐a-­‐
streaming-­‐world
 
 

 
Rogers,
 B.
 (2015)
 ‘March
 11
 Skype
 Interview’.
 Interview
 with
 11
 March,
 
 

 
Rogers,
 B.
 (2015)
 ‘March
 31
 Skype
 Interview’.
 Interview
 with
 31
 March,
 
 

 
Rogers,
 E.
 (2003)
 Diffusion
 of
 Innovations.
 Fifth
 Edition
 edn.
 United
 States:
 The
 Free
 
Press
 

 
Shah,
 R.
 (2013)
 Crowdfunding:
 A
 Blessing
 for
 Small
 Business
 Start-­‐ups?,
 Case
 Study.
 
Bangalore,
 India:
 Amity
 Research
 Center
 

 

MEGAN
 HIMEL,
 CE
 REFLECTION
 PAPER
 2015
 |
 9
 OF
 10
 


 
Shah,
 R.
 (2014)
 Innovative
 Fund
 Rasing
 Tool:
 Crowdfunding
 in
 India,
 Case
 Study.
 
Bangalore,
 India:
 Amity
 Research
 Center
 

 
Shaw,
 Z.
 (2013)
 Crowdfunding
 is
 Not
 an
 Experiment:
 Why
 Pledge
 Music
 Matters.
 
Available
 at:
 http://www.mediapocalypse.com/why-­‐pledge-­‐music-­‐matters/
 
 

 
Steinberg,
 S.,
 DeMaria,
 R.
 and
 Kimmich,
 J.
 (2012)
 The
 Crowdfunding
 Bible:
 How
 to
 Raise
 
Money
 for
 Any
 Startup,
 Video
 Game
 or
 Project.
 United
 Kingdom:
 Lulu.com
 

 
The
 Guardian
 (2013)
 The
 Hospital
 Club
 100
 list
 2013.
 Available
 at:
 
http://www.theguardian.com/culture-­‐professionals-­‐network/culture-­‐professionals-­‐
blog/2013/nov/19/hospital-­‐club-­‐100-­‐list-­‐2013#Music
 
 

 
U.S.
 Copyright
 Office
 (1998)
 Digital
 Millennium
 Copyright
 Act
 

 
Young,
 N.
 and
 Lightstone,
 K.
 (2013)
 Crowdfunding
 at
 the
 Brooklyn
 Warehouse.
 London,
 
Ontario,
 Canada:
 Richard
 Ivey
 School
 of
 Business
 Foundation
 

 
Zhang,
 Y.
 (2012)
 An
 Empirical
 Study
 into
 the
 Field
 of
 Crowdfunding.
 
 

 

 
Appendix
 
Data
 Request
 #1
 (screen
 shot
 of
 email):
 


 

 

MEGAN
 HIMEL,
 CE
 REFLECTION
 PAPER
 2015
 |
 10
 OF
 10
 


 

Audio
 recordings
 of
 all
 interviews
 are
 available,
 but
 cannot
 be
 submitted
 through
 Turn
 
It
 In.
 


 

MEGAN
 HIMEL,
 CE
 REFLECTION
 PAPER
 2015
 |
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 OF
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