Monday, 14 May 2012
Saturday, 7 April 2012
Monday, 26 March 2012
Thursday, 22 March 2012
Wednesday, 21 March 2012
Tuesday, 20 March 2012
Monday, 19 March 2012
Monday, 5 March 2012
Friday, 2 March 2012
Wednesday, 29 February 2012
Wednesday, 15 February 2012
Monday, 13 February 2012
Sunday, 12 February 2012
Saturday, 11 February 2012
Thursday, 2 February 2012
Spotify...
also I left a comment on this article: http://www.hypebot.com/hypebot/2012/02/spotifys-royalty-rate-grew-only-0001-for-indie-artists-in-2011.html
Saturday, 28 January 2012
Thursday, 26 January 2012
Wednesday, 25 January 2012
Tuesday, 24 January 2012
Here's a List of Every Single Digital Music Service In the World...
Monday, 23 January 2012
Friday, 20 January 2012
how ten major songwriters make money
featuring The Dream, Dan Wilson, Lady Gaga, Mark Foster, Dr Luke, Max Martin, Bonnie McKee, Cee-Lo Green, Taylor Swift, Will.i.am, Benny Blanco and Eminem.
Thursday, 19 January 2012
Monday, 16 January 2012
Friday, 13 January 2012
Wednesday, 11 January 2012
Thursday, 22 December 2011
Tuesday, 20 December 2011
Wednesday, 14 December 2011
Monday, 12 December 2011
Sunday, 11 December 2011
Friday, 9 December 2011
Monday, 5 December 2011
Wednesday, 30 November 2011
Tuesday, 29 November 2011
Friday, 18 November 2011
why Facebook is the real winner with Google's mediocre music strategy
Wednesday, 16 November 2011
Tuesday, 15 November 2011
Ian Rogers interview with David Hyman, founder and CEO of MOG.com
http://www.youtube.com/watch?v=vq9mJGdehis&feature=player_embedded - skip forward to 22 mins for a utopian vision of music licensing that nearly came true.
Then skip forward to 35 minutes for his defence of streaming services in the face of minute royalty payments: "The average iTunes consumers is spending $40 a year on music, so just over $3 a month and out of that, the labels are probably getting 60-70%. Every time somebody subscribes to MOG, if they take our mobile option it's $10 a month, and the same percentage is going back to the labels - 60-70% - and that's much better than $3. The key question is how to we get scale." (And the answer is they'd like MOG to be bundled into your cable bill or ISP or mobile bill. If it could be bundled then the labels would probably allow all you can eat for $2 or $3 per month and the scale would be huge.)
Thursday, 10 November 2011
Nile Rodgers interviewed by Peter Paphides at Waterstone's, Piccadilly, London
Nile Rodgers launched his autobiography with a gripping talk at Waterstone's. Choice quotes and anecdotes...
In the early '70s, Nile saw Roxy Music play at the Roxy in London. "It was a totally immersive artistic experience - the crowd were fly, the band were fly, the music was textual, they were saying 'come into my world'." So Nile was inspired to try and create the black version of Roxy Music - and that was Chic.
Likewise as a producer of other artists - Upside Down by Diana Ross was not well received at first, which was upsetting for Nile and Bernard Edwards because "Diana Ross was the first big star we ever worked with and we took it very seriously." They interviewed her for several days. "This was the first time in her life somebody cared about who she was; what she was - everyone previously had treated her the way we had treated Sister Sledge - they got her in and said 'Sing this'. We (took a more personal approach) because we felt we'd misrepresented Sister Sledge because we hadn't met them before they came in to sing We Are Family."
Nile wondered if He's The Greatest Dancer might have been the first song to mention brands in a big way.
Madonna played him all the songs that would go on Like A Virgin and said "Nile, if you don't love all these songs, I can't work with you". Nile replied "I don't love them all now but I will by the time we're finished".
David Bowie's phenomenally successful Let's Dance album was recorded, start to finish, including mixing, in 17 days.
Nile also said he's never had a manager. "Many artists I work with, I don't seem to do their follow-up records and that's because I don't put anyone above anyone else - if they want me, they have to wait".
Pete Paphides: "What did (an American radio station) take exception to on Carly Simon Why?"
Nile: "As Bernard would say 'Shit, you're white, you tell me'."
Alcazar - Crying at the Discoteque
Will Smith - Gettin' Jiggy With It
Notorious BIG - Mo Money Mo Problems
But his favourite of all is Rapper's Delight.
"When I wrote I Want Your Love it's because I was so mesmerised by Giorgio Moroder, and I had no idea there was such thing as a sequencer, so I thought he was playing like that." Nile has always believed in trying to play things rather than sequencing them.
"You should get a (record) deal in accordance with what you've accomplished, not because of what your attorney's other clients have accomplished."
On American Idol et al: "I think it's a little bit unfair to make an artist prove themselves, sink or swim, every day because everyone knows you can have a bad show one day."
Nile said of Madonna's iconic performance of on the first MTV Music Video Awards that she was supposed to do Holiday but she flipped it and did Like A Virgin, which no-one in the audience had heard at the time. "She went out on a limb and forced the record company to release that song."
Wednesday, 9 November 2011
Monday, 7 November 2011
Friday, 4 November 2011
Wednesday, 2 November 2011
Monday, 31 October 2011
Friday, 28 October 2011
Thursday, 27 October 2011
Wednesday, 26 October 2011
Tuesday, 25 October 2011
Friday, 21 October 2011
Thursday, 20 October 2011
Monday, 17 October 2011
Monday, 10 October 2011
Friday, 7 October 2011
Wednesday, 5 October 2011
Thursday, 29 September 2011
Wednesday, 28 September 2011
Monday, 26 September 2011
Friday, 23 September 2011
Tuesday, 20 September 2011
Monday, 19 September 2011
Sunday, 18 September 2011
Saturday, 17 September 2011
Thursday, 15 September 2011
Thursday, 8 September 2011
Monday, 5 September 2011
Sunday, 4 September 2011
Friday, 2 September 2011
Tuesday, 30 August 2011
Friday, 26 August 2011
Thursday, 25 August 2011
Wednesday, 24 August 2011
Monday, 22 August 2011
Sunday, 21 August 2011
Monday, 15 August 2011
Wednesday, 10 August 2011
Tuesday, 9 August 2011
RIAA chief Mitch Bainwol sends a goodbye letter to the music industry
Monday, 8 August 2011
Friday, 5 August 2011
Wednesday, 3 August 2011
Monday, 1 August 2011
Friday, 29 July 2011
Thursday, 28 July 2011
Tuesday, 26 July 2011
Monday, 25 July 2011
Sunday, 24 July 2011
Thursday, 21 July 2011
Tuesday, 19 July 2011
Monday, 18 July 2011
Saturday, 16 July 2011
Friday, 15 July 2011
Thursday, 14 July 2011
Spotify
Tuesday, 12 July 2011
Monday, 11 July 2011
Friday, 8 July 2011
Thursday, 7 July 2011
Friday, 1 July 2011
how much does it cost to make a hit song?
'I forwarded this to a well-placed person at another label and this is what this person had to say:
"I think their one source Ray Daniels is wrong on the majority of the numbers.. He manages Rock City, the song writing duo. He's guessing on a lot of these points. Wouldn't be surprised if they wrote that song quickly.
Mixes cost $500 to $7k including studio time.
Most songwriters work just for publishing which can be worth millions if the songs are global hits. Very few command upfront fees. Most labels never offer those and almost all writers still want to be on the good projects. Rihanna prob does pay some because she probably has a huge budget and can afford to.
Those vocal production fees are high but getable on superstars.
Rihanna's writing camp was one of the biggest I've ever seen. The $25k for 10 studios per day sounds very possible as they use nice studios. Maybe even more including engineers and equipment rentals. I think they did it as an SOS as they were running out of time to make a set release date. It did produce most of the singles thus probably worth it for her. I think they got half the album or more from it. I know they didn't get the whole album from that writing camp.
We've done writing camps before. Usually at very little cost. Writing camps are usually around 3 or 4 studios/rooms and a fun, collaborative environment.
Many producers on her album get more than $20k/track. A-list producers are usually in the $15-$60k per song range, sometime more. Still you can find great tracks from $2k up. Those fees are advances on the producers royalties. One of the big changes of the last 10 years is producer fees. 10 years ago there were many hip hop producers getting north of $100k/track, now just a few in limited scenarios.
Note all three of her big hits from this album came from the production duo Stargate and two from the writer Ester Dean."
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Thursday, 30 June 2011
Monday, 27 June 2011
Thursday, 23 June 2011
Tuesday, 21 June 2011
Monday, 20 June 2011
Wednesday, 15 June 2011
Hundreds of millions of people across the world may be ripping mp3s from YouTube - and this is a golden opportunity
Did you know it's possible to rip an mp3 from a YouTube video? Do you know how many people are doing it? No-one does, but here's an indication: "Free YouTube to MP3 Converter" has been downloaded 24 million times from Download.com at the time of writing. Another piece of software that rips videos from YouTube and converts them to formats including mp3 has been downloaded 73 million times. These are just two of maybe a dozen hugely popular ways of ripping mp3s from YouTube. For more, type "mp3 YouTube" into Google.
So why aren't YouTube selling mp3s? They have enabled links to iTunes where metadata is correct, but those links are discreet, and they open a new webpage which says "If iTunes doesn't open, click the iTunes application icon in your Dock or Windows Task Bar. To download iTunes, please click here." Too cumbersome!
What we need is a one click "buy mp3" button on every YouTube page, enabling the user to buy the soundtrack to a YouTube video as an mp3. In other words, we need YouTube to incorporate an iTunes-style download store.
I believe if such a service existed then it could rival iTunes in size - especially if it included the many tracks on YouTube that aren't on iTunes, including rarities, live recordings, bootlegs and mash-ups (which are a large part of the reason why YouTube is the no. 1 music site in the world). And it should - if you can stream tracks and you can download them via an unlicensed service, why not let people pay for them?
If I'm wrong and such a service were to launch and flop while hundreds of millions of people continued to rip mp3s from YouTube, that would at least be strong evidence that we need to take action against unlicensed YouTube rippers - and of course Google could be the key ally in taking such action.
Why would anyone pay for mp3s direct from YouTube if they can get them for free? Well, none of the methods for ripping mp3s from YouTube are particularly user-friendly. Nor are they well publicised as they are unlicensed. In order to know about them, not to mention use them, you have to be comfortable with technology and relaxed about copyright law. And the mp3s obtained vary in bitrate considerably - some are close to CD quality, while others are barely listenable.
Despite all this, it appears that tens or hundreds of millions of people ARE ripping mp3s from YouTube. They are a potential market, as are the hundreds of millions of people who use YouTube, use mp3s, and would rip mp3s from YouTube if it were well-publicised, easy and legal to do so.
Do YouTube want to become a retailer? Some say there's a long-term business strategy at Google to drive down the cost of content to zero. But we know they want to sell downloads - a download store is an integral part of the cloud service they have been attempting to license.
Right now the unlicensed cloud service they've launched in the US requires the user to upload all their mp3s to the cloud, which could take several days. With licenses like the ones Apple have just obtained for their iCloud service, Google could simply scan the users' computer for files, then give them access to high quality versions of those files on Google's servers. This is a better solution for customers as it doesn't hog their broadband connection for days. It's a better solution for Google as it requires as a fraction of the server space. And it's a better solution for copyright owners as Google would pay them.
Why do people want to rip mp3s from YouTube rather than just listening on the web? Portability - with an mp3, you can listen on your iPod or phone when you're out of reception, although you have to transfer the mp3 there which is fiddly. So with Google's cloud service, the download store on YouTube becomes even more attractive. Love the Lady Gaga video? One click to buy and you'll not only get the file but you'll be able to access it from any computer with an internet connection or any Android phone (and there are 400,000 of those being activated every day). So, like Apple's iCloud service, Google's mooted cloud service will undoubtedly drive download sales, as the easiest way to access your new favourite song on all your devices will be to buy it.
But Google haven't been able to obtain licenses from all the majors for their music service, so they don't yet have a download store. For me this should be music industry priority number one - particularly now Apple have licenses for iCloud in the US. YouTube is not only the biggest music website in the world, it's also probably the biggest source of single-track piracy via YouTube ripping, and quite likely the biggest source of cannibalisation (i.e. it's a substitute for people who would otherwise use iTunes or Spotify). In other words, it's a huge shop window for music and potentially a huge driver for download sales.
Moving beyond YouTube, let's seek out all the music consumption that's happening online, then work out a way to make (more) money out of it. For every popular form of unlicensed downloading or streaming, let's either license it or make sure a rival, superior, licensed version is launched. Everywhere music is streamed or written about, there should be a buy button. Soundcloud is a great service, but it's also susceptible to mp3 ripping, so why doesn't every Soundcloud stream feature a buy button? Why doesn't every Guardian or Sun or Drowned In Sound review carry a "buy" button? Surely this is the way to grow the digital music market.
-------------------
by Joe Taylor. Originally published on the MMF website.
Monday, 13 June 2011
Tuesday, 7 June 2011
Monday, 6 June 2011
Friday, 3 June 2011
Thursday, 2 June 2011
Tuesday, 31 May 2011
Friday, 27 May 2011
Thursday, 26 May 2011
Wednesday, 25 May 2011
Thursday, 19 May 2011
Wednesday, 18 May 2011
Monday, 16 May 2011
Wednesday, 11 May 2011
Monday, 9 May 2011
interesting perspective on Vevo from Rory Cellan-Jones
Wednesday, 4 May 2011
Monday, 18 April 2011
Saturday, 16 April 2011
Thursday, 14 April 2011
YouTube videos that have received over 100 million plays
Friday, 8 April 2011
Monday, 4 April 2011
Friday, 1 April 2011
Thursday, 31 March 2011
Wednesday, 23 March 2011
Wednesday, 9 March 2011
Monday, 7 March 2011
Wednesday, 2 March 2011
Friday, 25 February 2011
Wednesday, 23 February 2011
Monday, 21 February 2011
Tuesday, 15 February 2011
some interesting stuff from the blog http://music3point0.blogspot.com
Thursday, 10 February 2011
Tuesday, 8 February 2011
Monday, 7 February 2011
Thursday, 3 February 2011
Tuesday, 1 February 2011
Monday, 31 January 2011
Thursday, 27 January 2011
Tuesday, 25 January 2011
Friday, 21 January 2011
"On air, on sale" is a good start. Now let's give fans everything else they want from online music, says Joe Taylor.
David Joseph of Universal and Ged Doherty of Sony made a brave and progressive move this week by confirming that their companies will release tracks to retail as soon as they go to radio.
To declare my own interest, I suggested to the Music Managers Forum that they campaign on this issue, which they did alongside the Featured Artists Coalition, the Musicians Union, iTunes and others. It's not over yet - Warner and EMI plan to continue using pre-release windows on a case-by-case basis so we can expect to see some of their releases entering the chart high after pre-release exposure, which will make it harder for media to interpret which are the real hits in the new look chart.
Let's hope "on air, on sale" signals a new approach to online music, driven by giving fans what they want. Surely this is the key to growing the recorded music business - not suing fans or shutting down popular services.
Next, let's comb the internet for every significant type of music consumption out there - then let's license those services, and come up with new ideas for how to make money out of them. Or for the likes of The Pirate Bay that are truly dedicated to piracy, let's license someone else to launch a similar but better service (as Virgin Media have tried and failed to do).
Some examples:
A YouTube video is now the top Google result for most songs. There are millions of tracks that are on YouTube but not on iTunes or any other store. There are loads of ways of getting an mp3 of the audio from a YouTube video but no way of paying for it legitimately - why not?
How about a website with all label copy, artwork and label-owned photography on there? Viewing the information should be free, but prints could be available to order and images could be available to license, Getty Images-style. With some torrents, there's a printer-friendly file included which enables you to print the perfectly sized CD sleeve - that could be a commercial service.
There are forums and newsgroups dedicated to downloads of instrumentals, a capellas and stems for remixing. We should be selling these things - preferably on a website where fans could upload remixes they've made and make a share of any revenue that resulted from their remix.
How about an mp3 legitimisation service which would scan your computer for mp3s and, for a small fee, enable you to upgrade them to legitimate, properly tagged files?
Every leading artist's website should sell discographies of that artist - i.e. their complete catalogue as high quality mp3s with artwork including rarities for a decent price, available in one click. Why? Because you can get this on The Pirate Bay, but you can't get it legitimately for any artist I know of.
How about a website where fans could upload recordings of gigs they've made for others to buy?
I was at a meeting where a musical hero of mine, the artist and indie label boss Ben Watt, spoke out about cyberlockers, meaning services that allow files/albums to be downloaded by any number of users from one weblink. He was despairing because one of these companies was offering fans money to upload copyrighted content in the knowledge that this content would drive traffic, advertising sales and premium subscriptions. But surely this is exciting - it shows that cyberlockers are a viable business model and an opportunity for the industry. Why aren't any of them licensed?
Why isn't the record industry allowing fans to make available all the tracks they haven't got round to putting on iTunes, and giving them a share of the profits from resulting sales? It's easy to set up a blog giving away free music without a license, but what if a fan wanted a license to sell music off their blog? No chance. So let's make it as easy to sell music online as it is to give it away, much like buying stock for a record store - i.e. as long as you pay the copyright owners for each sale, you can sell the music. Let's have as many one click "buy" buttons on the internet as there are free streams or downloads.
How would all these services be licensed? In some cases, it would be tricky - and that's the problem. We need to rethink licensing with the aim of enabling new services rather than making life difficult for them. Our current licensing practices have scared off investors and there are very few successful online music services, while services that succeed in one country can't get a license in another (Pandora in the UK, Spotify in the US). The music industry has put huge amounts of energy and resources into anti-piracy measures. Now let's put the same effort into facilitating new services.
Licensing music should be so easy that there's no excuse for any online service to operate without a license - then the industry would really have success in going after the few remaining pirate outfits. They would no longer be launching political parties - instead they would be viewed as the moral equivalent of market traders selling shoddy CDs with colour photocopied sleeves. But, to paraphrase David Joseph, this is not primarily about preventing piracy - it's about giving fans what they want.
Thursday, 20 January 2011
Monday, 17 January 2011
Friday, 14 January 2011
Wednesday, 12 January 2011
Wednesday, 22 December 2010
Monday, 20 December 2010
Friday, 17 December 2010
Thursday, 16 December 2010
Thursday, 9 December 2010
Wednesday, 1 December 2010
Wednesday, 24 November 2010
Tuesday, 23 November 2010
Monday, 22 November 2010
Sunday, 21 November 2010
Tuesday, 16 November 2010
Thursday, 11 November 2010
Thursday, 28 October 2010
Tuesday, 26 October 2010
the digital music business as we know it is on the way out
digital music is ailing: http://news.cnet.com/8301-31001_3-20020655-261.html?tag=topStories2
connect any wi-fi device to any other wi-fi device anywhere: http://mashable.com/2010/10/25/wi-fi-direct-launch/
read the comment: "Ultimately file sharing applications taking advantage of the wifi direct standard will allow devices to be constantly, and I mean literally 24/7, sharing distributing and sharing files in an untraceble truly peer to peer anonymous, uncontrollable network. Just leave your smart phone with all your music on as you walk through a crowd or in a coffee shop, and minutes later you will have amassed an entire new library of content. I predict file sharing will be the number one use of this new technology, and that's why it's been held back from a an actual 'blessing' from the industry. It is clear now that content providers cannot win this uphill battle, and so the content can now be free."
Monday, 25 October 2010
Thursday, 21 October 2010
Wednesday, 20 October 2010
Saturday, 9 October 2010
Thursday, 7 October 2010
Wednesday, 6 October 2010
Wednesday, 22 September 2010
Friday, 17 September 2010
Saturday, 11 September 2010
Wednesday, 8 September 2010
Thursday, 2 September 2010
Monday, 23 August 2010
Tuesday, 17 August 2010
Friday, 13 August 2010
Thursday, 12 August 2010
Monday, 5 July 2010
Friday, 28 May 2010
Wednesday, 5 May 2010
Monday, 19 April 2010
Wednesday, 14 April 2010
"But instead of trying – and failing – to stop us downloading music for free..."
http://www.independent.co.uk/life-style/gadgets-and-tech/features/cyber-clinic-does-the-digital-economy-act-mean-the-end-of-rapidshare-1943831.html
A deeper look at how much musicians make online
attacks on low revenue received by songwriters from Spotify:
http://www.independent.co.uk/arts-entertainment/music/news/spotify-1-million-plays-163108-return-1944051.html
more on what Spotify pays:
http://www.telegraph.co.uk/technology/7590782/Spotify-rejects-claims-that-it-rips-off-artists.html
plus an attack on the Digital Economy Bill:
http://www.hypebot.com/hypebot/2010/04/op-ed-neil-cartwright-on-why-uks-digital-economy-bill-is-technology-censorship-.html
Wednesday, 31 March 2010
Monday, 22 March 2010
Wednesday, 17 March 2010
Thursday, 11 March 2010
editorial from today's Record of the Day magazine
Diana Vickers’ debut single was added to every ILR network last week, to Radio 1 this week, and it’s on YouTube. As you can see from this forum, fans were desperate to get it as soon as they knew about its existence, and now they’ve got it. Yet they won’t be able to get it from download stores until April 19th. Some fans will buy it come April 19th to support Diana. Others won’t buy it, but clearly would have done if a download store had been the first and easiest place to get it.
Similarly the DJ MistaJam posted this on Twitter before the release of Tinie Tempah’s single: “If every MC & singer who did a version of Pass Out bought just one copy, ... be enough sales to make it a #1”. Obviously Pass Out did get to no.1 and some of the MCs and singers who covered it did buy a copy. But others would have been happy with their YouTube rip or illicit download. Why are we driving fans towards unofficial sources when we could be driving them to download stores?
What would happen if singles were released to download stores at the same time as radio? Needless to say, there would still be ten tracks in the top ten each week, there would still be marketing campaigns, and there would still be new music on the radio. In the case of Tinie, he would still have had a massive hit. In fact, Pass Out would probably have climbed to no.1 earlier than it did. Genuine hits could emerge earlier – instead of Iyaz’s Replay getting an airplay spike once it hit no.1 in the midweeks, its airplay would have gradually increased over the preceding weeks as radio watched it climb the chart. In the case of Diana, her track looks like a smash but we won’t know for sure until late April. Without a pre-release window, we’d find out earlier – good news for the media and good news for Diana’s label RCA who could allocate their marketing budget accordingly. Labels would hopefully be less prone to spending tens of thousands of pounds of marketing money before they have any reliable information about whether it will come back to them.
On the other hand, it would become even harder to make flops look like hits by concentrating efforts on one week of sales – surely a good thing for the bottom line of the majors and the industry as a whole. We suspect some of the fans of pre-release windows within majors are the great marketing people who know how to manipulate the system to make their releases look more popular then they are. How very 20th century.
With pre-release windows gone, the chart would truly reflect popularity and we'd see all except the out-of-the-box smashes like Help For Haiti entering low and climbing as awareness rose. The chart is being manipulated at present thanks to pre-release windows – popular records are excluded because they’re not on sale yet. For example, Bonkers by Dizzee Rascal was clearly the most popular track in the country for some time before it was released. We'd also be able to kiss goodbye to the copycat cover versions that chart when hits like Fireflies or Riverside get played on the radio before they’re available on iTunes.
More generally, the first place to get new music by your favourite band wouldn't be The Hype Machine or YouTube or P2P. The first place would be whichever digital retailer could move fastest. Every artist would then have a great incentive to start a chart-eligible download store on their own website, and make that the first place their fans could hear and buy their new music. You know how every band used to post their great new song to MySpace for fans to stream for free? Why not post it to their own chart-eligible download store instead? Let’s make it as easy to buy and sell music as it is to give it away or get it for free.
Of course, there have been some experiments in this direction with mixed results. Radiohead’s In Rainbows album was released without any pre-release build up, and it became a phenomenon. The Raconteurs released an album in a similar way and it flopped. The Gorillaz single had no pre-release window and failed to set the charts on fire, but the single is still on the Radio 1 A list and the album is no.1 in the midweeks.
One major label chairman has said he would always use pre-release windows even if the rest of the industry stopped, because he believes it would give him a competitive advantage. He may be right – but he’s also encouraging piracy and undermining any requests the record industry is making of consumers or the government. Why should they help us tackle piracy if we refuse to get our own house in order?
Any one artist who releases without a pre-release window may of course end up regretting it. Media aren’t yet accustomed to tracks entering the chart low and climbing, so may back off a single if they see a low chart entry. But if everyone abandoned pre-release windows then media would instantly learn not to assume a track is a flop because it enters the chart low – what counts is whether it climbs once it gets exposure. So ideally the whole industry would do this collectively. If they did, we’re convinced that total sales would increase as we allowed and encouraged customers to buy tracks whenever they hear them.
Joe Taylor
More on the MusicTank event from CMU
Monday, 8 March 2010
Thursday, 4 March 2010
Tuesday, 9 February 2010
Tuesday, 26 January 2010
Friday, 22 January 2010
today's articles on the downloading etc
Alison Wenham on mp3 blogs - http://www.zeropaid.com/news/87843/music-blogs-need-to-be-regulated-to-stop-piracy/. Surely what we need is to a way of licensing the brilliant stuff that mp3 blogs do? We need to make it as easy to sell music online as it is to give it away.
Universal and Warner on Virgin Media's mooted limited/unlimited service - http://www.billboard.biz/bbbiz/content_display/industry/e3idb0553264d55f001c23915c0f1666ebc
Ed O'Brien interview - http://paidcontent.co.uk/article/419-radiohead-the-music-biz-could-cure-its-ills-in-one-week/
Thursday, 21 January 2010
why we need to open up licensing (and spend less making and marketing albums)
Sharing files is an essential part of the digital revolution: http://www.independent.co.uk/opinion/commentators/nicholas-jones-sharing-files-is-an-essential-part-of-the-digital-revolution-1874034.html
Tom Silverman's comments on how few albums sell enough to make money in the US: http://www.irishtimes.com/blogs/ontherecord/2010/01/20/wrecking-the-record-labels-buzz/
Tuesday, 19 January 2010
Thursday, 7 January 2010
Saturday, 12 December 2009
Friday, 4 December 2009
Monday, 30 November 2009
Wednesday, 25 November 2009
Wednesday, 18 November 2009
Thursday, 12 November 2009
Tuesday, 10 November 2009
Friday, 6 November 2009
Tuesday, 3 November 2009
Friday, 30 October 2009
Wednesday, 28 October 2009
two good pieces from Bob Lefsetz
2) some good ideas in here about empowering the audience: http://lefsetz.com/wordpress/index.php/archives/2009/10/28/empowering-the-audience/
Tuesday, 13 October 2009
Monday, 12 October 2009
Thursday, 8 October 2009
two articles highlighting problems with current digital music business models
http://www.billboard.biz/bbbiz/content_display/industry/e3iecb83415cefdd2b09a867b6dd5ef7b6f
We need licensed unlimited download services right now, like Virgin Media's and TDC's
Friday, 2 October 2009
Wednesday, 23 September 2009
Tuesday, 22 September 2009
Monday, 21 September 2009
Wednesday, 16 September 2009
Thursday, 3 September 2009
Wednesday, 2 September 2009
Tuesday, 1 September 2009
differing views on copyright
Blog saying cutting off internet users is going in the wrong direction:
http://www.mediafuturist.com/2009/08/uk-disconnecting-the-troublemakers.html
Guardian piece on The Pirate Party and copyright: http://www.guardian.co.uk/technology/2009/aug/26/filesharing-pirate-party-uk-downloads
