The Music Industry Thread (Articles)

[DJ Stashman]

http://www.youtube.com/watch?v=E7ssmJzmIYE

6 parts

The Show is a 1995 documentary film about hip hop music. It was directed by Brian Robbins and featured interviews with some of hip hop's biggest names. Def Jam founder Russell Simmons stars in and narrates the film. The film grossed $1,482,892 in its opening weekend and $2,702,578 during its theatrical run.

[DJ Stashman]

Steve Jobs Documentary

[DJ Stashman]

Pirate parties challenge US digital dominance

Political changes in Europe now represent a major threat to US dominance of the digital entertainment industry.

After some arduous early years in its native Sweden, the digital freedom organisation, the Pirate Party, is starting to win political power in other countries. It now holds 15 seats in the German parliament and is also active elsewhere, including the Middle East.

The party's aim is to fight for individual freedom, particularly in cyberspace. Attempts by the US music and film industries to stop people downloading copyrighted content for free from the internet have provoked a reaction from other countries, particularly from those in northern Europe. The Pirate Party is the spearhead of a looming digital trade battle between the US and the rest of the world.

"We aim to change global legislation to facilitate the emerging information society. Our primary goal is to legalise and facilitate the sharing of culture and knowledge, i.e. legalise file sharing. We also seek to safeguard the ability to observe, report and share in other ways," says Rick Falkvinge, the Pirate Party's founder.

Legalising file sharing would enable private individuals to exchange digital copies of digital files of their favourite music, also allowing internet surfers to visit "pirate" websites to download the latest Hollywood blockbuster or a new computer game for free.

The videogames industry, which has overtaken Hollywood in revenues, alone is worth an estimated US$60 billion (Dh220bn) a year, according to the analyst company Robert W Baird. Music, publishing, film, TV and computer software companies all rely on selling digital versions of their products. When the value of all digital content is taken into account, the US stands to lose hundreds of billions of dollars a year should the Pirate Party triumph.

But the party believes the US's near monopoly on the global entertainment industry is stifling creativity in areas such as the Middle East's film industry. Hollywood studios spend hundreds of millions of dollars on producing and marketing the latest blockbuster movies, leaving local film makers short of funding.

"Today's copyright and patent monopolies are primarily constructed to benefit the US, through the World Trade Organization and Trade Related Aspects of Intellectual Property Rights treaties. Honestly, I can't see why the rest of the world doesn't see it for the trade war it is," says Mr Falkvinge.

According to the Pirate Party, far more is at stake than simply handing over multibillion industries to the Americans. The laws used in the US to punish file sharing are already draconian. In some states the penalty exceeds that of manslaughter. And the US is determined to impose its digital copyright laws with equal force outside North America.

"The danger lies in today's power holders getting to create a society full of censorship and wiretapping in order to enforce ridiculous levels of the copyright monopoly. If that happens, we will have a Big Brother state of dystopic proportions, which is the opposite of the openness and transparency that the Pirate parties strive for," says Mr Falkvinge.

Until now, the Pirate Party has been seen as largely toothless outside its native Sweden. But its 15 seats in the German parliament together with growing political representation globally, are already enabling the party to push through legislation aimed at disarming international copyright laws.

"Those 15 seats make sure that all parties move their policy heavily in the direction of the Pirate Party's policies," says Mr Falkvinge.

"The voting rights in parliament are a bonus, but don't make the primary difference. A Pirate Party succeeding in Germany - or Sweden - will influence parties in neighbouring countries, even if the Pirate Party there isn't as successful. In their minds, the other parties will add the word 'yet'."

The Pirate Party is already active in about 50 countries as it intends to spread its policies everywhere where the internet is present. The party is officially recognised by the respective election authority in 18 countries. It is particularly strong in Europe and Latin America. However, its presence in the Middle East is largely limited to activists discussing the ideas, although there has been some political activity in North Africa.

"Most interestingly in a UAE context, a Pirate, Slim Amamou, has been part of the cabinet in Tunisia … following the revolution there," says Mr Falkvinge. But he adds: "He left the position as the transitional government instituted censorship at request of the army, which is antithetical to Pirate Party ideals of openness."

The party's policies may be shrouded in idealistic phrases such as "ideals of openness" and "the ability to observe, report and share in other ways". But at its core is a desire not only for a level playing field for entertainment industries outside the US in regions such as the UAE, but also to ensure freedom of access to all the world's cultural assets for everyone.

http://www.thenational.ae/thenationalconversation/industry-insights/technology/pirate-parties-challenge-us-digital-dominance

[DJ Stashman]

Uncle Luke, Hip Hop Generation doesn’t give back…

Uncle Luke from 2 Live Crew put hip hop artists on blast for not standing up for their communities while they seem glad to drain all available resources. Speaking to the Miami New Times, Luke issued this ultimatum:

“I’ve got a message for Lil Wayne, his Cash Money Brothers, DJ Khaled, Puff Daddy and all the rappers from other parts of the country who now live in Miami,” he said. “I’m tired of seeing these cats using up our beaches, soaking up our sunshine, taking over the nightclubs, and sleeping with our women without investing anything into the community.”

Luke continued to rail on his fellow artists about their lack of interest in supporting the people who give them so much.

“I want to know when Lil Wayne is going to do more than show up courtside at the American Airlines Arena” Luke continued. “H-ll, it’s not like he paid for them anyway. You know he got comped. This free loading and mooching of my city has got to stop. There used to be a day when out of town rappers were scared to throw their weight around Miami. It didn’t matter if they were coming from New York or Los Angeles, they knew better than to act like they owned this mother f–ker.”

Uncle Luke continued on with his interesting statement:

“I’m giving them a deadline” Uncle Luke said. “They got until January 1. If I don’t see them giving back to the Magic City, I’m gonna have their Miami cards revoked. They won’t be getting into any more nightclubs. They won’t be able to go near our women. And Lil Wayne is gonna have to find floor seats for New Orleans Hornets home games because he won’t be allowed inside the Triple A.”

While I find it a bit odd that Uncle Luke talks about “sleeping with our women” as if they are possessions, I get his broader point. The artist seems to be referring to the fact that the hip hop industry has lost its soul when it comes to using its power to achieve meaningful social change for the millions of Americans who support the industry. While there is no shortage of rappers willing to brag about how many friends they’ve seen go to jail, very few of them are willing to talk about the ills of mass incarceration that have served to destroy the Black family in America.

I hear artists rap about friends who’ve been shot in the street, but there is little serious political conversation about gun control. This doesn’t even begin to touch the toxic message of self-destruction that too many artists have come to embrace as a form of psychological genocide that continues to undermine the potential of an entire generation. I long for the days when Black men encourage one another to be well-educated and hard working, and chastise one another for being lazy and irresponsible. But in too many situations, the latter is applauded, while all forms of intellectual achievement end up being murdered in broad daylight.

Uncle Luke’s remarks are a relevant wake up call to the sleeping giants within hip hop. Artists should be called to action to help deal with the problems that affect all of Black America, not just Miami. It’s not only a matter of giving money or making quick appearances. Hip hop artists should form coalitions to achieve social progress that are similar to those that exist in Hollywood.

We must grow beyond thinking that having money in your bank account somehow makes your existence worthwhile. There is nothing fulfilling about spending your time running from one party to another….it’s actually kind of empty and pathetic. So, good job Uncle Luke. I’ve honestly never liked the man’s music, but I appreciate at least a piece of his vision. I doubt that his challenge to other artists is going to get a positive response (since beef and ‘ignant’ stuff sells records), but I hope that the people of his city back his sentiments. To whom much is given, much is expected. Hip hop artists get everything from their people, and it is now time that they return the favor.

http://thyblackman.com/2011/10/08/uncle-luke-hip-hop-generation-doesnt-give-back/

[TF S4DK]

my girl wants to get into songwriting, i aint gota clue or bothered but need to keep her sweet so how would she go about it

Has she already written?

[Dubby]

Uncle Luke, Hip Hop Generation doesn’t give back…

Uncle Luke from 2 Live Crew put hip hop artists on blast for not standing up for their communities while they seem glad to drain all available resources. Speaking to the Miami New Times, Luke issued this ultimatum:

“I’ve got a message for Lil Wayne, his Cash Money Brothers, DJ Khaled, Puff Daddy and all the rappers from other parts of the country who now live in Miami,” he said. “I’m tired of seeing these cats using up our beaches, soaking up our sunshine, taking over the nightclubs, and sleeping with our women without investing anything into the community.”

Luke continued to rail on his fellow artists about their lack of interest in supporting the people who give them so much.

“I want to know when Lil Wayne is going to do more than show up courtside at the American Airlines Arena” Luke continued. “H-ll, it’s not like he paid for them anyway. You know he got comped. This free loading and mooching of my city has got to stop. There used to be a day when out of town rappers were scared to throw their weight around Miami. It didn’t matter if they were coming from New York or Los Angeles, they knew better than to act like they owned this mother f–ker.”

Uncle Luke continued on with his interesting statement:

“I’m giving them a deadline” Uncle Luke said. “They got until January 1. If I don’t see them giving back to the Magic City, I’m gonna have their Miami cards revoked. They won’t be getting into any more nightclubs. They won’t be able to go near our women. And Lil Wayne is gonna have to find floor seats for New Orleans Hornets home games because he won’t be allowed inside the Triple A.”

While I find it a bit odd that Uncle Luke talks about “sleeping with our women” as if they are possessions, I get his broader point. The artist seems to be referring to the fact that the hip hop industry has lost its soul when it comes to using its power to achieve meaningful social change for the millions of Americans who support the industry. While there is no shortage of rappers willing to brag about how many friends they’ve seen go to jail, very few of them are willing to talk about the ills of mass incarceration that have served to destroy the Black family in America.

I hear artists rap about friends who’ve been shot in the street, but there is little serious political conversation about gun control. This doesn’t even begin to touch the toxic message of self-destruction that too many artists have come to embrace as a form of psychological genocide that continues to undermine the potential of an entire generation. I long for the days when Black men encourage one another to be well-educated and hard working, and chastise one another for being lazy and irresponsible. But in too many situations, the latter is applauded, while all forms of intellectual achievement end up being murdered in broad daylight.

Uncle Luke’s remarks are a relevant wake up call to the sleeping giants within hip hop. Artists should be called to action to help deal with the problems that affect all of Black America, not just Miami. It’s not only a matter of giving money or making quick appearances. Hip hop artists should form coalitions to achieve social progress that are similar to those that exist in Hollywood.

We must grow beyond thinking that having money in your bank account somehow makes your existence worthwhile. There is nothing fulfilling about spending your time running from one party to another….it’s actually kind of empty and pathetic. So, good job Uncle Luke. I’ve honestly never liked the man’s music, but I appreciate at least a piece of his vision. I doubt that his challenge to other artists is going to get a positive response (since beef and ‘ignant’ stuff sells records), but I hope that the people of his city back his sentiments. To whom much is given, much is expected. Hip hop artists get everything from their people, and it is now time that they return the favor.

http://thyblackman.com/2011/10/08/uncle-luke-hip-hop-generation-doesnt-give-back/

The writer and Uncle Luke seem to be on two different pages. I don't really think either had much of a strong argument but the idea of forming coalitions for social progress sounds good.

[anelka]

my girl wants to get into songwriting, i aint gota clue or bothered but need to keep her sweet so how would she go about it

Has she already written?

Yh shes got some ideas, lyrics, songs etc on her macbook

I hooked her up with my mum whos a music teacher, shes tryna figure out what comes next after you have written the songs

[TF S4DK]

If she can sing enough to do reference tracks, that would be a start, infact a great start...

Alternatively if she can try to contact/met publishing companies then thats another way in. I could walk her into buildings, but to do that I'm gonna need a %, as would any other agent (which is another way in).

She could try and contact major label signed or soon to be signed artists and write for them (another way in) or should could try and contact some producers that get label money and write on their stuff and again basically be the reference point.....

[DJ Stashman]

To buy or not to buy is question as music lovers start streaming

Virgin customers of both its mobile phone services and home media will soon be able to buy access to a library of 13 million music tracks.

The service will cost under £10 a month. The move is another example of how high-speed broadband has transformed the way we buy music.

Millions of people use iTunes, for example, to buy music online and store it in digital form on their computers, phones or other devices.

But listen-only streaming services that allow subscribers unlimited access to a massive bank of music, such as Spotify, are also proving hugely popular.

Virgin’s move is likely to boost this. With these services, users never ‘own’ the music. They simply play or ‘stream’ their selected tracks whenever they want them, directly from the internet.

Subscribers have an account that they can use through any internetconnected device such as a phone, computer or smart TV.

When in their homes, subscribers are likely to be streaming the music via their wireless internet connection (wifi). But where the signal strength is good enough, music can also be streamed to smartphones over the mobile networks.

Some of these services allow subscribers to download favourite tracks so that they can be enjoyed offline or when there is no internet connection, though within certain limits.

As these new technologies develop, consumers are being urged to look at the costs, terms and other aspects of forms of music ownership. Music bought online and stored digitally is at risk of being lost if, for example, your computer or iPod breaks or is lost.

Streamed music, on the other hand, is not, though with these services, subscribers may find they spend more overall as they continue to pay monthly fees.

Charity worker Lindsey Charlton, 26, of Marylebone, central London, stopped buying CDs three years ago. Today she buys at least a couple of tracks a week online, downloading them to her mobile phone. She says: ‘I use iTunes because of the convenience – my iPhone automatically directs me there. I steer clear of free pirate downloads as I had my fingers burned about a year ago when the software slowed down my computer.’

Lindsey admits that impulse purchases are a key appeal of downloads and she buys tunes instantly from recommendations. Her favourite band for downloads are The Tallest Man On Earth.

Lindsey says that she is not attracted to a streaming service as she prefers to own the music. Most smartphones, such as iPhones, Androids and Black Berrys, allow access to all the services shown in the box below. Providers such as iTunes, Spotify and Napster provide special applications – ‘Apps’ – to make the process easier.

Buyers should be aware that not all music is available on streaming or downloading sites due to issues around licensing.

The Beatles’ music, for example, is not available on Spotify. Ernest Doku, technology manager at service comparison website uswitch.com, says: ‘Providers such as Spotify and Napster are keen to sign customers to a service rather than sell tracks. It can be great value and convenient if you use a mobile for music.’

But he warns that the music is not yours and access ends when you stop paying the monthly premiums. He advises against pirate sites.

‘Music downloads from pirates harm the industry as artists do not get paid,’ he says. ‘If you buy from a reputable source you also avoid the risk of downloading software that could damage your computer.’

Karel Kumar of Napster says that online providers also offer best-selling lists and recommendations that help develop music tastes. ‘Our £10-a-month plan is like an eat-as-much-as-you-want buffet,’ he says.

‘It offers a great way to listen to new music – and if you love it, you can buy later. There is such a huge range, from alternative and pop to jazz and classical.’

http://www.thisismoney.co.uk/money/news/article-2046935/Music-streaming-vs-downloading-Which-cheapest.html?ito=feeds-newsxml

[Sinister]

Pos'd some of these are interesting.

[TF S4DK]

UK Singles (Top 3 & new enteries) - 09/10/2011

1 Rihanna - We Found Love (feat. Calvin Harris) 87,573

2 Maroon 5 - Moves Like Jagger (feat. Christina Aguilera) 82,128

3 Sak Noel - Loca People 56,368

7 LMFAO - Sexy And I Know It 39,624

16 Nicki Minaj - Fly (feat. Rihanna) 21,377

20 Charlene Soraia - Wherever You Will Go 17,172

25 Marina & The Diamonds - Radioactive 12,588

27 Florence + the Machine Shake It Out - 11,209

UK Albums (Top 3 & new enteries) 09/10/2011

1 James Morrison - The Awakening - 36,411 (98,592)

2 Adele - 21 - 30,831 (3,154,329)

3 You Me At Six - Sinners Never Sleep - 27,013

4 Lady Antebellum - On The Night - 26,434

7 Ben Howard - Every Kingdom - 14,495

17 Katherine Jenkins - One Fine Day - 9,718

18 Cee Lo Green - The Lady Killer - 9,599 (552,294)

28 Feist - Metals - 5,718

29 Erasure - Tomorrow's World - 5,094

34 DJ Shadow - The Less You Know The Better 3,971

39 The Answer - Revival - 3,562

[DJ Stashman]

5 Secrets The Music Industry Doesn't Want You To Know

Q-Tip said it best back in 1991, “Industry Rule # 4080, record company people are shady!” Starting in the early days of the music business with Blues and Rock & Roll, payola was once the most popular underhand practice.

Record companies and managers would bribe radio DJ's to give their artists radio play. Although illegal, this practice has never stopped and continues to be used today, albeit in more subtle forms. Rule # 4080 still applies and the methods industry execs use have evolved over time.

With the rise in new technology and the dominance of the internet threatening the music industry's outdated business model, new “questionable” tactics have been developed to help labels stay afloat. Here are just 5 secrets the music industry doesn't want you to know!

1. Views, Likes, and Followers

Have you ever checked out a YouTube video only because it had a lot of views and you were curious to see why? Are you more likely to follow an artist on Twitter who has 324,687 followers rather than one who has 54? Are you the type of person to be first to “Like” an artist on Facebook or would you check to see that this artist already has a lot of “Likes” before you join in?

While you may think that looking at numbers is a ridiculous way to evaluate an artist's worth (and it is!), millions around the world feel otherwise. Sad as it may be, high numbers often propel artists to celebrity status. Young and impressionable minds, which the industry targets since they're the largest consumer base, often assume that if a video has millions of views, it must be good.

And even if they don't really like the video, they support it anyway because everyone else seems to. But here's the dirty secret:

YouTube views, Facebook “Likes”, and Twitter followers can be bought for a moderate fee.

There are now dozens of companies who specialize in increasing numbers. Some companies use special technology to achieve their goals while others claim to be able to get thousands of “real” followers. If that weren't crazy enough, “positive” YouTube comments supposedly written by real people can also be purchased!

This kind of practice is deceptive as hell and makes it difficult for aspiring artists who have to compete against those who have the means to buy such services. I guess quality doesn't matter when you can just buy your way to popularity.

2. Buying the # 1 Spot

Once YouTube Views, Facebook “Likes”, and Twitter followers have been bought, it's time for the label to really go all out and buy thousands of CD's and downloads to help the artist get to # 1 within the first couple of weeks of release. Since sales have been declining due to free and illegal downloads, it's become more and more challenging for artists to hit the top of the charts.

Birdman Denies Boosting "Tha Carter IV" Sales By Buying Mass Copies [Audio]

http://hiphopwired.com/2011/09/07/birdman-denies-boosting-tha-carter-iv-sales-by-buying-mass-copies-audio/

This is why some labels are buying their own products (often with the artist's money), in hope that achieving # 1 will generate publicity and result in more sales and touring opportunities. The idea is that the average fan is more likely to support an artist who appears to have a large following. It's all about image and perception, and for today's mainstream music fan, this counts more than talent.

3. Professional Reviewers

Ever read customer reviews on Amazon or iTunes? Some are brief, misspelled, and poorly thought out while others are thorough and clearly expressed, almost as if a “professional” had written it. Shockingly, that's exactly what's happening!

Writers are paid to act like customers and write positive reviews. Sometimes, these writers are simply part of the artist's team, other times, they're professional writers who get hired for their review services. Companies have gotten in trouble for this kind of practice but this hasn't stopped it from happening. Again, this makes it difficult for new artists who don't have the means to compete against this kind of deception.

4. Wardrobe Malfunctions, Nude Pics, and Sex Videos

Every week, there seems to be another naked celebrity in the news: Nicki Minaj and Kelly Rowland's wardrobe malfunctions a couple of days apart from each other, Rhianna's explicit pics popping up regularly, and sex videos of B and C list entertainers leaked on every gossip site.

Sure, one could claim that these “indecent exposures” are just accidents or that intimate pictures and videos are leaked by spiteful exes and hackers. If so, why does it keep happening every week? If celebrities are truly as appalled and embarrassed as they claim to be when their naked bodies are leaked for the world to see, why do they keep such pictures and videos of themselves on their phones and computers if it's that risky?

Nicki Minaj Performs On 'Good Morning America', Has Nipple Slip [Pics + Video]

http://hiphopwired.com/2011/08/05/nicki-minaj-performs-on-good-morning-america-has-nipple-slip-pics-video/

Why do artists continue to perform in outfits that barely cover them up and then act shocked when a breast pops out? Truth is, most of these incidents are planned by the artists and their team for publicity. As soon as the pictures or videos are leaked, hundreds of blogs and sites repost them right away.

Millions of Facebook and Twitter users repost them as well. In a matter of 24 to 48 hours, that artist is Googled millions of times which causes their name to “Trend” online or on Twitter and increases their search ranking. For the artist, this is an amazing free promotional tool that would otherwise cost hundreds of thousands of dollars in marketing.

All it takes is a little nudity and the public becomes their street team, their sales increase, the gossip sites have new content that drives traffic to them, and everyone's happy…except for real artists with real talent who can't get the same “free” promotion because they're more interested in making music than showing their rear-ends and boobs …which leads me to the next point…

5. Fake Beef, Phony Stories, and Controversy

Replace wardrobe issues, nude pics, and sex videos with fake beef, phony stories, and controversy and the result is the same: free publicity.

Did Soulja Boy buy himself a $55 million jet for his 21st birthday? Is Rick Ross really threatening Kreayshawn? Did Wayne really take shots at Jay Z? Does Kanye actually have 6 toes? Ok, I made that one up but you get the idea!

When an artist, or an assistant pretending to be them, tweets something weird, crazy, unusual, or controversial, they know that it'll spread in a matter of hours and eventually make the top blogs and gossip sites who welcome this kind of foolishness. And again, everyone seems to get something out of it. There was a time when this type of nonsense would have hurt an artist's career. Now, it sustains it…and that's pitiful.

There are many more industry secrets. Some of the ones discussed here are well documented. I also know that some of you are sharp enough to see through the hype and didn't need anyone to fill you in on what's going on behind closed doors.

As well, I know that quite a few artists become successful without using these tactics. Still, you can bet that the more resources an artist has access to, the greater the chances are that at least one of these methods has been utilized. Do your own research and you'll probably discover many more shocking methods.

http://hiphopwired.com/2011/10/10/5-secrets-the-music-industry-doesn%E2%80%99t-want-you-to-know/

[DJ Stashman]

One Direction to face US label bidding war

One Direction are reportedly at the centre of a record label bidding war in the US.

The X Factor boyband are said to have attracted some of the biggest names in the North American music industry.

Meetings are being held this week between their management and label bosses to determine which contract the boys will sign, reports The Sun.

According to the tabloid, the bidding will start tomorrow when One Direction's manager Richard Griffiths will meet with RCA Records CEO Peter Edge, Columbia chairman Rob Stringer and Epic boss LA Reid in Los Angeles.

One Direction recently got a telling-off for their behaviour while recording the music video for their new single in New York.

The group will release their new track 'Got To Be You' as the second cut to be lifted from their as-yet-untitled debut album.

The single will be available to download on November 13, while the album will follow a week later on November 21.

http://www.digitalspy.co.uk/music/news/a344937/one-direction-to-face-us-label-bidding-war.html

[DJ Stashman]

Noel Gallagher: Music Industry Needs More Simon Cowells

Noel Gallagher has said the current ‘unsettled’ pop world is in need of more straight talking characters like X Factor and Pop Idol mogul Simon Cowell.

Gallagher was speaking to BBC Radio 4‘s Front Row programme as part of the promotional duties for his debut solo album ‘Noel Gallagher’s High Flying Birds‘, and said the ‘brutally honest’ nature of Cowell is just what the music industry needs.

“This is going to sound crazy but if the music business was inhabited by more people like him it would be in a better place because he’s brutally honest,” he claimed. “He’s not pretending to be anything he’s not. He’s not claiming he’s going home and listening to The White Album.”

“If everyone in the music business were brutally honest about what their intentions were then you could sort things out, but it’s all smoke and mirrors.”

‘Noel Gallagher’s High Flying Birds’ is due for release next Monday (October 17th).

http://www.live4ever.uk.com/2011/10/noel-gallagher-music-industry-needs-more-simon-cowells/

[DJ Stashman]

'12 Extremely Disappointing Facts About Popular Music' - A Response

BuzzFeed has posted a list of "12 Extremely Disappointing Facts About Popular Music" that irritated me. Putting aside the few spelling errors and childish ending, whoever put this article together apparently cannot understand how the music industry works and thinks that everything is equal and has been for the past 40+ years. Well Dave Stopera, I see your article and raise you a response.

Check the list above and then check after the jump for my response to each point he raised.

"1. Creed has sold more records in the US than Jimi Hendrix"

Of COURSE Creed has sold more records!!! They entered into the music world during a time when the Internet was able to spread their information everywhere. They had music videos playing constantly. They were in movie soundtracks. What do you honestly expect?

"2. Led Zeppelin, REM, and Depeche Mode have never had a number one single, Rihanna has 10"

Yeah, this one sucks. Especially Depeche Mode. However, let's also be honest here and admit that Rihanna gets WAY more press than Led Zeppelin, REM, or Depeche Mode ever got in their prime. Come on now, have you ever seen a celebrity post about Michael Stipe in a bikini? Rihanna totally wins this one. Queue sad face…

"3. Ke$ha's "Tik-Tok" sold more copies than ANY Beatles single"

Welcome to the digital age where singles can sell more copies than full albums. Also, the access to 'Tik Tok' is far greater than the access to The Beatles.

"4. Flo Rida's "Low" has sold 8 million copies – the same as The Beatles' "Hey Jude""

Again, it's an age of singles and 'Low' was put everywhere it could possibly fit. Personal note: I got sick of that song 10 seconds into the first time I heard it.

"5. The Black Eyed Peas' "I Gotta Feeling" is more popular than any Elvis or Simon & Garfunkel song"

I'm still unsure as to what "popular" means here. If you mean by sales, I can see this song beating out both of these artists for the simple fact that The Black Eyed Peas resonates with the youth crowd who are more likely to buy singles. Sorry 50+ readers, the majority of you don't buy singles online and you know it.

"6. Celine Dion's "Falling Into You" sold more copies than any Queen, Nirvana, or Bruce Springsteen record"

Guess what? Your parents probably loved the shit out of Celine Dion. Know why? She's a safe choice musically. Bruce Springsteen, Queen, and Nirvana are all aimed at a much more targeted audience while Celine Dion has a wider group. Simple math here folks, the more you offer it to, the more it will sell.

"7. Same with Shania Twain's "Come On Over""

If you don't know it, I'm going to lay it clear for you right now: country music is one of the biggest sellers in the music industry. Add to the mix that this album is "country-pop" and the audience nearly doubled. Again, the more you offer it to, the more it will sell.

"8. Katy Perry holds the same record as Michael Jackson for most number one singes [sic] from an album"

You know what? It was bound to happen sooner or later. Katy Perry also had a lot of very talented songwriters on her previous album, so I'm giving credit where credit is due.

"9. Barbara Streissand [sic] has sold more records (140 million) than Pearl Jam, Johnny Cash, and Tom Petty combined"

Have you seen this woman's discography???? Unbelievable! Also add to the mix that she has acted in several successful films (Tom Petty's biggest movie was 1997's The Postman) and puts on what is supposedly a very entertaining live show and it's no wonder that she has sold that many records. Respect Babs. Respect.

"10. People actually bought Billy Ray Cyrus' album "Some Gave All…" 20 million people. More than any Bob Marley album"

Do I need to remind you how popular country is? Oh, and here is where I'm going to show a little bit of musical ignorance/stereotyping: you buy one Bob Marley album and you never need to buy another reggae album EVER AGAIN.

"11. The cast of "Glee" has had more songs chart than the Beatles"

They release five songs per week, covering currently popular songs, and deliver them to millions of households with every episode. If you're surprised by the above fact, then you shouldn't be. Personal note: I cannot STAND Glee.

"12. This guy exists. [Editors Note: This refers to a picture of Justin Bieber]"

Some Canadians had a baby. Get over it.

http://www.bloody-disgusting.com/news/music/2180

[DJ Stashman]

I haven't seen the views of the video but I wouldn't be surprised if DMX gets over 200'000 views on this because he is open about himself and people can relate to him. People know his story. This is what sells hip hop. Aspiration and it continues to this day.

[Trilliam]

feel for man

depressing

[TF S4DK]

Top 5 UK Singles & New Entries

1 Rihanna - We Found Love (feat. Calvin Harris) - 106,553 (194,126)

2 Maroon 5 - Moves Like Jagger (feat. Christina Aguilera) - 79,899

3 Gym Class Heroes - Stereo Hearts (feat. Adam Levine) - 68,287

4 Christina Perri - Jar Of Hearts - 63,832

5 LMFAO - Sexy And I Know It - 44,318

6 Matt Cardle - Run For Your Life - 39,663

7 Charlene Soraia - Wherever You Will Go - 38,724

9 Ed Sheeran - The A Team - 35,989

25 The Calling - Wherever You Will Go 13,363

30 Ed Sheeran - Lego House - 9,426

40 Timbaland - Pass At Me (feat. Pitbull) - 8,179

Top 10 UK Albums & New Entries

1 Steps - The Ultimate Collection - 34,200

2 Ed Sheeran - + - 27,502 (235,860)

3 Adele - 21 - 27,207 (3,181,536)

4 Evanescence - Evanescence - 26,221

5 James Morrison - The Awakening - 21,760

6 Katherine Jenkins - Daydream - 15,977

7 Jason Derulo - Future History - 15,646

8 Cee Lo Green - The Lady Killer - 15,537 (567,831)

9 Ryan Adams - Ashes & Fire - 13,464

10 Cliff Richard - Soulicious - 13,031

21 Bjork - Biophila - 9,872

[DJ Stashman]

The record industry needs to sort out radio playlist confusion

The policy of the playlist – or rather how, exactly, a single gets on it – has always been a hot topic for the record industry. Although the internet gives the public unprecedented access to music, getting playlisted on the radio is still the key way to gain exposure to a wider audience, and sell records, in the UK.

In the US, payola – the illegal practice of paying or in any other way bribing a radio station to play your song – has existed since the advent of pop music. The widespread use of payola in the 70s and 80s was described in detail in the book Hit Men, and as recently as 2005-06 three of the major labels were indicted and settled out of court for pay-for-play practices.

Although no such lawsuits have been launched in the UK, there have been plenty of accusations of conflict of interest when it comes to those who decide what gets played on the radio. When the dance DJ Pete Tong joined BBC Radio 1, more than 15 years ago, his day job was working as A&R manager for London Records, and he was accused of favouring records signed to the label.

In 1996, Richard Park, then the programme controller of Capital Radio, formed Wildstar Records, uniting Capital Radio Group and Telstar Records in a 50-50 joint venture. Wildstar signed Craig David, who became one of the label's biggest artists in the late 90s. Did that connection make the station more likely to playlist artists signed to the label, such as David?

Capital Radio is now owned by Global Radio, which also owns Heart, Xfm and Gold, making it a group with 20 million listeners. Global also owns an artist management company, which represents bands such as the Wanted and Cover Drive. Last year, Ofcom amended the rules for commercial TV, allowing product placement in order to implement an EU directive. It is said that some commercial radio stations lobbied for radio to be included in this section, arguing that songs played in their shows were, in effect, product placement for the artists. The music industry was horrified, suggesting that this sounded very much like payola.

Eventually Ofcom sent a clear message to the radio industry by adding clause 10.5 to its Broadcasting Code, stating: "No commercial arrangement that involves payment, or the provision of some other valuable consideration, to the broadcaster may influence the selection or rotation of music for broadcast." Breaking Ofcom rules can have serious repercussions – it can result in fines of hundreds of thousands of pounds or even having your licence revoked. Yet it's difficult to prove the absence of payola – that an artist would have been playlisted anyway, without a financial incentive.

In 2006-07, questions surfaced regarding Jo Whiley's choice of acts on her Radio 1 morning show. Whiley featured two high-profile live sets by the Hoosiers and the Automatic, which were both managed by her husband, Steve Morton. The sessions were included on two Live Lounge compilation CDs, which sold a combined total of 1.26m copies. The BBC said that Whiley had noted her husband's interests on an internal register and that she had no influence on the Radio 1 playlist and played no part in selecting songs for the Live Lounge albums.

I'm sure the reason why Global signed the Wanted to its management arm was because the band were expected to resonate with the public (young girls in particular). At the same time a station such as Capital wants to play music that resonates with its audience, so that they keep listening. That's probably why the Wanted have been played a lot. And the reason why Capital plays a similar act like One Direction (who released a single around the same time as the Wanted) a lot less may very well be that Capital execs don't believe their audience would like them as much.

Global's legal and compliance department says: "Global does not comment on its playlist decisions and are fully compliant with the broadcasting code." But perhaps radio stations that have commercial interests in specific artists could improve transparency by sending each record considered for playlisting to an independent researcher to find out how it fares with test audiences.

http://www.guardian.co.uk/media/organgrinder/2011/oct/16/record-industry-radio-playlist?newsfeed=true

[DJ Stashman]

Inside the Payola, Power and Corruption in the Music Industry

Do you know Karen Kline? I do. And so do a lot of people in the music industry. She used to be a really good friend of mine. For a minute, I was in love with her, even though I knew the relationship could never last. Karen’s known and loved throughout the world of music, video and radio. She’s a jetsetter and she’s known for being reliable and dependable.

And Karen Kline has this incredible ability to be in many different places at the exact same time.

This Saturday morning, like many Saturdays for years, a truck will show up to the homes of many people in the music industry and Karen will be delivered right to their front door.

I met Karen while I was staying at the Hotel George in Washington D.C. (I’d heard of Karen for years but we’d never been formally introduced). It was 1999 and I had just been hired as the Program Director at BET, the fast growing entertainment channel. BET was then being broadcasted into over 48 million homes and my job would be deciding what videos would be played on the channel.

By this time, music videos had surpassed radio as the place to break a record. And the record labels were nervous. Was I going to change the format? Cut down the number of videos played? Pick and choose what kind of videos I would allow to be played? The answers were yes, yes and yes. But no one knew that yet.

It didn’t matter. My friends at the major record labels were not going to take any chances.

During my first week at BET, I set up the playlist, deciding which videos would be played and how often. I cut the playlist, from four hundred titles to a mere eighty. Some industry executives were elated; some were furious. The next weekend, a FedEx truck pulled up to the Hotel George with two packages for me.

Both packages were exactly the same, five thousand dollars in each, wrapped tightly in plastic wrap and tucked inside the FedEx envelopes. No return address; no instructions, just the name Karen Kline, a fictional woman that I loved like she was flesh and blood.

It’s called payola. And it’s as old as recorded music itself. Even the very word tells you how far it goes back. Payola is a contraction between the words “pay” and “Victrola,” the old-school phonograph that was used to spin the very first records.

Payola is firmly embedded in the music industry, deep in the grooves like tracks on a vinyl record. It’s been going on for so long that it’s hard to believe that people are still getting away with it. But they are. I know I did.

And it wasn’t just money. When I was working at BET, I was still coming up to New York City every weekend for my job as a DJ on WBLS. Every Friday, various record labels would fly me up to New York, usually first class, and put me up at the best hotels. Knick tickets, pricey restaurants, whatever I wanted—I would have because I was in a position of power. I had control. And if you were a record label executive, you needed to make sure I was happy.

Almost everybody in this industry takes money. If they have the power to put a song on the radio or a video on television, they’ve been offered money to do it—and they’ve taken it. Maybe it’s only been once or twice. But they’ve done it.

I turned down payola for years. I really did. But it’s impossible to turn down ten thousand dollars in cash when you know you’re going to play the song anyway and it’s from a friend you’ve known for twenty years. There’s just no way to turn that down.

So, I’m putting that out there right now. I’m guilty. I’ve taken money. And I’m not ashamed to admit it. But I’ve never been anyone’s slave. Legally, I could go to jail or maybe not. I think I could win my case. I’ve taken money. But I’ve never played a song or a video I didn’t like. I know I still have to live with my demons. And maybe I’ll have to pay the price for it. But I’m not alone. And my relationship with Karen Kline was a one-night-stand compared to how she’s operating today. Karen Kline is not just visiting people on Saturday mornings anymore. She’s married—to corporate America. And she’s bringing in more money than anyone could ever fit inside a FedEx envelope.

Same Song is an explosive look at the corruption that is running rampant throughout the music industry. From the desperate promotion departments at major record labels who will do anything to get their acts on the radio and on video to the greedy program directors who take cash, gifts and other luxuries, Same Song will explore how corruption is rearing its ugly head once again.

Same Song also examines “legal payola” and how corporations are now the major beneficiaries of under-the-table payments and pay-to-play.

With the Telecommunications Act of 1996, consolidation would forever change the music industry. It was a bill that was originally designed to stimulate the economy by loosening up the rules for selling goods on the Internet. But inadvertently, it gave license for communications companies like Clear Channel to start buying up radio stations like penny candy.

Before long, seven companies owned 70% of the radio stations in the United States. There were very few individual owners who could determine what would be played. This meant smaller, corporate-influenced radio playlists. There would be less variety and more of the same artists, over and over again. These new stations were like funnels and the only records that would make it through were the ones with the cash to push them out. If the record labels wanted to hear their acts on the radio, they would have to fall in line—and cough up major bucks.

The same would happen in video as well. When Bob Johnson sold BET to Viacom for three billion dollars, it meant that MTV now owned it’s only major competitor. And getting your video on either channel would now cost you thousands.

Same Song is about how the digital age in the mid-90s exposed radio stations that frequently lied about how often they were playing the songs they were being paid by record labels to play; it’s about how the golden age of the trained broadcaster was soon replaced with interns, DJs and mixers who, for years, had been silent in the booth. Same Song explores how radio has become one of the few media outlets where salaries have plunged as profits have skyrocketed. And Same Song will break down the shake-ups that will be happening very shortly. Much like Alan Freed’s payola trials in the 50s, and the pay-for-play scandals involving music men like Clive Davis in the 70s, the music industry is on the cusp of another huge investigation and many of the major players in the music industry may find themselves unemployed, at best and possibly, in prison.

And in many ways, Same Song is my story. Since 1976, when the busing riots in Boston sent me scrambling into the radio station at WRBB at Northeastern University, the music industry has been my life. During my very first stint in radio, I was Paul “Pure Love” Porter from midnight to three AM and I fell in love with the medium of radio and the impact I had on my community.

Radio introduced me to women. Radio introduced me to cocaine. Radio introduced me to some of my best friends. And radio killed some of them too. Same Song is a ride through my whirlwind of media jobs, working for and with some of the most colorful, well-known and scandalous players in the music industry.

I know that radio and video are influential in shaping young minds. And my experiences have changed my outlook. “Morality is not an option” is now my mantra. And there are people out there who won’t buy it. They’ll think I’m writing this book for revenge or just to make a buck. That’s fine. I can live with that. I can’t live with what’s become of the music industry. I’m partly responsible for bringing it to the depths it’s sunk to today. But I can also be responsible for exposing the ugliness and peeling back the layers for everyone to see.

http://raprehab.com/2011/10/same-song-inside-the-payola-power-and-corruption-in-the-music/

[DJ Stashman]

DAB radio as standard rises 340%

The number of new cars with digital radios as standard has risen by 340% over the past year.

In September, 18% of new vehicles sold came with a digital radio as standard, a massive rise from the 5.3% that came with the technology included in September 2010.

Paul Everitt, chief executive of the Society of Motor Manufacturers and Traders (SMMT) said that almost half of all new cars (45%) have digital radio as a standard or as an option, with this set to cover the whole of the market by 2013.

A date has not yet been set for a switchover to digital radio, although the industry is still aiming on having everything in place for 2015.

However, Everitt warned: 'The challenge is vehicles that are already out there that don't have digital radios. The current estimate is that there are around 25 million of them.'

He said that the SMMT is working with the Government to make the switchover as easy as possible. This includes a proposal that both digital radios and retro-fitting engineers would have to gain official approval.

'We must ensure that plans are in place to support the cars on the road that will need safe, reliable upgrades undertaken by accredited technicians,' said Everitt.

Tim Davie, the BBC's director of audio and music said that intention was to get digital radio up to the same level of coverage as FM radio by 2015, including the entire motorway network.

http://www.whatcar.com/car-news/dab-radio-as-standard-rises-340-/259643

[Sinister]

The Payola ones are interesting

[DJ Stashman]

Popular Music Linked To Top Alcohol Brands - Is Industry Exploiting Underage Drinking?

Music like rap, hip hop and R&B often contain references to branded alcoholic beverages that are commonly linked to a luxury lifestyle which degrades sexual activity, violence, wealth, partying, and the use of drugs. Researchers at the University in Pittsburgh conducted a study published online in the international journal Addiction that reports that the average U.S. adolescent is heavily exposed to alcohol references in popular music.

Between 2005 and 2007 researchers listened to 793 of the most popular teenage songs and discovered that approximately 25% of songs that make a reference to alcohol also contain a brand name. This is equivalent to hearing 3.4 alcoholic brands per hour of listened music. Considering that the average teenager listens to about 2.5 hours of music daily, the annual exposure they receive to branded alcohol references is therefore quite substantial. The subliminal effects that these songs were linked to in connection with alcohol were more positive (41.5%) than negative (17.1%), i.e. 63.4% associated brands of alcohol with wealth, 51.2% with luxury objects, 39.0% with vehicles, 58.5% with sex, 48.8% with partying, and 43.9% with other drugs.

Considering that brand-name references to alcohol are strongly linked to 'feel-good' factors and positive emotions - which is often the goal of advertising - the researchers point out that frequent exposure to brand-name alcohols in young people could be labeled as a form of advertising that could promote early introduction and maintenance of substance use amongst youngsters. Alcoholic brand names appearing in songs like Hennessey Cognac, Grey Goose Vodka and Patron Tequila are the same spirits that have been repeatedly named as 'the favorite' amongst underage drinkers and particularly in women.

According to the authors the rather high appearance of brand-name alcohols in popular music could be based on the closer ties between alcohol manufacturers and the music industry, for example Seagram's branching out to own Universal and Polygram between 1995 and 2001. Since then, numerous individual artists, in particular from the rap and hip hop scene have set up and promoted their own alcohol lines, for example Sean "P. Diddy" Combs (Ciroc Vodka, 2001), Jay-Z (Armadale Vodka, 2002), Lil' Jon (Little Jonathan Wineries, 2008), Snoop Dogg (Landy Cognac, 2008), Ludacris (Conjure Vodka, 2009) and TI (Remy Martin Cognac, 2010) to name but a few.

The authors point out that in most cases brand-name references in the lyrics appear to be unsolicited and unpaid for by advertisers, however, the line between paid advertising and brand references seems a little blurry. It is hard to distinguish what can count as paid advertising seeing that advertising companies started to retrospectively reward artists with products, sponsorship or endorsement deals once a song with their product name becomes a hit. Just one example is Busta Rhymes and P. Diddy's hit "Pass the Courvoisier". Sales jumped up by 18.9% after the song was released in 2002 and subsequently resulted in a lucrative promotional deal between Courvoisier's parent company, France's Allied Domecq and Busta and P. Diddy's management company, Violator.

Although alcohol trade associations, such as the Distilled Spirits Council of the United States (DISCUS), have developed self-regulation codes specifying inappropriate marketing practices that includes a guideline to prevent marketing to underage audiences, rap, hip hop and R&B remains very popular amongst high school students.

Because of the music's high popularity amongst high school students, the authors argue that advertising campaigns who feature rap artists are inconsistent with the alcohol industry's self-regulatory code to prevent marketing to underage drinkers.

http://www.medicalnewstoday.com/articles/236334.php

[DJ Stashman]

As dubstep’s popularity rises, I hope the industry doesn’t wreck electronica

If you asked the average person what dubstep was two years ago, they would most assuredly look at you as if you had asked a question about the intricacies of quantum physics. I know this, because it is the response I often got. I would explain it was a music genre within the broader schema of electronica, which would usually garner the response, “Oh, you mean techno?”

Nowadays, I face a different problem: everyone knows about electronica, whether it be the house music of Deadmau5 or the glitch-hop of Pretty Lights. Electronic music has made its mark on the Athens music scene. If you walk downtown on a Friday night, you will likely hear the stylings of artists such as Bassnectar and Flux Pavillion emanating from many popular bars. A recent Scion TV commercial even featured the song “Monday” by the Glitch Mob.

Though it doesn’t bother me that the surge in popularity of dubstep has caused a growing number of American youth to be drawn into the electronic music scene in some way, this does have its consequences.

First of all, its increasing fan base means there are many more artists than there used to be. An exterior analysis of this phenomenon would lead you to believe this will result in more diverse, excellent music. But, the resulting reality seems to be the opposite: many of these new DJ’s and producers are creating generic music that is homogenizing the scene. This only exacerbates preconceived stereotypes about the genre, such as the widely espoused notion that all of it is the same.

Electronica’s growing social acceptance has also caused a problem with ticket sales. I understand tickets are going to be more expensive since demand for them has risen. That is acceptable. What bothers me about the increased interest is that many large shows sell out within minutes due to scalpers purchasing as many tickets as they can and selling them at a huge markup. This deprives many true fans of getting to see their favorite artists. It also benefits people with disgusting morals, because these ticket scalpers are profiting from other people’s art.

My third concern is dubstep and other popular forms of electronica are making their way into mainstream music. This will ultimately lead to electronica’s demise, at least in the sense of its previous existence. Britney Spears’ tracks being produced by Rusko? A dubstep single on Chris Brown’s new album? These things concern me. Once the mainstream media fully embraces this music, the whole genre will lose its sustenance — its core. Previous generations watched MTV destroy rock music. I hope that the industry leaders don’t succeed in doing the same thing to electronic music.

http://redandblack.com/2011/10/21/as-dubsteps-popularity-rises-i-hope-the-industry-doesnt-wreck-electronica/

[DJ Stashman]

A DENOUNCEMENT OF RICK ROSS: FROM CORRECTIONAL OFFICER TO PRIVATE PRISON ADVERTISER

Dear Mr. William Leonard Roberts II, AKA RICK ROSS

You’ve never made me feel like “Tupac’s back”. In fact, your whole image is blasphemous and sounds like you’ve been directly funded by the CIA. Couldn’t they have picked one with a more neutral background? You are an ex correctional officer now promoting the image of drug dealing in every single song, you have even high jacked the name of a notorious drug dealer and have successfully glamorized his image across borders that he could never get to. Your high energy beats, that seemingly fuel people, are suggestively influencing people to accumulate, consume and glamorize a gangster lifestyle. You have redirected our African American youths rage as far away from revolution as possible. Your purpose serves as an excessively massive distraction. Your song, By Any Means, Is a disgusting insult to humanity. You claim you are a “field nigga”, but you are just a house slave singing for master and misleading your brothers and sisters.

You are just a puppet of corporate executives, promoting fancy cars and jewelry to our brothers and sisters even if they have to sell drugs and kill for it, is not what Malcolm X was about. When will you pick up the fight against corruption instead of showing off your money accumulation to those who have nothing? How can we alleviate poverty, not how can we all become young millionaires, as if that’s possible, or drive new Benzes and brag about expensive shit most of us can’t afford.

You are not special or unique because you were a lucky one who was handed more scraps than the rest of us, and your prison guard background does not hurt! There is nothing admirable or respectable about making tons of money from misleading the youth and masses.

The Guts