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Les Affaires Inachevés
14 years ago
Monday, December 22, 2008
Blog House Meets Indie Radio
Last night on WRIR I hosted the Mixtape Mixtape show. Normally listeners or volunteers submit the mixtapes, but since I was subbing and out/loop with submissions, I found my own mixtape online. That and I love me some online mixtapes-- I had been anticipating a chance to share some of my faves with Richmond.
I conceived last night's show as a shoutout to my favorite music blog Discobelle, and I featured a mix submitted to Discobelle back in May, by the Swedish group Stockholm Syndrome. I also threw in several original remixes that had been posted to the site.
(Unfortunately the recording of my show didn't take, otherwise I would have posted it.)
I plan to do more shows like this in the future featuring other cool music blogs that post mixes/remixes.
I think in the past the legality of broadcasting mixes without permission has been questioned; however, I feel like people who post to blogs would be happy about it. Yes the mixes are often exclusive, but still. Even recording the radio broadcasts, the mixes still contain voice breaks, PSA's for fire safety, etc. And more importantly I'm giving shouts out to the blog.
With situations like this I keep running into whether I should open up dialog with the people I'm shouting out. I should, yes. Can o Worms, yes, but awesome opportunities.
TBC.
I conceived last night's show as a shoutout to my favorite music blog Discobelle, and I featured a mix submitted to Discobelle back in May, by the Swedish group Stockholm Syndrome. I also threw in several original remixes that had been posted to the site.
(Unfortunately the recording of my show didn't take, otherwise I would have posted it.)
I plan to do more shows like this in the future featuring other cool music blogs that post mixes/remixes.
I think in the past the legality of broadcasting mixes without permission has been questioned; however, I feel like people who post to blogs would be happy about it. Yes the mixes are often exclusive, but still. Even recording the radio broadcasts, the mixes still contain voice breaks, PSA's for fire safety, etc. And more importantly I'm giving shouts out to the blog.
With situations like this I keep running into whether I should open up dialog with the people I'm shouting out. I should, yes. Can o Worms, yes, but awesome opportunities.
TBC.
Wednesday, December 17, 2008
Empty Skeleton
Check out the music blog Mary Claire is writing for:
http://emptyskeleton.blogspot.com/
Tons of interesting music.
Tons of interesting music.
Tuesday, December 16, 2008
Kanye is a Pop Arteest
At first I was tempted to say "shut up" to Pitchfork for the comment that dubbed Kanye's singing on SNL "rough."
Then I saw the performance. Oh well.
I guess he's what is known as a "studio singer." Whatever. Who ever criticizes Madonna or Britney for being studio singers? Let me reiterate: Kanye is a pop artist. Stop applying R&B/Hip Hop standards to him.
I enjoyed the background visuals.
Then I saw the performance. Oh well.
I guess he's what is known as a "studio singer." Whatever. Who ever criticizes Madonna or Britney for being studio singers? Let me reiterate: Kanye is a pop artist. Stop applying R&B/Hip Hop standards to him.
I enjoyed the background visuals.
Saturday, December 13, 2008
music reviewing in the 4th dimension (real-time)
Unless you're a music scholar, the main point of music reviews is to point out lesser-known good music or to evaluate where much-anticipated musical releases land on the spectrum of mindblowing/disappointing.
Reviews educate as much as promote, though, and in evaluating the music, they're generally also going to tell you what's interesting about the music and why. At their best, music reviews use ideas about the music's cultural and technical relevance to help listeners draw more satisfaction out of the music. And that's where their real value lies.
Generally, most of us develop a sense of how to steer ourselves through music networks. I mean, we all did this before the internet. As a teenager, I was really into compilations. I ordered music sound unheard from label catalogs, on the strength of labelmates. I had favorite radio stations, which were actually good sources of new music. We follow similar routes of artist/style association on the internet-- a band's friends on myspace, last.fm suggestions, music samples on a label's site, online radio, mixes. Our music networking now is just much faster and more efficient, and therefore more pronounced.
This I think accentuates the "real" value of music reviews; ie, what they can do that surfing the internet can't. Their strength is not really about suggesting new music when you can discover it on your own, with much greater sensitivity to your own interests. Their strength is instead gathering relevant information about the music and articulating it, as I said, in a way that coaxes more satisfaction out of the music-listening experience.
Music reviews have turned a corner through music blogs. The main reason we go to a music blog is for good downloads; we can identify what will have appealing downloads by paying attention to consistent editorial content. The meat of the editorial content is the choice of download, knocking out the "recommendation" aspect of reviews.
All the reviewer has left is to carry out the "educational" services of reviewing. Blow out the music's context in a way that enhances the music's meaning. This can be talking about the music's history, live performance, technical achievements, or influential relationships with other artists.
But in the less academic, more magazine sense, reviewers addressing the cultural position of the music enhance its meaning, too. The widely compelling example of this is identifying the music's scene, associating the music with fashion or art or a city or a lifestyle. From the concrete level-- show dates, artwork-- to the abstract, maybe discussing pop cultural relevance.
And of course reviewers can write up personal associations with the music. These can help us understand more ways to love the music, too. These are blogs, after all, and music is the most emotional medium. :-)
Reviews educate as much as promote, though, and in evaluating the music, they're generally also going to tell you what's interesting about the music and why. At their best, music reviews use ideas about the music's cultural and technical relevance to help listeners draw more satisfaction out of the music. And that's where their real value lies.
Generally, most of us develop a sense of how to steer ourselves through music networks. I mean, we all did this before the internet. As a teenager, I was really into compilations. I ordered music sound unheard from label catalogs, on the strength of labelmates. I had favorite radio stations, which were actually good sources of new music. We follow similar routes of artist/style association on the internet-- a band's friends on myspace, last.fm suggestions, music samples on a label's site, online radio, mixes. Our music networking now is just much faster and more efficient, and therefore more pronounced.
This I think accentuates the "real" value of music reviews; ie, what they can do that surfing the internet can't. Their strength is not really about suggesting new music when you can discover it on your own, with much greater sensitivity to your own interests. Their strength is instead gathering relevant information about the music and articulating it, as I said, in a way that coaxes more satisfaction out of the music-listening experience.
Music reviews have turned a corner through music blogs. The main reason we go to a music blog is for good downloads; we can identify what will have appealing downloads by paying attention to consistent editorial content. The meat of the editorial content is the choice of download, knocking out the "recommendation" aspect of reviews.
All the reviewer has left is to carry out the "educational" services of reviewing. Blow out the music's context in a way that enhances the music's meaning. This can be talking about the music's history, live performance, technical achievements, or influential relationships with other artists.
But in the less academic, more magazine sense, reviewers addressing the cultural position of the music enhance its meaning, too. The widely compelling example of this is identifying the music's scene, associating the music with fashion or art or a city or a lifestyle. From the concrete level-- show dates, artwork-- to the abstract, maybe discussing pop cultural relevance.
And of course reviewers can write up personal associations with the music. These can help us understand more ways to love the music, too. These are blogs, after all, and music is the most emotional medium. :-)
Wednesday, December 3, 2008
on ringtones
Ask The E.I. editor-- I have been busting with criticism of my iPhone 3G. One wonderful thing about it though is that it lets me, for free, create and edit my own ringtones from mp3 files.
I can now fully customize something that was in the past quite generic and arbitrary. I can now splice phrases of lovingly crafted songs into soundbytes, so that my phone will say something both to me and about me.
This is a great new power, and it has me considering a possible set of musical characteristics to shoot for in creating a ringtone. After all, I would like to use my newfound power wisely and effectively. Plus I should be making the coolest ringtones possible.
Here are the initial guidelines I have come up with:
1) A song should be relatively laid-back, given that I dislike being interrupted when i am meditating or asleep. A mellow ringtone will smooth any possible bristling effect of receiving a phone call at those moments. One example of a ringtone that I may consider adding is the intro to "Sweet Emotion," by Aerosmith.
2) Good ringtones should be songs that suit being worn hard. What I have in mind-
i- Classics that have made the transition from "standalone song" to "cultural fabric," like "Smooth Operator" by Sade
ii- Pop that was overplayed in the past. "My Boo" by Ghosttown DJ's is the ringtone on my phone that fulfills this. Recently overplayed pop is okay but might interfere with criterion (1) above
iii- Songs that are designed to be played frequently, like TV themes. I Love Lucy, Living Single, Mr Belvidere, or Reading Rainbow. Again, I would avoid newer stuff: its topicality is often too distracting to pull off what is supposed to verge on ambient sound
3) Songs that gently reference telephony or communication. Both "My Boo" and "Smooth Operator" are examples of this. Reference need not be lyrical, however; see below.
4) Sounds that mimic ringing or other repetitive alerts are ideal. I can think of 2 manifestations of this:
i- Literal imitation. e.g. of police sirens, as in "Pull Over (That Ass Too Fat)," by Trina
ii- Broader imitation via simple, clear-cut loops or basslines. Distinct repetition. Examples: "Atomic," by Blondie; "Gotta Man," by Eve; "Under Pressure,” by Queen; or even "Take It To the House," by Trick Daddy, for the trumpets
The possibilities are endless, but like I said I am hoping to make some sense out of them.
Thursday, November 13, 2008
Hip Hop/ R&B in the Obaman Era
I'll start off by fully disclosing that I am not an Obama supporter. I recognize the historic nature of the election of the first biracial US president; however, that's about as far as I care to celebrate. My main interest lies in the effects this new era will have on popular music.
The music of Sept 11, 2001 through around Sept 2007 will, I think, define the '00's sound on the whole. The popular music of this era is mostly characterized by escapism from very somber world events. This was the time of Beyonce, Fergie, The Pussycat Dolls, and Chris Brown.
If the 2000's music era was all about escapism, the Obaman era so far seems to be about (what else?) hope. Already, I'm noticing Hip Hop and R&B artists getting a little more serious, a little more confessional, more sincere. Starting with Will.I.Am's ode to Obama, "Yes We Can," Hip Hop artists and R&B singers are involved in a mass-movement toward sincerity. Kanye, Q-Tip, and T.I. are all showing the subtle signs of transition (I might as well say it- of change).
All of this good will sure feels great. But whether it will translate into great music is a question that will be answered in part hopefully by 2012.
The music of Sept 11, 2001 through around Sept 2007 will, I think, define the '00's sound on the whole. The popular music of this era is mostly characterized by escapism from very somber world events. This was the time of Beyonce, Fergie, The Pussycat Dolls, and Chris Brown.
If the 2000's music era was all about escapism, the Obaman era so far seems to be about (what else?) hope. Already, I'm noticing Hip Hop and R&B artists getting a little more serious, a little more confessional, more sincere. Starting with Will.I.Am's ode to Obama, "Yes We Can," Hip Hop artists and R&B singers are involved in a mass-movement toward sincerity. Kanye, Q-Tip, and T.I. are all showing the subtle signs of transition (I might as well say it- of change).
All of this good will sure feels great. But whether it will translate into great music is a question that will be answered in part hopefully by 2012.
Achoo
A lot of times I will sneeze, and no one will bless me. I'm starting to believe that my sneezes must sound like coughs....
Thursday, October 23, 2008
Reasons Why People Hate Lawyers: The Halloween Edition
Reason number 1: They create online services like LegalZoom.com that take all of the fun out of Halloween parties. I got an email from LegalZoom containing the following paragraph:
Halloween Parties That Won't Have You Running from the Law
You've thought of everything for your Halloween party: the food, the booze, and the fun. But what about the potential legal liabilities?
I would laugh if it weren't so annoying.
Halloween Parties That Won't Have You Running from the Law
You've thought of everything for your Halloween party: the food, the booze, and the fun. But what about the potential legal liabilities?
I would laugh if it weren't so annoying.
Sunday, October 12, 2008
We're Number 5!!!
This post has nothing to do with the entertainment industry, but it is entertaining. According to Forbes Magazine, Tonga (this blogger's native country) ranks number 5 out of the world's most corrupt countries. We tied Uzbekistan!
I'm not sure what the criteria were for this list, but what exactly do we need to do to beat Haiti next year?
Friday, October 10, 2008
Let's Vote Already
I'm ready to vote now. Totally electioned out. Anyone who hasn't decided who to vote for yet should be fined. I'm even sick of talk radio at this point. I would be listening to more music instead, but it's been a really slow new music season. Nothing exciting in new pop currently. I blame the AIG executives.
Wednesday, October 8, 2008
Cee-Lo Green: My Musical Comfort Food
I'm in a rather bad/sad mood right now. But, I just turned on VH1 and caught a quick earful of Cee-Lo singing at Hip Hop Honors. The nasally boom of his voice somehow sends the same electric signals to my brain as Mac & Cheese. Fascinating.
Tuesday, October 7, 2008
D'isapointed
I waited nearly a decade for this?? Come on, D'Angelo. You're telling me that the best you could pull off was a remake of YOUR OWN SONG FROM 1996? I give up.
Oh yeah, to give you some context, D'Angelo is back after 8 years with a (sort of) new single called "I Found My Smile Again," which is a remake of a song he released on the "Space Jam" soundtrack from 1996. He sounds good, but after 8 years my expectations were too high. It sounds better than any of Ne-Yo's shit, for example, but only on par with his own 2000 release, "Voodoo."
Wednesday, October 1, 2008
The Bobby Valentino Formula
I had a bad first impression of Bobby Valentino when he released "Slow Down" in '05. He struck me as off-key, average-singing, average-looking, and a lazy songwriter. But over the past 3 years, he has managed to charm me thrice:
1) Pimpin' All Over the World (2005): I figured this was just a fluke. Bobby only appeared in the hook, so I assumed I enjoyed this song in spite of him. I did notice the unusual yet sensible harmonies, and was confused to see Bobby Valentino mouthing the lyrics in the video.
2) Anonymous (2007): Smacked me in the face and called me Susan. The vocal harmonies, off-beat arrangement, combined with Timbaland's incredible production sound like the eye of a tornado if you're in a truck with a great sound system.
3) Mrs. Officer (2008): I came home very early one recent morning after pulling an all-nighter at a studio, and in the middle of my delirium I heard it: "Wee-oo-wee-oo-wee, Wee-oo-wee-oo-wee, Wee-oo-wee-oo-wee." I had no idea what this sound was, but it followed me to sleep that morning. A few weeks later, I heard this sound again behind an unmistakably Weezified voice identifying the source of this pleasure: "Bobby Valentino." The formula made sense: atypical vocal harmonies measured against very memorable refrains.
Bobby Valentino is inconsistent- often bland, but with flashes of promise. Let's hope these promises aren't empty.
1) Pimpin' All Over the World (2005): I figured this was just a fluke. Bobby only appeared in the hook, so I assumed I enjoyed this song in spite of him. I did notice the unusual yet sensible harmonies, and was confused to see Bobby Valentino mouthing the lyrics in the video.
2) Anonymous (2007): Smacked me in the face and called me Susan. The vocal harmonies, off-beat arrangement, combined with Timbaland's incredible production sound like the eye of a tornado if you're in a truck with a great sound system.
3) Mrs. Officer (2008): I came home very early one recent morning after pulling an all-nighter at a studio, and in the middle of my delirium I heard it: "Wee-oo-wee-oo-wee, Wee-oo-wee-oo-wee, Wee-oo-wee-oo-wee." I had no idea what this sound was, but it followed me to sleep that morning. A few weeks later, I heard this sound again behind an unmistakably Weezified voice identifying the source of this pleasure: "Bobby Valentino." The formula made sense: atypical vocal harmonies measured against very memorable refrains.
Bobby Valentino is inconsistent- often bland, but with flashes of promise. Let's hope these promises aren't empty.
Tuesday, September 30, 2008
Pickup Artist Season 2
It only took em a year, but The Pickup Artist is back for another nerdily awesome season. I've already spotted an actor in the promos I've seen so far. There's this one kid with long dirty-blonde hair and wide rimmed glasses, a flannel shirt, and khaki pants. Switch the khaki with jeans and give the dude a shaggy haircut, and BAM! Williamsburg. I'm not fooled for a second.
I know a lot of guys are pissed off that producers have decided to ditch J-Dawg for Tara, the female wingman, but I'm ecstatic about this prospect. I loved Tara last year, but I just hope she has enough personality to provide balance to Matador's melodramatics. (Anyways, what the hell are guys doing watching VH1 in the first place?)
And I don't know what happened, but judging from the short promos I've seen, Matador is extremely hot this season. Maybe it's the hair, maybe he lost some weight, maybe got some work done... or maybe he was competing with Tara. Cat fight!
Monday, September 29, 2008
Friday, September 26, 2008
The Bailout Fiasco: Conspiracy Theory
Call me paranoid, but I have a theory that these bailout talks, the debate controversy, and possibly the entire election amount to nothing more than an elaborate ploy by the media to divert our attention from the OJ Simpson trial... I refuse to be distracted. Here's the latest.
Thursday, September 18, 2008
Cool Right-wing Music: Possible or Not?
Ugh, it's been forev since I updated this thing; but I've decided to finally do so. I sort of got inspired again to do this because I've been going buckwild with my Google Reader Shared Items page. That thing is amazing. I am constantly forwarding articles to people, so now I can centralize everything, giving me extra time to.... look for more articles.
In any case, I thought I'd re-open my E.I. blog with some food for thought stemming from a couple articles I've seen recently about music artists sending all these cease and desist letters to the RNC and the McCain campaign for using their songs at events. Are there ANY music artists out there besides Trace Atkins who actually support the Republican Party? Actually, are there any who don't hate the Repubs? Doubtful.
Even so, I had a brief exchange on this topic with Laura, who reminded me that there were a couple artists from generations past who celebrated certain right-leaning ideals:
me: I'm listening to my favorite leftist music: late Marvin Gaye
"Mercy Mercy Me (the Ecology)"
i wonder if there is a way to make cool right-wing music; somehow i think that's really difficult
Laura: uh johnny cash maybe?
taxes-death-trouble? trouble man?
me: gosh, that's true. I suppose George Harrison's "Tax Man" was pretty right-leaning
Laura: indeed
me: the only cool right-leaning music I can think of is about taxes tho
then again
hating to pay taxes is probably the coolest part about being a conservative
In any case, I thought I'd re-open my E.I. blog with some food for thought stemming from a couple articles I've seen recently about music artists sending all these cease and desist letters to the RNC and the McCain campaign for using their songs at events. Are there ANY music artists out there besides Trace Atkins who actually support the Republican Party? Actually, are there any who don't hate the Repubs? Doubtful.
Even so, I had a brief exchange on this topic with Laura, who reminded me that there were a couple artists from generations past who celebrated certain right-leaning ideals:
me: I'm listening to my favorite leftist music: late Marvin Gaye
"Mercy Mercy Me (the Ecology)"
i wonder if there is a way to make cool right-wing music; somehow i think that's really difficult
Laura: uh johnny cash maybe?
taxes-death-trouble? trouble man?
me: gosh, that's true. I suppose George Harrison's "Tax Man" was pretty right-leaning
Laura: indeed
me: the only cool right-leaning music I can think of is about taxes tho
then again
hating to pay taxes is probably the coolest part about being a conservative
Friday, May 9, 2008
Miller Time
Did you know Dennis Miller is right-wing? It's true. I didn't find this out until recently. I was driving around, scanning through the AM radio stations, and came upon a conservative talk radio show called "The Dennis Miller Show." I thought, wait-- that can't be DENNIS Miller, can it? Sure enough, Google confirms.
Lately, I've even seen him doing a segment called "Miller Time" on The O'Reilly Factor. Completely came down on Hilary Clinton the other day pretty hilariously, actually. It's quite interesting. No wonder I never see him on HBO or Comedy Central anymore, except in the occasional SNL rerun.
Although, I heard a commercial for his show the other day where he suggested oil companies lower their prices "in the name of altruism." I guess there's still a bit of Hollywood left in him yet.
Lately, I've even seen him doing a segment called "Miller Time" on The O'Reilly Factor. Completely came down on Hilary Clinton the other day pretty hilariously, actually. It's quite interesting. No wonder I never see him on HBO or Comedy Central anymore, except in the occasional SNL rerun.
Although, I heard a commercial for his show the other day where he suggested oil companies lower their prices "in the name of altruism." I guess there's still a bit of Hollywood left in him yet.
Monday, March 3, 2008
Scrabulous: Board Game Piracy
The recording, publishing, and motion picture industries aren't the only ones worried about piracy lately. Now even board games companies like Hasbro and Mattel are fending off infringement.
I, and apparently thousands of other Faceboook users, have been hooked on Scrabulous, an online version of Hasbro's Scrabble. Initially, I wondered what sort of deal, if any, the makers of Scrabulous may have with Scrabble. The slight (and brilliant) differentiation in names signaled an unreconciled trademark issue at minimum. Sunday's New York Times confirmed that Hasbro and Mattel are currently threatening legal action against the developers of Scrabulous on the grounds of piracy.
Clearly, Hasbro and Mattel simply want their fair share of the hefty ad revenues Scrabulous has been enjoying. But if the companies don't come to an agreement soon, heavy users like me will have to face withdrawal when the Facebook application gets shut down. But then what? Just as Napster was the music industry's slippery slope into the vast world of illegal music downloads, Scrabulous' popularity doesn't bode well for the board game industry... or does it?
Scrabulous has brought Scrabble back in style, exposing it to a new generation of users who may never have been interested in the game had it not been leaked onto the internet. I would be interested to see what effect, positive or negative, the Scrabulous phenomenon has had on sales of the game's physical format. I wouldn't be surprised to see a slight spike, even. But the long-term implications are as as uncertain as their music industry equivalents. Too bad the Board Game Industry doesn't have its own RIAA. ...yet.
I, and apparently thousands of other Faceboook users, have been hooked on Scrabulous, an online version of Hasbro's Scrabble. Initially, I wondered what sort of deal, if any, the makers of Scrabulous may have with Scrabble. The slight (and brilliant) differentiation in names signaled an unreconciled trademark issue at minimum. Sunday's New York Times confirmed that Hasbro and Mattel are currently threatening legal action against the developers of Scrabulous on the grounds of piracy.
Clearly, Hasbro and Mattel simply want their fair share of the hefty ad revenues Scrabulous has been enjoying. But if the companies don't come to an agreement soon, heavy users like me will have to face withdrawal when the Facebook application gets shut down. But then what? Just as Napster was the music industry's slippery slope into the vast world of illegal music downloads, Scrabulous' popularity doesn't bode well for the board game industry... or does it?
Scrabulous has brought Scrabble back in style, exposing it to a new generation of users who may never have been interested in the game had it not been leaked onto the internet. I would be interested to see what effect, positive or negative, the Scrabulous phenomenon has had on sales of the game's physical format. I wouldn't be surprised to see a slight spike, even. But the long-term implications are as as uncertain as their music industry equivalents. Too bad the Board Game Industry doesn't have its own RIAA. ...yet.
Wednesday, February 13, 2008
Saturday, January 19, 2008
Monday, January 14, 2008
Use of Music in Polititcs
NME has an article detailing some of the campaign song selections currently favored by Democratic front-runners Barack Obama and Hillary Clinton. Campaign songs have been important political accessories since Bill Clinton famously used Fleetwood Mac's "Don't Stop" as the theme for his 1992 campaign.
Obama, like his fellow Dems, tends toward Boomer-friendly campaign themes, as opposed to his Republican counterparts, who are inclined to play country-western anthems. While the Obama campaign displays a more moderate music selection during high-profile events, his website caters to those with more liberal musical tastes, offering visitors a free ringtone by rapper and Obama supporter, Jin. CNN discusses how Obama has emerged as the favorite within the urban music community.
It is unclear as to what sort of monetary compensation might be in place for the use of such songs, or if publishers and artists offer them to candidates as "campaign contributions."
Obama, like his fellow Dems, tends toward Boomer-friendly campaign themes, as opposed to his Republican counterparts, who are inclined to play country-western anthems. While the Obama campaign displays a more moderate music selection during high-profile events, his website caters to those with more liberal musical tastes, offering visitors a free ringtone by rapper and Obama supporter, Jin. CNN discusses how Obama has emerged as the favorite within the urban music community.
It is unclear as to what sort of monetary compensation might be in place for the use of such songs, or if publishers and artists offer them to candidates as "campaign contributions."
Friday, January 11, 2008
Recording Industry Woes
The latest issue of the Economist has an article discussing the current (woeful) state of the Recording Industry. Sales of physical formats are down, of course, but even digital sales are not seeing the growth that record labels crave.
The Economist article discusses a couple strategies currently in use by record labels, such as digital deals for the development of "Comes With Music" devices. Labels also seem to be employing "360-degree" deals, in which the companies can share in the artists' earnings in other areas of music consumption, such as touring and merchandising.
Both strategies suggest a new focus on the roles of non-label businesses in creating vehicles for music delivery. The implications of this are manifold. Perhaps record labels would benefit from becoming subgroups and subsidiaries of digital technologies companies. Perhaps digital companies should invest money in creating their own labels, following in the rumored footsteps of Apple. Perhaps labels will become a subgroup of the touring and merchandising industry, thereby flipping the current structure.
We've all heard the doomsday reports for years now: physical formats may face extinction in the near future. But the question of whether the music industry will survive the digital age is irrelevant; consumption of music products is going nowhere. The real question is: how will the music industry change in delivering these products to consumers? What will the new face of the music industry look like?
The Economist article discusses a couple strategies currently in use by record labels, such as digital deals for the development of "Comes With Music" devices. Labels also seem to be employing "360-degree" deals, in which the companies can share in the artists' earnings in other areas of music consumption, such as touring and merchandising.
Both strategies suggest a new focus on the roles of non-label businesses in creating vehicles for music delivery. The implications of this are manifold. Perhaps record labels would benefit from becoming subgroups and subsidiaries of digital technologies companies. Perhaps digital companies should invest money in creating their own labels, following in the rumored footsteps of Apple. Perhaps labels will become a subgroup of the touring and merchandising industry, thereby flipping the current structure.
We've all heard the doomsday reports for years now: physical formats may face extinction in the near future. But the question of whether the music industry will survive the digital age is irrelevant; consumption of music products is going nowhere. The real question is: how will the music industry change in delivering these products to consumers? What will the new face of the music industry look like?
The E. I.
The E. I. focuses on current events and issues related to the Entertainment Industry. If you're looking for a tabloid blog, feel free to visit PerezHilton.com, Dlisted.com, and other favored blogs of the sort. The E. I. is a forum for Entertainment Industry professionals and those interested in the business, economics, and future of the Industry.
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