You’ll need your 3-D specs to properly appreciate this amazing view of the surface of an LP, magnified x390 by an electron microscope, photographed by Chris Supranowitz at the University of Rochester, who has also taken pictures of a load of other interesting stuff, including the pits on a CD, ladybird claws, and the surface of a fly’s eye… Makes you appreciate the wonder of the commonplace! Click on the pic to go to Chris’s project page, where you can find the rest of his images, or here to go to an amazing and totally non-music-related zoomable image of an ant under an electron microscope. 1950’s monster movie anyone?
Everything Laura Marling touches seems to turn to gold. Her past romantic liasons have both preceded breakthrough musical success, first for ex-boyfriend Charlie Fink and Noah and the Whale, and then for current beau Marcus Mumford of the eponymous Mumford and Sons. She was also [ahem] instrumental in the rise of Emmy the Great, and modest initial success for her debut album ‘Alas I Cannot Swim’ has built into a devoted critical following and a growing fanbase. She’s now just days away from releasing a second album, and because she’s a smart cookie, she’s previewing it through the Times’ website here. If you like what you hear, you can pre-order ‘I Speak Because I Can’ on Amazon here. Imagine a young, less squeaky Joni Mitchell who could give Feist a decent bout in the song-writing ring and you’re pretty much there…
The RIAA have loosed another volley against the filesharing contingent that they believe are bleeding the profitability out of the music industry. The arguments are pretty solid: those who choose to download music illegally instead of paying for it through legal physical and digital channels are not enjoying the fruits of the people working in the industry without contributing to their livelihood. Bad people, right? Not proper music fans, right? Theft is insupportable, but there are questions of degree to be considered… From the RIAA’s press release:
According to SoundScan, the top 10 albums in 2009 sold a total of 21 million copies, and the top 10 tracks totaled 36 million paid downloads. But the top 10 albums in 1999 totaled 55 million in sales. Even with digital track sales factored in, those top sellers fell by more than 50%. In the last 10 years, the major record labels’ direct employment in the United States fell from about 25,000 people in 1999 to less than 10,000 today – a drastic reduction of over 60% in people who enable the creation and development of new music.
In the music industry, it takes the investment of many peoples’ money, effort, and time to create the songs and albums we all get to choose from and enjoy. Since most acts never even reach the breakeven point in sales, music labels need to operate like venture capitalists and count on the successes to subsidize the continued development of many artists and releases that may never break out of the red. And it’s easy to ignore the harm being done when you’re only stealing one copy.
Stealing music is wrong. This is undeniable, but there is something about what the RIAA say – it’s easy for a punter to ignore the criminality of nicking one album at a time ‘just to hear it’, and so the solution to the problem has to be slightly more nuanced than cutting off the consumer’s internet connection, or suing individuals for vast damages in high profile cases. Legal, profitable channels of consumption have got to compete directly with the illegal, risky, but free-to-consume-unless-you-get-caught methods like filesharing and illegal streaming.
Picking on individuals makes the recording industry look like the aggressor rather than the victim, which they are not; they’re just trying to safeguard their sources of income, and their jobs. It’s hard to think of Edgar Bronfman’s kids going hungry, or Puff Daddy having to sell his jet to make the mortgage payments, but there are real people doing good work whose livelihoods are on the line. That said, progress is inevitable (see the video at the tail of the post), and the music industry has got to roll with the punches and capitalise on the massive innovation that’s happening in the digital sector if it is to thrive as it has in the past.
Another thing to consider is how much this piracy actually costs the industry. If the pirates couldn’t get hold of the music easily and for free, would they bother getting hold of it at all? Does the money not spent on records all get spent on eyepatches, stuffed parrots and WOW subscriptions, or does some of it come back to the music industry in other ways? Concert revenues are certainly up over the last few years, and some artists are making money against the trend of decline by using clever andnon-traditionalmarketing methods, selling coolphysicalproducts, and using new outlets like Spotify and eMusic (to whom RouteNote will happily distribute your music, by the way) to boost waning physical revenues. Is it better then, for the industry to put a death-grip on sometime pirates who may also be gig-goers and box-set-buyers, and look backwards at the fantastic success they had with physical formats, or to look forward to an era when everything is digital and try to maximise it’s readiness and thus it’s profitability? Perhaps we’ll see things go full circle, and recorded music sales will tail off completely as we all go back to being regular concert goers, just like in the 1800’s…
Digital Music News are carrying this story about online ticket scalping – a case in which an LA based company calling themselves ‘Wiseguy Tickets’ employed a ring of Bulgarian computer programmers to buy up all the best tickets to high profile, high demand concerts and resell them online for a huge mark-up. Perhaps parting with more thansix times the face value of the ticket is painful for whoever buys the ticket second hand, but presumably no-one is twisting their arm as they click ‘confirm bid’, and as far as eBay is concerned it’s perfectly legitimate (at least in the UK – some US states have laws against it).
So who is at fault here? Blocking the public from buying tickets wholesale with highly organised, bulk buying and reselling operations seems pretty underhand and unsporting, but the scalpers are taking the risk that people will purchase the inflated tickets, so isn’t it just the normal exercise of a free market? Are the promoters missing a trick in the first place? A staggered ebay auction style release of tickets by the promoter, with say 25% of total tickets released 12, 8, 4 and 2 weeks before the gig, with prices starting at a reasonable face value would surely have the same free-market effect. There’s the strong argument that this competetive model would be a disservice to the less affluent fans, but promoters would have the same chance of selling out a venue at the starting price, and could only benefit from any uplift if the tickets ended up being worth more to a punter than the original price – if they were bid up by competing punters, and this would make it harder for scalpers to get hold of tickets in the first place, as to get them they’d have to compete with Joe Public in the first place, paying the elevated prices themselves. It would also go some way to eliminating their profits – why buy from an unofficial auction when there’s an official one happening, and could potentially make more money for the promoter, venue and artist if the ticket revenue is split out between them.
What do you think, internet people? Is sclaping fair practice, or callous parasitism? Would selling online like this just be a way for promoters to benefit at fans’ expense, or would it be a neat way of cutting scalpers out of the loop and rationalising ticket prices for the rest of us?
The BBC is reviewing its channel and programming lineup across all media, and looks set to cut some TV, Radio and Web services to focus its budget on making “fewer things better”. The highest profile services in line for the axe are digital/online only stations 6 Music and the Asian Network, with teen-aimed services Blast and Switch also in the firing line. The Corporation is also looking at cutting chunks out of its main web services, dropping sections with poor online audiences wholesale to reduce costs. The narrowing of services is aimed at freeing up more of Auntie’s budget to be focussed into the content on the remaining services; making less, but better content.
Strong feeling is evident among the Asian Network and 6 Music’s listeners, who are relatively few in number, but passionate about saving their stations and have already started campaigns against the cuts. Their views are not shared by everyone; Peter Bazalgette, creator of Channel 4’s “Big Brother”, applauded the cuts, and called for the BBC to retreat from more programming areas to make room for independent production companies, who have been hard hit by the recent recession. Mark Thompson conceded that some of the audiences, particularly the Teen sector that Blast was aimed at, were being better served by Channel 4 and other independent and commercial providers.
The BBC has struggled with its public service remit over recent years, trying hard to find a balance between its need to create unique, informative and educational programming as per its charter, and calls to justify the license fee with which it funds itself by making more entertainment programmes with a wider appeal. In this blogger’s opinion, a refocussing on excellent rather than broad programming is a very positive step, and a return to the values that make the Beeb so precious a national treasure.
Thom Yorke has ditched the eponymous approach, and his solo side-project is now called Atoms For Peace [not this band]. Comprising long-time Radiohead producer and Basement orchestrator Nigel Godrich, Chilis bassist Flea, Joey Waronker (who plays with Beck) and Mauro Refosco of Forro In The Dark. They’ve already played their debut gig in LA, and now they’re going touring… well, playing a few dates in the US anyway:
New York Roseland Ballroom April 5th & 6th
Boston Citi Wang Theatre April 8th
Chicago Aragon Ballroom April 10th & 11th
Oakland Fox Theatre April 14th & 15th
Santa Barbara Bowl April 17th
For details on tickets, click here – they’re being routed through Radiohead’s site.
iTunes is heading for it’s 10 billionth track sold, and has launched a promotion to encourage people to get their credit cards out. If you’re the purchaser of the 10,000,000,000th track, then that nice Mr. Jobs will post you a gift card worth $10,000 to spend in the iTunes store. Interestingly, you don’t actually need to buy any music to be eligible to win the ten thousand dollar prize; you can get a free sweepstake entry by filling out a form here, which should count the same as a song purchase if your entry gets processed immediately after the 99,999,999,999th track is sold. You can keep an eye on the track sales ticker on the iTunes homepage, and put in up to 25 free entries a day, or just log in and buy a huge pile of songs near the time. I’ll be entering, but unfortunately they don’t sell hardware on the iTunes store, so my iPad will have to wait until Christmas. Oh, and if you happened to buy from one of the artists that RouteNote has distributed music to iTunes for, then we’d be really pleased.
If you haven’t seen the Record Club project that is being run over on Mr. Hansen’s website, it’s worth a look. He’s collecting transient teams of highly talented and professional musicians and jamming out ‘covers’ of classic albums in a day. The tracks thus produced are then breathed on and released weekly in video format through the site. The current slew of tunes is from Skip Spence’s album OAR, and includes some [I think] really interesting stuff. This strange upbeat video is called ‘Lawrence of Euphoria’, reminiscent of some of the punchier stuff from early in Beck’s career, but there are also tracks like “All Come To Meet Her”, which positively reeks of Fleet Foxxes, and “Weighted Down”, which has got Feist’s imprimatur all over it. Lovely stuff.
This collaborative project is bearing fruit from different branches – funk/soul producer Jamie Lidell’s new album will feature both Leslie Feist and Beck, whom he worked with on the Record Club project. Nice to see they’re building stuff together, and that success breeds creativity. All Beck’s videos are available on his Vimeo channel here: http://vimeo.com/videotheque
South Africa has a vibrant, varied and sometimes incomprehensible, as this video evidences. No, Die Antwoord not a spoof, although I bet The Lonely Island guys are teary eyed in admiration. Imagine Vanilla Ice’s weedy cousin, dressed entirely from the Salvation Army’s 10p bin, and his vertically challenged girlfriend rapping with thick South African accents over bouncy “Next Level” European Techno beats, or possibly a nice bit of Donk. I don’t know if it’s good, but it’s different, and quite stunning – I just hope and pray they know about irony in South Africa.
“If you don’t like funerals, don’t kick sand in a ninja’s face.”
We posted a while back about Gil Scott-Heron’s forthcoming album, and it’s proven to be a very interesting piece of work. Utterly heartfelt and honest, you can hear the age and frailty in his voice as he recounts deeply personal experiences. His sense of meter and rhythm are unfaded, and the quality of his writing has lost some of its agression, but none of its fire. Strongly reccomend pouring a long drink and sitting down to listen to this one.
You can listen to the album it right here thanks to the wonders of the internet:
It’s been literally decades since the progenitor of hip-hop released anything, so we’re interested to see how this new work is received.
by an electron microscope, photographed by Chris Supranowitz at the University of Rochester, who has also taken pictures of a load of other interesting stuff, including the pits on a CD, ladybird claws, and the surface of a fly’s eye… Makes you appreciate the wonder of the commonplace! Click on the pic to go to Chris’s project page, where you can find the rest of his images, or here to go to an amazing and totally non-music-related zoomable image of an ant under an electron microscope. 1950’s monster movie anyone?
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