Blog Archives

X Factor Winner 2008

And if you were looking for the meaning, it’s here.

A sociological view of music

The Guardian | The Guide | School of Rock

But it is a bit Dick Hebdige… However, some really nice comments on society and music. My kind of article…

Copyright: Do we give them more than 50 years?

An artists copyright runs out after 50 years. Cliff Richard has already been effected by this – some of his early hits are out of copyright, and so can be played without him seeing a penny.

However, other patents run out after 20 years. And what happens with all the money from downloads and podcast that sit under the radar?

Leader: New ideas about new ideas | Comment is free | The Guardian

At the heart of the debate is the need to find a balance between the rights of creators to be rewarded and the need to find the optimum level of protection that would encourage the growth of the UK’s creative industries. This debate has been dominated by the music industry’s claims that not extending the existing 50-year term is tantamount to withdrawing pensions from creators. But by the end of 50 years most of the cream goes to corporations, not individuals. Professor Martin Kretschumer, director of the Centre for Intellectual Property Policy at Bournemouth university, reckons that only the top 10% of artists earn significant money from royalties and typical artists earn less that £100 a year.

Bashy song banned by Ofcom

Certified Banger: Bashy – Black Boys remixes and video
Black Boy Video banned by OFCOM – The BN Village
The Barber Shop: Black Boys Video banned–Why?

So, a Grime track that portrays Black men in a positive light has been banned for being racist.

What is wrong with this story? Well, let me begin…

Video Banned by Ofcom for being Racist. OK. Well, Ofcom is a media Regulator, not a watchdog. They respond to complaints. They have had no complaints about Bashy, so have not reacted. They do not ban things for being racist. They might ban something for being offensive or glamorizing a violent or offensive lifestyle, none of which applies here. At all. In any way shape of form.

Video Banned by MTV: Now, that’s more like it. Although, in that case we don’t call it a ban. It just isn’t broadcast. The BBC ‘Banned’ my early radio play – they didn’t broadcast it. It wasn’t that they were censoring it, it just didn’t fit with the schedule (i.e. wasn’t very good).

Here is my theory. MTV have decided that the track doesn’t fit in their playlist. It could be it doesnt fit in with the popular explosion of guitar based music. It could be it sounds too english. It’s just not fashionable. It could be they just don’t like it.

I fully agree with the sentiments on all these grime fans sites – I even support the Facebook group. But don’t keep on with the ‘Ofcom’ ban story – it really doesn’t help the cause.

Now, check out Lenny Henry’s rant – that’s the truth.

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Spice Girls Reuniuon

The best review of the comeback tour so far:

Spice Girls | Review | The Observer

and if only….
The Spice Girls set to play Baghdad? | News | NME.COM
Spice Iraq –
Music – News – Spice Girls could play Iraq concert – Digital Spy

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Good news for Bill Bailey

BBC NEWS | Entertainment | De Burgh ‘will play gig in Iran’

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Social Networks are changing the way people discover and purchase music

Olswang News, 30 July 2007

Social networks are changing the accessibility of music, helping it to become more democratic and utilitarian and this, according to the 2007 Digital Music Survey released today by music and entertainment research specialists, Entertainment Media Research and law firm Olswang, is having a profound impact upon the discovery and purchase of music, with far-reaching implications for the music business.

The Impact of Social Networks on Music Discovery & Purchase

The Digital Music Survey is currently in its fourth year and is an independent survey of 1,700 UK consumers. The research indicates massive increases over the last 12 months in usage of sites containing music such as YouTube (up 310% to 53%) and MySpace (up 57% to 55%). Amongst teenagers the incidence is huge – 77% have used MySpace and 69%, YouTube.

For users of these social networks, music is playing an increasingly important role. For example, 39% of social network users have embedded music in their personal profiles (65% of teenagers). Approximately 70% do so to show off their taste and half do so to reflect their personality. What’s more, it seems to work as almost 60% agreed that they could tell a lot about a person from the music in their profile.

The survey findings strongly suggest that social networks are also impacting music discovery. 53% of people revealed they actively surf social network sites to discover new music and artists and two-thirds of all users regularly or occasionally discover music that they love on their preferred social network site. The incidence is higher still on MySpace (75%), Bebo (72%) and YouTube (66%).

Crucially, the discovery is translating into changing purchase behaviour. 17% of social network users claimed it has a “big/massive impact” on the way they purchase music and 30% state that they “regularly/occasionally” buy CDs or downloads of music that they discovered on a social network site. This rises to 36% of MySpace users.

However, more needs to be done to make purchasing this music easier, with 46% of respondents agreeing with the statement “I wish it was easier to purchase music that I find on these sites.”

Russell Hart, Chief Executive of Entertainment Media Research commented,

”Social networks are fundamentally changing the way we discover, purchase and use music. The dynamics of democratisation, word of mouth recommendation and instant purchase challenge the established order and offer huge opportunities to forward-thinking businesses.”

John Enser, partner and head of music at Olswang, says, “The music industry needs to embrace new opportunities being generated by the increasing popularity of music on social networking sites. Surfing these sites and discovering new music is widespread with the latest generation of online consumers but the process of actually purchasing the music needs to be made easier to encourage sales and develop this new market.”

Is Legal downloading still booming?

After the dramatic 40% increase in the number of legal downloaders between 2005 and 2006, it appears the rate of growth of legal downloading is in decline. Over the last 12 months the total number of people legally downloading only rose by a much more modest 16% to 58% of music consumers. What’s more, the number of consumers who have stopped legally downloading music increased from 9% to 11%. In addition, 22% of legal downloaders admitted that they had not legally downloaded a track for at least six months (up from 12% in 2006) and the same number said they had only ever downloaded one legal track.

The survey by Entertainment Media Research and Olswang identifies a number of likely explanations for the slowdown:

1. Piracy is on the increase

Illegal downloading has risen to an all time high, with 43% claiming that they are illegally downloading tracks compared to 36% in 2006 and 40% in 2005. There is one clear reason why unauthorised downloading is increasing and that is because consumers are less concerned about being prosecuted (42% gave this as a reason for downloading less in 2006, compared to only 33% in 2007). Going forwards, the trend towards piracy appears to be in real danger of accelerating as 18% claim they will download more unauthorised tracks in the future compared to only 8% in 2006 and 6% in 2005. We note that the drop in fear of prosecution coincides with those prosecutions falling off the front pages of national newspapers.

2. Legal downloads are too expensive

As the retail price of new release CDs has declined materially over the last 12 months so the perceived pricing advantage of digital downloads has been eroded. In 2006, the price advantage of downloads was the third most significant factor (45%) in motivating download purchases. However, in 2007 this has declined to 31%. One measure to help combat this issue might be for music companies to consider introducing variable pricing models. 84% of consumers agreed that older digital downloads should be cheaper whilst 48% claimed they would be prepared to pay more for newly released tracks.

3. Increased awareness and rejection of Digital Rights Management

Digital Rights Management technology (“DRM”) seems to be an increasing concern for legal downloaders. Almost two in three respondents (62%) had heard of DRM (with 42% having at least some knowledge of DRM), of whom the majority (61%) believed that it invaded the rights of the consumer to listen to their music on different platforms. Furthermore, of those that had an opinion (60% of all respondents) 68% felt that single track downloads were only worth purchasing if free of DRM and 22% of all respondents would prefer paying extra for DRM-free tracks, lending support to EMI’s recent decision to release tracks DRM-free.

John Enser, partner and head of music at Olswang, says, “As illegal downloading hits an all time high and consumers’ fear of prosecution falls, the music industry must look for more ways to encourage the public to download music legally. Variable pricing models and DRM free music, which would allow consumers legally to transfer music to other devices, were popular among respondents and represent new ways of enticing people away from breaking the law.”

Radio on mobiles rather than mobile downloading

The 2007 Digital Music Survey reveals some positive news for radio broadcasters. The incidence of listening to the radio on mobiles jumped from 15% in 2006 to a solid 25% in 2007. This is particularly heartening news for broadcasters for two reasons.

Firstly, it indicates that there is a “new” mass market platform with which to grow the critically important breakfast time market both in terms of audience and total listening hours.

Secondly, DAB-equipped mobiles of the future offer the prospect of additional revenue through the sale of music from broadcasters directly to the user’s handset.

Conversely, the outlook for downloading music to mobile via mobile telephony networks remains uninspiring. While a third of respondent consumers transfer music to their mobiles on at least a monthly basis, suggesting that there is increasing acceptance of mobile phones as music players, still only 16% of all downloaders claim to have purchased and downloaded music direct to their mobile phone. Moreover, the potential for rapid growth in the near future seems limited with 57% of downloaders either unlikely or very unlikely to start mobile downloading, whilst a further 9% “don’t really understand how to do it”. It is therefore clear that providers still have some way to go to make downloading to mobile attractive to the mass market.

The love of live music delivers new webcasting opportunities

The 2007 Digital Music Survey also has exciting news for webcasters and content owners with 10% of consumers willing to pay for live webcasts as they happen. Another 74% are interested of whom 31% are “very interested” in live webcasts and although they are not prepared to pay for it, at this level of overall interest one can anticipate an advertising-supported model for webcasting working well in the UK.

This substantial demand for live webcasts reflects the strong positive consumer relationship with live music: 64% agree that music is much more enjoyable when performed live and 59% say they are much more excited about seeing a band live than listening to their album. Additionally, the survey provides evidence of live music stimulating album sales: 57% of respondents often buy an artist’s album after seeing them live and 61% prefer to buy an artist’s new album before seeing them perform live.

Russell Hart, Chief Executive of Entertainment Media Research commented, “The buoyancy of the live music scene combined with consumers’ stated preparedness to pay for live webcast content offers enlightened rights owners the prospect of a valuable new revenue stream.”

More Info: visit the original Article or the original source.

The 2007 Digital Music Survey was carried out in June 2007 using an online questionnaire by music research specialists Entertainment Media Research. This is the 4th year in which Entertainment Media Research has reported upon the state of the digital music industry. (

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three degrees of seperation

Popbitch pointed out: “Remember that band you’d never heard of suing Avril Lavigne for ripping them off with her song Girlfriend? Have a listen. And see if you think Rolling Stones should think of suing them instead for copying Get Off Of My Cloud.”

They have a point. I’m now working on tracing back ‘Get Off of My Cloud’ via 50’s rock n roll, Shostakovitch and Gregorian chant. Any chance of a hand?

Avrils Girlfiend

Rubinoos Boyfriend

Stones cloud

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