November music biz links

These are the links I liked in November, roughly. It’s a bit longer than I thought but they’re all worth a look.

IPO Some more Hargreaves I wouldn’t call it action, but if you’re following the story this is what they’re up to.

Billboard.biz Legal MP3 Sites Are Still Buried by Google Search Results hardly surprising. Most stuff is buried in Google apart from Google products, Wikipedia and Big Content or retail.

The Register UK’s planned copyright landgrab will spark US litigation ‘firestorm’

FMC Digital Distribution infographic very useful breakdown of the main aggregators.

The Guardian YouTube videos make people money, but songwriters rarely see any of it good article by @Helienne

Rolling Stone Survival of the Fittest in the New Music Industry

CMU More stats to celebrate 60 years of singles chart, 3.7 billion singles sold in UK since chart began

Chicago Tribune Future of Music 2012: A fight over Internet radio scraps

NPR A&M Records: Independent, With Major Appeal a good article about A&M with interesting comments from other readers.

Guardian Universal Music boss calls on commercial radio to do more for artists some interesting data in this article.

Ian Rogers Future Sound Presentation, November 2012 Ian is one of my top five commentators on the modern music business. He has data, experience and understanding and he’s a good communicator. Read this.

Wired Inside the Mansion—and Mind— of Kim Dotcom, the Most Wanted Man on the Net an excellent article telling the story of the Megaupload takedown.

Billboard.biz If Big Radio Had Pandora’s Royalty Rate, It Would Owe Billions there is certainly something askew among the various broadcast royalties but the lesson of the past is they don’t go down. Writers and artists do get ripped off from time to time but overall the content slice of the pie holds up.

Pitchfork Making Cents artist Damon Krukowski talks about streaming income.

OUP blog Copyright law and creative social norms some interesting points here about UK copyright. I was surprised to learn (elsewhere) the start-up USA record industry needed access to the British Empire market for scale. How things changed in just 50 years.

Hypebot Jacke Conte of Pomplamoose ignore the headline, long and interesting chat.

Ars Technica iTunes Through The Ages excellent summary from 2001 to 2012.

Guardian Powered by pure passion: the music venue that runs on love alone great article about The Forum, Tunbridge Wells.

Lucas Gonze’s blog Interesting DMCA flowchart infographic

Immutable/Inscrutable blog Forget piracy. The music industry’s biggest money-loser is an inability to connect with older people that used to spend money on music, and don’t anymore. Although this is from America and mostly about live venues a similar argument could be made here about record labels.

Future of Music Rising Tides a good summary of the ins and outs of the Pandora debate in America. Pandora is not available in the UK because they think we charge too much for music.

Soundcheck blog The Internet Radio Fairness Act, Explained… Sort Of

ReadWrite Play The YouTube Industry Has A Transparency Problem inside YouTube. A good account of the pitfalls and how it works.

C|Net Pandora’s Web radio bill is doomed — well, for now

Hypebot Alex Day And The Dilemma Of The DIY Pop Star

EC memo Commission agrees way forward for modernising copyright in the digital economy a press release, probably worth looking at in a couple of years when it has happened.

CMU Rights industries pre-empt fair use report with ‘Licensing UK’

Mac Rumours iTunes launches in 56 more countries not a very sexy sounding development but more significant for the record industry than anything else this year.

Nielsen Music 360 report from August has resurfaced in discussions about “music discovery”. I think record industry pundits make a mistake seeking “music discovery” solutions. Music discovery isn’t a business technique, it’s what people do when they find music, and that can be live gigs, TV, radio or word-of-mouth. Or web browsing. You can’t turn that into a tool or a process.

Guardian Media Network Can data geeks save the record labels? a good article but there are more questions under the surface. The record industry only markets to young people and ignores buyers over 30. Only half of all people buy any music and only a small percentage of buyers buy regularly or often. The industry peddles me-too content rather than creative work that reflects what musicians are doing. I doubt they can turn this round with data.

AOL Music blog YouTube and iTunes to Earn ‘Gangnam Style’ Creator Millions, Demonstrates Shift in Music Business Earnings and Spotify to earn him bugger all.

Digital Music News Pandora Just Reported a Solidly Profitable Quarter after a PR campaign to reduce what they pay for music it all looks a bit wanky.

Future Of Music Mythbusting: Data Driven Answers to Four Common Assumptions About How Musicians Make Money

CMU Top 10 tips for new bands far more promising than it sounds, a good article.

2 thoughts on “November music biz links

  1. Some very nice links in there, and some interestingly one-sided pieces as well. I particularly liked the Ian Rogers piece, perhaps because it agrees with my feeling that overall things will change for the better (though there are tough times to work through in the interim).
    Following the link to the PRS statement on Licensing UK had me twitching though, I don’t know what it is but almost everything they write sets my teeth on edge. I really should get around to removing myself from their records.

    • A one-sided article (and most of them are biased to some extent) is often more passionately argued, and as long as the bias doesn’t interfere with the information I think most of us can deal with a bit of an agenda.

      Ian Rogers is really very good. I recommend you look out any of his video and check out his This Week In Music web TV show. Very incisive and I think one of the best informed minds in the start-up community. (Will Page and Chris Carey would be another two.)

      I’ve been following the whole PRS thing for almost twenty years and it is pretty depressing on the whole. So much waffle and such a weak service for composers (error-prone, slow to correct, bad info, etc.).

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