The following is an academic essay that I wrote about the recording industry. Rather than publishing it through peer-review journals, I decided to release it to everyone. Please have a look and let me know what you think. It is particularly important because of the newly proposed copyright law. What it shows is that the trade organizations such as the Recording Industry Association of America (RIAA) and the International Federation of Phonographic Industries (IFPI) are very candid with regard to to the way they aim to change the industry. Please read and let’s start a conversation about the impact of the proposed copyright law. Continue reading
After 3 hours of music and a much needed public service announcement on domestic violence, the Recording Academy decided to end the show with a selfish lobbying effort to create tougher copyright laws. By starting the Creators’ Alliance (dubbed #GrammyAlliance for Twitter), the Recording Academy placed itself strongly on the side of major record labels against the recording artists who constitute the bulk of the Recording Academy members. Continue reading
While the term Grammy is derived from “gramophone,” the first device to record and playback music, this year’s Grammy Award Show will be largely about profit, not music. Heralded in the past as a moment when recording artists come together and vote for the best music of the year, the choices they are given is highly structured by the Grammy Nominating Committee and major record labels. And while voting members still have ultimate say in nomination and voting, the system propels the biggest pop names to the top the same way that our political process favors big name politicos (read “serious candidates”). Because there are so many voters, with over 20,000 members, the Recording Academy‘s Voting Members, eligible only to musicians who have “commercially” released music, favors widely popular major label music over obscure indie music. Continue reading
As more data is released from 2014, we can see that major record labels celebrated a year of indisputable growth. Yet, they continue to include language that makes it sound as if the industry shrank.
“While the U.S. music industry suffered through its worst sales year since the advent of SoundScan (now Nielsen Music) in 1991, streaming was so strong last year that the industry nevertheless saw growth — yes, growth — in 2014, when new metrics to measure music revenue are taken into consideration.” Continue reading
In a moment of clarity, Billboard admits that album sales don’t tell the whole story of record label revenues. According to Billboard, “there’s more to the story. Recorded music looks better when streaming gains are taken into account.” As I’ve been arguing for a while, record labels earn revenue from a number of sources well beyond album sales. So the recent decline of albums and tracks is rather irrelevant when considering industry profits.
More than a decade after the launch of the iTunes Music Store, parts of the recording industry are finally changing the way they calculate sales. Billboard changed the metrics it uses to calculate the Billboard 200. Rather than calculating only album sales, Billboard 200 will now use “track-equivalent albums” and “track-equivalent streams.” This is the biggest change in the way that Billboard calculates this chart since the implementation of SoundScan in 1991, and it already appears to be every bit as monumental. Continue reading