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
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.
Album sales are down. But that really isn’t the point. Albums were the logical result of the available recording technology. At first, recorded music was limited by the “brevity dictated by the size of the shellac plate.” In other words, the length of a song was limited to the length of a side of a 78-rpm record, which for a while was about 3 minutes. The album only developed as a concept with the 33 1/3-rpm LP record, which could initially hold 22 minutes of music per side. Rather than lengthening a song, record companies began bundling 3 minute songs together in the form of an album. With digital music, it does not necessarily make sense for record labels to produce albums if they can release digital tracks. Continue reading
I’ve been writing about what I call the piracy panic narrative for a while. The piracy panic narrative goes that file-sharing is piracy, piracy is stealing, and this stealing hurts recording artists. In this simplistic view of the recording industry (constructed by the major record labels), we are bringing about the death of music by file-sharing, ripping CDs, and streaming music. The main problem with this argument being that piracy is not stealing and these activities are not “piracy,” in the first place. However, the recording industry repeatedly makes these claims beginning with Metallica in 2000.
Now Taylor Swift has gotten into the discussion. She states “Music is art, and art is important and rare. Important, rare things are valuable. Valuable things should be paid for.” Continue reading
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
A new book by a UT Arlington assistant professor reveals how large corporations exploited new technologies to maintain their stranglehold on the music industry.
David Arditi, an assistant professor in Interdisciplinary Studies, wrote “iTake-Over: The Recording Industry in the Digital Era,” published by R&L Publishers. It will hit shelves Dec. 5.