Musician Mike Doughty takes on the New Yorker's anti-artist editorial "Who Is Really Paying for Adele?". Seabrook argues that somehow Adele is cheating fans by not giving away her new, historical, record breaking album. Seabrook's piece reads like it was written by the Spotify PR dept with lines like this "Could it be possible that…
Germany's Federal Court of Justice has upheld a legal ruling that effectively obliges DSPs to block access to copyright infringing websites in instances where the site's operators and hosts are unidentifiable.
Jonathan Margolis is listening to a &pound;3,159 portable sound system. His wife says that high-end hi-fi is like anti-wrinkle cream: it’s expensive with dubious results. But, compared to some, his set-up is modest. He meets the people for whom hearing is believing
This is not a question, as some would suggest, of choosing between growth from digital platforms and growth from the creative sector. Rather, a healthy creative sector generates the content that powers the growth of the digital economy. Bill Gates understood this synergy in 1996. He wrote: “For the Internet to thrive, content providers must be paid for their work”.
We celebrate in all the success that Adele deserves. Like Taylor Swift and Beyonce' before her the ladies are leading the industry with common sense. We applaud all three for windowing their new albums off of Spotify and other FREE streaming services. We also have some concerns about the implications for other artists who currently can’t do the same.
Archaeological study dismisses abbey’s links to King Arthur and Joseph of Arimathea, saying many stories were created to raise funds after a fire
A tenuous music industry link perhaps but Glastonbury is the site of one of the world's biggest & most famous music festivals and the historical connections are oft-touted when it comes to the "vibe" of the place. Enjoy!
Last year, two music publishers had the balls to sue a major ISP, an expensive and risky undertaking. Now, that gamble is paying off: late last week, a federal judge ruled that Cox Communications, one of the largest ISPs in the U.S., has forfeited its right to DMCA ‘safe harbor’ protections based on its failure to terminate the accounts of repeat infringers.
D.I.Y. digital distributor TuneCore announced today that is artists had a collective 3.6 billion downloads and streams in the last 3 months. That resulted in 90% increase versus the same time last year, and artists saw a 6.1% in earnings over the same time period, totaling $34.7 million. 90% growth...
Superstar singer Adele might be the patron saint of heartbreak, but she’s definitely the one calling the shots. Today, with the release of her new album, she’s called time on her relationship with music streaming service Spotify - and Spotify is currently doing an excellent impression of a passive aggressive ex partner.
“Can you hear it?” I can’t. “There it is.” I still can’t. I can see it on the screen, but for the life of me I can’t hear it. The man next to me can, though. He’s Ian Jones, one of the top engineers at the most famous recording studios in the world, and he’s helping on a quest that began with yet another review CD of remastered music arriving at The Independent: I was asked if I could hear the difference between remasters and the originals. “Not really,” I said. Which started me on my quest to find out what’s so special about remastered music.
Some music publishers acknowledge that weakness and forgive the digital services to an extent, but others argue that – even if the music industry is to blame for some of the inefficiencies – that doesn’t alter the digital services’ obligations to ensure royalties are paid.