On today’s Monday Reading List: Music Business Worldwide tells us why this week will be so important for the industry, Taylor Swift and Apple join forces (again), a new study suggests that streaming might actually help record sales, and the RZA considers stealing back the Wu-Tang album that recently sold for millions.
It’s Monday, and that means it’s time for another Musonomics Monday Reading List. This week, we check in on the Grammy nominations, Bloomberg explains why Spotify is so desperate to cling to their freemium model, Facebook launches a concert ticket service, Adele feels “eh” on streaming, and Music Business Worldwide releases their shortlist of candidates for the MBW Young Executive 2015 Award.
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In the 1990’s, the concept of a functioning virtual reality (VR) system was still in many ways a science fiction fantasy — but that is no longer the case. Multiple developers, most notably Google and Oculus Rift (acquired last year by Facebook), have made VR into a real thing that could be as common as smartphones over the next decade — and VR could prove a valuable new tool for the music industry.
Recording studios used to be the place where music was written and produced, but since the ’90s their role in music production has undergone a dramatic change. This week’s episode examines the plight of the modern recording studio.
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November is almost gone, and with it go memories of turkeys, pumpkin pie, and annoying family members. The last week of November was packed with notable industry news, like a German court’s anti-piracy ruling, or The Guardian’s look at Adele, Drake, and the one-album-per-year model. Also in this week’s Monday Reading List, a blog post about new music that sounds old, Nonesuch Records gets a new co-president, and SeatGeek launches a new marketplace.
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Just in case you’ve been hiding under a rock for the last two weeks, Adele has a new album out. As Adele’s 25 continues to break records at every turn, the album is just about the only thing that anyone in the music industry is talking about — ourselves included.
Hold onto your butts, this week’s Monday Reading List is completely dominated by England’s all-powerful pop songstress.
What if artists have been thinking about streaming revenues in the wrong way? Steve Aoki thinks we should be thinking of streaming revenues as a type of “pension plan” for musical artists. In other music industry news from last week, Beats Music gets an official date of closure, Apple Music launches on android, Jean-Michel Jarre issues a statement on behalf of CISAC regarding the tragic events that took place last week in Paris, and a French photographer’s concert photos from the Eagles of Death Metal show that was attacked last week are released.
Adele’s highly anticipated album, 25, releases November 20th, but questions still remain. Will she release 25 on Spotify and other streaming platforms on the same day as the physical release, or will she bait more sales by staggering the release on streaming platforms?
In this week’s reading list, The Guardian reviews John Seabrook’s “The Song Machine,” Facebook dips a toe into music streaming, The New York Times breaks down the emerging business of music curation, a rapper releases his album using Bitcoin, while two other rappers make a music video out of nothing but cats. What a time to be alive.
Professional musicians know that royalty payments and the concept of transparency are mutually exclusive. As we mentioned briefly in our seventh episode , “The Transparency Moment,” the current performance royalty payment system is antiquated and fragmented. Payments can take months to be sent out and usually arrive via paper check. Some payments don’t even reach rights holders because records of who owns what are incomplete or incorrect. Those payments are trapped in what David Byrne called the music industry’s black box. Black box lost revenues are said to be in the millions of dollars, but we might not be locked out of that box forever.