"(Songs are) like rabbits; if it’s coming out of a hole, you’re not gonna stand there with a gun. The rabbit will see you and go back down the hole. So you put the gun down, go and sit over there behind a rock, and wait for this song rabbit to come out of the hole. Start sniffing around. And you start sniffing around too..."
...There is an undeniable uniformity among most of the acts receiving a significant industry co-sign – trap-leaning, downtempo, lyrically repetitive male artists, writing songs primarily about the pursuit of wealth, power and the objectification of women.
The times they are a changing and oldsters are out of sync with the world today and how music finds an audience in these modern times.
What does it mean to find your voice? How do you do it? And what happens when you do?
Netflix regards video piracy (which is predicted to cost over the top streaming services more than USD$50B between 2016 and 2022) as one of its biggest competitors.
“The song is so much more than a piece of music. It has become an anthem for all of us...
"... Our business is highly sensitive to rapidly changing public tastes and is dependent on the availability of popular artists and events."
The haste with which the Canadian music industry is repudiating connections with Hedley feels more like a wish to get out from under a bad-PR tsunami than a genuine interest in changing its ways.
Author, actor, television and radio presenter and co-founder of Black Flag, Henry Rollins revels in the aural sound of vinyl records and forcibly argues his case for the format.
The “sex, drugs and rock ‘n’ roll” sensibility that once seemed to signal freedom and independence has sometimes turned into an atmosphere of license and even intimidation.
In order to bring items as different as records and streams to a common denominator, the industry standard practice is to use equivalents. Nielsen counts 1.500 streams as the equivalent of one album – which may be seen as 150 streams being equal to a single download track sale, with 10 single track sales being equal to one album sale (this, incidentally, is where the practice of counting “equivalent albums” originated). This conversion factor is supposedly sufficient to integrate data for different methods of music delivery. I want to convince you that it isn’t.
It should be simple banning pirate websites that enable copyright infringement, right? In theory, yes, but who creates the list and decides what is infringement makes the move to legislate an emotional and intellectual quagmire. It also opens the door to government censorship of the web.