The music never died. It’s hard to imagine the soaring popularity of EDM, 35 years on, without the pulsing, electronic overdrive of Georgio Moroder’s work with Donna Summer, or the Bensonhurst, white-suited excess of the Bee Gee’s Saturday Night Fever. RIP Donna Summer and Robin Gibb.
Let’s not make this a trifecta… sending lots of love to Chic’s Nile Rodgers…..
Nile’s blog post on his battle with cancer, and his last meeting with MCA of the Beastie Boys. HERE [Clever, Quick and Unexpected Cancer]
The actively curated playlist on Spotify, Rdio et.al. is the ‘new’ blog.
This smart essay from the Crumblr points in that direction. With social music subscription services emerging as hubs for music discovery, listeners are looking for curated content, with less and less interest in trolling the web for interesting blog posts. The lesson, if any? Bloggers - build your recommendations into frequently updated, subscribable playlists and push to your fans.
Self Titled Magazine’s consistently excellent weekly Needle Exchange weekly mixtape features a delicious Drum + Bass set from Ulrich Schnauss this week.
At SF Music Tech 12, at the final ‘What’s New’ panel we heard Universal Music Group digital executive David Ring justifying the need to extract innovation stifling up front fees from start-up music services. There was so much that was wrong, self-serving, and just plain hypocritical with the answer - and it’s weighed on me ever since. A great dialog on the panel came to life on Digital Music News, and in this essay written in response, former major-label distribution heavyweight, Jim McDermott, nails many of the reasons why.
Doug Morris and the birth of Vevo [Financial Times]
The symbiotic rise of MTV and the promotional music video are the stuff of legend. With the formation of the first nationally broadcast music video cable channel, low-key, often vanity video projects became one of the most cost effective ways to promote music to a national audience, soaring beyond touring, and equaling radio.
Those days are long since past. With little economic return from the sale of recorded music, video has become a costly (though increasingly less-so in a budget constrained environment) accessory, better serving the promotion of touring, tweets, ancillary marketing, artist branding, and occasionally… music sales.
As video disappeared from MTV, replaced by reality TV programming, music video found new homes on YouTube and a multitude of other outlets, often paired with advertising, that returned no revenue to labels.. and very indirectly to artists.
It was the realization that there was revenue to be captured from the development of appropriate big budget and advertising paired with video from top artists that gave birth to Vevo - in effect a MTV for the internet age, but in this case owned and operated by the record labels. The goal of Vevo was to provide direct monetization of music video with the returns going directly to labels that funded it. Love or hate the labels… it makes sense and seems fair…
FT provides a decent, if glossy, overview… but gives little credit to Rio Caraeff the experienced digital executive who actually built Vevo - Morris can take credit for writing the check.
[Financial Times] read on..
The Economist, yes really, on the birth of Jungle
The David Fincher video: The Karen O + Trent Reznor cover of “Immigrant Song” from The Girl With The Dragon Tattoo