How streaming is changing the music business | FT Film

Interesting news video from the Financial Times about how streaming is changing business models and options for recording artists:

How do you make money in the music industry? Streaming platforms like Spotify now dominate. But social media apps like TikTok and Instagram are also changing the playing field. Some artists are moving away from traditional record deals and revenue sources. The FT's Don Newkirk asks some of the world's biggest music companies, record labels, and producers how they are adapting to this fast-changing industry. And he follows an up-and-coming hip-hop artist struggling to make his fair share as the coronavirus pandemic hits.

 Other news items:

• Ingram Sells VitalSource to Francisco Partners
• MediaWeek: Amazon++, Copyright, Shakespeare + Other Articles
• New Price Fixing Suit Goes After Publishers and Amazon for Print Prices
• IMP Newsletter Update
  

McKinsey Report on Diversity in Film and Television

Interesting set of research from McKinsey into the economic impact of diversity in the film and television industries:

Today, Black Americans make up 13.4 percent of the US population, and that percentage will increase over the next few decades. ² Just as the racial wealth gap is constraining the US economy, the film and TV industry will continue to leave money on the table if it fails to advance racial equity (see sidebar “The value of achieving racial equity in Hollywood”).

....

• By addressing the persistent racial inequities, the industry could reap an additional $10 billion in annual revenues—about 7 percent more than the assessed baseline of $148 billion. ¹ Fewer Black-led stories get told, and when they are, these projects have been consistently underfunded and undervalued, despite often earning higher relative returns than other properties.
• The handful of Black creatives who are in prominent off-screen, “above the line” positions (that is, creator, producer, writer, or director) find themselves primarily responsible for providing opportunities for other Black off-screen talent. Unless at least one senior member of a production is Black, Black talent is largely shut out of those critical roles.
• Emerging Black actors receive significantly fewer chances early in their careers to make their mark in leading roles, compared with white actors, and they have a lower margin for error.
• Both film and TV still have very little minority representation among top management and boards; film in particular is less diverse than relatively homogenous sectors such as energy, finance, and transport.
• A complex, interdependent value chain filled with dozens of hidden barriers and other pain points reinforces the racial status quo in the industry. Based on our research, we catalogued close to 40 specific pain points that Black professionals in film and TV regularly encounter as they attempt to build their careers.

MediaWeek (Vol 6, No 45): End of Music Compilations? How Students Perform, Intel buys Kno, 60mins Debacle + more

Now that's what I call pure proft.  There's still life in compliations: in a word curation.  (NewStatesman)

The brand has also taken the digital landscape head on and embraced the new realms of digital music platforms with a Now Spotify Channel, Now You Tube Channel and a Now iPhone app. In a new era where people have switched from CD to MP3 and digital downloads, where purchasing single tunes from albums is commonplace and economically sensible, you would think that there is no place for a compilation CD anymore? But no!  Just when you thought that this wounded animal was in its death throes it just plain refuses to die! It turns out that sales of compilation albums are on the increase as they’re cheaper than buying tracks individually. According to Jeff Moskow, Head of A&R for Now, only 15 per cent of Now’ssales are digital which means 85 per cent still come from traditional CD sales. Soundscan, which is one of the most widely used music sales tracking systems, show that digital sales in 2011 were larger than physical sales for the first time, however CDs still sell well in large chain stores and supermarkets – perhaps where Now’s target audiences regularly congregate. In its early days Now’s target audience was predominantly female until hip-hop started entering the compilations mix and now the gender split is pretty equal. What the Now brand has done is recognise the popularity of particular genres or trends in popular music (culture) amongst audiences and featured those songs and artists on their compilations. As Moskow says “electronic dance music is one of the biggest genres, and it’s growing, so that sound is reflected in our brand and songs.” “We’re not critiquing music, just curating it,” says Moskow, who has personally selected the songs on every album since Now 3. “We really don’t care what it sounds like.”

Using actual student performance data to learn what represents effective education.  What a concept (IHed):

The Science of Learning Center, known as LearnLab, has already collected more than 500,000 hours’ worth of student data since it initially received funding from the National Science Foundation about nine years ago, its director Ken Koedinger said. That number translates to about 200 million times when students of a variety of age groups and subject areas have clicked on a graph, typed an equation or solved a puzzle.  The center collects studies conducted on data gathered from technology-enhanced courses in algebra, chemistry, Chinese, English as a second language, French, geometry and physics in an open wiki.  One such study showed that students performed better in algebra if asked to explain what they learned in their own words, for example. In another study, physics students who took time answering reflection questions performed better on tests than their peers.

Intel has purchased software and (once, for a while) hardware manufacturer Kno (Intel) and Techcrunch:

Today, I’m excited to announce the newest resource in the Intel Education offering. Intel has acquired Kno, a leading education-software company whose guiding mission is to change the way students learn. Much like Intel, Kno believes engagement is key to student success.  The acquisition of Kno boosts Intel’s global digital content library to more than 225,000 higher education and K-12 titles through existing partnerships with 75 educational publishers. Even more, the Kno platform provides administrators and teachers with the tools they need to easily assign, manage and monitor their digital learning content and assessments.  We’re looking forward to combining our expertise with Kno’s rich content so that together, we can help teachers create classroom environments and personalized learning experiences that lead to student success. Check out the Intel Education newsroom for ongoing updates from Intel.

In a deal that puts that one in context, Intel announced the release of an education market focused tablet computer (History repeating itself?):

Intel introduced an education-focused tablet reference design, featuring an Intel® Atom™ processor and the Android* operating system code-named Ice Cream Sandwich*. The Intel Education tablet is specifically for education, featuring student-friendly designs that empower students to create compelling content. Features including front- and rear-facing cameras, a stylus, integrated speakers and microphones bring interactive, multimedia content into learning.

The tablet is fully equipped with Intel Education Software, a comprehensive suite of applications including an e-Reader, science exploration and data analysis  application and painting tools. It also has management software that provides teachers and administrators with tools to protect students and manage technology.

The [10inch] tablets are designed to enable interactive, collaborative learning to prepare students for success in school and beyond. These reference designs align with the Intel Education platform, which assists teachers and students in technology-enhanced learning.

Two weeks ago 60mins broadcast a riveting story on the Benghazi terror attack that resulted in the death of a US Ambassador.  Turns out it was untrue and the apology as a flacid and their fact checking. (NewYorker)

“Correction,” the word “60 Minutes” used, is a tricky one in this context. The program did not correct its report, in the sense of putting out an accurate version. The entire segment was pulled from its Web site. If the mistake was putting Davies on air, one might, in theory, imagine a correct version in which his interview is simply excised; that’s impossible here, though. There is no report without Davies. He is either speaking or providing the point of view for more than eight of its fifteen and a half minutes; we rely on him not only for the sight of Ambassador Chris Stevens’s body but for a phone conversation the two supposedly had a few hours before Stevens died—a particularly low form of fabrication, if that’s what it is—as well as calls he says he had with Sean Smith, another diplomat who was killed; Libyan guards; and another unnamed American at the compound. (“I said, ‘Well, just keep fighting. I’m on my way.’ ”) And he provides Logan with her guiding logic: “The events of that night have been overshadowed by misinformation, confusion, and intense partisanship,” Logan says.

And as others have noted, 60mins never mentioned in the initial broadcast that the fantasist's book was being published by CBS's Simon & Schuster.  The book is being pulped.  (Politico)

From twitter this week:
David Suchet: Poirot and me Guardian
BBC's loss-making Lonely Planet deal under fire Guardian 
Number of publishers forced out of business shows sharp increase - FTOnline

MediaWeek (Vol 6, No 35): The Cassette Tape, Birmingham Library, Google Glass, Economist Newspaper +More

Missed last week. Apologies.

Who knew the lowly cassette tape is celebrating 50 years of age.  Not much chance of making 60 I shouldn't wonder.  From the Guardian 10 Key Moments in Cassette history (Guardian)

Tape for audio storage was first showcased at the Berlin Radio Show in 1935, on the reel-to-reel Magnetophon machine, but it would take another three decades for the stereo compact cassette to arrive. Dutch manufacturer Philips got there first in 1963, alongside the first battery-powered lightweight cassette player.
Albums on cassette arrived in the US in 1966, with Nina Simone, Eartha Kitt and Johnny Mathis among the first artists on tape; the UK followed suit in 1967. Intriguingly, cassettes also made the album a more significant format. As it was harder to select tracks on cassette than on record, listening to an album serially, without skipping, became ingrained in music culture. Cassettes also allowed more time for the album than vinyl. The standard LP length was 45 minutes in total; compact cassettes allowed up to 45 minutes per side.

A lengthy review of the new library in Birmingham. (Guardian)

The new £189m Library of Birmingham, which calls itself the largest public library in Europe, is as grand a civic statement as that city has attempted for many years. It's also a product of the package and wrapping way of building. Its maker, ahead of its architects, is the project management company Capita Symonds. It was on board first, and made many of the decisions that would determine the experience of the finished building. It managed the process that led to the selection of the Dutch architectural practice Mecanoo. Once architects would win a competition with a design, and ways would be found to achieve it, but Mecanoo was partly chosen for the ability to work with a pre-existing process. The question is: can it be "the best library in the world", as was hoped for, and be built in this way?

From the New York Times magazine this weekend a discourse on Google Glass.

Ultimately it’s difficult to assess how a tool like Glass might change our information habits and everyday behavior, simply because there’s so little software for it now. “Glass is more of a question than an answer,” in the words of Astro Teller, who heads Google X, the company’s “moon shot” skunk works, which supervised Glass’s development; he says he expects to be surprised by what emerges in the way of software. Phil Libin, the C.E.O. of Evernote, told me that my frustrations with Glass were off-base. I was trying to use it to replace a phone or a laptop, but the way head-mounted wearables will be used — assuming the public actually decides to use them — will most likely be very different. “This is not a reshaping of the cellphone,” he added. “This is an entirely new thing.” He predicts that we’ll still use traditional computers and phones for searching the Web, writing and reading documents, doing e-mail. A wearable computer will be more of an awareness device, noting what you’re doing and delivering alerts precisely when you need them, in sync with your other devices: when you’re near a grocery store, you will be told you’re low on vegetables, and an actual shopping list will be sent to your phone, where longer text is more easily read. Depending on your desire for more alerts, this could be regarded as either annoying or lifesaving. But as Libin puts it, “The killer app for this is hyperawareness.”

The principal associations for higher ed (The Association of Research Libraries (ARL), the Association of American Universities (AAU), and the Association of Public and Land-grant Universities (APLU)) announced the formation of a joint steering group to advance a proposed network of digital repositories at universities, libraries, and other research institutions across the US that will provide long-term public access to federally funded research articles and data.  (Press Release)

I know I've asked myself this question; "Why does the Economist call itself a newspaper?" (Economist)

The Economist, moreover, still considers itself more of a newspaper than a magazine in spirit. Its aim is to be a comprehensive weekly newspaper for the world. If you are stranded on a desert island and can have only one periodical air-dropped to you to keep up with world news, our hope is that you would choose The Economist. That goal is arguably more in keeping with the approach of a newspaper than a magazine. The latter term derives from the French word for storehouse and implies a more specific publication devoted to a particular topic, rather than coverage of current affairs.

From Twitter:
CourseSmart Rolls Out Digital Textbook Subscriptions for College Students Goodreader
Scientific American devotes a special report to digital reading. Scientific American
BBC News - Elmore Leonard, crime novelist, dies aged 87 BBC
Will copyright be extended 20 more years? An old debate returns Gigom  

MediaWeek (Vol 6, No 26) Digg Reader, Quantified Self, Chicago Public Maker Fair, Music Data Miners + More

Developing the Digg Reader replacement for Google Reader (Wired)

McLaughlin saw a blog post in the Fall of 2012 speculating that Google Reader, choked of resources, was shutting down. He sent a teasing note to a friend at Google offering to “take it off their hands.” To his surprise, he got a serious reply. Google, his friend replied, had concluded that it couldn’t sell the name, user data, or code base (which would only run on their servers) and so there was nothing to actually buy.

The following February, McLaughlin, now full-time at Digg, bumped into this same pal at a TED conference. The friend warned him to act fast if he really did want to develop a Reader. “He said ‘I’m not telling you anything, but we’re not going to keep this thing around forever and maybe you want to have something ready by the end of the year.”

But instead of year’s end Google announced plans to shutter Google Reader on July 1. That same night, Digg put up a blog post announcing that it was going to build a replacement. The Internet went crazy.

The idea of Digg building a Reader replacement just resonated. The revamped Digg.com was already popular, especially in news and developer circles. It had a reputation for scrumptious headlines and kickers, courtesy of editorial director David Weiner, a HuffPo alum. Its tech team, led by CTO Michael Young had already shown serious backend chops, which meant people didn’t doubt its ability to pull off building a reader. The same minimalist sensibility that design director Justin Van Slembrouck had given the front page of Digg would translate well to the new project, and, hell: Its GM Jake Levine might even be able to figure out a way to monetize it in ways Google never had.

I like the idea of selling my 'quantified self' rather than allow just about anyone to come and take it. There will be a market in personal information. You watch. (Wired)

The much-publicized Scanadu Scout, which is slated to ship in the first quarter of 2014, is the result of his last two years of work. The puck-like device is a sleek vital-signs recorder – tracking everything from blood pressure, body temperature and heart rhythm via myriad sensors. The gizmo then beams your vital signs to an app loaded on your phone or tablet, where it’s yours to keep forever. De Brouwer designed the Scanadu Scout to be a DIY doctor’s office, minus the frustration, endless waiting, and lack of empowerment that’s often associated with the health care system.

Wired sat down with De Brouwer in our offices in San Francisco to discuss what it’s been like to delve into the health care space and how the Quantified Self movement will change medicine forever.

Chicago Public library is going all innovative (Press Release)

The Chicago Public Library is opening the CPL Innovation Lab at the Harold Washington Library Center. Already used by a variety of industries from retail to banking to universities, innovation labs offer organizations a place to test new ideas for services, programs and products. The third floor space at the Chicago Public Library will allow CPL to quickly experiment with new ideas and approaches in order to be more customer focused and able to adapt to the community’s changing needs.

The first innovation experiment in the space is the Maker Lab, part of the growing movement of hands-on, collaborative learning environments in which people come together to share knowledge and resources to design, create and build items. CPL is the first large urban library to experiment with a maker space. Made possible with a grant from the Institute of Museum and Library Services (IMLS) to the Chicago Public Library Foundation, the Maker Lab will be open to the public from July 8 through December 31, 2013. While a number of maker spaces exist in Chicago, this will be the first free maker space open to the public.

Created in partnership with the Museum of Science and Industry, the Library’s Maker Lab offers the public an introduction to technology and equipment which are enabling new forms of personal manufacturing and business opportunities. After the six month run, the Library will evaluate the project to determine the fit with the Library’s mission and the ability to bring the project, or elements of it, to a wider audience in the neighborhood branches.

The Lab will offer access to a variety of software such as Trimble Sketchup, Inkscape, Meshlab, Makercam and equipment including three 3D Printers, two laser cutters, as well as a milling machine and vinyl cutter.

In addition to Open Lab hours during which patrons can work with staff members to master new software and create personal projects, a variety of programs and workshops will be offered throughout the seven day schedule of the Maker Lab. Family workshops will be offered every Sunday afternoon to foster invention, creation and exploration of STEAM (Science, Technology, Engineering, Art and Math), the focus of this year’s Summer Learning Challenge.

Cengage continue 'constructive discussions' about their financial future (press release):

Cengage Learning continues to be in constructive discussions with its key financial stakeholders about a comprehensive financial restructuring that would strengthen the Company’s balance sheet and position Cengage for longterm growth and success. Although Cengage Learning has substantial cash balances and continues to generate positive cash flow, it has elected to take advantage of grace periods and not make certain debt payments as these discussions continue. Our goal is to undertake a financial restructuring that will put Cengage Learning on a stronger financial footing and allow us to support our strategic growth plans and ongoing digital transformation.

Musicians do data mining (Economist)

It helps that Ms Keating performs alone, which cuts down costs. She has no band, no manager, and no entourage on the payroll. Instead she tends to tour with her son, her husband and a nanny; sometimes there is someone to sell merchandise. But much of her success can be attributed to her skills as a data miner (alongside her cello-playing). By digging through the analytics on her various social networks, she determines where her fans are and what songs they like. A music-sharing site like SoundCloud allows Ms Keating to see which countries yield the most clicks. SoundCloud also lets users leave comments on songs, so musicians can determine fan preferences and perhaps alter their set lists accordingly.

From the twitter;
Lowry and the Painting of Modern Life – review Guardian
Does Jane Austen deserve a place on our £10 notes? Guardian Mr Darcy - man with a fortune
Jennifer Lopez sparks controversy with show for Turkmenistan president Guardian  Jenny from the dictatorship
Russell Brand: what I made of Morning Joe and Question Time Guardian
Barnes & Noble Throws in Towel on Tablets. NYT 

Mr Townshend at The New York Public Library

From the NYPL Live series a meeting with Mr. Pete Townshend:

In conversation with Paul Holdengräber, one of rock-and-roll’s biggest icons will talk about his most intimate memories; from the inner sanctum of Eric Clapton’s drug-ridden hotel rooms to the feet of Jimi Hendrix and his electric kool-aid guitar; from the first trial performance of Townshend’s rock opera, Tommy, in a London bar to setting the record with The Who as the world’s loudest band, Townshend will unload the journey that left him writing songs for “the best live band of all time.” Hear the stories straight from the mouth that sang on the front lines of rock-and-roll’s takeover of the music world.

Your Price May Vary

Re-post from November 19, 2009

I was enamored with the airline industry as I grew up and close readers will know I’ve always traveled a lot. Out of business school I interviewed with three airlines in their pricing departments where newly hired MBA’s went to learn the business. In that role, staff managed pricing of airline seats to maximize revenue per flight. Remembering that once a flight left the gate any open seat amounted to zero revenue for the airline, this activity was potentially highly stressful as the job also required close comparison with competing airlines’ pricing.

All this activity is now done with sophisticated real-time analytics and people rarely enter into the equation. Contrast this reliance on deep data analysis that helps the airlines maximize their revenue and the approach that media companies have used to price their products. For the most part, in the media business pricing is homogeneous across format with little consideration to the popularity (or lack) of the artist, author or show in question. Rather than a pricing model constructed on maximizing the revenue from individual products the content owner places a band of pricing across the range of their content. This is particularly the case in trade publishing, and in this model each artist is considered equal in their ability to generate revenue. Historically, publishers and other media companies ‘jimmied’ this lack of sophistication by assuming long backlist life, format sales – trade paper, mass-market, video rental, etc. – but those options look increasingly unworkable as the market migrates to e-Content.

Publishers in particular are gun shy about experimenting with pricing; opting to use the blunt instrument of scarcity rather than more sophisticated options. Numerous big name titles this year have been ‘held back’ from ebook distribution in deference to their print versions. This approach has already caused consternation among the consumers who have already made the transition to eBook content and want the newest titles when (even before) everyone else gets them. At some point many of these e-Book owners will look upon this situation as a ‘first mover’ penalty.

As e-content becomes more ubiquitous pricing should become more science than current practice would dictate. For the health of all parties in the publishing supply chain, it is vital that the price paid by consumers maximizes revenue. Understanding how the demand curve arcs is critical to pricing accurately and many factors (some more important than others) play into this calculation including the author’ brand, time from publication, exclusive content, competition, etc. Obviously, knowing how much someone is willing to pay for something (at a point in time) is difficult but think about how airlines do this: A seasonal traveler has far different characteristics than an executive who just has to get to Miami tomorrow. They both end up on the same flight but pay significantly different prices.

Publishers can be forgiven for a lack of understanding of the metrics of pricing in a print based world with many intermediaries and little ability to gather empirical data. Online things have changed and The Economist recently reported on research published by two economists at the University of Pennsylvania which examined pricing for on-line music. In this research, the authors looked at iTunes and attempted to determine whether students would be more or less willing to pay a different price per song than the rigid 99cents per tune. (There may be some correlation here between what Apple did with music and what Amazon is attempting to do with Kindle titles, and maybe Publishers should ask the researchers to expand the analysis.) The authors of this study found that the market could sustain a higher uniform price and knowing (via the results) the higher uniform price they were then able to expand their analysis to look at per song pricing and make some other extrapolations. The authors also experimented with a subscription type model that had a fixed price component with a per-use fee, and this model appeared to be more effective at maximizing revenue and value for both retailer and consumer.

Pricing is complicated: publishers can approach this in an unsophisticated manner but in doing so they are unlikely to maximize their revenue. More analysis is likely to show that a variable approach to pricing and packaging will generate more revenue. For example, in an approach the authors suggest for music, a publisher with a selection of 10 political/legal thrillers could generate more revenue selling the package for $29.95 than relying on selling each separately for a total of $79.00. The other advantage for both publishers and consumers is that more content can be purchased thereby increasing the market and customer base. Regardless, the decisions around pricing are worth spending more time on rather than reactively applying old pricing models to new circumstances. Perhaps we will see ‘Pricing Analyst’ as a new publishing job title.

Will a (B)Million Dollar Question and Lots of Money Spell the End for Collecting Agencies?

Some say that New Jersey is the most politicized state in the nation because the ratio of elected officials to state citizens is one of the highest in the land. Rest assured this post isn’t a bash about participatory democracy but, in thinking about this. I realized two things. Firstly, there are many elected officials whose job and function I am convinced the electorate knows nothing about (e.g., Freeholder, Sheriff, Advocate), and, secondly, each of these officials has a desk, chair and bookshelf lodged in an office park somewhere as well as a gas allowance and a Staples credit account. The embedded expense drain alone should cause all citizens to question why we need so much “representation”. Evolution has yet to come to New Jersey politics but it will, as technology begins to light up the obscurity.

Technology has helped break down barriers in many industries and its creeping impact on the media industry is inexorable. I was reading recently of proposals to improve the way European collecting agencies operate and was struck by an odd similarity to New Jersey politics: An ignorant proletariat saddled with an overhead-laden bureaucracy. The way royalty collecting agencies operate in a connected world may mean they will be the next media ‘industry’ to face disruption: New technology and consequent changes in the way content owner’s license content should eliminate the need for duplicative collecting agencies around the world. The signs are already there.

Royalty collection reform legislation submitted to the European Commission presents a picture of operational obscurity, questionable business practices and general mismanagement which appear to have long plagued the relationship between content owners and the local agencies charged with protecting their interests. Musicians (especially) and other content owners should be looking forward to a future in which technology will enable a more transparent system of policing and collection, which will lead to fairer compensation (to them). Regrettably, the proposals put forth in this reform legislation don’t point directly to that future; rather, they serve only to embed the incumbent collecting societies, requiring them simply to adopt some new policies, procedures and standards.

If it were up to Pink Floyd (which one’s pink?) and RadioHead, the whole lot would go in a liberalization of the entire marketplace. In their view, protectionism is precluding better accountability and a more expansive commercial market.

"We are deeply disappointed by your choice to defend the interests of a minority of managers and stakeholders," said a letter signed by Pink Floyd's Nick Mason, Radiohead's Ed O'Brien, British singer Sandie Shaw, producer CJ Bolland and the director of Younison (an artists' lobby) Kelvin Smits.

 According to the artists and the commission’s report, collection societies -- up to 250 of which operate in Europe -- keep "substantial amounts of money" on their books pending distribution or varying time schedules, to the detriment of the artists they are tasked with supporting. In their letter to the commission, the musicians were blunt as to the conclusions suggested by the report (TheVerge),

"You thus legitimise one of the most problematic forms of embezzlement adopted by some collecting societies in Europe," their letter reads.

According to research completed by the commission, in 2010 major societies owed 3.6 billion euros ($4.41 billion) in (undistributed) royalties to the creators. That’s some serious cash money.

Even with the new improvements, there’s a suggestion that some of these societies don’t have the operational capacity or technology wherewithal to accommodate the significant changes in the market place that are already present.  They haven't invested appropriately in new systems to an extent that they are already struggling to cope.  That reality, and a pervading notion that the agencies have never been able to collect all royalties due artists, must really rankle with the artists playing close attention to this issue.  (Some of the agencies see things differently and have, by their own account, been investing in their operations WSJ).

To the latter point, the US recently saw the launch of a new company (TuneSat) that promises to revolutionize the collection of music and performance royalties and, in the process, collect a far greater percentage of collectable royalties for artists and content owners. Profiled in the WSJ, one of the founders of TuneSat notes that many collecting societies operate the same way they have for the last 75 or 100 years. As with many good ideas, TuneSat was founded in response to a specific problem and out of frustration with the way things operate; and the founders chose to solve that problem in a completely different way. TuneSat monitors digital television signals to capture the ‘plays’ of digital content as described in the WSJ article:

TuneSat… uses digital technology to monitor satellite TV signals from around the world and keep track of how music is being used in theme songs, advertisements, background soundtracks and other broadcast situations. Schreer is CEO and Woods is COO of the company.

Beyond that, they say TuneSat may help disrupt the performing rights business, an industry with $2 billion in revenue in U.S. and $9 billion worldwide, by putting powerful algorithms directly in the hands of copyright owners that allow them to scour and analyze the use of their work across the entire national TV market. A web-based application allows subscribers to access TuneSat’s servers and its proprietary analytic tools, in the process allowing them to bypass traditional royalty rights organizations, if they choose.

TuneSat has the opportunity to be a real disruptor in the content business and it would seem unlikely that many of those 250 local (European) operators would be able to withstand a challenge from companies like TuneSat. And with a $9Billion market opportunity, there are likely to be more competitors emerging.

While the founders of TuneSat believe that the existing agencies are undercounting royalties earned (and data collected by TuneSat seems to bear this out), artists also believe that collecting agencies are impeding the growth and development of markets. The collecting agencies may not be very good at collection and might also be limiting the exploitation of the rights they manage. Rights holders have pointed to the lower penetration levels of digital content in Europe as evidence of the impediments collecting agencies place on markets. Pink Floyd and RadioHead blame the fiefdom-like structure of the ‘market,’ which gave rise to more than 250 collecting agencies in continental Europe, for suppressing the establishment of new businesses in the pan-European market.

It would seem that the European collecting agency market is ripe for disruption and, with the significant amounts of money at stake, it’s only a matter to time before that happens. The European government must realize that interests of the many trump the interests of the few: A more open market will ultimately benefit consumers by encouraging the provision of new services and products, while giving artists and content owners more options for managing their interests. It’s just not clear whether the European commission aspires to either of these ends?

Million Dollar Question
Money

Rock Royal Neil Young At BookExpo

This will be more appealing than Barbara Streisand but that's just me.

Neil Young will be speaking at Book Expo to discuss his memoir.  Should be fun.  Here is the press release:

Officials at BookExpo America (BEA) have today announced that Neil Young will be appearing at the annual book industry trade show where he will discuss his upcoming memoir, Waging Heavy Peace.  The book will be published in North America by Blue Rider Press, a member of Penguin Group (USA), in fall of 2012.  BEA will take place in New York City at the Jacob Javits Center June 4 – 7, 2012 and Mr. Young is scheduled to speak on Wednesday, June 6 at 12 noon in the Special Events Hall.  The program, which will be called “A Conversation with Neil Young”, will follow an interview format and will be free to all convention attendees.  Seating will be provided on a first come, first served basis.  Lunch will not be provided but guests are free to bring their own lunch.   Mr. Young’s interviewer will be named in the near future. 

Widely regarded as one of the most influential musicians of his generation, Mr. Young is a singular figure in the history of rock and he has profoundly influenced popular culture over the past four decades.  He epitomizes the uncompromising artist.  In his book, Mr. Young will present a kaleidoscopic view of his personal life and musical creativity.  It is the year’s most awaited memoir and rights to the book have been sold around the world to a dozen countries so far including: Brazil, Canada, Finland, France, Germany, Holland, Italy, Japan, Norway, Spain (and Spanish language in Latin America), Sweden and the United Kingdom. 

“I am profoundly grateful to Blue Rider and to Neil Young for making this stellar event possible,” notes Steve Rosato, Show Manager for BookExpo America.  “This appearance will be a highlight of our show and I am sure it will live on as one of our great all time moments in BEA history.   I have no doubt that on Wednesday, June 6 at 12 noon just about everyone in the Javits Center will be packed into the Special Events Hall!”
For more information about BEA, please visit www.bookexpoamerica.com and connect with BEA on Twitter, Facebook, LinkedIn and YouTube.

MediaWeek (Vol 5, No 10): The Monkees, PayPal, Self-Publishing, Jeff Bezos + More

I was never that aware of The Monkees but the passing of Davy Jones generated a lot of reminiscing.  Mrs. PND recalls the time her Dad brought home the record - unprompted - becoming 'cool' in the process and in the last few days she has DVR'd what must be 24hrs worth of the show.  Here some thoughts from Neil McCormick at The Telegraph:

One of the most remarkable things about the Monkees is that the show, like the band itself, was sophisticated enough to be open to interpretation. Watching those endless repeats in my teens, I formed further ideas of the pop process. The myth of the Monkees is one of the great myths of pop culture: the manufactured band rebelling against svengali manipulators, briefly shining before burning up in the fires of ego. We see the same story played out again and again in the “real” pop world, from the Bay City Rollers to the Spice Girls, but with The Monkees, we can watch it happen in repeat, from the zany innocence of the TV series to the mad rush of their self-immolating movie, Head, in which the band attempted to break free of their constraints by exposing their own essential fiction, but only ended up destroying the illusion that sustained them.

All of this is really sustained, however, by genuinely fantastic music that has, remarkably, stood the test of time. The miracle of The Monkees is that this exploitative, manipulative, derivative children TV series was underpinned by brilliant pop songs, written to order by some of the great writers of the era (from Neil Diamond to Goffin and King), framed in colourful arrangements that captured the happy essence of the band’s spirit, performed with conviction and emotion. Last Train To Clarksville, I’m A Believer, Randy Scouse Git, Pleasant Valley Sunday … these are songs of such dynamic originality they put the imaginary band shoulder to shoulder with the heroes they were imitating.

PayPal the censorship enforcer?  Stranger than fiction as PayPal says it will strike off certain self-publishers (Independent):

From now on, the firm said, it will begin aggressively prohibiting erotic literature which contains scenes of bestiality, rape, incest and under-age sex. Ebook websites that sell such works will have their PayPal accounts deactivated. "It's underhanded, unfair and ludicrous, and it bodes badly for the future of free speech and expression," said Juillerat-Olvera, adding that Demon's Grace is now banned by self-publishing sites.

Mark Coker, the founder of Smashwords, one of the world's largest such sites, said the announcement has so far caused roughly 1,000 of the 100,000 novels that he stocks to be withdrawn from sale. "Regardless of whether you or I want to read these books, this is perfectly legal fiction and people have a right to publish it," he told The Independent on Sunday. "It surely isn't for some financial services company to control what is written by an author."

Mr Coker said that attempting to enforce PayPal's effective ban is likely to be impossible. "They say they won't have rape, bestiality or incest presented in a way that might titillate. But deciding what constitutes titillation is completely subjective," he said. "The Bible has incest in it, and rape. Nabokov's literature does. Should we ban the sale of those books?"

Articles about Self-publishing and the death of traditional publishing are as freckles on a haole.  Here's an interesting take from Atlantic author Alan Jacobs

But one of the illusions most common to writers -- an illusion that may make the long slow slog of writing possible, for many people -- is that an enormous audience is out there waiting for the wisdom and delight that I alone can provide, and that the Publishing System is a giant obstacle to my reaching those people. Thus the dream that digital publishing technologies will indeed "disintermediate" -- will eliminate that obstacle and connect me directly to what Bugs Bunny calls "me Public." (See "Bully for Bugs".) And we have heard just enough unexpected success stories to keep that dream alive.
Well, here's hoping. But a couple of months ago I decided to dip my toes into these waters: I wrote a longish essay called "Reverting to Type" about my own history as a reader -- a kind of personal epilogue to The Pleasures of Reading -- and decided to submit it as a Kindle Single. Amazon wasn't interested, so I decided to publish it myself using Kindle Direct Publishing. I announced its existence to the world: that is, I posted a link on my tumblelog and tweeted about it. A few people downloaded it; some pointed out typos that I had missed, but that a copy editor surely would have caught. I thought about ways to promote it better but haven't been able to come up with anything other than becoming a self-promoting jerk on Twitter. Last time I checked it had sold 98 copies.

And from the BBC, no more boring waffle (BBC):

Buy an e-book through, say, a Kindle, and one of the first things you will notice is that the length of the text itself is nowhere to be seen. Unlike a hardback, an e-book doesn’t have to have 250 pages any more than it has to cost a set amount, or sit handsomely on your shelf. There are some great losses wrapped up in these facts. As far as actually writing a book goes, though, the digital format has one significant advantage over the physical: it is much harder to get away with producing boring waffle.
...
Buy an e-book through, say, a Kindle, and one of the first things you will notice is that the length of the text itself is nowhere to be seen. Unlike a hardback, an e-book doesn’t have to have 250 pages any more than it has to cost a set amount, or sit handsomely on your shelf. There are some great losses wrapped up in these facts. As far as actually writing a book goes, though, the digital format has one significant advantage over the physical: it is much harder to get away with producing boring waffle.

From the Economist:

Taking the long view - Jeff Bezos, the founder and chief executive of Amazon, owes much of his success to his ability to look beyond the short-term view of things.

Mr Bezos’s willingness to take a long-term view also explains his fascination with space travel, and his decision to found a secretive company called Blue Origin, one of several start-ups now building spacecraft with private funding. It might seem like a risky bet, but the same was said of many of Amazon’s unusual moves in the past. Successful firms, he says, tend to be the ones that are willing to explore uncharted territories. “Me-too companies have not done that well over time,” he observes.

Eyebrows were raised, for example, when Amazon moved into the business of providing cloud-computing services to technology firms—which seemed an odd choice for an online retailer. But the company has since established itself as a leader in the field. “A big piece of the story we tell ourselves about who we are is that we are willing to invent,” Mr Bezos told shareholders at Amazon’s annual meeting last year. “And very importantly, we are willing to be misunderstood for long periods of time.”

Could they have made Jeff's eyes more freaky in that image?

From the Twitter this week:

Librarians Feel Sticker Shock as Prices for Random House Ebooks Rise 300 Percent - http://goo.gl/2vYex

College Publishing Comes of Age: Highlights of the BISG Higher Education Conference (BookBus)

Jackie Collins experiments with self-publishing The Bitch Guardian Hilarious headline. So is "Queen of bonkbuster"

MediaWeek (Vol 5, No 8): Movies from Books, Digital Music, Coriolanus, Larsson & Journalists + More

From the Independent "Hollywood ate my Novel"

Novelists reveal what it’s like to have their book turned into a movie

Literary adaptations rule this year's Oscar nominations. But, for an author, having a book transformed by movie magic isn't always pleasant. Five writers tell Charlotte Philby what it's like to see your creation 'brought to life'.

Improving digital music but will we notice? (Economist):

Rock-and-roll, as usual, is leading the way. Bands such as Pearl Jam and Metallica have used FLAC to sell recordings of their concerts online. The rocker John Mellencamp issued a CD in 2008, which came with a lossless high-definition version on a DVD to demonstrate what the music should really sound like. In 2009, the Canadian singer/songwriter Neil Young ("the Godfather of Grunge") released the first of what is to be a ten-volume set of archives on Blu-ray Disc as well as CD and DVD. With its lossless codecs, Blu-ray can play high-resolution music way beyond a CD’s dynamic range.

Whether the listening public can actually hear the subtleties being conveyed is another matter. The perceived quality of a recording depends on what the listener’s ears have been trained on (as well as the quality of the audio equipment and the ambient noise). Jonathan Berger, a professor of music at Stanford University in California, gets his incoming students every year to listen to a variety of recordings compressed with different algorithms. Each year, their preference for music in MP3 format increases.

 Is Coriolanus relevant today? (Intelligent Life):

And yet a doubt persists: how “relevant” can this Shakespeare play be made to the present? Coriolanus’s tragedy begins after his return as a victorious general, when his mother (Vanessa Redgrave) and his mentor (Brian Cox) want to capitalise on his military success by turning him into a politician as consul to the Senate. Coriolanus succumbs to their idea, but won’t play the part that political success requires. He won’t flatter the rabble he despises, won’t woo them, refuses to dissemble. His political opponents—two consummate performances by James Nesbitt and Paul Jesson—will of course do all these things and more. They know how to play the crowd, when to make it angry and when to please it, and naturally they win. We’re familiar with this depiction of politics as a tactical game played out by self-seeking hypocrites; physically at least, Jesson’s Brutus reminded me of Tony Blair’s smooth legal chum, Lord (Charlie) Falconer. It’s Coriolanus who is the unfamiliar figure in the film, the protagonist who tests our understanding and forfeits our sympathy because there is so very little in him to like. 

From the Guardian: Radical alternatives to conventional publishing (Guardian):

A new breed of radical publisher has emerged in recent years, with writers responding very quickly to current events. Here, some of their authors explain what marks them out.

One of the most exciting radical presses at the moment is Zer0 books. A shoestring operation begun in 2009 by the novelist Tariq Goddard, its impressive backlist covers philosophy, political theory, music criticism, contemporary cinema and much more. Its highlights include: Ivor Southwood's mordant Non-Stop Inertia, about the culture of precariousness that defines the modern workplace; and Marcello Carlin's The Blue In The Air, gorgeously constructed essays about pop, written by a widower while waiting for his new wife to fly over from Toronto so that they can start their new life together.
Zer0 has been particularly good at identifying a nexus of young, savvy writers – such as Owen Hatherley, Laurie Penny, Nina Power and Mark Fisher (better known as K-Punk) – whose work had previously surfaced mainly on blogs and whose bylines now regularly appear but in mainstream newspapers and journals.

It's been forever since we read a Steig Larsson article but the Columbia Journalism Review has stated our appetite (CJR):

But what make the trilogy so valuable to the cause of journalism are the things it gets right. Over the course of more than 1,750 pages, its author captures a remarkable number of the challenges that doing honest journalism involves, as well as the reasons it matters whether people keep doing it. This is significant, given the profession’s apparent inability to make a compelling case for itself, at least in the eyes of the readers, viewers, and listeners who do not appear to be concerning themselves terribly much with its rapid disappearance. The journalists’ credo can be found in the instructions offered by Erika Berger, Blomkvist’s lover, best friend, and editor, to one of the young writers in her employ: “Your job description as a journalist is to question and scrutinize critically—never to repeat claims uncritically, no matter how highly placed the sources in the bureaucracy. Don’t ever forget that.” This could sound like the kind of pabulum that has entered into the speeches of all the gruff, quietly heroic newspaper editors once concocted by Hollywood, from Humphrey Bogart in Deadline, USA through Jason Robards in All the President’s Men. But in Larsson’s gothic and twisted murder mysteries, the attention to journalistic detail with which readers must identify to make it to the end can only endear them to the men and women sufficiently dedicated to Berger’s lofty mission statement to stick with it.

From Twitter:

How Companies Learn Your Secrets: http://nyti.ms/zcyXOc

The publishing industry has gone mad for film-style trailers - Features - Books - Independent

I made Sunday dinner this week - which Mrs PND couldn't quite believe:  Bo Ssam

MediaWeek (Vol 4, No 45): The New A&R, Problem Biographies, Scan your Books, Education, Libraroes + More

Changing the way music stars are made (Economist):

David Joseph, who runs the British arm of Universal Music, says A&R men used to be alchemists, discovering base talent and turning it into gold. “They made dreams come true,” he says.

These days they are venture capitalists. Particularly at big labels such as Universal, A&R executives increasingly expect acts to have built a self-sustaining, if modest, business before they offer them a recording contract. 

Large numbers of Facebook friends and Twitter followers help show that a band has traction. But record labels have become wary of social-media indicators. They know that desperate bands may chatter about themselves or hire marketing firms to inflate their online metrics. The labels also want to know whether a band is drawing a steadily growing number of people to its gigs. The bar rises constantly. Mumford & Sons (pictured), a successful folk-rock outfit from bucolic west London, had amassed a large live following and had released several EPs before signing with Island Records in 2009.

Louis Adler, CEO of Melbourne University Press reflects on the Julian Assange biography imbroglio (TheAge):

When publishers and authors resort to lawyers, injunctions, and secret book drops to bookshops, things have gone haywire. Demanding an advance is returned is rare, retrieving the cold, hard cash even less likely. Contracts, deadlines and copyrights may have legal force but the relationship always depends on good faith. One cannot bully a writer into delivering a manuscript good enough to publish or on time. That is why it is in the interests of both publisher and author to keep it ''nice'' and renegotiate when deadlines loom or the editorial direction differs from the original brief, or when the author wants to put ''your'' book on hold while they write another book for another publisher.

Scan all your books - yes, there's a service for that (Economist):

1DollarScan is the American outpost of the Japanese firm Bookscan, founded to solve the problem of scant space in Japan's poky urban dwellings and to prevent damage caused by bookshelf-toppling earthquakes. (Bookscan has no relation to Nielsen BookScan, an American retail-sales-tracking service). Ship your volumes to 1DollarScan, and the company will slice off the spine, and charge $1 for every 100 pages scanned. (The firm also scans routine documents and photos.) It uses high-speed Canon scanners, with optical-character recognition (OCR) software developed jointly by Bookscan and Canon. The process does not yet produce text in standard e-book formats; instead, customers receive PDF files that show the scanned image, but also have whatever text was successfully extracted in a separate, searchable layer. The resulting files are chunky: tens of megabytes per book, or 100 times bigger than Amazon's Kindle titles. But it is a start. 

Hiroshi Nakano, the boss of 1DollarScan, says a few thousand books have been received in the first month or so of operation. And that is before the firm has begun its marketing drive, or adapted its Japanese-language smartphone software (for reading and managing user accounts) for English speakers. One early surprise has been the linguistic diversity of books sent over: besides English, there have been Portuguese, Hebrew and Arabic titles, among others. Boxes of books are being shipped in from Europe, too, in English and other languages. (The firm uses slightly different OCR software depending on the language in question.) Another difference is the volume of individual orders. Where Japanese customers send batches of 150 books, the California-based service is seeing an average closer to 30.

Commentary on the Dot Earth blog at the NYTimes about developing a different approach to education:

As I’ve written here before, finding and disseminating education methods that foster creative, collaborative and resilient learning and problem solving is a prime path toward fitting human aspirations on a finite planet. Nicholas Kristof’s recent column, “Occupy the Classroom,” explores relevant terrain. This approach is also particularly useful in the face of prolonged economic uncertainty. 

Notably, the potential learning-by-doing role of American students and scholars in advancing human prospects in struggling regions came up today at a meeting organized by the United States Agency for International Development (which just celebrated its 50th anniversary) and hosted by theWoodrow Wilson Center. Alex Dehgan, the science and technology adviser to the agency’s administrator, said you’ll know we’re there “when we have students not asking what is your major, but what is your problem.” 

Current classroom norms, which Goyal described as the “culture of fill in the bubble tests and drill-and-kill teaching methods,” aren’t a good fit in a complicated, connected, competitive world.

Nic Kristof in the NY Times takes a look at Room to Read which is one man's approach to solving illiteracy around the world (NYTimes):

I came here to Vietnam to see John Wood hand out his 10 millionth book at a library that his team founded in this village in the Mekong Delta — as hundreds of local children cheered and embraced the books he brought as if they were the rarest of treasures. Wood’s charity, Room to Read, has opened 12,000 of these libraries around the world, along with 1,500 schools. 

Yes, you read that right. He has opened nearly five times as many libraries as Carnegie, even if his are mostly single-room affairs that look nothing like the grand Carnegie libraries. Room to Read is one of America’s fastest-growing charities and is now opening new libraries at an astonishing clip of six a day. In contrast, McDonald’s opens one new outlet every 1.08 days.

From the Twitter:

Talks under way to save UK's biggest music and drama lending library http://gu.com/p/335ka/tw

A jewel of an of obit, by Margalit Fox: Jimmy Savile, TV Personality, Dies at 84: http://nyti.ms/w0jozP

In sports: Sir Alex Ferguson describes his 25yrs as a fairy tale. http://bbc.in/vTSWAV

MediaWeek (Vol 4, No 43): Tom Waits, Children's Books, The Booker, "Close the Libraries", Textbooks & Education + More

Interview with Tom Waits in the Observer:

"Music has generally involved a lot of awkward contraptions, a certain amount of heavy lifting," he says. "The idea that it will just be a sort of vapour that you listen to out of speakers the size of a dime alarms me. It's like injecting yourself. Or eating alone."

He is, he says, equally wary of the ease of search and shuffle. "They have removed the struggle to find anything. And therefore there is no genuine sense of discovery. Struggle is the first thing we know getting along the birth canal, out in the world. It's pretty basic. Book store owners and record store owners used to be oracles, in that way; you'd go in this dusty old place and they might point you toward something that would change your life. All that's gone."

Does he ever stray online?

"No," he says. "But then I'm one of those guys that is still a bit afraid of the telephone, its implications for conversation. I still wonder if the jukebox might be the death of live music."

In Observer, there is a section devoted to reading with kids and here an essay on asking why young adults are so interested in dystopian fiction (Observer):

A new wave of dystopian fiction at this particular time shouldn't come as a surprise to anyone. It's the zeitgeist. Adults write books for teenagers. So anxious adults – worried about the planet, the degradation of civil society and the bitter inheritance we're leaving for the young – write dystopian books.

We create harsh, violent worlds. These are dark, sometimes bleak stories, but that doesn't mean they are hopeless. Those of us who write for young people are reluctant to leave our readers without hope. It wouldn't be right. We always leave a candle burning in the darkness.

And we write good stories. That's why teenagers read them.

Gaby Wood reflecting on the Booker prize (Telegraph):

But when our shortlist became the fastest-selling since records began, all hell broke loose. Clearly, our choices must be too “commercial” and not “literary” enough. Significantly, none of this discussion was a response to the actual books on the list.

Of the people who have scoffed, asked me if I’m embarrassed, or who pronounced the prize to be on its last legs, not a single one has read The Sisters Brothers or Half-Blood Blues or Pigeon English, all shortlisted and all quite sophisticated exercises in voice-throwing or genre-bending. There is something magnificent about this: that books which in another year would be classed as too odd or offbeat or even experimental have been derided as too commercial. Readers, we have slipped you some truly wonderful, surprising stuff in the inadvertent guise of the mass market.

Of course, The Sense of an Ending in any case makes these arguments instantly out of date, since its author is not a controversial or “unliterary” choice, and the book is a masterpiece by any measure. Most of the judges loved it as soon as we read it, all of us have read it several times, and no one doubts that it improves with every reading.

We should close the libraries says John McTernan who has an MA in librarianship and has 280 comments - so far. (Telegraph):

The final defence of the public library is that it is a place for the pupil who has nowhere else to study and revise. Once again, this is the 21st century. Virtually every kid has a desk at home – even if it often has a games console on it. And libraries at secondary schools are, in my experience, uniformly good and open places for young people.

Few institutions are timeless. Most reflect the period when they were created, and have to change as society changes if they are to survive. The crisis in our libraries is not because of the “cuts” – it’s because they are needed less.

And there are currently 280 comments including this one from "billfanshel"

"Google a subject and you can become ridiculously well-informed ridiculously quickly."

No, Google a subject and you can become ridiculously misinformed ridiculously quickly, with the result being an increasing susceptibility to demagoguery. A

major job of a librarian is to help patrons distinguish good information from bad. Having apparently been out of the profession for 17 years, the author has become out of touch with the modern library and the evolving role of librarians. That is, of course, assuming that he ever was in touch with those things.

As a librarian in the U.S., my philosophy regarding online resources is "supplement not supplant." In other words, the Internet should add to what is available in print and not replace it. It is sad to see that public officials in Britain are as ill-informed and anti-intellectual as those in the United States. However, based on this comment thread, it is encouraging to see that the British populace is as supportive of its public libraries as the U.S. populace and will fight attempts to eliminate them.

A few years ago, as part of austerity measures, the mayor of Philadelphia, Pennsylvania, wanted to close down 11 of the city's 54 public library branches. The people balked at that prospect, and the library branches remain open. Do the same in Great Britain!

Is this war? In wake of Pearson's unveiling of a free LMS, Blackboard announces moves to promote sharing of open course content. (InsideHigherEd):

The company plans to unveil both of these moves at its corporate session here today. Ray Henderson, the president of Blackboard’s LMS product line and chief technology officer at the company, discussed them with Inside Higher Ed here at Educause on Tuesday.

“We look at the market and we see there’s a real curiosity in trying to extend the mission that the institutions have and who they serve,” Henderson said. “And there are a lot that take inspiration from, say, the MIT OpenCourseWare project, where they would really like to have their catalog of courses, and the course materials that they’re creating -- they’d like to contribute those more openly.”

Under the partnership with Creative Commons, Blackboard instructors will be invited to tag their course content with different licenses that indicate exactly how others can use it. Instructors will then have the option of sharing the course on Twitter or Facebook.

The company is also working to make the licensed course content more visible to public search engines, so that it can be discovered more easily by instructors searching the Web for free course content.

Under proposed legislation government grant money will be denied to developers of open access educational content (Inside HigherEd)

The move is a boon to publishers, who have feared that government support for the freely available, modifiable course materials, known as “open educational resources,” or OERs, would eat into their profits and give the free programs an unfair advantage. If effective programs are already for sale, they argue, the federal government shouldn’t spend extra money to reinvent the wheel.

Advocates for community colleges and online education argued that the provision, if enacted, would stifle innovation and restrict colleges to the publishers’ more expensive programs.

“We hear any concerns that the subcommittee might have about duplications of efforts and resources,” said James Hermes, director of government relations for the American Association of Community Colleges. “If there really is truly an alternative already in existence, you don’t want to duplicate that and create something from scratch that’s already there.”

From the twitter:

Philip Pullman: Using the internet is like looking at a landscape through a keyhole - Telegraph

Editing Wikipedia at the New York Public Library for the Performing Arts: NYTimes

An Indiana School System Goes Digital: NYTimes

Cengage will partner with Moodlerooms: Journal

Won't Get Fooled Again - Intelligent Life

Long article/interview with Pete Townshend (Intelligent Life):

The Who as we know them came into being in 1964, and soon became the most powerful, iconic and humorous emblem of the Mod movement. But their scope would extend far beyond a fashionable subculture. On stage, they were all you could hope for in a rock band: brutally arresting, unnervingly unpredictable and blisteringly loud. Then as now, pop music was dependent on a character-led plot to thrive, and The Who offered much. There were Daltrey’s Tarzan acrobatics with a swinging microphone, and the raw emotion in his voice, ranging from angelic yearning to a raging throttle. There was the bassist John Entwistle’s prowling menace, the traditional “quiet one” turned dangerous uncle. There were Townshend’s scything windmills of excitement and improbable leaps, vividly illustrating the visceral force of his songs. And then there was Keith Moon, a complex public lunatic, who lived as he drummed, with every complex flaw on brazen display. On their best nights, such as the one captured on the album “Live at Leeds” in 1970, the crowd witnessed a type of bombastic heist, an excessively glorious musical offence.

Repost: Pete Townshend's Biography

Pete may finally publish his autobiography according to Crains. In 2007 he was blogging as a mechanism to organize his possible book. He's a very good writer but unfortunately he stopped writing publicly and the link no longer work as they did in 2007.

Repost from March 3rd, 2007:

Mr. Townshend was blogging on and off during the last stages of the recording sessions for Endless Wire (which is great by the way) but he has now jumped in fully and is using the blog format to organize his biography. Here is a sample from last week:

Later. I parked my car in the Wardour Street underground car park next to the Intrepid Fox pub. I walked past the Marquee Club towards Brewer Street, and looked up at the beautiful big half-moon windows of my old apartment on the top floor at the corner.

I felt comfortable in Soho because I had once lived there; I felt comfortable because the Marquee Club was where the Who finally proved themselves at our residency there at the start of our career five years earlier in 1964. This wasn’t Soho, this was my home, my manor. And yet as I turned the corner down Old Compton Street towards Frith Street my heart began to pump. I reminded myself, in a familiar mantra, this is futile. To feel fear is pointless. There is nothing to fear. I am a man now. No one can hurt me any more. In thirty minutes time The Who were to play their new rock opera Tommy to the press at Ronnie Scott’s Jazz Club, our first Live performance before the critics. As I crossed Dean Street I imagined I heard a voice shouting ‘Judas’. Did I fancy myself to be Bob Dylan? I realized someone was shouting ‘Trousers’, one of my nicknames used by insiders.

I looked towards the voice and saw a small group of men I knew to be a travelling party of fans of the band from the Marquee days, led as ever by a bombastic music journalist, already a little drunk, who I had always regarded as an ally. He would not catch my eye. I did not want them to join me on the last steps of my journey, carrying my guitar, on my way to face an inquisition of sorts. I didn’t want them to catch any scent of fear; fear I could not allow myself to feel. One of them spotted me and ran to catch up with me. Breathless, smelling of alcohol, he asked me how I felt. I said I felt all right. He told me not to worry, even if everyone was saying that Tommy was sick, it was controversial, a little controversy never hurt anyone in show business.

Pete is also close friends with Steve Riggio and there is a post about Melissa Riggio and some poetry she wrote that has been set to music by Pete's partner Rachel Fuller.

Bit of a confession from my side, I had a bit of a winge a few months ago when The Who came through NYC that I wasn't going. Well, almost immediately after posting that day I checked on tickets and ended up going. It was pricey but absolutely fantastic. I saw Steve there as well.

(Note: Sadly, Melissa died in 2008.)

Not so benighted music business: There's money to be made.

The economist reviews how musicians are making money in a media segment that has been derided as an internet loser. Here are several clips:

Yet the music business is surprisingly healthy, and becoming more so. Will Page of PRS for Music, which collects royalties on behalf of writers and publishers, has added up the entire British music business. He reckons it turned over £3.9 billion ($6.1 billion) in 2009, 5% more than in 2008. It was the second consecutive year of growth. Much of the money bypassed the record companies. But even they managed to pull in £1.1 billion last year, up 2% from 2008. A surprising number of things are making money for artists and music firms, and others show great promise. The music business is not dying. But it is changing profoundly.

The longest, loudest boom is in live music. Between 1999 and 2009 concert-ticket sales in America tripled in value, from $1.5 billion to $4.6 billion (see chart 1). Ticket sales wobbled in America during the summer of 2010, but that was partly because some big-selling acts took a break. One of the most reliable earners, Bono, U2’s singer, was put out of action when he injured his back in May. Next year many of the big acts will be on the road again, and a bumper year is expected.
....
On television, music is either supported by advertising or bundled invisibly into the cost of pay-TV subscriptions. That model is spreading from the box to the web. Free music-streaming services like We7 and Spotify have proliferated in Europe: the latter claims 10m users. America has Vevo, a music-video website linked to YouTube and owned in part by Universal Music Group and Sony Music Entertainment. Because Vevo’s content is consistently professional, it draws advertisers. Rio Caraeff, who runs the outfit, says companies pay $25-30 to reach 1,000 viewers. That is more than television networks tend to get, although Vevo reaches fewer people and runs many fewer ads (just 15 seconds every six-and-a-half minutes).
...
Some music executives fret that the stadium-filling acts will not be replaced. It is true that the starmaking machines run by the record companies are creaking. But this does not mean there will be no more popular acts. Musicians will build fan bases in other ways—through social networks, by recording music for TV or simply by trekking from gig to gig (which is how bands became famous for much of the 20th century). Some will rise with a speed that would have shocked their predecessors—witness Lady Gaga or Justin Bieber, a 16-year-old singer who was almost unknown a year ago. Those who doubt their staying power may wish to consider that adults have long believed the music their teenage children listen to will not endure as long as the tunes they grew up with.