Twitter / Bemuso: Here’s a tip for people who …


Analysis: How can Spotify help new artists make a living? | Music Ally

Which brings us back to THE central question here: how can streaming music help new artists make a living? Pink Floyd and Jay-Z will be fine. The Eagles aren’t losing any sleep over bank overdrafts. Paul McCartney has nothing to fear from the UK’s new bedroom tax for housing benefit. They’re all set.

How can Spotify ensure the next Pink Floyd and Jay-Z don’t give up before even recording their The Piper at the Gates of Dawn or Reasonable Doubt, though? How can streaming services not just find an audience for talented new artists, but also help them to find those workable revenue streams?

There’s a ‘jam tomorrow’ argument to be made here, although it hasn’t washed that well so far.

As a new artist with 500-1,000 fans, what if Spotify can put you in front of 10,000 or 100,000 people whose listening habits indicate they’ll love you? Those streams will start to add up, but it depends on the streaming services being much bigger than they are now.

Greater reach may also bring greater opportunities for some of those other income streams for artists, especially if streaming services share more (anonymous, obviously) data with them on their fans – for example, to help them plan tours.

But my inkling is that the biggest way streaming services can help new artists make a living is to go further still, and become the bridge between people discovering music, and spending money with its creator elsewhere.

via Analysis: How can Spotify help new artists make a living? | Music Ally.

Using Google Glass: at a Justin Timberlake concert | The Verge

Glass could legitimately change the way we interact with real-life events. No matter what, holding a smartphone during a concert is distracting, not only for the person holding it, but to the rest of the people in the audience. As the show went on, and JT played hit after hit, more and more people were recording videos with their smartphones as I watched the show and captured moments with Glass. Even though I was bobbing my head and dancing to the music, the headset stayed put — there were even times that I forgot I was wearing Glass altogether.

Wearing Glass let me near-instantly record a video or snap a photo whenever I chose, and alleviated the inconvenience of reaching into my pocket for my iPhone. It’s much easier to press a shutter button on the side of your face while you\’re looking at your subject than it is to take out your phone, activate the camera, and snap. Glass’ wide-angle lens does a very good job of capturing exactly what you’re looking at, and you don’t need to tilt your head to frame your photos. What you see with your eyes is what you get.

via Using Google Glass: at a Justin Timberlake concert | The Verge.

How Inconsistent Metadata Impedes Music Industry Growth at NARM’s Music Biz 2013 | Billboard

“In the old world, we did cumbersome things including teams of people wearing headphones and listening to thousands of hours of television and radio programming,” but had to use proxies for what was playing in places like bars and clubs, DeFilippis said. Now, ASCAP is very reliant on technology to insure proper reporting and payments.

But MRI’s Watkins said that even though his company ties data and technology together wherever it can, “we still have about 30 people doing copyright research,”  however they can through the internet and contacting people. “You still need the human element,” he said.

via How Inconsistent Metadata Impedes Music Industry Growth at NARM’s Music Biz 2013 | Billboard.

David Beer and Mark Taylor: The Hidden Dimensions of the Musical Field and the Potential of the New Social Data

You might be forgiven for thinking that the UK was unusually highbrow in its tastes during late 2010. At least that is what you might have discovered if you were to have conducted some research on musical taste during that period. The level of enthusiasm for Wagner would have no doubt come as something of a surprise.

This apparent highbrow interest would not though have been the product of a resurgent interest in one of Adorno’s least favourite composers; it would instead have been the result of a large-scale engagement with the television singing competition The X Factor.

Millions of viewers of this show tuned in to watch comedic performances by a Brazilian-born contestant named Wagner. Presenters on the national radio station BBC Radio 5 Live spotted an opportunity for a lay experiment in the cultural capital of people on the street. They asked simply what was thought of Wagner. The measure of cultural capital arose from which Wagner the interviewee interpreted this question to be referring to – the comedic singer or the serious composer.

This might appear to be a somewhat banal example of cultural capital in practice, but what it points towards are what we refer to in this article as the hidden dimensions of the musical field. These are the dimensions of field that sociological methods make it hard for us to see or, to put it another way, this is to accept that our existing methods ‘enact’ (Law 2004, 2009) or constitute field in a particular way.

via David Beer and Mark Taylor: The Hidden Dimensions of the Musical Field and the Potential of the New Social Data.