The Music Industry – Links to articles

The Record Industry’s Decline Rolling Stone

http://money.cnn.com/2010/02/02/news/companies/napster_music_industry/

Music’s lost decade: Sales cut in half – CNN Money

http://www.nytimes.com/2012/02/05/opinion/sunday/perpetual-war-digital-pirates-and-creators.html?_r=1

The Perpetual War: Pirates and Creators – The New York Times

We could make this whole page one link. The Ethical fan has some of the most detailed information on Artists Rights:

http://ethicalfan.com/2012/04/wall-of-shame-april-2012/

Ethical Fan – Wall of Shame May 2012

Who profits from piracy?

http://popuppirates.com/

Visualizing The Decline Of The Record Industry Gothamist

Did file-sharing cause recording industry collapse? Economists say no ars technica

A Psychological Analysis of Record Industry Decline Hypebot

Pressure Mounts For Universal Music To Make U.S. Concessions on EMI Deal Billboard

UK music sales decline for seventh successive year despite downloads The Guardian

Music Market Reports, August 2012 ReportLinker

Import (End Use): Musical instruments and parts – ReportLinker for Libraries

Universal’s EMI takeover: the great rock’n’roll swindle?
The Guardian

Music Industry Braces for the Unthinkable – The New York Times

Digital Notes: Sirius XM Claims ‘Industrywide Conspiracy’ on Licenses – The New York Times

Digital Notes: Plans for a New Music Suffix, but Who Will Own It? – The New York Times

New York Times Issues Electronic Music Industry News; A Concert Mogul Is Betting on Electronic Dance Music – The New York Times

The real reason why the music industry collapsed ABC

Music Industry Imitates Digital Pirates to Turn a Profit – The New York Times

In Bid for EMI, Universal Music Group Considers Sale of Parlophone Records The New York Times

Music Industry Counts the Cost of Piracy – The New York Times

Out to Shake Up Music, Often With Sharp Words The New York Times

Europe Moves to Aid Digital Music Industry The New York Times

At Sony Music, a Plan to Dominate the Industry – The New York Times

Digital Notes: After Steep Declines, Music Sales in 2011 Held Steady
The New York Times

Digital Notes: Updating Digital Royalties, and a Peek Under Pandora’s Hood Mediadecoder

The Music Industry in the New Millennium UNESCO

Record Labels & Current State of Music Industry Monsterloop

Lessons from the Music Industry: Should We Put Our Faith in Technology Companies? Scholarly Kitchen

The Music Business Is Not Dying Hypebot

The Shit: State Of The Music Industry 2012 Edition: A Return To The Wild Wild West? Superiorshit

MIKE PORTNOY On State Of Music Industry, DREAM THEATER’s ‘Images And Words’ Album – Aug. 2, 2012 Blabbermouth

Income Inequality Killed The Music Business Lefsetz book

Green Day ‘Oh Love’ – By Rolling Stone

July 17, 2012

The only politics in the first single from Green Day’s imminent three-album blitz are the sexually urgent kind, and the sole whiff of opera comes when Billie Joe Armstrong sings, “Oh love/ Won’t you rain on me tonight?” – a neat allusion to the climax of the Who’s Quadrophenia. Otherwise, this song is a tight, addicting bundle of pop-hook class and crunchy-punk fundamentals.

The entire first verse is Armstrong singing like the stark solo John Lennon – just a bright, strident vocal and crisply strummed guitar. But when Armstrong’s bandmates fall in around him, Green Day sound the way you originally loved ’em, and refreshed: heavier and hardened from their time in the trenches but back in the garage, ready for rapture.

Rolling Stone

Q&A: Billie Joe Armstrong on Green Day’s Album Trilogy

Billie Joe Armstrong of Green Day performs during his final performance in ‘American Idiot’ in New York.
Eugene Gologursky/WireImage

By Rolling Stone
July 20, 2012

“We are going into the unknown – I don’t know what’s going to happen,” Green Day singer-guitarist Billie Joe Armstrong admitted during a break in a mixing session, at a studio in Tarzana, California, for his band’s forthcoming daredevil release: three separate albums, Uno!, Dos! and Tré!, to be issued by Warner Bros. two months apart this fall and winter.

“It’s exciting and nerve-wracking,” Armstrong went on. “But it’s more exciting,” he quickly noted with a grin, “than anything else.”

That day, Armstrong, bassist Mike Dirnt and drummer Tré Cool were working on songs from Uno! – coming out on September 25th – with longtime co-producer Rob Cavallo. Everyone, including Cavallo, sat down for separate interviews for an exclusive story in the new issue of Rolling Stone, on newsstands Friday, about the three records’ strange birth and Green Day’s commercial gamble. But Armstrong, the group’s main songwriter, spoke for more than an hour, going into detail about the music, specific songs and the charge he still gets from risk.

“When I signed that major-label contract when I was 20 years old,” he noted at one point, “I did it because I wanted to play music for the rest of my life. That’s every 20-year-old’s dream – to do whatever the hell you want.

“This,” Armstrong said of Uno!, Dos! and Tré!, “is just a crazy idea that happens to be working really well.”

What did you think Green Day needed to do next, after American Idiot and 21st Century Breakdown? You couldn’t do a third punk opera in a row.
People ask me all the time. Even my son asked me, “Dad, would you ever go back to playing songs like from [1994’s] Dookie and [1992’s] Kerplunk?” I love those records. I love the punk stuff I grew up on. But there are so many bands who make the mistake – “We’re going back, old-school.” Well, that’s all you’re doing. You already did it. So we’re changing the guitar sound. We’re not going with the big Marshall-amp thing. We wanted something punchier, more power pop – somewhere between AC/DC and the early Beatles.

There is a different density, from the operas, in the new mixes I’ve heard. There are not a lot of parts in there, but what goes on in the songs has dimension and thrust.
The last two records were studio albums. This one – we started rehearsing every day, constructing these songs together. It felt like we were all in a room jamming – everyone in the mix, throwing out ideas. If you listen to it, it feels grand. But it also feels like a garage band.

When did you realize you had three albums’ worth of solid new songs instead of just one?
The songs just kept coming, kept coming. I’d go, “Maybe a double album? No, that’s too much nowadays.” Then more songs kept coming. And one day, I sprung it on the others: “Instead of Van Halen I, II and III, what if it’s Green Day I, II and III and we all have our faces on each cover?”

Like the KISS solo albuns.
I’ve already heard that one. [Laughs] The last record got so serious. We wanted to make things more fun.

One song on Dos!, “Fuck Time,” is something you mentioned to me back when the theatrical version of American Idiot was getting started on Broadway.
A guy in the cast, Theo Stockman, started calling himself the King of Fuck. Then it got into a thing where everytime they got ready for a show, the cast members got in a circle, put their hands in the middle and went, “One, two, three, it’s fuck time!” I just wrote the song. We did it as Foxboro Hot Tubs at a club in New York, Don Hill’s, because we knew some of the cast members would be there. We ended up playing it ten times in a row.

We thought it would stay a Foxboro Hot Tubs song. But the more we played it, we thought, “This is pretty good. Why should we give it to our alterego?”

There is a song on Uno! – “Kill the DJ” – that is the closest thing you’ve done to a straight-up dance song, with power-drill guitars. It’s a mix of thump and noise that recalls the Clash’s work with early hip-hop beats on [1980’s] Sandinista!
Mike asked me to write a song with a four-on-the-floor rhythm. I’d never done it before. It’s kind of like Sandinista!, Ian Dury’s “Sex & Drugs & Rock & Roll” and the Tom Tom Club song, “Genius of Love.” We were trying to figure out how to make dance music without turning into a dance band.

Who’s the DJ you want to kill?
It’s about static and noise.

People on TV and radio, talking endlessly about themselves?
Yeah – and all of the things inbetween. Like this government cannot, will not, agree with itself. They refuse to make it work. Right, left – it doesn’t matter. It blows your mind and pisses you off. It’s a song about being drunk, going through this chaos, feeling fucked up and all you want to do is get more drunk: “I don’t even want to know about it anymore.”

“99 Revolutions” on Tré! has a lot of Occupy-protest references. Did you go to the Occupy protests in your town, Oakland?
Um, yes and no.

Which is it?
We wanted to be part of it in some way. I thought it was about working people and where we come from. But Oakland got really complicated when the anarchists started coming in. I’m not into that – smashing the windows in a small business.

Are you a 99 or 1 percenter?
I feel like a 99, but technically I’m a 1. You know, it was an easy song to write. I know that’s where I come from – the 99 – even though I can afford for my kids to go to a good college. It’s interesting: Cops are 99 percenters. Firemen are 99 percenters. That’s where the anarchists are confused. This is much broader than you think it is.

Do these three new albums count as one under your record contract – or three?
One. Believe me, we asked. [Laughs] There was no getting around that. That was fine. The record company have been great about it, just stoked. People get so caught up in not trying to do something new and creative: “Let’s just put out an EP.” We said, “Let’s do the exact opposite, something dangerous and fun.”

Rolling Stone