February Funstarters – It’s 2017, lets tuck into some new tunes with a few classics thrown into the mix. Just to remind us where we’ve come from.
Janjams is a playlist of songs to get your 2017 started right.
One of the best bits of working for Newcastle Live this year was all the great stuff I got to listen to, watch and experience. Continue reading Newcastle Live: What I loved in 2015
Today the Australian Senate passed a bill to allow copyright owners to seek a court injunction to force internet service providers to block overseas ‘piracy websites’.
While I agree that profiting from file sharing or purposefully avoiding paying a fair price for a product that is freely available for purchase is wrong, these ‘new’ laws will do little to curb file sharing. We’re talking about 0’s & 1’s here.
The digitisation of music and its convergence with participatory culture online has led to a total shift in the way we interact with, and consume music in our everyday lives.
Distrust of new technology is nothing new. In 2009 Greg Kot wrote; “Phonographs were seen as a threats to live music at the turn of the twentieth century: if consumers could get music at home, what incentive would there be to go out and see a show or an opera? Radio was going to kill the phonograph in the 1930’s: if listeners could access music for free over the broadcast airwaves what need would they have to buy records? The introduction of the cassette and home taping was going to undermine the business in the 1980s; Why would you buy an album when you could record your friends copy?”
The music industry has feared and eventually embraced and profited from new technologies to create, produce and disseminate product since the phonograph. And it will do it again.
We’re experiencing a very exciting time in the evolution of communication here. We need to embrace it.
I truly do feel for those who have lost income from file sharing. I do. But unfortunately the industry has yet to fully embrace the internet in the same why they did Phonographs, Radio, cassettes and compact discs.Napster existed way before the first online music store. That’s a fail for the industry.
In 2010 Patrik Wikström wrote a book called, The Music Industry: Music in the Cloud. In the book he wrote; “Participatory culture is a trend pushed from the consumers desire to be creative and social”. That desire isn’t going away and neither is the access to the tools to fulfil it.
The mechanics of internet based communication and the world wide web mean that copies are made. Some people share those copies. We need to get over it, and stop playing wack-a-mole. The only way you’ll stop all online file sharing is to pull the plug on consumer access to the internet. Do we really want to kill the most amazing communication technology we’ve ever seen?
The last point I want to make is that the music industry is not alone. Photographers, writers, designers, developers, directors… We’re all experiencing change, and we can learn from each other.
These are exciting times.
Online communities who use peer-to-peer and Web 2.0 technologies to interact with the digital music produced by major recording labels, are often blamed for the industries’ suffering profitability. This paper will argue that at a time when the industry is struggling to evolve its business model to keep up with the trends of consumers, members of virtual communities using Web 2.0 technologies to discuss, share, and remix digital music with an aim of gaining social capital, have in fact revealed a new method to promote and distribute recorded music. This is a model that should be adopted by the greater recorded music industry for it to thrive, despite the threat to profits posed by any infringement of copyright. The following will define social capital, discuss why people share music and offer examples of artists who use community-based consumer experiences to their advantage.
The digitization of music and its convergence with the participatory culture online has led to a total shift in the way we interact with, and consume music in our everyday lives. Due to this evolving convergence of digital music and broad access to relatively inexpensive networked device technology, any one can now create, market, discover, store and playback music via the internet. With a focus on the dissemination of digital music online and the reception of fans and major record labels to a new digital distribution model, this essay will argue that music as a medium was perfectly suited for online distribution, ultimately became a major force for activating participation on the internet and still remains a profitable product in an environment of peer-to-peer music sharing.