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EDM specific stats on streaming and social media usage

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EDM specific stats on streaming and social media usage

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The success of EDM acts like Martin Garrix, Calvin Harris and Tiesto in 2016 have contributed to a 3% growth of the dance music industry, which is now worth a staggering $7.4bn (£5.7bn).

A new IMS Business Report by Kevin Watson, released to coincide with International Music Summit Ibiza, reveals that streaming subscriptions have jumped by 65% overall but led by dance and electronic.

Artists such as Diplo and Zedd, who feature between numbers four and 12 on Forbes' electronic cash kings list 2016, have enjoyed a 4% increase in earnings year on year.

Although Calvin Harris, 33, was named the top-earning DJ by the publication, the Slide hitmaker's income dropped by 5% to $63m.

Business for EDM is booming on music streaming service Spotify, which now boasts an eye-watering 12 billion monthly streams in the electronic music genre.

As expected, the US and UK claim the highest number of dance streams on the platform but Mexico and Brazil follow closely the top 10 list. According to the report, millennials are 40% more likely to attend a DJ club event in the US.

Most likely due to their epic crowd selfies from the booth, the most popular DJs are growing their Instagram followers 11 times faster than on Facebook.

The Chainsmokers saw their Instagram followers climb by 45% in the three months to May 2017, boasting 3.8 million fans, while their Twitter growth soared by 40%. It is reported that the Closer producers are attracting at least 28,000 social media followers per day.

Martin Garrix has also reaped the fruits of social media with a 17% rise in Instagram followers and an 18% boost in YouTube subscribers.

Brands also provide a huge source of revenue for the EDM industry. The report notes that legendary dance brand Ministry Of Sound Recordings was acquired by Sony Music UK for a cool £67m ($87m) in August 2016, while the Pacha Group in Ibiza sold to Trilantic Capital Partners for €350m in February 2017.

Surprisingly, although it was controversially closed for five months in 2016, London's Fabric ranks number two on DJ Mag's top 10 list of best clubs, but it has slipped from its place at number one where it stood 10 years ago.

IMS Ibiza 2017 takes place between 24 and 26 May at the Hard Rock Hotel. Launching the summit with exciting news, it was announced that Nile Rodgers, Pete Tong and Seth Troxler are among industry heavyweights who have been made ambassadors for the Association For Electronic Music (AFEM).

Listen to the biggest electronic dance songs on Spotify:

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Love Calvin Harris and Martin Garrix? Dance festivals, Instagram fans, Spotify streams worth $7.4bn

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The success of EDM acts like Martin Garrix, Calvin Harris and Tiesto in 2016 have contributed to a 3% growth of the dance music industry, which is now worth a staggering $7.4bn (£5.7bn). A new IMS Business Report by Kevin Watson, released to coincide with International Music Summit Ibiza, reveals that streaming subscriptions have jumped by 65% overall but led by dance and electronic.

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Is exclusive streaming rights the way to go? 

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Is exclusive streaming rights the way to go? 

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After a monthlong teaser campaign involving no less than five advance video clips, Jay-Z's new album "4:44" finally dropped, three minutes before its scheduled release at midnight ET on June 30. The advance ads pledged that the album will be a Tidal/ Sprint exclusive, as part of the carrier's $200 million deal with he Jay Z-owned streaming service. But in a twist that was met with an angry reaction from many fans, only people who signed up for Tidal before the album's release and current Sprint users will be able to access it, at least for now.

However, that's not the only place you can hear it (legally, anyway).

Upon its release, the 10-track album streamed on iHeartRadio across 160 Pop, Rhythm and Urban radio stations in the U.S., and fans will be able to hear the entire album on Urban and Rhythm formats throughout the day until midnight ET on July 1. iHeart also featured exclusive audio from Jay Z discussing the album. ( Variety will post a review of the album on Friday morning.)

A source tells Variety that the album will be available on Apple Music after a week of exclusivity on Tidal, and it seems very likely that it will be available on iTunes as well; another source says it will be available on all major services. It also seems inevitable that "4:44" will also be available on CD and vinyl at some point. Jay-Z pulled his catalog, with a handful of exceptions, from Spotify and Apple Music in April. Reps for Tidal, Apple Music and Spotify declined or did not respond to Variety 's request for comment.

The exclusive epidemic of 2014-16 has largely abated, as the realization crept in that the only winners in that arms race were the streaming service with the exclusive and the artist and/or label who pocketed whatever benefits came with it. Spotify never joined in the exclusive wars - as the established market leaders, they didn't need to - and Apple Music recently has focused more on its burgeoning video service and premieres on its Beats 1 radio station. A key turning point came last August when Frank Ocean delivered an uneven album called "Endless" to finish off his contract with Def Jam, only to release "Blonde," a much more satisfying album, via Apple Music just two days later. The act inspired Lucian Grainge, chairman/CEO of Def Jam's parent Universal Music Group, to ban exclusives by the company's artists.

But Tidal has doubled down on them - according to reports, $75 million of the Sprint deal is dedicated to exclusives - with limited success. For around 18 months, Prince's catalog was available exclusively on the service - a situation that ended in February - and Kanye West's "Life of Pablo," which was marred by a baffling release strategy that was apparently directed by the artist himself, was a Tidal exclusive for a few weeks before it suddenly appeared on other services. In April Jay-Z pulled nearly his entire catalog (with a handful of exceptions) from Spotify and Apple Music.

The most famous example, of course, is "Lemonade," which Beyonce has kept faithfully exclusive on her husband's streaming service since its release on April 23, 2016 - to its detriment, at least chart-wise. In Nielsen Music's year-end report for 2016 - which combines physical sales, track-equivalent units (TEA, whereby 10 song downloads equal one album) and streaming equivalent units (SEA, where 1,500 on-demand streams equal one album) - Drake's "Views," the year's top album, and "Lemonade," No. 3, were not dramatically far apart in two of the categories: physical (1.607 million for Drake vs. 1.554 million for Beyonce) and TEA (Drake's 509,000 to Beyonce's 418,000).

But streaming showed a vast difference: 2.024 million units for Drake compared with 214,000 for Beyonce. Nearly 10 times more streams - than Beyonce.

The discrepancy is not surprising. Earlier this month, Spotify claimed to have reached 140 million users worldwide; in March it said 50 million of them were paying subscribers. Also in June, Apple Music said it had passed 27 million paying subscribers. In March of last year Tidal claimed to have 3 million subscribers, but a January report in a Norwegian newspaper, citing internal company documents, said that as of January 2016 it had just 1.2 million activated accounts and 850,000 paying subscribers.

While the Beyonce and West exclusives probably boosted the service's numbers, it remains far behind its chief competitors - a situation that "4:44" seems unlikely to change significantly. But this strategy, if accurate, means Jay gets to have it both ways: A splash and a big payday deal for the exclusive, followed by conventional streaming and physical releases at a time of his choosing. And if he sacrifices a No. 1 album in the process, he's still done a great job of looking out for Number One.

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Jay-Z's New Album, '4:44,' Has Dropped - But Sources Say Tidal's Exclusive Will Only Last a Week

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After a monthlong teaser campaign involving no less than five advance video clips, Jay-Z's new album "4:44" finally dropped, three minutes before its scheduled release at midnight ET on June 30. The advance ads pledged that the album will be a Tidal/ Sprint exclusive, as part of the carrier's $200 million deal with he Jay Z-owned streaming service.

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Art Vs Commerce: Frank Ocean - Lessons - Tes Teach

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Report: Universal to ban streaming exclusives after being spurned by Frank Ocean | Consequence of Sound.Frank Ocean Just Went Independent And Ignited A Music Streaming War.Frank Ocean Endless Visual Album Released.Universal's Top Lawyer on Streaming, Splitting With Frank Ocean & Exclusive Releases | Billboard

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The RIAA's 2016 year-end report released last month showed a U.S. music industry experiencing its largest single-year growth since 1998, as revenue from streaming services overtook sales for the first time as the dominant source of income for the business. And while that's undeniably good news for a sector that had been in decline since the turn of the century, some industry officials -- including outgoing RIAA chief Cary Sherman -- warned of a " fragile" recovery due to low per-stream payouts and outdated music licensing and copyright laws.

BMG CEO Hartwig Masuch is another who believes that the industry's turnaround could be short lived, though for a different reason: as the industry shifts towards a full embrace of the streaming sector, negotiations with artists could get thornier as some demand higher cuts of streaming royalties in a new, more nimble business model.

"I am very cynical about the view that the good days have returned," Masuch said in an interview with the Financial Times. "Every renegotiation [with an artist] will cut down massively on the margin."

While every artist's record deal varies, Billboard estimates that major-label recording artists generally receive anywhere from a 16 percent to 22 percent royalty rate for sound recordings. (See how that worked out for Calvin Harris, Taylor Swift and Rihanna's "This Is What You Came For" right here.) Spotify, the world's largest streaming service, pays labels approximately a 55 percent (or slightly higher) royalty rate per stream, though its recent long-term deal with Universal Music Group would lower that rate to 52 percent if certain subscriber goals are met.

Masuch argues that, as the sales-based contract model dies out and income from streaming shifts to a long tail rather than more immediate revenue, new artist deals could be restructured in a way that allows artists to demand a higher royalty cut, perhaps as much as 50 percent or higher. In a physical-sales industry -- which the music business was before the turn of the century -- additional costs of distribution, storage and breakage were factored into an artist's contract, costs that are much lower in a digital world.

"Digital is portrayed as very complex... but if you take that cost out, how do you justify such a low rate?" Masuch continued. "Why in the hell would an artist decide to take less than 75 per cent?"

Already there are services such as Kobalt and several indie labels that offer much higher per-stream rates, while artists like Chance the Rapper and Frank Ocean have been able to sustain careers outside the label system entirely, or by using a major-label distribution system. Masuch claims BMG pays its artists a 75 percent royalty rate per stream.

Sherman, in his report released alongside the RIAA's numbers, called the issues raised by streaming "a rigged system" and put much of the blame squarely on the shoulders of YouTube, which has a per-stream royalty rate for its free tier that is 4.6 times below the blended average royalty rate from all streaming services, Billboard estimates.

On March 28, BMG disclosed its revenue had grown 12.2 percent in 2016 over the prior year. (While 2016's global industry revenues reported to the IFPI have yet to be released, that growth is slightly higher than the U.S.'s 11.4 percent.) Bertlesmann -- BMG's parent company -- boss Thomas Rabe attributed that boost to streaming growth, global expansion and catalog acquisition.

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BMG CEO 'Cynical' About Streaming's Growth, Citing Artist Contracts

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The RIAA's 2016 year-end report released last month showed a U.S. music industry experiencing its largest single-year growth since 1998, as revenue from streaming services overtook sales for the first time as the dominant source of income for the business.

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How The Music Industry Makes Money In 2016? [INFOGRAPHIC]

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Streaming is increasingly the new normal of how consumers listen to music; and according to the RIAA, streaming brought in just over half of the US music industry's revenue in 2016. But where does the other half of the money earned come from?

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No matter what facet of the industry you work in, you have likely crossed paths with an intern from hell. For every great intern who went on to a successful career in the music or radio business, there's another that's still causing flashback nightmares for their one-time employer. Whether they suffer from a sense of entitlement that results in an unwillingness to start at the bottom and work their way up, are not equipped with any basic business (or even life) skills or are simply clueless, bad interns abound. Everyone seems to have a story about one, and we have collected some of the funniest.

There has been a parade of winners at the AristoMedia Group, according to vp marketing and international relations Matt Watkins. It includes a group of three former interns who didn't know where a stamp went - or even how to address an envelope. The trio "did an entire mailer and sent all the press packages back to us, not realizing where the to/from [labels] went," he says.

Artist manager Kerry Hansen, president of Big Enterprises, once had an intern cost her a bundle. He took a call at work from a copier supply company and somehow managed to order three years' worth of nonrefundable toner that put Hansen on the hook for $700.

Watkins also says Aristo has had interns who didn't know how to answer phones or perform Google searches. "We have had interns who literally never speak, sneak into the office, check emails, then when done just disappear. Those are the craziest ones."

One prospect passed on an offered internship with a strange note explaining, "My heart is telling me to go a different direction," but then asked Aristo's hiring manager to keep him in mind for future job openings.

By far the most common gripe about interns is that they don't show up for work as scheduled and often fail to give employers the basic courtesy of letting them know. Says Watkins, "Seems like every intern says their schedule is totally clear, then miss more days than we can count for being tired because taking 12 hours at school plus an internship is too stressful."

"I once had an intern who habitually wouldn't show up for work and failed to call in to tell us she wasn't coming," recalls Rolling Stone Country senior editor Beville Dunkerley. "One week, she was working on something that had a hard due date. She didn't show up, so I called her saying I needed the piece. She whispered that she was in class, taking a test that was running long, and that she'd get the piece to me soon. I went on her Facebook page and saw she was in Chicago on a girls' trip. She'd checked in on Facebook, so I knew it wasn't an old picture. After a few more days of not showing up, she then contacted me for a job reference."

Silverfish Media, which produces radio's The Big D & Bubba Show, stopped employing interns after Condé Nast settled a class-action suit in 2014 brought by former interns seeking back pay, but director of programming Patrick Thomas had a memorable intern before that policy change. "We are a morning show, so we get to work early," he says. "One summer we had an intern who worked from 7-9 a.m. three days a week. Every time I went into the office where the interns work, she was asleep. Every single time for over two months."

Essential Broadcast Media publicist Scott Stem recalls that at a previous job, he unknowingly employed "the reigning Guernsey Queen from whatever state she was from" as an intern. "She would often go home to MC a local event or make an official appearance, often calling in at the last minute to tell us she couldn't be at work that day because of her Guernsey Queen activities."

However, that wasn't the intern's most annoying quality. "When she did show up," says Stem, "she would just burst out into song at any given point," possibly in an attempt to get "discovered" at work. "She sat outside my door, and I contemplated bringing a muzzle to work."

A bad attitude has gotten other interns in trouble. While Nashville's Sound Emporium Studios now has a "no intern" policy, that wasn't always the case. Juanita Copeland, the studio's president/GM and partner, recalls one who was always asking her for extra work. One day she had some for him, and he cheerfully agreed to take it on. But a few minutes later she got a text from the same intern that read, "I can't believe the bitch manager just asked me to work late. I'm busting my ass and that's not enough, so now she has the nerve to ask me to work late, too." Explains Copeland, "He had inadvertently sent a text to me that he meant for his girlfriend. So the 'bitch' manager promptly walked in and told him that his services were no longer needed at the studio." After showing the intern his mistake, she recalls, "He turned bright red and walked out the door. We never saw him again."

When another former Sound Emporium intern was asked to rinse out some empty condiment bottles for recycling, the intern replied, "I didn't go to audio school to wash garbage."

One intern initially impressed Rick Murray, vp integrated marketing and promotions at Premiere Networks. The student seemed quick and competent when given paperwork to process and then file. "When the semester was over, I was looking for something in the intern's desk and found two drawers filled with all of the paperwork that was supposed to have been filed and processed," recalls Murray. "Good thing I had already turned in his evaluation."

Others simply can't keep up with real-world job demands. Dixie Owen, a publicist with Schmidt Relations, had an intern at a former company who seemed more concerned with looking cute and being around the artists than doing her job. During CMA Music Festival, which is a hot and work-intensive grind for every publicist with multiple clients, Owen lost track of the intern after the first event of the day. When she finally answered her cellphone, the intern explained that she had gone to the Hilton Hotel to rest in the lobby and cool off in the air conditioning. After she rejoined Owen's team, "we started hoofing it down the street [to our next event], and one of her cute sandals broke. We just kept walking because we were on a schedule," says Owen. "I turned around, and she had this desperate look on her face. She had to go look at souvenir shops to find some flip-flops to get her through the day. She didn't come back the next day."

Finally, there's this gem from Black River Entertainment director of public relations Dawn Delvo. "An intern [at a previous company] completed his internship at the PR/marketing firm we worked for, and while he was having the traditional goodbye lunch with the owner of the company he asked, 'What exactly does "PR" stand for?' "

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Interns From Hell: Industry Execs Share Their Worst Memories

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No matter what facet of the industry you work in, you have likely crossed paths with an intern from hell. Whether they suffer from a sense of entitlement that results in an unwillingness to start at the bottom and work their way up, are not equipped with any basic business (or even life) skills or are simply clueless, bad interns abound.

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Jonathan Schwartz, who pleaded guilty Jan. 18 to embezzling from clients including Alanis Morissette, pens an essay of contrition and caution for THR.
Former Power Business Manager Jonathan Schwartz is due to be sentenced May 3, after pleading guilty to criminal charges in connection with stealing millions from clients - including Alanis Morissette. Both the singer and his former employer have sued Schwartz, although he settled with the star. Here, in his own words, he shares part of his story and promises to make amends to those he has wronged.
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To My Community:

I am writing this open letter to you so that you can learn from my mistakes and never find yourself in the situation I am now in. I am a convicted felon who has fully accepted responsibility and pleaded guilty to federal charges related to my embezzling over $7 million from my clients and business partners over a six-year period and not paying tax on it.

I used to have it all - a great family, a job that I loved and high-profile clients that I represented, partners whom I respected and respected me, and a reputation in the community for hard work, excellent service, and commitment to charities that helped the less fortunate. I had never run afoul of the law before. Now I have lost it all and face going to prison for years. How did I end up throwing it all away?

The answer, in part, is that since college I was a gambling addict. I should have been more careful when I first started gambling socially because my father was a gambling addict who abandoned the family when I was young. Over the years, my gambling addiction grew, particularly as I became more successful. With that success came very high levels of stress to constantly meet my clients' demands and constantly compete with others in the industry to be the best. I often turned to drugs to deal with the stress but mostly sought refuge in the world of sports gambling. The spiral I was in was toxic. Winning did not make me feel better but losing was intolerable. If I lost, then I had to make it back and when I lost again, the hole I had dug got deeper and deeper. I felt weak and powerless, terrified by my internal demons that I was turning into my father.

I lived a double life since no one other than my bookie knew I had this "dark" side. At first, I "borrowed" a little from clients, with the hopes that I would pay them back if I won that night's bet. That snowballed, and as I kept losing, I kept stealing. I kept telling myself that I just needed one lucky break, and I'll pay them back. That lucky break never came - thankfully. I say thankfully because when I was finally caught, a bright spotlight shined on my deplorable conduct. I could not hide any longer and hit rock bottom. By seeing how pathetic I had become, I finally got the courage to ask for help.

As a result of incredible friends and my sponsor, I am now 336 days sober after committing myself wholeheartedly to the Beit T'shuvah intensive outpatient program and the Gambler's Anonymous program and meetings.

To say I am incredibly ashamed and disappointed in myself is an understatement. I have hurt everyone I cared about, my family, clients, business partners, employees, peers and friends. I had a fiduciary responsibility to serve my clients, and I violated that trust. I let everybody down, and for that I will spend the rest of my life asking for forgiveness and making amends to everyone I have hurt. The road to recovery goes one day at a time, but I now have a much better and clearer understanding of what really matters and have devoted my life to getting there.

Part of my amends include making sure that others who might be in my former situation, in super stressful jobs where the demands feel overwhelming, do not turn to drugs or gambling to deal with the stress or violate their responsibilities to others hoping no one will notice, but seek help from those around them or treatment before it is too late. Please use me as an example of what can go disastrously wrong when you start down the wrong path. Please, please follow a different path.

Most sincerely,
Jonathan Schwartz

This article originally appeared on The Hollywood Reporter.

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Hollywood Business Manager: I Stole From Alanis Morissette and Other Clients and I'm Sorry (Guest Column)

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Former Power Business Manager Jonathan Schwartz is due to be sentenced May 3, after pleading guilty to criminal charges in connection with stealing millions from clients - including Alanis Morissette. Both the singer and his former employer have sued Schwartz, although he settled with the star.

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Instagram has become one of the best social media platforms through which to reach profitable music fans, but a key part of marketing and promotion is the proper use of hashtags. Here we look at how determine which are most effective.

According to Nielsen Research, if you want want to reach music lovers, Instagram is one of the best platforms to use for promotion. Why? Well first of all, Instagram users are huge music fans, and spend 42% more money on music and listen 30% more than the general population. In fact, the typical Instagram user spends a surprising $269 per year on music, which is about twice as much as the average music fan that subscribes to a streaming service. That's what makes Instagram promotion so valuable.

Hashtags are an essential part of Instagram marketing and promotion, so it's important that you're familiar with how they work on the platform. Contrary to all other networks, on Instagram, the more hashtags you use, the better. That's because hashtags are the primary way you build a community on the platform. Believe it or not, between 7 and 11 hashtags get the most engagement, according to most studies.

That said, make sure you do some research as to which hashtags you'll use. Hyper-focused hashtags will put your images in front of a more interested audience. That means that you should use hashtags relevant to music, and to your music and brand in particular.

Three ways to search for new hashtags include hashtagify.me, websta.me/search, or picodash.com. Some of the most popular music related hashtags include:

The best hashtags for getting new followers are:

Finally, don't forget to include a custom hashtag of you or your band, if your following is large enough, and consistently use it on all your posts.

Hashtags constantly change in popularity depending upon the current trends, so make sure you do regularly searches just to be sure that you're using the best ones for your posts so that your Instagram promotion remains viable.

You can read more from Social Media Promotion For Musicians and my other books on the excerpt section of bobbyowsinski.com or Lynda.com.

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Best Promotional #Instagram #Hashtags For Artists And Bands

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Instagram has become one of the best social media platforms through which to reach profitable music fans, but a key part of marketing and promotion is the proper use of hashtags. Here we look at how determine which are most effective. ____________________________ Guest Post by Bobby Owsinski on Music 3.0...

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Here are some articles on the local music industry for you guys to read over the weekend.

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What's New, Malaysia? - Lessons - Tes Teach

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Lesson description: Sep 14, 2016 ... Making It In Music ... We were introduced to DJ Fuzz when he broke into the Malaysian music scene with Mizz Nina, Altimet and Fiquetional as ...

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Hi, to me if you hang out with your English-speaking friends, listen to English radio, read English blogs, newspapers or magazines, you’d look for English songs automatically.here were times when music influences would overlap, most Malaysians would rather not venture out of their zones.

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In September, our attention turns from the multiplex to the small screen. But while Luke Cage's tale of reluctant heroism is made possible by a partnership between Marvel and Netflix, it's not the only property based on some stunning corporate synergy. To wit: Arrow and its spinoffs. The TV miniverse is a joint product of DC Comics (which created the comics the shows are based on), Warner Bros. Television (which coproduces and distributes the shows), the CW (which airs the shows), and CBS (which owns half of the CW). In today's landscape of media conglomerates and vertical integration, everything we watch on TV (or play on consoles or see in theaters) is the product of more partnerships than we can even keep track of-but that's not going to stop us from trying.
This article appears in the September 2016 issue.

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The Surprising Partnerships that Rule Pop Culture

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In September, our attention turns from the multiplex to the small screen. But while Luke Cage's tale of reluctant heroism is made possible by a partnership between Marvel and Netflix, it's not the only property based on some stunning corporate synergy. To wit: Arrow and its spinoffs.

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Cooking Vinyl Acquires Stake in Fat Cat Records: Report | Billboard.Cooking Vinyl's Martin Goldschmidt On 30 Years of Indie Music [INTERVIEW] - hypebot.Great Stories Start at Midem - with Cooking Vinyl.Lessons from Cooking Vinyl - Midem 2016

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Lesson description: http://www.vladtv.com - Legendary entertainer Sir Mix-a-Lot opened up to VladTV about the importance of publishing for artists, calling it "long money." He explained that a lot of artists get caught up in the joys of the royalty check at the beginning ...

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https://www.theguardian.com/music/2016/aug/23/sleigh-bells-suing-demi-lovato-copyright-stars-infinity-guitars?CMP=twt_a-music_b-gdnmusic

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http://www.malaysia.my/article/happenings/making_it_in_music/

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http://www.billboard.com/articles/news/7408970/taylor-swift-paul-mccartney-180-artists-signing-petition-digital?utm_source=twitter

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http://www.hypebot.com/hypebot/2016/06/the-3-sources-of-publishing-royalties.html

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Recording music is a tedious, multilayered process. Take a peek at what Solange went through to record her latest album.

http://www.okayplayer.com/news/watch-solange-work-on-a-seat-at-the-table-in-new-film.html

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Alternative music history, because, why not? 

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Alternative music history, because, why not? 

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https://www.wired.com/2016/10/lets-obsess-intricate-map-alt-music-history/

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Have you read it?

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how music got free: what happens when an entire generation commits the same crime?

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popular culture & media: general interest

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How Music Got Free: What happens when an entire generation commits the same crime?

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Meet Dell Glover - the accidental pirateMeet 'Kali' - the mastermindAnd meet Karlheinz - the man who made it all possibleHow Music Got Free is a blistering story of obsession, music and obscene money. A story of visionaries, criminals and tycoons. It's ab...

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What are you reading/re-reading?

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appetite for self-destruction: the spectacular crash of the record industry in the digital age

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popular culture & media: general interest

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Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age

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Buy Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age by Steve Knopper (ISBN: 9781847371362) from Amazon's Book Store. Everyday low prices and free delivery on eligible orders.

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https://www.tes.com/lessons/vWPGXNmQHyJL4A

Something about Pop Culture, and neighbouring industries and how it's related to the Music Industry

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*Hi, to me if you hang out with your English-speaking friends, listen to English radio, read English blogs, newspapers or magazines, you’d look for English songs automatically. There were times when music influences would overlap, most Malaysians would rather not venture out of their zones. And most Malaysians keep comparing music quality in Malaysia with the overseas music.

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Hi. My point of view? I think Malaysia's music industry is not widely appreciated. Our local music are not widely accepted as the malaysians prefer the overseas music.our local songs are usually criticized because people keep comparing our music quality with the overseas artists. 

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Hi. My point of view? I think Malaysia's music industry is not widely appreciated. Our local music are not widely accepted as the malaysians prefer the overseas music.our local songs are usually criticized because people keep comparing our music quality with the overseas artists. 

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Hi everybody, before I table out the course outline, I'd love to hear more about your point of view and perception about the music industry locally and in general.

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Something bright, something new, something useful, something exciting. Let's go!