"... Our business is highly sensitive to rapidly changing public tastes and is dependent on the availability of popular artists and events."
The haste with which the Canadian music industry is repudiating connections with Hedley feels more like a wish to get out from under a bad-PR tsunami than a genuine interest in changing its ways.
Author, actor, television and radio presenter and co-founder of Black Flag, Henry Rollins revels in the aural sound of vinyl records and forcibly argues his case for the format.
The “sex, drugs and rock ‘n’ roll” sensibility that once seemed to signal freedom and independence has sometimes turned into an atmosphere of license and even intimidation.
In order to bring items as different as records and streams to a common denominator, the industry standard practice is to use equivalents. Nielsen counts 1.500 streams as the equivalent of one album – which may be seen as 150 streams being equal to a single download track sale, with 10 single track sales being equal to one album sale (this, incidentally, is where the practice of counting “equivalent albums” originated). This conversion factor is supposedly sufficient to integrate data for different methods of music delivery. I want to convince you that it isn’t.
It should be simple banning pirate websites that enable copyright infringement, right? In theory, yes, but who creates the list and decides what is infringement makes the move to legislate an emotional and intellectual quagmire. It also opens the door to government censorship of the web.
The global live events impresario pours water on the myth of bots buying ducats. Pre-sales and holdbacks are the drains on the game.
We’re now in a post-follower reality. It doesn’t matter how many followers you have, it matters how engaged they are. Meaning, no one cares how many Likes you have on Facebook. Or followers you have on Instagram. Or subscribers you have on YouTube. IF those followers aren’t engaging with your content.
He’s so rich that Jimmy's done a 23andMe DNA test with Warren Buffett because in addition to sharing a last name, the mutual ability to sustain such mind-boggling wealth is so otherworldly.
...The relationship between football and the future is looking shaky these days — raising the question of how long architects and cities will continue to buy into the idea that the sport's popularity is destined to rise eternally.
Zevon’s only real hit was Werewolves of London; a novelty song, yet it displayed his morbid sense of humour, a strong line in narrative and imagery and a beautiful gift of melody.
There’d be a drive-time radio interview in the morning, I’d have to play it then. There would be some afternoon visit at a record company or another radio station, and I’d have to play in then. Four hours later, there was the show and, of course, I had to play it then. That got to be too much...