These are two posts that refer to some coments i read. The first is a response to assumption that record labels will not exsist after some time due to the advent of digital distribution specifically the recent myspace deal to let artist sell there music. The second refers to the RIAA's recent string of lawsuits and the preception that labels have much to do about this and the issues involved with both sides.
The realization that record companies wont die
The realization that record companies wont die
In a series of awkward ideas, i thought if it were even possible to eliminate the need for a record label and the relationship it has formed with artist and consumers. A couple of things come to mind in this:
1 The whole point of a label on any scale is to distribute, fiance and sell an artist work.
2 the offer something no one on itunes or myspace can, focus based marketing. The scale is irrelevant. An artist does not have the time or the resource to create synergy and a niche for itself. Although sometimes, once in a great while a group does this on its own but it is not standard fare. Also it should be noted in cases like discord DIY legend status and profitablity doesn't take hold until many years later.
3 A label can afford to do what you can't; avoid and out spend market saturation.
Basically any act you name has been able to avoid this in some way or any other b/c someone else is handling every other detail besides touring and the overall music aesthetic.
4 On the major record label's end they are on a whole owned by a larger group, be it viacom or a group of board members it will find a way to adapt.
5 Same with Indies due to the vision of the group or individual. They will find a way to appeal to is current sub-culture or a way to utilize new technology.
*also it should be noted a number of Indies are now what they call boutique labels I.e. They are funded by major labels or owned by them.
6 Distributors will only deal with an entity that can either fiance a record or has a history of being able to move units. Try to get in with southern or Caroline without being incorporated
or having major pull.
7 Sub culture appeal is apart of a label as much as it is apart of a band that is why in general they sign artist in the same movement, making it easier for the consumer to find similar music or aesthetics.
I am sure there is more but i cannot extrapolate on how entertainment economics interact with changes in the market further without more thought.
1 The whole point of a label on any scale is to distribute, fiance and sell an artist work.
2 the offer something no one on itunes or myspace can, focus based marketing. The scale is irrelevant. An artist does not have the time or the resource to create synergy and a niche for itself. Although sometimes, once in a great while a group does this on its own but it is not standard fare. Also it should be noted in cases like discord DIY legend status and profitablity doesn't take hold until many years later.
3 A label can afford to do what you can't; avoid and out spend market saturation.
Basically any act you name has been able to avoid this in some way or any other b/c someone else is handling every other detail besides touring and the overall music aesthetic.
4 On the major record label's end they are on a whole owned by a larger group, be it viacom or a group of board members it will find a way to adapt.
5 Same with Indies due to the vision of the group or individual. They will find a way to appeal to is current sub-culture or a way to utilize new technology.
*also it should be noted a number of Indies are now what they call boutique labels I.e. They are funded by major labels or owned by them.
6 Distributors will only deal with an entity that can either fiance a record or has a history of being able to move units. Try to get in with southern or Caroline without being incorporated
or having major pull.
7 Sub culture appeal is apart of a label as much as it is apart of a band that is why in general they sign artist in the same movement, making it easier for the consumer to find similar music or aesthetics.
I am sure there is more but i cannot extrapolate on how entertainment economics interact with changes in the market further without more thought.
Yeah its always some onelse who drank the rum
This is what is sad aside from the obvious contentions with consumers. The amount of money spent in litigation is going to be a big deficit for an already worried RIAA. The actual labels themselves have yet to sue a defendent for one red cent which is slightly funny I would have to say. Also i think a clarification for what the RIAA is is in need:
"The Recording Industry Association of America (RIAA) is the trade group that represents the U.S. recording industry. Its mission is to foster a business and legal climate that supports and promotes our members' creative and financial vitality. Its members are the record companies that comprise the most vibrant national music industry in the world. RIAA members create, manufacture and/or distribute approximately 90% of all legitimate sound recordings produced and sold in the United States.
In support of this mission, the RIAA works to protect intellectual property rights worldwide and the First Amendment rights of artists; conduct consumer industry and technical research; and monitor and review - - state and federal laws, regulations and policies. The RIAA also certifies Gold®, Platinum®, Multi-Platinum™, and Diamond® sales awards, and recently launched Los Premios De Oro y Platino™, a new award celebrating Latin music sales."
Essentially there a inverted better buissness bureau For the Afilliated labels. You have to pay to be reconized by them.
So this offers up some weird sentiment on every side of this un-ending somewhat childish argument that often validates both sides in some way or another. Because of an entitled generation fueled on radio and buisnees the in all honesty when tape decks that dub came on the consumer market and there recent counter parts the cdrw and dvdrw was just as scared of losses, the scale is infact changed though. Making a loss of 1mill pale to a loss of 1bill, if you lost that much in potential profits you would cry bloody murder. But alas it isnt that simple, its not as if some shady stranger is standing in the dark trying is sell you the third incartion of the spice girls on a bootleg with weak Hand writen liner notes either. So they have to scramble to make there place seem ligitimate or they have become obsolete ( the RIAA, not the labels) and it offers up for often ridiculous news. But that doesnt really sum up what is going on quite enough, what i see to be happening is an archaic instituion and a generation raised on free or cheap entertianment trying to say both are right but not really making a legitimate argument. Both are acting as if the other has some huge responsibility for ther failings. As far as the RIAA is concerned they just want to please their bosses. After all you have to try and seem effective, not really be effective.
The need alot of work, but i think i might start writing on this often mis-understood and over generalized industry.
"The Recording Industry Association of America (RIAA) is the trade group that represents the U.S. recording industry. Its mission is to foster a business and legal climate that supports and promotes our members' creative and financial vitality. Its members are the record companies that comprise the most vibrant national music industry in the world. RIAA members create, manufacture and/or distribute approximately 90% of all legitimate sound recordings produced and sold in the United States.
In support of this mission, the RIAA works to protect intellectual property rights worldwide and the First Amendment rights of artists; conduct consumer industry and technical research; and monitor and review - - state and federal laws, regulations and policies. The RIAA also certifies Gold®, Platinum®, Multi-Platinum™, and Diamond® sales awards, and recently launched Los Premios De Oro y Platino™, a new award celebrating Latin music sales."
Essentially there a inverted better buissness bureau For the Afilliated labels. You have to pay to be reconized by them.
So this offers up some weird sentiment on every side of this un-ending somewhat childish argument that often validates both sides in some way or another. Because of an entitled generation fueled on radio and buisnees the in all honesty when tape decks that dub came on the consumer market and there recent counter parts the cdrw and dvdrw was just as scared of losses, the scale is infact changed though. Making a loss of 1mill pale to a loss of 1bill, if you lost that much in potential profits you would cry bloody murder. But alas it isnt that simple, its not as if some shady stranger is standing in the dark trying is sell you the third incartion of the spice girls on a bootleg with weak Hand writen liner notes either. So they have to scramble to make there place seem ligitimate or they have become obsolete ( the RIAA, not the labels) and it offers up for often ridiculous news. But that doesnt really sum up what is going on quite enough, what i see to be happening is an archaic instituion and a generation raised on free or cheap entertianment trying to say both are right but not really making a legitimate argument. Both are acting as if the other has some huge responsibility for ther failings. As far as the RIAA is concerned they just want to please their bosses. After all you have to try and seem effective, not really be effective.
The need alot of work, but i think i might start writing on this often mis-understood and over generalized industry.
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