Archive for March, 2008

Sony BMG’s planned music service looks like a yawner

• Tuesday, March 25th, 2008

Sony BMG plans to join the crowded pool of digital music services by launching its own music subscription service… sometime. Sony BMG CEO Rolf Schmidt-Holtz said that the service would allow customers unlimited access to Sony BMG’s entire library for a fee of €6 to €8 per month (roughly US$9-$12) and that the company was working with other labels and gadget makers in order to make it more appealing.

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Sony BMG’s planned music service looks like a yawner

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Reality, antitrust concerns dog Apple subscription rumors

• Monday, March 24th, 2008

For instant rumor action, combine “Apple” with just about anything, add water, shake, and serve up on the Internet. The power of Apple rumors was on display again this week as word of a listen-till-your-eardrums-burst subscription hit the news. The result was a virtual torrent of commentary, news reporting, punditry, and antitrust accusations; PR on the scale that most companies would kill to have.

The hype

It began with an article in the Financial Times that said Apple was in talks with the major labels over bundling an all-you-can subscription plan with iPods. Customers might pay a premium on the devices for access to major label music, possibly for as long they own the device.

Subscription services to date have faced an uphill battle, since they all require DRM on downloaded files, and none of this DRM is compatible with the iPod. iPods account for around three-quarters of the US player market, meaning that any subscription service has a fairly small number of device owners to sell to.

Apple’s entry into the game could change all that, and could make lower-capacity but wireless devices more attractive as music platforms. It’s easier to sell a 16GB iPhone to music lovers, after all, if it can access any song, anywhere, with one upfront payment. But the moment that pundits began to blue-sky about Apple’s volte-face regarding subscriptions, two problems became quickly apparent: 1) Apple wasn’t doing any such thing, and 2) if it did, competitors would start agitating for some serious antitrust action.

The cold, cold water

No one is talking on the record about the situation, so what we have now are a collection of anonymously-sourced statements and heapings of conjecture. Businessweek did its best to quash the rumors, saying that sources had cast doubt on any potential deal. Apple was simply kicking ideas around, we’re told, not seriously trying to push a plan.

CNet claimed that Universal was actually the company pushing the plan, and that Apple was simply seeing if other labels might be up for something similar. The move would make sense, since Universal’s long-rumored “Total Music” plan would bundle access to its catalog with devices, and Universal has already signed on to a similar initiative with Nokia called “Comes With Music.”

Other reports were similar in tone. Yes, ideas like this had been floated, but nothing serious was being discussed.

The antitrust charges

That’s just fine with eMusic CEO David Pakman. eMusic is the number two download service in the US after iTunes and has built a huge stable of indie artists (it has no major label bands), with songs offered for around a quarter a piece. Pakman spent the second half of this week telling journalists that, if Apple was planning a subscription service, it might well be anticompetitive.

The argument is a simple one. “Apple has a monopoly,” Pakman told me Friday, citing their US market share at 80 percent. Companies in that situation have to play by a “different standard,” especially when it comes to anything that could be construed as “tying” (recall that Microsoft was accused of exactly this sort of tying when it rolled new “features” like Internet Explorer into Windows and then had to deal with years of litigation).

“If every iPod comes with [the hypothetical service], that’s tying,” Pakman said. eMusic and others would certainly bring the matter to regulators’ attention. But what if the new service is optional? Would that still be tying?

Pakman concedes that a court would need to hash this out, and he suspects that any such subscription service would in fact be optional. But he raises the specter of an “optional” service that in some ways isn’t; for instance, if Apple offered the upfront payment as an option when iPods were purchased through the Apple store, but made the payment mandatory for devices sold at Best Buy.

In the end, the whole story is “probably more rumor than anything,” Pakman says, and he professes astonishment that the major labels would bind their own digital destinies to Apple. Major label frustration with Apple has been obvious for years, as the majors were upset that Jobs held the line on a single price for all songs, and that iTunes so quickly became the dominant online retailer, thus giving Jobs more power over the labels than they had over him. Now, with the labels opening their DRM-free catalogs to other stores like Amazon, the balance of power may be shifting slightly, but Pakman believes that iTunes continues to account for 95 percent of the major labels’ digital downloads.

Major labels who made it even easier for Apple to control access to a growing part of their revenue stream would simply “continue the slide to their doom.”

A new hope?

We likely won’t see such an Apple-powered subscription model in the near future, then, but what’s most interesting about the story wasn’t the details of the subscription terms of the hardware it would function on. Instead, it was the very fact that subscriptions were attracting so much positive attention. Derided for years as “renting” music (and what consumer would want to do that?), the sudden rumor of a compelling subscription service that allowed unlimited major label content to be accessed and played from iPods and iPhones set the Internet ablaze.

Part of that could simply be due to the reality-distortion field emanating from Cupertino, which converts anything Apple-related into something cool, even if Apple derided the concept as ridiculous right up until its own announcement. But I think there’s more to it, something that makes the subscription model more palatable now than in years past.

In a word, it’s access. Always-on, constantly available, accessible anywhere access. There’s a reason why the interesting action in subscriptions has been happening in portable phones and not in standalone music players, and now that Apple has the hugely-successful iPhone in its lineup, it certainly could  roll out a compelling subscription.

This is the sort of value proposition that competitors haven’t been able to match: the biggest music store combined with the hottest device combined with all the music you want combined with anywhere access. Surely Apple sees the potential here; if it doesn’t, this week’s hubbub should show the company that such a service would be buzz-worthy. Whether we’ll ever see it rolled out is another question.

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Link to Original Article:
http://arstechnica.com/news.ars/post/20080323-reality-antitrust-concerns-dog-apple-subscription-rumors.html

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Big home sale: What star paid $3.47 million for Forest Hills pad? Jessica Simpson moving to Nashville?

• Monday, March 24th, 2008

The highest-priced home sale so far this year in the Nashville area almost certainly involves a major celebrity. But which one?

There is reason to suspect that the buyer, whose identity has been concealed, is singer, actress and pop-culture phenomenon Jessica Simpson.

In a purchase recorded last week with the Davidson County Register of Deeds, Dick and Anne Ragsdale sold their home in Forest Hills’ gated Northumberland development to a buyer represented by Music Row money manager Mary Ann McCready as trustee. The purchase price was $3.47 million.

Link to Full Article:
Big home sale: What star paid $3.47 million for Forest Hills pad? | Growth | NashvillePost.com: Nashville Business News + Nashville Political News

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R.E.M. pushes limits with Accelerate as record deal expires

• Tuesday, March 18th, 2008

It is not impossible for a forward-thinking rock band to do some creative marketing today—even if the band has a major-label record deal. Case in point: REM.
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The grandfathers of alternative rock will have their new album, Accelerate, on store shelves in two weeks. But one week ahead of the physical release, Accelerate will be available for free streaming in its entirety through iLike, the online music service best known for its Facebook-based incarnation. You could stream lead single “Supernatural Superserious” from remhq.com since early February, and the band invited fans to mash up the video at will.

Sure, Radiohead and Nine Inch Nails may have gone a few steps further into the digital future, but theyre free agents. REM still has to honor its existing record deal, as by my reckoning Accelerate is the fifth studio album released under the well-known five-album, $80 million contract the guys signed with Warner Music way back in 1997. “The support from Warner goes all the way to the top, to CEO Edgar Bronfman and the rest,” band manager Bertis Downs told Ars in a phone interview this morning. Not every band enjoys that level of corporate backing, to be sure. Still, if R.E.M. can do it, then maybe Linkin Park or Matchbox 20 will be next. The dominoes start to fall, and well end up with a new template for how to manage a band and how to structure a record deal.

The avant-garde fun doesnt stop there, either. R.E.M. has licensed several songs no, I dont know which ones to video games after squeezing Orange Crush into Harmonix/Electronic Arts hit Rock Band. Bertis noted that some licenses never get used, but that theres a good chance that we might see more of Michael Stipe and the gang on our Xboxes and Wiis. Also, iTunes seems to be treating the band very well because theyre set to play a set in the worlds largest Apple store next Wednesday, two days after doing the Albert Hall. “Were playing a lot of smaller venues to support this album,” said Downs, “but this is definitely the only computer store on our schedule.”

All of this speaks volumes about Warners willingness to embrace the new realities of the entertainment industry. Its impossible to tell how much of this freedoms comes from R.E.M.s Hall of Fame-worthy star power, how the impending contract negotiations factor in, and how open-minded the labels top brass would be without those factors. But its a start. Would R.E.M. walk in Radioheads footprints and go truly indie? Bertis simply said that the band is looking at all its options, and that the opportunities to make interesting moves are so plentiful that they have to say “no” to most of them. In other words, wait and see. Whatever happens, R.E.M. will make news—and waves.

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R.E.M. pushes limits with Accelerate as record deal expires

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Tupac: New Information in Quad Studio Ambush

• Tuesday, March 18th, 2008

NEW YORK — Cameras flashed as paramedics carried the victim into the glare of Times Square on a stretcher. Blood seeped through bandages from five gunshot wounds.

Tupac Shakur had been beaten, shot and left for dead at the Quad Recording Studios on New York’s 7th Avenue. As he was borne to a waiting ambulance through a swarm of paparazzi on Nov. 30, 1994, the rap star thrust his middle finger into the air.

It was a portentous moment in hip-hop — the start of a bicoastal war that would culminate years later in the killings of Shakur and rap’s other leading star, Christopher Wallace, better known as the Notorious B.I.G.

The ambush at the Quad remains a source of fascination and frustration to music fans and law enforcement officials alike. No one has ever been charged in the attack.

Now, newly discovered information, including interviews with people who were at the studio that night, lends credence to Shakur’s insistence that associates of rap impresario Sean “Diddy” Combs were behind the assault. Their alleged motives: to punish Shakur for disrespecting them and rejecting their business overtures and, not incidentally, to curry favor with Combs.

The information focuses on two New York hip-hop figures — talent manager James “Jimmy Henchman” Rosemond and promoter James Sabatino, who is now in prison for unrelated crimes.

FBI records obtained recently by The Times say that a confidential informant told authorities in 2002 that Rosemond and Sabatino “set up the rapper Tupac Shakur to get shot at Quad Studios.” The informant said Sabatino had told him that Shakur “had to be dealt with.”

The records — summaries of FBI interviews with the informant conducted in July and December 2002 — provide details of how Shakur was lured to the studio and ambushed. Others with knowledge of the incident corroborated the informant’s account in interviews with The Times and gave additional details.

According to this information, Rosemond and Sabatino, infuriated by what they saw as Shakur’s insolent behavior, enticed him to the Quad by offering him $7,000 to provide a vocal track for a rap recording.

Three assailants — reputedly friends of Rosemond — were lying in wait. They were on orders to beat Shakur but not kill him and to make the incident look like a robbery, the sources said. They were told they could keep whatever jewelry or other valuables they could steal from Shakur and his entourage.

A member of Shakur’s posse cooperated with the rapper’s enemies, relaying their offer of a $7,000 payment and keeping them informed of his whereabouts on the night of the assault, according to the informant and the other sources.

Rosemond, who has served prison time for drug dealing and weapons offenses, has been described by Vibe magazine as “one of the most respected and feared players in hip-hop.” His Czar Entertainment represents rappers Shyne, Too Short, Gucci Mane and the Game.

Rosemond has long denied any role in the Quad incident. He declined to be interviewed for this article, but his lawyer, Jeffrey Lichtman, dismissed the new information as “ancient double-hearsay allegations.”

Lichtman noted that Rosemond had never been charged or questioned in connection with the attack — a sign, Lichtman said, that federal authorities have “discounted” what the informant told them. Rosemond “was not involved in the assault and will not be prosecuted for it,” Lichtman said.

Sabatino declined to comment.

Combs, whose business empire includes Bad Boy Records and clothing and fragrance lines, also declined to comment.

The FBI documents do not name the informant. The Times learned his identity and verified that he was at the Quad on the night of the assault. When contacted, the man said the FBI records accurately convey what happened, and what he told investigators. He and the other sources interviewed for this article discussed the events of Nov. 30, 1994, on condition that their names not be published.

Their accounts are consistent with Shakur’s own. In interviews and on recordings, the rapper blamed Rosemond, Combs and their associates for the attack and promised to get even.

Link to Original Article:
An attack on Tupac Shakur launched a hip-hop war - Los Angeles Times

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RIAA Pockets Filesharing Settlement Money

• Monday, March 17th, 2008

ARTISTS SAY THEY WANT THEIR MUSIC SITE DOUGH
By PETER LAURIA

February 27, 2008 — Artist managers are girding for battle with their music overlords over when their clients are going to see some of the dough negotiated last year in copyright-infringement settlements with a host of Web sites.

Universal Music, Warner Music and EMI - either collectively or individually - settled claims with Napster, Kazaa and Bolt.com. Napster alone had to cough up $270 million.

The fourth major label, SonyBMG, was not part of the suit because Napster was owned by BMG parent company Bertelsmann.

All four struck separate deals with YouTube that included revenue participation.

(more…)

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Kazaa downloads cost one man $750 per song in RIAA suit

• Monday, March 17th, 2008

Even as Tanya Andersen refilled her malicious prosecution lawsuit last week, the RIAA won a victories in two unrelated lawsuits. One involved a case where the defendant never showed up in court; the other a defendant who admitted to using KaZaA to download and distribute music.

James V. Lewis was sued by the labels in August 2007 after an IP address flagged by MediaSentry was traced to his ISP account. Lewis never showed up in court, and the RIAA filed for a default judgment in October. Initially, the judge declined to give the labels what they were looking for, instead scheduling a hearing to discuss the case.After a hearing held last week, the judge gave the RIAA what it was looking for: a default judgment in the amount of $3,000 plus an additional $420 in court costs. Lewis has also been barred from infringing on “any other sound recording, whether now in existence or later created, that is owned or controlled by the Plaintiffs.”

original article:
Kazaa downloads cost one man $750 per song in RIAA suit

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Indie labels bypass iTunes, give digital sales a shot

• Monday, March 17th, 2008

It’s easier than ever for bands to get their tunes where fans can buy them. Anyone with a computer, a guitar, and a microphone can now label him- or herself a “singer/songwriter,” churn out some songs, and have them available for sale across the US through online storefronts like Amie Street. What used to require a major-label recording contract can now be done for a few bucks and some mouse clicks. So why are some indie labels ditching the cheap and easy distribution channels and doing their own digital distribution?
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“Money” and “shelf space” (or the digital equivalent of shelf space) are the answers. The money angle is simple enough: the label slaps up a store, offers its music for sale directly to fans, and splits all the profits with the artists. Steve Jobs doesn’t get his pound of flesh.

Full article on ArsTechnica:
Indie labels bypass iTunes, give digital sales a shot

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Spitzer call girl’s music suddenly in vogue on Amie Street

• Monday, March 17th, 2008

A funny thing happened in the wake of the Eliot Spitzer scandal that erupted over the course of this past week—aside from the fact that a state famous for its aggressive inhabitants is now being led by an unassuming and legally blind politician. Instead, through an odd series of connections, music by the alleged prostitute that is most directly tied to his downfall has suddenly become a hot seller. The situation nicely illustrates the situation that the major labels are facing as music production and distribution becomes democratized.

It appears that someone involved in the Spitzer investigation tipped The New York Times about it several days before it broke, as the paper was ready with extensive background coverage as soon as the stories hit the media. This seems to have included a lot of information from the Emperor’s Club web site, which allowed it to identify the woman who went to Spitzer’s hotel room through her MySpace profile. It turns out that Ashley Alexandra Dupré, the woman in question, is an aspiring singer.

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Spitzer call girl’s music suddenly in vogue on Amie Street

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Blind Melon with New Singer - Cannery Ballroom - Nashville, TN - Review

• Sunday, March 16th, 2008

To put it mildly… I was skeptical. I have been a die hard Blind Melon fan since early high school and I honestly believed that Shannon Hoon could not be replaced. Perhaps he never truly will be, but Travis Warren, the band’s new singer, was amazing last night in Nashville.

These songs are too good not to be played and I’m not sure there can be anyone better to sing them than Travis Warren. This guy can sing! His voice filled the Cannery Ballroom with ease and carried these (notably hard to sing) songs like a pro.

Click here to read the entire article.

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