Our Band Could Be Your Life:<br />Fandom and the State of the Music Industry<br />Eric Harvey<br />Department of Communica...
1983-2000: Music Industry Boom<br />
1983-2000: Music Industry Boom<br />Pop Video Superstars<br />Prince, Madonna, Bruce Springsteen, Duran Duran<br />
1983-2000: Music Industry Boom<br />Pop Video Superstars<br />Prince, Madonna, Bruce Springsteen, Duran Duran<br /><ul><li...
Higher price than LPs
Fans repurchasing music they might already own</li></li></ul><li>
Taylor Swift Fearless(1.9m, 11/08-11/09)<br />
Bruce Springsteen Born in the USA(10m, ‘84-’85)<br />
Hootie & the Blowfish Cracked Rear View(10m, ‘95)<br />
Alanis MorrissetteJagged Little Pill(15m, ‘95)<br />
Backstreet Boys Millenium(2.2m, Two Weeks, ‘99)<br />
Backstreet Boys Millenium(2.2m, Two Weeks, ‘99)<br />N*Sync No Strings Attached(2.3m, Two Weeks, ‘00)<br />
Michael Jackson Thriller(30m, ‘83-’84)<br />
The mp3 Story<br />
The mp3 Story<br />1988: the Motion Picture Experts Group (MPEG)<br />
The mp3 Story<br />1988: the Motion Picture Experts Group (MPEG)<br />1989: “MPEG-1 Audio and Video”, in use by 1992<br />
The mp3 Story<br />1988: the Motion Picture Experts Group (MPEG)<br />1989: “MPEG-1 Audio and Video”, in use by 1992<br />...
Geffen Records Executive, 1997:<br />Geffen &quot;doesn&apos;t see MPEG as a problem. We like anything that increases the ...
Orrin Hatch, 2003: <br />
Orrin Hatch, 2003: <br />“Warning” copyright infringers<br />
Orrin Hatch, 2003: <br />“Warning” copyright infringers<br />Destroying their computers<br />
Orrin Hatch, 2003: <br />“Warning” copyright infringers<br />Destroying their computers<br />“If that&apos;s the only way,...
Napster (1999-2002)<br />
Industrial/ “Top-Down” Model of Distribution<br />
Networked Model of Distribution<br />
Networked Model of Distribution<br />
Middlemen<br />
New Digital Strategies<br />bonus material in the official release<br />early access<br />digital/vinyl combinations<br />
Autonomy: How It’s Achieved Digitally<br />
Autonomy: How It’s Achieved Digitally<br />1.  Record the music, master a digital version<br />
Autonomy: How It’s Achieved Digitally<br />1.  Record the music, master a digital version<br />2.  Become acquainted with ...
Autonomy: How It’s Achieved Digitally<br />1.  Record the music, master a digital version<br />2.  Become acquainted with ...
Autonomy: How It’s Achieved Digitally<br />1.  Record the music, master a digital version<br />2.  Become acquainted with ...
Autonomy: How It’s Achieved Digitally<br />1.  Record the music, master a digital version<br />2.  Become acquainted with ...
Autonomy: How It’s Achieved Digitally<br />1.  Record the music, master a digital version<br />2.  Become acquainted with ...
Autonomy: How It’s Achieved Digitally<br />1.  Record the music, master a digital version<br />2.  Become acquainted with ...
Autonomy: How It’s Achieved Digitally<br />1.  Record the music, master a digital version<br />2.  Become acquainted with ...
Convergence Culture<br />
Digital Music Fandom	<br />Labels: Fans as free labor?<br />Tech companies: Fans as data sources?<br />Digital Rights Mana...
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Music and Recording

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Media Life is a course intended for undergraduate students across campus. Its goal is to make people aware of the role that media play in their everyday life. The key to understanding a "media life" is to see our lives not as lived WITH media (which would lead to a focus on media effects and media-centric theories of society), but rather IN media (where the distinction between what we do with and without media dissolves). Please note: this slideshow is created by Eric Harvey (http://www.marathonpacks.com/).

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Music and Recording

  1. 1. Our Band Could Be Your Life:<br />Fandom and the State of the Music Industry<br />Eric Harvey<br />Department of Communication and Culture<br />
  2. 2.
  3. 3.
  4. 4.
  5. 5.
  6. 6.
  7. 7.
  8. 8.
  9. 9. 1983-2000: Music Industry Boom<br />
  10. 10. 1983-2000: Music Industry Boom<br />Pop Video Superstars<br />Prince, Madonna, Bruce Springsteen, Duran Duran<br />
  11. 11. 1983-2000: Music Industry Boom<br />Pop Video Superstars<br />Prince, Madonna, Bruce Springsteen, Duran Duran<br /><ul><li>Compact Discs
  12. 12. Higher price than LPs
  13. 13. Fans repurchasing music they might already own</li></li></ul><li>
  14. 14. Taylor Swift Fearless(1.9m, 11/08-11/09)<br />
  15. 15. Bruce Springsteen Born in the USA(10m, ‘84-’85)<br />
  16. 16. Hootie & the Blowfish Cracked Rear View(10m, ‘95)<br />
  17. 17. Alanis MorrissetteJagged Little Pill(15m, ‘95)<br />
  18. 18. Backstreet Boys Millenium(2.2m, Two Weeks, ‘99)<br />
  19. 19. Backstreet Boys Millenium(2.2m, Two Weeks, ‘99)<br />N*Sync No Strings Attached(2.3m, Two Weeks, ‘00)<br />
  20. 20. Michael Jackson Thriller(30m, ‘83-’84)<br />
  21. 21.
  22. 22. The mp3 Story<br />
  23. 23. The mp3 Story<br />1988: the Motion Picture Experts Group (MPEG)<br />
  24. 24. The mp3 Story<br />1988: the Motion Picture Experts Group (MPEG)<br />1989: “MPEG-1 Audio and Video”, in use by 1992<br />
  25. 25. The mp3 Story<br />1988: the Motion Picture Experts Group (MPEG)<br />1989: “MPEG-1 Audio and Video”, in use by 1992<br />1992-93: “SoloH” hacks into server, acquires MPEG, rips third layer from it (MPEG, Layer 3) <br />
  26. 26.
  27. 27. Geffen Records Executive, 1997:<br />Geffen &quot;doesn&apos;t see MPEG as a problem. We like anything that increases the ability of consumers to listen to high-quality music, and if that means on their computer, that&apos;s fine, too. We&apos;re actually working on ways to program for it and to provide material in this format because consumers are making it clear that this is a format they like.&quot; <br />
  28. 28. Orrin Hatch, 2003: <br />
  29. 29. Orrin Hatch, 2003: <br />“Warning” copyright infringers<br />
  30. 30. Orrin Hatch, 2003: <br />“Warning” copyright infringers<br />Destroying their computers<br />
  31. 31. Orrin Hatch, 2003: <br />“Warning” copyright infringers<br />Destroying their computers<br />“If that&apos;s the only way, then I&apos;m all for destroying their machines. If you have a few hundred thousand of those, I think people would realize the seriousness of their actions.”<br />
  32. 32. Napster (1999-2002)<br />
  33. 33. Industrial/ “Top-Down” Model of Distribution<br />
  34. 34.
  35. 35. Networked Model of Distribution<br />
  36. 36. Networked Model of Distribution<br />
  37. 37. Middlemen<br />
  38. 38.
  39. 39.
  40. 40.
  41. 41.
  42. 42. New Digital Strategies<br />bonus material in the official release<br />early access<br />digital/vinyl combinations<br />
  43. 43.
  44. 44.
  45. 45.
  46. 46. Autonomy: How It’s Achieved Digitally<br />
  47. 47. Autonomy: How It’s Achieved Digitally<br />1. Record the music, master a digital version<br />
  48. 48. Autonomy: How It’s Achieved Digitally<br />1. Record the music, master a digital version<br />2. Become acquainted with online music outlets<br />
  49. 49. Autonomy: How It’s Achieved Digitally<br />1. Record the music, master a digital version<br />2. Become acquainted with online music outlets<br />a. Myspace<br />
  50. 50. Autonomy: How It’s Achieved Digitally<br />1. Record the music, master a digital version<br />2. Become acquainted with online music outlets<br />a. Myspace<br />b. Blogs<br />
  51. 51. Autonomy: How It’s Achieved Digitally<br />1. Record the music, master a digital version<br />2. Become acquainted with online music outlets<br />a. Myspace<br />b. Blogs<br />c. Critics<br />
  52. 52. Autonomy: How It’s Achieved Digitally<br />1. Record the music, master a digital version<br />2. Become acquainted with online music outlets<br />a. Myspace<br />b. Blogs<br />c. Critics<br />3. Trustworthy, connected people<br />
  53. 53. Autonomy: How It’s Achieved Digitally<br />1. Record the music, master a digital version<br />2. Become acquainted with online music outlets<br />a. Myspace<br />b. Blogs<br />c. Critics<br />3. Trustworthy, connected people<br />4. Selectively send press releases, music samples, links to streaming album<br />
  54. 54. Autonomy: How It’s Achieved Digitally<br />1. Record the music, master a digital version<br />2. Become acquainted with online music outlets<br />a. Myspace<br />b. Blogs<br />c. Critics<br />3. Trustworthy, connected people<br />4. Selectively send press releases, music samples, links to streaming album<br />5. Pray<br />
  55. 55. Convergence Culture<br />
  56. 56. Digital Music Fandom <br />Labels: Fans as free labor?<br />Tech companies: Fans as data sources?<br />Digital Rights Management: Fans as criminals?<br />
  57. 57.
  58. 58. FANS: The New Middlemen<br />

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