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	<title>Business &#38; MoneyCategory: Music Industry &#124; Business &#38; Money &#124; TIME.com</title>
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		<title>Business &#38; MoneyCategory: Music Industry &#124; Business &#38; Money &#124; TIME.com</title>
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		<title>Collecting Music is Back &#8212; But Harder Than Ever</title>
		<link>http://business.time.com/2013/05/08/collecting-music-is-back-but-harder-than-ever/</link>
		<comments>http://business.time.com/2013/05/08/collecting-music-is-back-but-harder-than-ever/#comments</comments>
		<pubDate>Wed, 08 May 2013 14:00:19 +0000</pubDate>
		<dc:creator>Eliot Van Buskirk</dc:creator>
				<category><![CDATA[Music Industry]]></category>
		<category><![CDATA[Technology & Media]]></category>

		<guid isPermaLink="false">http://business.time.com/?p=79496</guid>
		<description><![CDATA[The article below was originally published at Evolver.fm. First we collected music objects, then we hoarded MP3s to the point that many of our computers’ music collections became so huge and labyrinthine as to become almost useless. Now that most active music fans play music from the cloud as much or more than we access our local libraries (remember iTunes?), we music fans have a big opportunity to collect music in a way that makes sense again. It’s too bad nobody’s letting us do that. We haven’t conducted a study about this, but we have a feeling most people who care about music listen to a diverse mix of sources including YouTube, Rdio/Spotify/Rhapsody/MOG, streaming radio services, SoundCloud, Hype Machine, television, radio, live music, and the songs that are stuck in their heads. We don’t have an answer for that last one, but for everything else, can we please have a way to collect music again? The on-demand music service Rdio has long been aware of the value of “collecting” digital music within a near-infinite catalog of music, with a feature called “Add to my collection” that lets you store your favorite records from the millions and millions of songs in your profile. It works perfectly, if all you use is Rdio, which you don’t. (MORE: Why YouTube is Launching a Music Service) Spotify, which originally spurned the idea of a collection in favor of playlists, followed Rdio’s lead in the new version it teased last December in Manhattan, some of which is now live. Any time you Star, buy, import, or add a song to a playlist, it goes into your Spotify Library. That’s great, but it doesn’t solve the problem of collecting from a fan perspective. Streaming radio services tend to include iTunes links, which made perfect sense ten years ago, and but doesn’t translate to today’s situation, in which all of our music is scattered all over the place. Here’s my SoundCloud collection. Here’s my Rdio collection. Will the twain ever meet — not to mention all the other apps and sites where I listen to music, of<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=business.time.com&#038;blog=31173800&#038;post=79496&#038;subd=timebusinessblog&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Music Industry</primary_category><primary_category_link>http://business.time.com/category/technology-media/music-industry-technology-media/</primary_category_link><featured_image>http://timebusinessblog.files.wordpress.com/2013/05/143920371.jpg?w=240</featured_image>
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		<title>For a Musician with a Webcam, All the World&#8217;s a (Profitable) Stage</title>
		<link>http://business.time.com/2013/05/07/for-a-musician-with-a-webcam-all-the-worlds-a-profitable-stage/</link>
		<comments>http://business.time.com/2013/05/07/for-a-musician-with-a-webcam-all-the-worlds-a-profitable-stage/#comments</comments>
		<pubDate>Tue, 07 May 2013 18:25:34 +0000</pubDate>
		<dc:creator>Victor Luckerson</dc:creator>
				<category><![CDATA[Music Industry]]></category>
		<category><![CDATA[Technology & Media]]></category>

		<guid isPermaLink="false">http://business.time.com/?p=79364</guid>
		<description><![CDATA[On a recent April evening, 20 fans gathered to hear folk singer Ben Taylor play in his living room in Martha&#8217;s Vineyard, Massachusetts . The relaxed 40-minute set, which had all the production values of an acoustic performance on YouTube, cost $20 to attend. Fans were happy to pay that and then some—they collectively offered Taylor more than $300 more in tips, doling out dollars whenever he played a favorite song. Instead of gathering at a single location, the 20 concert-goers were scattered around the country, watching Taylor perform through their computer monitors. The venue was Stageit, a website that live streams musical performances and allows attendees to chat with artists as they play. Judging by the excitement during the Ben Taylor show, you’d think fans were sitting in the front row at a concert hall. “My lighter was in the air!” one fan wrote in the concert page’s chatroom after a favorite ballad. Taylor and hundreds of other artists have adopted Stageit as a promising new revenue source in an industry that has been bleeding money for more than a decade. Unlike other video websites, Stageit is primed for commerce. Admission to the site’s virtual shows is limited and costs a minimum of 10 cents. The shows are not archived anywhere, heightening the monetary value of the live experience. Artists solicit extra money through a virtual tip jar, which fans are often eager to fill—the average user spends $13.40 on a Stageit experience between tickets and tips. (MORE: Internet Saved the Video Star: How Music Videos Found New Life After MTV) Part of the site’s appeal is its intimacy. Instead of broadcasting shows in huge concert arenas, Stageit performances are more likely to be filmed in an artist’s bedroom or on the tour bus. “We call it a front row seat to a backstage experience,” says Evan Lowenstein, Stageit’s CEO. A musician himself who made a hit song featured on Dawson’s Creek, Lowenstein has seen firsthand how the rise of Napster decimated the value of recorded music. Now he’s betting that<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=business.time.com&#038;blog=31173800&#038;post=79364&#038;subd=timebusinessblog&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Music Industry</primary_category><primary_category_link>http://business.time.com/category/technology-media/music-industry-technology-media/</primary_category_link>
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		<title>Internet Saved the Video Star: How Music Videos Found New Life After MTV</title>
		<link>http://business.time.com/2013/04/02/internet-saved-the-video-star-how-music-videos-found-new-life-after-mtv/</link>
		<comments>http://business.time.com/2013/04/02/internet-saved-the-video-star-how-music-videos-found-new-life-after-mtv/#comments</comments>
		<pubDate>Tue, 02 Apr 2013 09:45:54 +0000</pubDate>
		<dc:creator>Victor Luckerson</dc:creator>
				<category><![CDATA[Music Industry]]></category>
		<category><![CDATA[Technology & Media]]></category>

		<guid isPermaLink="false">http://business.time.com/?p=76170</guid>
		<description><![CDATA[Why treadmills? That was my first question to Damian Kulash, the frontman of indie rock band OK Go. You probably remember the quirky video of Kulash and his bandmates dancing on gym equipment, which debuted on a recently launched video-sharing website called YouTube back in 2006. The group had already gotten a taste of viral success with a goofy dance video shot in Kulash’s back yard that was downloaded 300,000 times. They knew an even more outlandish video was the most direct and affordable way to widen their audience. “It was the band, my sister, eight treadmills in a room, and we just spent 10 days figuring out what we were going to do with it all,” he says. (MORE: Revenue Up, Piracy Down: Has the Music Industry Finally Turned a Corner?) The final product, the music video for “Here It Goes Again,” racked up 800,000 views on YouTube in 24 hours and more than 20 million within a year. If that seems like a small number now, that’s a testament to how the video format has exploded in popularity online in the past seven years. When OK Go first went viral, the music video seemed rudderless, an expensive relic of the industry’s pre-Napster boom times. Now a single music video (you can guess the one) has been viewed more than a billion times on YouTube alone. Thanks to technological innovation, creativity and business savvy, the music video has become the most popular visual genre of the Web. Rise, Fall and Resurrection Since the period when The Beatles developed feature film musicals tied to their early albums Help! and A Hard Day’s Night, music fans have craved visuals to go along with their tunes. MTV fed that desire 24 hours a day when it launched in 1981, offering artists a visual platform to promote their music. Some of pop culture’s most iconic moments—Michael Jackson thrilling a horde of zombies, Nirvana moshing in a murky gymnasium, Britney Spears gyrating in a Catholic schoolgirl outfit—come from a time when videos were synonymous<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=business.time.com&#038;blog=31173800&#038;post=76170&#038;subd=timebusinessblog&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>0</slash:comments>
	<primary_category>Music Industry</primary_category><primary_category_link>http://business.time.com/category/technology-media/music-industry-technology-media/</primary_category_link><featured_image>http://timebusinessblog.files.wordpress.com/2013/04/e0530143fc2739ef60564d89d738de3f.jpeg?w=240</featured_image>
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		<title>&#8216;Dark Side of the Moon,&#8217; &#8216;Saturday Night Fever&#8217; Added to National Recording Registry</title>
		<link>http://business.time.com/2013/03/21/dark-side-of-the-moon-saturday-night-fever-added-to-national-recording-registry/</link>
		<comments>http://business.time.com/2013/03/21/dark-side-of-the-moon-saturday-night-fever-added-to-national-recording-registry/#comments</comments>
		<pubDate>Thu, 21 Mar 2013 13:30:33 +0000</pubDate>
		<dc:creator>Victor Luckerson</dc:creator>
				<category><![CDATA[Music Industry]]></category>
		<category><![CDATA[Technology & Media]]></category>

		<guid isPermaLink="false">http://business.time.com/?p=75430</guid>
		<description><![CDATA[Forty years after its release, Pink Floyd’s groundbreaking album “The Dark Side of the Moon” has found a permanent home in the United States Library of Congress. The prog rock opus is one of 25 recordings being added to the National Recording Registry, the Library announced today. Since 2000, the Library has been tasked by Congress with building a registry of sound recordings that are “culturally, historically or aesthetically significant&#8221; to American society and at least a decade old. The 350 recordings already in the registry span the gamut of the aural experience, from an 1888 recording of “Twinkle, Twinkle, Little Star” made for a children’s doll by Thomas Edison to “Dear Mama,” a 1995 release by hip-hop star Tupac Shakur. This year&#8217;s new additions also include “The Twist” by Chubby Checker, the soundtrack to the film Saturday Night Fever and a broadcast near the shores of Normandy on D-Day by radio correspondent George Hicks. A similar registry was established for film in 1989. Cultural significance is obviously up for wide interpretation. The Library of Congress leaves the final decisions up to a single man, official librarian James Billington, who has been deciding what music and movies the government will preserve for decades. A National Recording Preservation Board made up of academics, historians, and music industry figures offer expert opinions, pitching Billington their suggestions during one day of intense deliberations each year. The public is encouraged to send in nominations too. The Library typically gets more than 1,000 nominations from regular citizens per year, with some people writing paragraphs worth of scholarly justification for their choices. (MORE: Revenue Up, Piracy Down: Has the Music Industry Finally Turned a Corner?) “The Dark Side of the Moon” has been a popular nominee among the public and members of the board for several  years, says Pat Loughney, the head of the National Recording Registry. “It struck a cultural resonance that has made the leap from one generation to the next,” he says. “It was an album that strived to deal with big things<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=business.time.com&#038;blog=31173800&#038;post=75430&#038;subd=timebusinessblog&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>0</slash:comments>
	<primary_category>Music Industry</primary_category><primary_category_link>http://business.time.com/category/technology-media/music-industry-technology-media/</primary_category_link><featured_image>http://timebusinessblog.files.wordpress.com/2013/03/dark-e1363893139166.jpg?w=240</featured_image>
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		<title>Why YouTube is Launching a Music Service</title>
		<link>http://business.time.com/2013/03/06/why-youtube-is-launching-a-music-service/</link>
		<comments>http://business.time.com/2013/03/06/why-youtube-is-launching-a-music-service/#comments</comments>
		<pubDate>Wed, 06 Mar 2013 18:27:41 +0000</pubDate>
		<dc:creator>Eliot Van Buskirk</dc:creator>
				<category><![CDATA[Google]]></category>
		<category><![CDATA[Music Industry]]></category>
		<category><![CDATA[Technology & Media]]></category>

		<guid isPermaLink="false">http://business.time.com/?p=73967</guid>
		<description><![CDATA[This post is in partnership with Evolver.fm, which is the first publication for music fans that’s dedicated to music apps. The article below was originally published at Evolver.fm. A Bloomberg report that Google would launch a &#8220;Spotify killer&#8221; gained credence on Tuesday with Fortune&#8217;s report that YouTube &#8212; a division of Google &#8212; is in fact working on a subscription service, according to unnamed sources at Google and in the music industry. Notably, this latest report refers to YouTube as the one to launch this service, not Google. What&#8217;s the difference? Doesn&#8217;t Google own YouTube? Well, yes &#8212; but YouTube is already by far the most popular source of on-demand music in the world, whereas Google Music is just one player in the music locker game. The kids think YouTube is a music service, and the breadth of its catalog might even be so huge as to be bad for music, in the sense that companies like Spotify, Rdio, Rhapsody, MOG, and Muze, which pay higher per-song royalties than YouTube does, have a hard time competing with all the free, on-demand music on YouTube &#8212; not just on their own, but in terms of powering apps, too. As if it isn&#8217;t enough to compete with P2P networks, now, the legitimate services have to compete with YouTube, too. (MORE: Revenue Up, Piracy Down: Has the Music Industry Finally Turned a Corner?) Thus, my theory: YouTube has to launch a music subscription, even if it loses money. If it doesn&#8217;t, some of the labels and publishers who currently authorize YouTube to play music will walk, and that would hurt both Google and YouTube. YouTube&#8217;s official statement to Fortune is telling: &#8221;While we don&#8217;t comment on rumor or speculation, there are some content creators that think they would benefit from a subscription revenue stream in addition to ads, so we&#8217;re looking at that.&#8221; Surely, they do in fact think that getting paid more money is better than being paid less. That&#8217;s their job. With a YouTube music subscription, they would get paid more per stream than they<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=business.time.com&#038;blog=31173800&#038;post=73967&#038;subd=timebusinessblog&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Music Industry</primary_category><primary_category_link>http://business.time.com/category/technology-media/music-industry-technology-media/</primary_category_link><featured_image>http://timebusinessblog.files.wordpress.com/2013/03/136888792.jpg?w=240</featured_image>
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			<media:title type="html">2012 International Consumer Electronics Show</media:title>
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		<title>Revenue Up, Piracy Down: Has the Music Industry Finally Turned a Corner?</title>
		<link>http://business.time.com/2013/02/28/revenue-up-piracy-down-has-the-music-industry-finally-turned-a-corner/</link>
		<comments>http://business.time.com/2013/02/28/revenue-up-piracy-down-has-the-music-industry-finally-turned-a-corner/#comments</comments>
		<pubDate>Thu, 28 Feb 2013 10:45:39 +0000</pubDate>
		<dc:creator>Victor Luckerson</dc:creator>
				<category><![CDATA[Music Industry]]></category>
		<category><![CDATA[Technology & Media]]></category>

		<guid isPermaLink="false">http://business.time.com/?p=73167</guid>
		<description><![CDATA[Fourteen years after Napster upended the music industry&#8217;s financial model, it may finally be time for record labels to start singing a happier tune. Sales are up, piracy is down, and new revenue streams may help the industry finally claw its way back to economic prosperity. Global recorded music revenues in 2012 increased for the first time since 1999, up 0.3% to $16.5 billion, according to a report by International Federation of the Phonographic Industry. Leading the recovery with 9% growth to $5.6 billion total were digital sales, which include direct sales on platforms like iTunes and revenue generated from streaming services like Spotify. The industry still has a long way to go to return to the boom-times of the ‘90s, when total revenues were close to $30 billion. But there are signs that listening habits have shifted enough for the industry to begin envisioning a more stable future, even if it’s unlikely to be as lucrative as the past. (MORE: How Your Harlem Shake Videos Make Money for the Original Artist) Piracy, for instance, continued to decline in 2012, according to a survey by the NPD Group. About one in ten American Internet users downloaded music through a peer-to-peer network in 2012 &#8212; think bitTorrent or the now-defunct LimeWire &#8212; compared to one in five when the phenomenon peaked in 2005. To eradicate the last of the pirates, the industry is placing its hopes in the newly launched Copyright Alert System. Developed in concert with the big Internet Service Providers, the new system allows copyright holders to flag an IP address that&#8217;s illegally downloading content. The Internet user then faces an incremental series of punishments from the ISP, ranging from educational videos about copyright law to a throttled Internet connection. That&#8217;s a lot less harsh &#8212; but, the industry hopes, more effective &#8212; than the multi-million-dollar lawsuits the Recording Industry Association of America regularly doled out post-Napster in a failed attempt at deterrence. The main reason piracy is already falling out of vogue, however, has little to do with<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=business.time.com&#038;blog=31173800&#038;post=73167&#038;subd=timebusinessblog&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Music Industry</primary_category><primary_category_link>http://business.time.com/category/technology-media/music-industry-technology-media/</primary_category_link><featured_image>http://timebusinessblog.files.wordpress.com/2013/02/81897730.jpg?w=240</featured_image>
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		<title>How Your Harlem Shake Videos Make Money for the Original Artist</title>
		<link>http://business.time.com/2013/02/21/how-your-harlem-shake-videos-makes-money-for-the-original-artist/</link>
		<comments>http://business.time.com/2013/02/21/how-your-harlem-shake-videos-makes-money-for-the-original-artist/#comments</comments>
		<pubDate>Thu, 21 Feb 2013 14:00:59 +0000</pubDate>
		<dc:creator>Victor Luckerson</dc:creator>
				<category><![CDATA[Music Industry]]></category>
		<category><![CDATA[Technology & Media]]></category>

		<guid isPermaLink="false">http://business.time.com/?p=72606</guid>
		<description><![CDATA[The Harlem Shake, now two weeks into its life as America’s favorite (or most annoying) meme, has shown a surprising resilience in an age when most Internet jokes have a 24-hour shelf life. More than 4,000 videos featuring the words “Harlem Shake” were being posted per day to YouTube during the peak of the mania last week, and new versions continue to crop up. The primary element holding the videos together, which feature everything from dancing walruses to Power Rangers, is the song “Harlem Shake,” a hip-hop instrumental that sports a now-infamous beat drop about 15 seconds in. While the videos are simple fun for the thousands of people that have participated in Harlem Shakes, they’ve become an easy moneymaker for the song’s creator, Baauer, and YouTube itself. Just a few years ago, copyright lawyers likely would have shut down the Harlem Shake craze before it could really get going—you might remember Viacom’s 2007 lawsuit against Google for allowing copyright-violating videos to spread across YouTube. Now, though, most content creators are working with YouTube to identify copyright-violating material and monetize it instead of delete it. Through a service called Content ID, YouTube automatically trawls its servers looking for copies of copyrighted materials that owners have asked to be protected. Users of the service can then have these copies removed from YouTube, do nothing, or have ads sold against the videos if they qualify for monetization. When Baauer’s label, Mad Decent, originally uploaded the full “Harlem Shake” song to YouTube in the summer of 2012, they were hoping it would proliferate. “We’ve, from the beginning, been very much a proponent of allowing everybody to do whatever they want with our stuff, as long we’re able to monetize it,” says Jasper Goggins, the manager of the label. “It’s a great way to help spread the music.” (WATCH: SeaWorld Animals Perform the Harlem Shake) Thanks to Content ID, Baauer was well positioned to immediately begin profiting when the Harlem Shake meme took off at the start of February. When the University of Georgia<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=business.time.com&#038;blog=31173800&#038;post=72606&#038;subd=timebusinessblog&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>0</slash:comments>
	<primary_category>Music Industry</primary_category><primary_category_link>http://business.time.com/category/technology-media/music-industry-technology-media/</primary_category_link>
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			<media:title type="html">vluck2012</media:title>
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		<item>
		<title>Why Beyoncé Will Make No Bills, Bills, Bills for Her Super Bowl Performance</title>
		<link>http://business.time.com/2013/01/31/why-beyonce-will-make-no-bills-bills-bills-for-her-super-bowl-performance/</link>
		<comments>http://business.time.com/2013/01/31/why-beyonce-will-make-no-bills-bills-bills-for-her-super-bowl-performance/#comments</comments>
		<pubDate>Thu, 31 Jan 2013 13:00:37 +0000</pubDate>
		<dc:creator>Victor Luckerson</dc:creator>
				<category><![CDATA[Music Industry]]></category>
		<category><![CDATA[Technology & Media]]></category>

		<guid isPermaLink="false">http://business.time.com/?p=69280</guid>
		<description><![CDATA[These days, the Super Bowl is less about pigskin than it is about greenbacks. Television networks cough up billions of dollars to air it, then charge companies marketing beer, babes and tax-preparation software $4 million for just 30 seconds of screen time during it. NFL coaches can score bonuses worth as much as half a million for winning it, and athletes earn an extra $44,000 just for playing in it. But there’s one entity in this vast entertainment extravaganza that won’t be making a dime from the NFL on Super Bowl Sunday: Beyoncé, the halftime performer. From the time of the Super Bowl I halftime show, when the University of Arizona and the University of Michigan marching bands performed, the NFL has not paid performers an appearance fee. This tradition has been maintained even though the marching-band shows of the 1960s and ’70s have since been replaced by world-famous acts like the Rolling Stones, the Who and now Beyoncé. Why would artists donate time and energy to help a television network keep the football audience in front of their TVs for several extra rounds of high-priced commercials? According to Who front man Roger Daltrey, the Super Bowl is an opportunity for increased exposure, even for a band that’s already sold 100 million records. “You can be touring like we have for 50 years, and there’s billions of people who have still never heard of you,” Daltrey says. “That’s the nature of the media these days.” When the Who performed at Super Bowl XLIV in 2010, they played for an audience of 106 million television viewers in the U.S. in addition to the 74,000 people at the Sun Life Stadium in Miami. Last year Madonna’s halftime show actually garnered more viewers than the game itself, making it the most watched event in television history. From the NFL’s perspective, such publicity is payment enough. “We’re putting someone up there for 12 and a half minutes in front of the largest audience that any television program garners in the United States,” says Lawrence<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=business.time.com&#038;blog=31173800&#038;post=69280&#038;subd=timebusinessblog&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>0</slash:comments>
	<primary_category>Music Industry</primary_category><primary_category_link>http://business.time.com/category/technology-media/music-industry-technology-media/</primary_category_link><featured_image>http://timebusinessblog.files.wordpress.com/2013/02/2013-02-04t012734z_81247298.jpg?w=240</featured_image>
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			<media:title type="html">Beyonce performs during the half time show in the NFL Super Bowl XLVII football game in New Orleans</media:title>
		</media:content>

		<media:content url="http://1.gravatar.com/avatar/40c4f40351434bf8e04405d4231aaecd?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">vluck2012</media:title>
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		<title>How Dr. Dre Made $300 Headphones a Must-Have Accessory</title>
		<link>http://business.time.com/2013/01/16/how-dr-dre-made-300-headphones-a-must-have-accessory/</link>
		<comments>http://business.time.com/2013/01/16/how-dr-dre-made-300-headphones-a-must-have-accessory/#comments</comments>
		<pubDate>Wed, 16 Jan 2013 13:30:31 +0000</pubDate>
		<dc:creator>Josh Sanburn</dc:creator>
				<category><![CDATA[Music Industry]]></category>
		<category><![CDATA[Technology & Media]]></category>

		<guid isPermaLink="false">http://business.time.com/?p=66485</guid>
		<description><![CDATA[Just a few years ago, spending $300 on headphones was something only a handful of artists, music producers, and audiophiles would even consider. But that was before a hip-hop legend got involved. These days, headphones — specifically ones that cost hundreds of dollars — are one of the fastest growing categories in the consumer electronics industry. And musicians who aren’t sticking their name on a pair are starting to seem tone deaf. At last week&#8217;s Consumer Electronics Show, rapper 50 Cent made an appearance. So did LL Cool J, Lemmy from Motorhead, and Ro Marley, son of late reggae musician Bob Marley. Even the “Jersey Shore’s” Snooki and New York Jets quarterback Tim Tebow stopped by. And all of them were hawking really expensive headphones. Over the last several years, the premium headphone market has exploded. According to retail analyst firm NPD Group, U.S. sales of headphones that cost $100 or more increased 73% year-over-year in 2012, far outpacing sales in the headphone market overall. Premium headphones now make up 43% of all headphone sales, and consumers who make the leap to high-end headphones don&#8217;t seem to be regretting the decision: Those who own premium headphones have an average of 2.3 pairs, according to NPD. (MORE: How Safe is the Boeing 787?) The biggest player in this market is Beats by Dre, the company founded by Dr. Dre, co-founder of the seminal hip-hop group N.W.A., and music producer Jimmy Iovine. The company captured 64% of the $100-and-up headphone market in 2012 (as Dre earned a reported $110 million, thanks mostly to Beats) by ushering in a new way of thinking about music marketing and consumer preferences. But back in 2008, when Beats released its first pair of headphones, it was far from certain that consumers would bite. “People thought we were crazy,” says Beats by Dre CEO Luke Wood. “They said the marketplace would never support a $300 headphone.” Industry analyst Ben Arnold, of NPD Group, says that the premium headphone market is being driven in large part by the rise of smartphones and tablets. As<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=business.time.com&#038;blog=31173800&#038;post=66485&#038;subd=timebusinessblog&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
		<wfw:commentRss>http://business.time.com/2013/01/16/how-dr-dre-made-300-headphones-a-must-have-accessory/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
	<primary_category>Music Industry</primary_category><primary_category_link>http://business.time.com/category/technology-media/music-industry-technology-media/</primary_category_link><featured_image>http://timebusinessblog.files.wordpress.com/2013/01/bus-beats-headphones-0116.jpg?w=240</featured_image>
		<media:thumbnail url="http://timebusinessblog.files.wordpress.com/2013/01/bus-beats-headphones-0116.jpg?w=240" />
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			<media:title type="html">image: Beats by Dre Executive headphones</media:title>
		</media:content>

		<media:content url="http://1.gravatar.com/avatar/d88247e41871fc555c4a2747167091d2?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">jsanburn</media:title>
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		<title>Is Broadband Internet Access a Public Utility?</title>
		<link>http://business.time.com/2013/01/09/is-broadband-internet-access-a-public-utility/</link>
		<comments>http://business.time.com/2013/01/09/is-broadband-internet-access-a-public-utility/#comments</comments>
		<pubDate>Wed, 09 Jan 2013 13:00:54 +0000</pubDate>
		<dc:creator>Sam Gustin</dc:creator>
				<category><![CDATA[Apple]]></category>
		<category><![CDATA[Future of TV]]></category>
		<category><![CDATA[Google]]></category>
		<category><![CDATA[Hollywood]]></category>
		<category><![CDATA[Information Technology]]></category>
		<category><![CDATA[Media]]></category>
		<category><![CDATA[Mobile]]></category>
		<category><![CDATA[Music Industry]]></category>
		<category><![CDATA[Silicon Valley]]></category>
		<category><![CDATA[Tech Policy]]></category>
		<category><![CDATA[Technology & Media]]></category>
		<category><![CDATA[Telecom]]></category>
		<category><![CDATA[War for the Web]]></category>
		<category><![CDATA[AT&T]]></category>
		<category><![CDATA[Captive Audience]]></category>
		<category><![CDATA[Captive Audience: The Telecom Industry and Monopoly in the New Guilded Age]]></category>
		<category><![CDATA[Comcast]]></category>
		<category><![CDATA[digital divide]]></category>
		<category><![CDATA[regulatory capture]]></category>
		<category><![CDATA[Sprint]]></category>
		<category><![CDATA[Susan Crawford]]></category>
		<category><![CDATA[time warner cable]]></category>
		<category><![CDATA[Verizon]]></category>

		<guid isPermaLink="false">http://business.time.com/?p=66067</guid>
		<description><![CDATA[Should broadband Internet service be treated as a basic utility in the United States, like electricity, water, and traditional telephone service? That&#8217;s the question at the heart of an important and provocative new book by Susan Crawford, a tech policy expert and professor at Cardozo Law School. In Captive Audience: The Telecom Industry and Monopoly in the New Guilded Age, released Tuesday by Yale University Press, Crawford argues that the Internet has replaced traditional phone service as the most essential communications utility in the country, and is now as important as electricity was 100 years ago. &#8220;Truly high-speed wired Internet access is as basic to innovation, economic growth, social communication, and the country&#8217;s competitiveness as electricity was a century ago,&#8221; Crawford writes, &#8220;but a limited number of Americans have access to it, many can&#8217;t afford it, and the country has handed control of it over to Comcast and a few other companies.&#8221; Because the U.S. government has allowed a small group of giant, highly profitable companies to dominate the broadband market, Crawford argues, American consumers have fewer choices for broadband service, at higher prices but lower speeds, compared to dozens of other developed countries, including throughout Europe and Asia. &#8220;In Seoul, when you move into an apartment, you have a choice of three or four providers selling you symmetric fiber access for $30 per month, and installation happens in one day,&#8221; Crawford told TIME in an interview Tuesday. &#8220;That&#8217;s unthinkable in the United States. And the idea that the country that invented the Internet can&#8217;t get online is beyond my imagination.&#8221; Crawford, who has been a visiting professor at Harvard, Yale and Michigan, spent a year on the National Economic Council as a top telecommunications advisor to President Obama. In her book, she directs much of the blame for the sorry state of the U.S. broadband market at the federal government. &#8220;Instead of ensuring that everyone in America can compete in a global economy,&#8221; she writes, &#8220;instead of narrowing the divide between rich and poor, instead of supporting competitive free markets for American inventions that use information &#8212; instead, that is, of ensuring that America will<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=business.time.com&#038;blog=31173800&#038;post=66067&#038;subd=timebusinessblog&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>0</slash:comments>
	<primary_category>Tech Policy</primary_category><primary_category_link>http://business.time.com/category/technology-media/tech-policy/</primary_category_link><featured_image>http://timebusinessblog.files.wordpress.com/2013/01/crawford-susan.jpg?w=240</featured_image>
		<media:thumbnail url="http://timebusinessblog.files.wordpress.com/2013/01/crawford-susan.jpg?w=240" />
		<media:content url="http://timebusinessblog.files.wordpress.com/2013/01/crawford-susan.jpg?w=240" medium="image">
			<media:title type="html">Crawford, Susan</media:title>
		</media:content>

		<media:content url="http://0.gravatar.com/avatar/60187828ab0bda2734e1a17a173fabde?s=96&#38;d=http%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">shgustin</media:title>
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		<title>Apple Planning Pandora Rival: Is Web Radio Ready for Prime Time?</title>
		<link>http://business.time.com/2012/09/10/apple-planning-pandora-rival-is-web-radio-ready-for-prime-time/</link>
		<comments>http://business.time.com/2012/09/10/apple-planning-pandora-rival-is-web-radio-ready-for-prime-time/#comments</comments>
		<pubDate>Mon, 10 Sep 2012 12:00:47 +0000</pubDate>
		<dc:creator>Sam Gustin</dc:creator>
				<category><![CDATA[Apple]]></category>
		<category><![CDATA[Music Industry]]></category>
		<category><![CDATA[Silicon Valley]]></category>
		<category><![CDATA[Technology & Media]]></category>
		<category><![CDATA[War for the Web]]></category>
		<category><![CDATA[Clear Channel]]></category>
		<category><![CDATA[iHeartRadio]]></category>
		<category><![CDATA[Joe Kennedy]]></category>
		<category><![CDATA[Pandora]]></category>
		<category><![CDATA[Spotify]]></category>
		<category><![CDATA[streaming music]]></category>
		<category><![CDATA[Tim Westergen]]></category>
		<category><![CDATA[web radio]]></category>

		<guid isPermaLink="false">http://business.time.com/?p=48719</guid>
		<description><![CDATA[They&#8217;re the most terrifying words in tech, as AllThingsD&#8216;s John Paczkowski observed on Friday: &#8220;Apple is entering your market.&#8221; One can only imagine what went through the minds of Pandora founder Tim Westergren, CEO Joe Kennedy, and colleagues, when news emerged via The Wall Street Journal that Apple is in talks with the major record labels about launching a streaming music service. (Existential dread?) Web radio is a tough-enough business as it is: Despite its huge popularity, Pandora is not profitable, in part because of the massive royalties it must pay the labels and other rights-holders to stream songs. If Apple enters the space, Pandora&#8217;s already-uphill battle to make money could become more difficult. Pandora shares fell nearly 17% on the news Friday. For Apple, moving into web radio makes sense &#8212; but this is not about money for the tech titan, at least not in the short-term. In fact, Apple could launch a streaming music service tomorrow that loses $100 million a year, and the Cupertino, Calif.-based behemoth would barely notice. Let&#8217;s recall that Apple has booked over $50 billion in profit over the past 12 months. Pandora, needless to say, does not have that luxury. Over the last year, the company has lost nearly $30 million on $340 million in revenue. (Given Pandora&#8217;s $1.75 billion market value, Apple, with over $100 billion in cash reserves, could absorb the web radio company for breakfast and still be ravenous by lunchtime.) For Apple, launching a streaming music service is about adding another piece of the puzzle in its quest to control the digital media ecosystem, as CNBC&#8217;s Jon Fortt noted on Friday. From music to movies and TV shows, to smartphone and tablet applications, to e-books and even digital magazines and newspapers, Apple&#8217;s strategy has been to build a digital environment in which the user feels intuitively comfortable conducting transactions. Apple has had more success in some of these areas, like iTunes, than others, like Apple TV. (That&#8217;s because the companies that control the rights to broadcast and cable TV<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=business.time.com&#038;blog=31173800&#038;post=48719&#038;subd=timebusinessblog&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>18</slash:comments>
	<primary_category>Technology &amp; Media</primary_category><primary_category_link>http://business.time.com/category/technology-media/</primary_category_link><featured_image>http://timebusinessblog.files.wordpress.com/2012/09/140417258.jpg?w=240</featured_image>
		<media:thumbnail url="http://timebusinessblog.files.wordpress.com/2012/09/140417258.jpg?w=240" />
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			<media:title type="html">Pandora Website Ahead of Earns</media:title>
		</media:content>

		<media:content url="http://0.gravatar.com/avatar/60187828ab0bda2734e1a17a173fabde?s=96&#38;d=http%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">shgustin</media:title>
		</media:content>
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		<title>Spotify is Growing — But Why Isn&#8217;t It Growing Faster?</title>
		<link>http://business.time.com/2012/08/16/spotify-is-growing-but-the-idea-of-music-ownership-is-holding-it-back/</link>
		<comments>http://business.time.com/2012/08/16/spotify-is-growing-but-the-idea-of-music-ownership-is-holding-it-back/#comments</comments>
		<pubDate>Thu, 16 Aug 2012 14:00:46 +0000</pubDate>
		<dc:creator>Josh Sanburn</dc:creator>
				<category><![CDATA[Amazon]]></category>
		<category><![CDATA[Apple]]></category>
		<category><![CDATA[Music Industry]]></category>
		<category><![CDATA[Technology & Media]]></category>
		<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Buying Music]]></category>
		<category><![CDATA[cds]]></category>
		<category><![CDATA[Digital Downloads]]></category>
		<category><![CDATA[iTunes]]></category>
		<category><![CDATA[music industry]]></category>
		<category><![CDATA[Records]]></category>
		<category><![CDATA[Spotify]]></category>
		<category><![CDATA[vinyl]]></category>

		<guid isPermaLink="false">http://business.time.com/?p=46251</guid>
		<description><![CDATA[Spotify has frequently been hailed at as the savior of the moribund music industry. Sooner or later, the pundits argue, a streaming music service that gives users unlimited access to virtually every piece of recorded music in the world for a modest price -- and that creates a revenue stream for artists -- will crowd out the competition. Right?<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=business.time.com&#038;blog=31173800&#038;post=46251&#038;subd=timebusinessblog&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>25</slash:comments>
	<primary_category>Music Industry</primary_category><primary_category_link>http://business.time.com/category/technology-media/music-industry-technology-media/</primary_category_link><featured_image>http://timebusinessblog.files.wordpress.com/2012/08/119046676.jpg?w=240</featured_image>
		<media:thumbnail url="http://timebusinessblog.files.wordpress.com/2012/08/119046676.jpg?w=240" />
		<media:content url="http://timebusinessblog.files.wordpress.com/2012/08/119046676.jpg?w=240" medium="image">
			<media:title type="html">Spotify to Accept Subscribers to U.S. Music Service</media:title>
		</media:content>

		<media:content url="http://1.gravatar.com/avatar/d88247e41871fc555c4a2747167091d2?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">jsanburn</media:title>
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		<item>
		<title>Coming Soon: A Softer Approach to Online Piracy</title>
		<link>http://business.time.com/2012/06/26/coming-soon-a-softer-approach-to-online-piracy/</link>
		<comments>http://business.time.com/2012/06/26/coming-soon-a-softer-approach-to-online-piracy/#comments</comments>
		<pubDate>Tue, 26 Jun 2012 14:00:20 +0000</pubDate>
		<dc:creator>Victor Luckerson</dc:creator>
				<category><![CDATA[Technology & Media]]></category>
		<category><![CDATA[Music Industry]]></category>
		<category><![CDATA[SOPA]]></category>
		<category><![CDATA[ISP]]></category>
		<category><![CDATA[center for copyright information]]></category>
		<category><![CDATA[copyright infringement]]></category>
		<category><![CDATA[digital piracy]]></category>
		<category><![CDATA[limewire]]></category>
		<category><![CDATA[internet service provider]]></category>

		<guid isPermaLink="false">http://business.time.com/?p=41512</guid>
		<description><![CDATA[The entertainment industry’s ongoing battle with digital pirates (also known as average Americans) will enter a new chapter this fall as music and movie companies take a more sweeping&#8211;but less litigious&#8211;approach to dealing with widespread copyright infringement. The recently formed Center for Copyright Information is a collaboration between the Motion Picture Association of America, the Recording Industry Association of America and five of America’s biggest Internet service providers: AT&#38;T, Cablevision, Comcast, Time Warner Cable and Verizon. The organization hopes to systemize the way in which digital copyright infringement is handled, which has been fairly scattershot over the last ten years. Here’s how the new system works: An Internet user downloading media illegally gets flagged by the copyright holder (a record label or movie studio). The copyright holder doesn’t know who you are, but they can detect your IP address if you’re on an open file-sharing network. They tell your Internet service provider that they’ve noticed some questionable activity coming from your address. The ISP will email you a copyright alert, which informs you that your account has been used for illegal file-sharing and directs you to legal avenues to acquire movies or music. (MORE: For Netflix Users, &#8216;Catch-Up&#8217; TV Viewing Has a Catch) “It’s sort of a new model of cooperation enabling the movie and music companies to be able to identify allegedly infringed files and pass those notices on to subscribers to their ISPs,” said Jill Lesser, the executive director of the Center. &#8220;If it works right, it’s not going to be seen as punitive but as helpful.” The alert system has been colloquially dubbed the “six-strikes rule.” On the first two strikes, you’ll receive a warning email noting illegal activity. For strikes three and four, you’ll be required to confirm your receipt of the notice through a landing page or pop-up window. Get a fifth strike and harsher consequences, called mitigation measures, kick in. The ISP may reduce your Internet connection speed for a couple of days, make you watch an educational video or force you to call<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=business.time.com&#038;blog=31173800&#038;post=41512&#038;subd=timebusinessblog&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>27</slash:comments>
	<primary_category>Music Industry</primary_category><primary_category_link>http://business.time.com/category/technology-media/music-industry-technology-media/</primary_category_link><featured_image>http://timebusinessblog.files.wordpress.com/2012/06/earphones.jpg?w=240</featured_image>
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			<media:title type="html">earphones</media:title>
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		<title>Music Industry Can See The Light After ‘Least Negative’ Sales Since 2004</title>
		<link>http://business.time.com/2012/03/26/music-industry-can-see-the-light-after-least-negative-sales-since-2004/</link>
		<comments>http://business.time.com/2012/03/26/music-industry-can-see-the-light-after-least-negative-sales-since-2004/#comments</comments>
		<pubDate>Mon, 26 Mar 2012 15:54:41 +0000</pubDate>
		<dc:creator>Robert Andrews</dc:creator>
				<category><![CDATA[Music Industry]]></category>
		<category><![CDATA[Technology & Media]]></category>
		<category><![CDATA[cds]]></category>
		<category><![CDATA[digital music]]></category>
		<category><![CDATA[International Federation of the Phonographic Industry]]></category>
		<category><![CDATA[online piracy]]></category>
		<category><![CDATA[vinyl]]></category>

		<guid isPermaLink="false">http://business.time.com/?p=32550</guid>
		<description><![CDATA[The music industry enjoyed its best sales performance for eight years in 2011, as CDs’ collapse decelerated, digital sales continued growing and new services were launched to capitalise on in-roads made in combating piracy. Global recorded music trade revenue fell by just three percent through the year. “2011 marked the least negative result in global recorded music sales since 2004, when revenues were flat,” the industry’s IFPI umbrella says in its just-released annual Recording Industry In Numbers report. Physical revenue fell by only 8.7 percent (by $972 million), compared with 13.8 percent in 2010 (vinyl sales up 28.8 percent). Digital revenue grew 8 percent (by $389 million), compared with 5.6 percent in 2010, hitting $5.3 billion to make up 31 percent of the total. Growth in performance rights (4.9 percent) and synchronisation (5.7 percent) also boosted the industry. Digital track and album sales grew 19 percent to 3.7 billion tracks, with Australia leading the way on 60 percent growth, compared with the U.S.’ eight percent and UK’s 10 percent. The U.S. sold $1.27 billion in digital singles, the UK $176.2 million. (MORE: Advertising Killed the Radio Star: How Pop Music and TV Ads Became Inseparable) It all adds up to one of the rosiest outlooks for the music business for years. In all, music sales revenue grew positively in 17 countries. None of this changes the fact that the industry has shed about 40 percent of its recorded music revenue in the last 10 years. But that was then &#8211; now, a new set of circumstances is in play… The IFPI credits new services like Spotify, iTunes Match and Facebook integration with helping the U.S. music market finish the year flat. The industry has successfully lobbied some national governments to introduce graduated-response anti-piracy measures. In their wake, growth in downloads has continued apace and unlimited-access operators like Rdio, Mog, Spotify and a reborn Rhapsody are bringing a new revenue model to the party that, supposedly, does not cannibalise downloads. In the U.S., digital formats became the majority (51 percent) of recorded music sales. In the UK, that was<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=business.time.com&#038;blog=31173800&#038;post=32550&#038;subd=timebusinessblog&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>11</slash:comments>
	<primary_category>Music Industry</primary_category><primary_category_link>http://business.time.com/category/technology-media/music-industry-technology-media/</primary_category_link><featured_image>http://timebusinessblog.files.wordpress.com/2011/07/rtr2ht2g.jpg?w=240</featured_image>
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			<media:title type="html">Apple&#039;s new iPod Shuffle, iPod Nano and iPod Touch, are displayed at Apple&#039;s music-themed September media event in San Francisco</media:title>
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