Power Field Studio

Power Field Studio

sexta-feira, 22 de setembro de 2017

RIAA 2017- Relatório Do Semestre Da Indústria Da Música

RIAA Mid-Year 2017 Music Industry Revenue Report


The State of Music Mid-Way Through 2017

Today we report the state of the U.S. music business mid-way through 2017. Retail revenues for recorded music increased 17%, powered by 30 million music subscriptions and a talented array of artists and the professionals who support them. Our story continues to be one of great promise, but our footing is fragile, and a sustained, durable recovery is jeopardized by a fundamentally uneven playing field.
Two storylines continue to inform the narrative of the music business.

Music matters, music fuels

We’ve said it before, but it bears repeating and it is has never been more true: music is a ubiquitous presence that dominates our culture and commerce. That doesn’t happen by accident. Record labels continue to do their part, embracing new business models, partnering with more than 400 services worldwide to deliver music to fans instantaneously at the touch of a fingertip.
The pace of change embraced by record labels is staggering. Just two years ago, digital downloads was the largest format, and streaming was only beginning to take hold. Fast forward a few short years, and the business is already dramatically different.
More than any other creative industry, music is a digital business, with approximately 80% of our revenues coming from a wide array of digital services.
The labels we represent have also invested $4.5 billion in discovering, nurturing and promoting artists. We never lose sight of the most fundamental fact: great music drives everything. Look no further than the incredible artists who have garnered Gold or Platinum albums this year: 2 Chainz, Big Sean, Brett Young, The Chainsmokers, Chris Stapleton, DJ Khaled, Ed Sheeran, Future, Harry Styles, Imagine Dragons, Jay-Z, Kendrick Lamar, Khalid, Logic, Migos, Russ and Zara Larsson.
That investment, that innovation, that entrepreneurialism is welcome and hard-earned, but it should not be taken for granted. The fragile progress we have achieved so far is threatened by outdated or abused laws.

Not all streams are equal

We estimate that there may be a TRILLION streams in 2017, counting both on-demand services and digital radio (some 460 billion in first half of the year). Wrap your head around that staggering number. It is encouraging but also speaks to the foundational challenge that continues to confront the music community. To the fan, there is often little difference between the multitudes of services available, yet the payouts to creators are very different and vastly impacted by outdated or abused laws and regulations.
And that’s why a united music community continues to be incredibly animated about music’s “value gap” and calls upon policymakers — and our business partners — across the globe to do better and address these inequities (look no further than the massive response to YouTube’s recent self-congratulatory blog).
As you can see from the chart that my colleague Josh included in his summary of 2017 mid-year statistics, the amount of revenues that the three major categories of streaming generated is dramatically different, as is their disparate contribution to overall revenues.
Here’s another example of music’s value gap: how many hours of watching music videos would it take to generate a single dollar for music creators? An astonishing 58 hours.

We’re proud of the work we have done to foster a dynamic and diverse marketplace that serves the modern fan. We also realize there’s a lot more to do. For the second half of 2017, we look forward to more great music, and hope that that we can make more progress on addressing fundamental inequities that stymie music’s full potential.
Cary Sherman, Chairman & CEO, RIAA


terça-feira, 19 de setembro de 2017

Quantas Músicas Você Jogou Fora? Porque Falhas São Necessárias

How many songs do you throw away? (Why failure is necessary in songwriting)


Take heart, songwriters. Even Josh Ritter writes crappy songs.

As he says in this clip from a recent Berklee Online session, “The default setting for writing is failure to get what you want.”
He then quotes Jay-Z: “It isn’t a loss — it’s a lesson.”
Ritter talks about working through those failures, chipping away, until he finally arrives at the songs that made all the failure worth it. For some writers that might mean completing 100 songs to find the 10 best gems.
How many songs do you throw away? How do you know if a song is any good? Let me know about your process and what you do with the misses in the comments below.

Facebook Está Oferecendo As Gravadoras E Aos Editoras Centenas De Milhares De Dólares

Facebook Offers Music Labels and Publishers 'Hundreds of Millions' in New Licensing Agreement, Report Says



Facebook looks to be entering the music business. The site is offering major record labels and music publishers "hundreds of millions of dollars" so its users can legally include copyrighted music in videos they upload to the platform.
It's no secret that Facebook has been a strong advocate of video for some time, not-so-subtly incentivizing traditional media outlets to join the video marketplace. Already a major force behind certain sites' now-routine "pivot to video," the tech giant has continued to benefit from its relationships with advertisers, whose viewership metrics appear significantly higher for video content, at least according to reports from the platform itself. Facebook is already one of the biggest advertisers in the world, taking in over $26 billion in 2016 with steady quarterly increases so far this year.
At the same time, an agreement like this isn't without precedent. In 2016, YouTube paid $1 billion to record labels and publishers, a figure still significantly less than similar negotiations with Spotify and Apple Music. With payouts on YouTube already notoriously small, a similar deal most likely wouldn't favor musicians, even as streaming rates already leave many questioning their involvement with streaming and its increasing presence as a new industry standard.
"Getting into business with Facebook presents something of a Faustian bargain," write Bloomberg's Lucas Shaw and Sarah Frier. "Rights holders need a deal. Given the current legal framework for copyright online, users are going to upload video with infringing material no mater what. The onus is on rights holders to police those videos. A deal ensures they get something rather than waste resources tracking down all the illegal videos."

As 15 Melhores Escolas De Negócios De Música

The 15 Best Music Business Schools In 2017


Within a former railroad depot-turned-restaurant, on the edge of the Downtown Arts District in Los Angeles, an ensemble entertains diners with a joyous mix of gypsy jazz, blues and Americana styles, playing fiddles, mandolin, trumpet and more.
The group, called The Vignes Rooftop Revival -- named for an early session atop the roof of a nearby artist’s loft -- is more than just a popular local band. With a revolving lineup of up to 15 musicians, the Los Angeles act also is a flourishing small business.
Commuting to gigs in the Arts District by foot, bicycle and skateboard, the group has built a solid clientele of venues, including Eat Drink Americano, the restaurant on the railroad siding. During a break in their set, band members engage a visitor in conversation, explaining how they honed both their musicianship and music business smarts just a few miles away at the Thornton School of Music at the University of Southern California.
“Musicians today need to understand how to survive in a way that does not compromise their music,” says guitarist-trumpeter Erik Miron, 30, who graduated from USC Thornton in 2009. An understanding of business helps, he says, as long as “it remains in service to the art.”
Across the nation, from Los Angeles to New York, Miami to Nashville, colleges and universities with music programs are preparing students for a new era of entrepreneurship. Gone are the days when aspiring artists simply sought to “sign a deal” to launch their careers. For young musicians and those seeking music careers behind the spotlight, the availability of higher-education music business programs has never been greater. These 15 schools are at the top of their class.
Vignes Rooftop Revival
The Vignes Rooftop Revival, featuring alumni of USC's Thornton School of Music, travels to gigs by bike and skateboard. From left are three group members: Patrick Torrez, Bergen Moore and Miron.Jeremy Copeland
The Mike Curb College of Entertainment and Music Business (Belmont University, Nashville)
Just south of Nashville’s famed Music Row, Belmont University in April opened the Gallery of Iconic Guitars, where students can experience the varied tones of nearly 500 vintage stringed instruments. It’s the latest example of the hands-on approach to a music business education at Belmont’s Curb College. The university’s sponsorship of Ken Burns’ forthcoming documentary, Country Music, has created internship opportunities for Curb students with Burns’ Florentine Films, while a foundation of the National Music Publishers’ Association has provided a $50,000 endowment for Curb’s songwriting program. Last fall, the school awarded its first Women Creators’ scholarship, endowed by Miranda Lambert.
Campus Speaker: John Zarling, Curb alumnus and executive vp marketing and new business, Sony Music Nashville
Berklee College of Music (Boston, Mass.)
Although Berklee’s campus is bustling -- Apple Music’s David Dorn was a recent speaker -- its reach extends well beyond its home base in Boston. On Sept. 5, the school announced Berklee NYC would be based at the former Power Station studio in Manhattan. The Berklee Popular Music Institute sends student artists to perform at music festivals, including Lollapalooza and Outside Lands. A fellowship established by Paul Wachter, financial adviser to Jimmy Iovine and Bono, allows students to work with Wachter in Los Angeles. And the Berklee campus in Valencia, Spain, offers a master’s degree in global entertainment and music business. The new Berklee Empowerment Initiative, launched in June, seeks to create more pathways for young women to achieve and sustain careers in the music industry.
Alumni: Neil Jacobson, president, Geffen ­Records; Rani Hancock, president, Sire Records
MIXCLA, Gerson Esteban Lazo-Quiroga, Zahili Gonzalez Zamora & Takafumi Nikaido
Latin jazz trio MIXCLA, featuring Berklee College of Music alumni Gerson Esteban Lazo-Quiroga (left), Zahili Gonzalez Zamora and Takafumi Nikaido (not shown) performed during Berklee’s free Summer in the City concert series.Salim ALi
Hofstra University (Hempstead, N.Y.)
This spring, Hofstra’s Center for Entrepreneurship launched Mane Records, a student-run label that offers participants experience recording at studios in New York (30 miles west of campus) as well as producing, promoting and distributing music under the mentorship of industry professionals. The Hofstra University chapter of the Music and Entertainment Industry Student Association recently held its annual conference, offering panels on publishing, live music, record labels and songwriting and studio production. 
Faculty: Terrence Tompkins, who is ­experienced in A&R, management and festival booking, arrives this fall as the new coordinator of Hofstra’s music business program.
Los Angeles College of Music (Pasadena, Calif.)
LACM’s campus in Pasadena is set apart from the rush of Los Angeles but easily accessible to the city’s music and film industries. Toto keyboardist-composer Steve Porcaro and film composer James Newtown Howard (who won a 2009 Grammy Award for his score to The Dark Knight) came to LACM this spring for conversations with students. Alabama Shakes producer Blake Mills, producer-songwriter-guitarist Matt Beckley and Papa Roach drummer Tony Palermo are among several musicians who have presented master classes. The school recently launched a student-run label, 370 Music Group, with plans to propel young artists into the music market.
Faculty: Geoff Mayfield, former Universal Music Group vice president and former director of charts for ­Billboard, began teaching at LACM in 2016.
Los Angeles Film School (Los Angeles, Calif.)
Students at LAFS collaborate in professional, project-based environments. The school offers bachelor and associate of science degrees in music production (with the option of online classes), recording arts, entertainment business, animation, graphic design and film. Courses of interest to music business-minded students include sequencing technologies, musical arrangement, business management, mixing concepts and techniques. The school is based in the historic RCA Building on Sunset Boulevard, which houses a studio where Elvis PresleyThe Rolling Stones and Henry Mancini once recorded.
Alumnus: Ari Levine, a member of The ­Smeezingtons, with Philip Lawrence and Bruno Mars.
Beverly Keel, Leslie Farm, Reba McEntire & Tracy Gershon
Beverly Keel, chair of the department of the recording industry at MTSU, led a discussion on changing the view of women in country music at Nashville’s Bluebird Cafe in 2016. From left: Keel, CMT’s Leslie Fram, Reba McEntire and Rounder Records’ Tracy Gershon.Carly Brandt
Middle Tennessee State University (Murfreesboro, Tenn.)
MTSU is 40 miles southeast of Nashville, but holds the country music business close. This year, the school created a new bachelor’s degree in audio production to complement its undergraduate degree in the recording industry, its music business MBA and its MFA in recording arts and technologies. The school’s radio station, WMOT, recently switched from a jazz format to Americana -- the first such outlet in Nashville. MTSU co-sponsored the first international conference on the music of Prince with the University of Salford in Manchester, England, and partnered with the Nashville Songwriters Hall of Fame and Nashville Public Television to host a show called The Songwriters, hosted by College of Media and Entertainment dean Ken Paulson.
Campus Speaker: Crissy Collins, a solo artist and backup singer for Beyoncé, conducted a three-day workshop for students.
Clive Davis Institute of Recorded Music (New York University Tisch School of the Arts, New York)
How did Tisch follow up its 50th anniversary celebration during the 2015-16 school year, which included a residency by Pharrell Williams? By continuing to boost offerings at the Clive Davis Institute of Recorded Music. A study abroad program in Berlin was one addition this year to enhance the institute’s pop music curriculum. The school presented a discussion of entrepreneurship with Better Than Ezra vocalist Kevin Griffin, moderated by Davis Institute chairman Jeff Rabhan.
Alumna: Maggie Rogers reached No. 4 on ­Billboard’s Heatseekers Albums chart in March with her debut, 'Now That the Light Is Fading.'
Steinhardt School of Culture, Education and Human Development (New York University, New York)
Steinhardt’s music business program -- which enrolls 160 undergraduates and 80 master’s students -- melds the performance training of a conservatory with industry perspective through courses at NYU’s Stern School of Business. This summer, the school hosted Sound Development: NYC, a full-day conference created by the Mayor’s Office of Media and Entertainment to explore the intersection of music, tech, entertainment and real estate. Steinhardt’s student-run Village Records is in its 22nd year, and the music program has now hosted its Songwriters Hall of Fame Master Sessions for six years. NYU’s location assures an array of New York internships, and most students complete music-related studies abroad.
Faculty: Marcie Allen, president of music ­marketing agency MAC Presents, is an adjunct instructor at Steinhardt.
Bill Werde
WerdeHeather Moore
Pepperdine University (Malibu, Calif.)
On Pepperdine’s oceanside campus in Malibu, the university’s Institute for Entertainment, Media and Culture is a multidisciplinary program that seeks to train new entertainment industry leaders with courses in law, business and the creative arts. This fall, Pepperdine’s school of law is introducing a new master of laws degree in entertainment, media and sports. Courses in intellectual property and music law also are available as electives to students in the university’s Graziadio School of Business. Herb Alpert and vocalist Lani Hall are among the performers booked this fall at campus venue Smothers Theater.
Alumnus: Edward Arrow, senior vp copyright, Universal Music Publishing Group
Bandier Program for Music and the Entertainment Industries (Syracuse University, Syracuse, N.Y.)
The Bandier program marked two milestones in 2017. In March, the university announced that the program, as of 2018, would become part of the highly regarded S.I. Newhouse School of Public Communications, expanding study options available to its exclusive enrollment of some 25 students per year. And in August, the program named former Billboard editorial director Bill Werde as its new director. The Bandier program maintains close ties to the music industry -- including its namesake, Sony/ATV Music Publishing chairman Martin Bandier, who endowed the school.
Alumni: Michael George, artist manager, SB ­Projects; Drew Taggart, artist, The Chainsmokers
Kaskade & Steve Baltin
Kaskade (right) spoke with journalist Steve Baltin as the inaugural guest in January on Office Hours, a livestreamed series co-produced by the UCLA Herb Alpert School of Music.Susana Capra
Herb Alpert School of Music (University of California Los Angeles, California)
Among the courses recently added to the Herb Alpert School’s curriculum are “Between Art and Commerce in the Record Industry,” taught by Bob Hurwitz, chairman emeritus of Nonesuch Records, and “Music and Entrepreneurship,” led by music and tech executive Dae Bogan. Coming in 2018-19 is a hybrid degree program that combines studies in musicology and the music business. In 2016, EDM superstar Paul Oakenfold was the judge of a DJ competition staged by the school.
Alumnus: Eric Polin, senior vp music publishing, Universal Pictures
Frost School of Music (University of Miami, F.L.)
Frost School, located in the capital of the Latin music business, recently launched online graduate-level certificates in music business and entertainment industries, and arts presenting and live entertainment management. The 80 undergraduates majoring in music business can work at student-run record label ’Cane Records, publishing company Cat 5 Music and radio station WVUM. New this year were master classes featuring Pandora head of publisher licensing and relations Adam Parness, Sony Music Entertainment chief information officer Miles Braffett and RIAA senior vp business and legal affairs Susan Chertkof. 
Faculty: Serona Elton, a longtime executive at EMI Recorded Music, is an associate professor and chairman of music media and industry at Frost.
University of North Texas College of Music (Denton, T.X.)
Forty miles north of Fort Worth, Denton is the hometown of musicians as varied as funk pioneer Sly Stone and jazz saxophonist Herschel Evans, and the site of UNT. Last fall, the university’s College of Music expanded its curriculum with a new focus on entrepreneurship and music, offering internships, frequent guest speakers, targeted career advising and networking opportunities. In April, students shared $18,000 in prize money awarded in the first UNT Music Entrepreneurship Competition. During the coming school year, Emmy Award-winning composer Bruce Broughton will serve as UNT’s composer-in-residence.
Alumna: Grammy-winning singer Norah Jones returned to campus in September 2016 to accept UNT’s presidential medal of honor.
Norah Jones
UNT alumna Jones (left) revisited the campus in 2016 and was interviewed by John Richmond, dean of the College of Music.Ahna Hubnik
Jimmy Iovine and ­Andre Young Academy (University of Southern California, Los Angeles)
While it carries the names of the music executives who endowed it (with a $70 million gift to USC in 2013), the Iovine and Young Academy is focused on more than the future of the music industry, offering a unique bachelor’s degree in arts, technology and the business of innovation. Under director Erica Muhl, the academy in March announced a master’s degree program, Design@USC, offered both on campus and online. Although the bachelor’s program will graduate its first class in May 2018, three seniors have already co-founded a startup company, Mira, to produce an augmented-reality headset dubbed Prism and gained $1.5 million in venture-capital investment.
Campus Speaker: Iovine came to USC in May for an end-of-the-school-year talk.
USC Thornton School of Music (University of Southern California, Los Angeles)
USC Thornton in July announced five new professional master’s degree programs focused on arts leadership, community music, contemporary teaching practice, screen scoring and the music industry. They complement a revamped curriculum for the conservatory’s undergraduate degree in the music industry, which has added courses such as “DIY Music Marketing.” Campus speakers at Thornton have included Irving Azoff, Republic Group president Charlie Walk and Universal Music Publishing Group chairman/CEO Jody Gerson, as well as artists like Smokey RobinsonMoby and Chaka Khan.
Alumnus: Jonathan “Capital” Peterson teaches in the division of contemporary music -- and plays guitar with The Vignes Rooftop Revival. 

Como Escutamos - IFPI Liberou Relatório Sobre Streaming E MP3

How We Listen: IFPI Finds Global Uptick in Both Legal Streaming and MP3 Ripping


There's good news and bad news in "Connecting With Music," the IFPI's just-released music consumer insight report.
One of the main takeaways of the report -- here -- is that music consumers across the globe are increasingly choosing licensed audio streaming services, with 45 percent compared to 37 percent in 2016. That said, more than half of on-demand music streaming (55 percent) is from video sources like free-if-you-dig-ads YouTube, while the rest is split evenly between paid audio services (23 percent) and free services (22 percent), primarily Spotify's free tier.
That sustained dominance of YouTube among internet music consumers, however, has been a flashpoint in the industry. Unlike their licensed audio counterparts, upload video services like YouTube pay rights holders with a share of advertising revenue, as opposed to Spotify and other streaming services which have minimum per/stream rates. (IFPI estimates that the average YouTube user creates one dollar in revenue for the music industry annually, while the return on a Spotify listener is roughly $20 per year.) The "value gap" created by that disparity is the "single biggest threat facing the music world today," the IFPI says.
In the last six months, music consumers have been listening in four distinct ways: Radio: An average of 87 percent of people globally are still tuning in to radio of some kind, with 68 percent using broadcast and 35 percent streaming over the internet. Video Streaming: 75 percent of consumers spend time with YouTube and other similar services for music. Audio Streaming: An average of 45 percent use some type of audio service, primarily free ones (39 percent) over paid (27 percent). Purchased Music: 44 percent are purchasing some of their music, whether its CDs (32 percent), downloads (28 percent) or vinyl (17 percent).
In the "children are our future" department, an overwhelming 85 percent of 13-15 year-old are using streaming services of all stripes (audio/video) to listen to their music. Of the teens who primarily choose audio streaming, 37 percent are through paid services. A third of those kids are paying for their own subscriptions, while 36 percent are on a family plan. Fifty-three percent of early teenagers have purchased physical or downloaded music (19 percent are already into vinyl).
The study finds that the use of smartphones to listen to music is increasing rapidly, with 90 percent of paid audio streamers going mobile. In the U.S. 63 percent of listeners are using their smartphones to do it, up from 54 percent a year ago. The study points out that the younger you are, the more likely a phone is your go-to way to listen. For example, 84 percent of 16-24 year-old use their phones for music, compared to only 30 percent of 55-64 year-olds.
According to the data, 50 percent of internet users have paid for licensed music in the last six months.
"This report shows some amazing trends defining this new era, how fans around the world are enjoying recorded music and connecting with the artists they love in so many ways," said IFPI CEO Frances Moore.  "The increasingly digital global music environment did not just happen. It requires an enormous amount of work from record companies and their partners to license over 40 million tracks to hundreds of digital services around the world."
While the consumption of licensed music has risen steadily, so has copyright infringing outlets for acquiring music such as stream ripping. According to IFPI, 40 percent of consumer have accessed unlicensed music, and 35 percent of all internet users are stream ripping, up from 30 percent a year ago. That number goes way up when you single out 15-24 year-olds who rip at a rate 53 percent, and 25-34 year-olds at 45 percent.
(Stream ripping took a big hit earlier this month when YouTube.mp3, a top website for creating MP3 files out of YouTube videos, was shut down as part of a settlement with the RIAA.)
To reach these overall findings, IFPI commission IPSOS to research internet users aged 16-64 in 13 of the world's top music markets -- territories that account for 85 percent of the global recorded music market. They include: Australia, Brazil, Canada, France, Germany, Italy, Japan, Mexico, South Korea, Spain, Sweden, United Kingdom, and United States.

quinta-feira, 14 de setembro de 2017

6 Startups De Música Se Juntam a Aceleradora De Programas "Marathon Artists"

Six Musical Startups Join Marathon Artists For Its Second Accelerator Program

First of all thanks to Hugh McIntyre for this article.
Starting the first week of October (which is coming up fast, even though it still feels like summer in some parts of the country), Marathon Artists will kick off the second year of its music/tech startup accelerator program, simply known as LABs. This time around, the organization plans to focus specifically on “content monetization,” which is one of the trickiest topics in the music business these days. Everybody knows how valuable content of all kinds can be, but how does one actually make money off of it?
The six companies chosen to take part in the second iteration of Marathon Artist LABs couldn't be more different from one another, as there are magazines, complex algorithm creators, app developers and plenty of people thinking about data day and night. The accelerator is a big step for Marathon, which operates as a record label, management firm and publishing company, but the British music favorite has plenty of valuable connections in the business, and that can be exactly what many ventures need to get to the next level.
Here are the six companies that have been announced as participants in the second edition of Marathon Artist LABs.
The company describes itself as a “next generation video and digital asset monetization platform,” which contains a number of exciting buzzwords, all of which will likely help it attract the attention of future investors. The idea is that any page on any website, including the personal site for any musician, can instantly feature a paywall to access the content, which should be music to the ears of millions of musicians looking to make a living from their art. This is no new company either, as the firm’s website states it has already processed millions of dollars in transactions.
What started as a blog back in 2009 has now become one of the most-watched performance video series focusing solely on music. While the writing didn’t last too long, the videos have, and now the Mahogany Sessions’ YouTube page has almost half a million subscribers, and well over 100 million plays. Artists like Gabrielle Aplin, Wrabel, Laura Marling, Frances, James Hersey, Jack Garratt and MUNA have all taken part recently, and this group has been catching acts before they exploded for years now.
At it’s core, escapex allows celebrities, be they musicians, actors, models or other, create apps that megafans can download. Those mobile programs will contain tons of content from the stars themselves, including videos, photos, some exclusive, some not, and they can choose to either ask those who have downloaded to pay for access, or they can insert ads into the experience, which monetizes much of the content they were creating and giving away in the first place.
Like Mahogany, Dummy is more of an editorial platform than a startup, at least in the way many think of that term when focusing on accelerators. Dummy Mag focuses on highlighting up-and-coming talent, reviewing albums and singles and interviewing some of the coolest names in music that haven’t quite broken yet. The title has been a respected source of music journalism for years now, and it looks like those in charge may be interested in taking the company to the next level by taking part in Marathon.

While the music industry becomes more and more technologically advanced, there is still an aspect to discovering tunes that is uniquely human, and Musimap is looking to find a way to let the machines in on that fun as well. Until now, humans were the best at suggesting what a person might like based on what bands, songs and albums they identify as favorites, and a person can still grasp the emotional tone of a track better than any algorithm. The people are Musimap are working on forming connections between pieces of music, which can help other companies in their quest to become the best at offering up new discoveries first.
Adelphi
According to a press release shared by Marathon itself, Adelphi is “a data management service dedicated to the independent music sector. It is developing methodologies to exploit music-related data and monetise it by offering data-driven marketing solutions for programmatic advertising.” This seems to be a sweet spot for many businesses offering music to consumers, so if Adelphi can find ways to truly make use of all the trillions of points of data out there, it will surely make some serious cash.

Novo Livro 'Why Vinyl Matters' Apresenta Várias Entrevistas Incluindo LARS ULRICH, HENRY ROLLINS


LARS ULRICH, HENRY ROLLINS Featured In 'Why Vinyl Matters' Book




METALLICA drummer Lars Ulrich and punk rock icon Henry Rollins are among the artists who were interviewed for "Why Vinyl Matters", the upcoming book from ACC Editions.
In 2015, vinyl sales in the U.S. increased by 30% — a raise for the tenth year in succession — and 1.29 million vinyl albums were sold in the U.K. in 2014, the first time the million mark has been surpassed since 1996. Vinyl, once thought to be a dying market, is now facing a major revival. 
Pop culture writer and historian Jennifer Otter Bickerdike interviews some of our most iconic artists, including hip-hop stars, Indie legends, DJs, producers, album cover designers, photographers, label founders and record store owners. Each superstar and superfan talks about their own experiences of vinyl and what it means to them, and the importance of its re-emergence — seemingly against all odds — as a physical format in the era of the digital economy. 
Said Ulrich: "It's the ritual element of it. It's running your finger down the side of the record, trying to open the plastic wrap, and then pulling it out, seeing if there is an inner sleeve, hoping for a gatefold. Nowadays, you just walk over to your computer, you click three times, and you have 140,000 songs at your fingertips. Vinyl was just a different kind of thing — and it still is."
Due on September 28, "Why Vinyl Matters" is part history, part future forecasting, part nostalgia and all celebration. It is a collection of more than 25 interviews, all illustrated with photos, sidebars, quotes, album covers, outtakes and much more. This is the book for anyone who has ever gone to the store and bought music on vinyl.
Includes interviews with:
Fatboy Slim
Tim Burgess (CHARLATANS)
Henry Rollins (musician, actor, writer, comedian)
Gaz Coombes (SUPERGRASS)
Lars Ulrich (METALLICA)
Maxi Jazz (FAITHLESS)
Rob da Bank (DJ and founder of Bestival)
Clint Boone (INSPIRAL CARPETS)
Mike Ness (SOCIAL DISTORTION)
Chief Xcel (BLACKALICIOUS)
Cut Chemist (JURASSIC 5)
Fab 5 Freddy (hip-hop pioneer, visual artist)
Fat Mike (NOFX)
Julia Ruzicka (FUTURE OF THE LEFT)
Steve Hackett (GENESIS)
Nick Hornby