From M/Cyclopedia of New Media
Bronwen Loden 18:31, 27 Aug 2004 (EST)
Christelle Tan 18:33, 27 Aug 2004 (EST)
INDIE MUSIC ONLINE
- Independent music is the “artistic creations outside the commercial mainstream, without the support of a major record label…or other source of a large budget� (wikipedia.org, 2004).
- For quite some time, mainstream artists have had a promotional advantage over independent artists due to financial and commercial backing from record labels. Often these labels are actually owned by a large conglomerate that controls many subsidiary record companies (howstuffworks.com, 2004).
- These labels have been established for decades and over time, have built up immense financial assets and possess significant influence and power in the music industry. Artists are judged extensively by the label they signed to, as it is seen to be an indication of the type and quality of music they will produce.
- A new artist who is signed to a major label will have a significant advantage over their competition because publicity, airplay and general exposure can be bought by that label, increasing sales and popularity (howstuffworks.com, 2004). In exchange for guaranteed promotion, these major record labels receive a massive percentage of sales from the artist’s music, concert tickets and merchandise.
- As a result of endeavours by record labels to guarantee revenue the music industry has become increasingly stagnant. Many mainstream artists have a similar sound and style because major record labels are taking a very formulaic approach to selecting talent. New artists are signed on the basis of how much revenue they can generate, and often their appearance, rather than for the creative expression of their music.
- However, the Internet has opened up new distribution channels for digital music and this has levelled the playing filed. The rise of new media technologies, such as digital music and the Internet, has created new opportunities for independent musicians to self-produce and distribute their work on a global both easily and affordably (emediawire.com, 2004).
- This disintermediation of the music industry allows artists to produce, package, promote and distribute their work without being signed to a label. Previously, independent artists had to rely on word-of-mouth and indie record stores and publications, but now online promotion frees them from geographical and financial restrictions.
- Online music distribution has given independent artists new prospects for production, marketing and circulation on a global level, in an instantaneous fashion.
- The Internet led to the breakdown of intermediaries, which has taken control from record companies and management, and given it directly to the artist. As a result, “hierarchies are coming undone, gatekeepers are being bypassed [and] power is delving down to [the individual]� (Shapiro, 1999:9).
- Many music distribution websites, such as MP3.com, offer thousands of free downloads of independent music, giving indie artists more opportunities of being discovered.
- The Internet and online promotion gives artists opportunity to receive a large cut of the profits, due to greater control and lower production and distribution costs. Independent artists can receive revenue through new music distribution services such as WeedFiles.com and online music stores.
- WeedFiles.com uses a new digital music file called ‘Weed’, which allows listeners to download songs onto their computer but only preview it three times. Listeners then have the option to purchase the file and burn it to CD, download it to a portable player or share it with friends. The artist receives 50% of sales and listeners receive a cut of sales of songs they shared, encouraging the distribution of files.
- A growing number of online independent retailers, such as CDRevolution and CDBaby, offer artists 75% of sales on a consignment basis, as well as additional promotion.
- Indie artists can also promote their music online through many fee-based online international promotion and management corporations, such as Black Dog Promotions, designed specifically for independent artists. Through services such as these artists can gain exposure and become known without signing to a major label.
- These companies not only promote independent artists, but also create websites and organise fan clubs and street teams. They also send out bi-monthly newsletters and press releases and sell CDs at an online store.
- Another way artists can gain exposure and build a fan base is through a listener-reviewing community, such as GarageBand.com.
- Established in 1999, GarageBand.com allows independent artists to submit their original songs to be reviewed and rated by a community of over 400,000 members. Artists climb the GarageBand.com indie charts as they receive ratings. After reaching number one, an artist receives radio airplay, exposure to an advisory band and opportunity to be discovered by a major label.
- GarageBand.com boasts over 123,700 bands and is chaired by Sir George Martin, who signed the Beatles.
- Street publications have also been an effective promotional tool for independent artists. Now in the digital age they are available online in addition to internet-based music magazines or ‘e-zines’.
- For example, Spleen Music Magazine, which is published monthly, is available exclusively online. Spleen features reviews of new indie releases and interviews with artists. It also functions as an online community for independent musicians and fans.
- Whilst the online distribution of mp3s and other digital media has been of huge benefit to indie artists it has also given rise to many copyright and intellectual property issues.
- A concern is the distribution of music by fans without the permission of artists such as unauthorised recordings and cover songs. Psychedelic progressive rockers The Grateful Dead brought this issue into popular debate when they accused people of stealing their intellectual property by selling bootlegged recordings of their music. The Grateful Dead have always encouraged fans to record their live shows and distribute these recordings but draw the line when the distributors do so to make a profit (Barlow, 2004 n.pag#).
- Another intellectual property issue associated with digital music is music sampling and self production. Digital music distribution has the potential to revolutionise the way music is produced, packaged and even created. In the digital age independent music artists have been given greater ability to self publish their work. This is possible because of the invention of self-mixing programs like ProTools, created by the company Digidesign, a division of Avid Technology Inc. Artists can record music onto their home pc in digital format, mix and edit the tracks and then transfer it onto CD ready for sale or distribute it online, eliminating the need to be signed to a record label.
- Technology such as this has enabled people to not only create their own work but also remix and sample existing recordings. In December of 2003 Brian Burton, better known as DJ Danger Mouse, released “The Grey Album�, which became one of 2004’s most talked about releases and earned him a place in Q Magazine’s “Industry’s 100 Most Influential People� list.
- The album, which Burton produced on his home PC, combined Jay-Z’s a cappella “The Black Album� and The Beatles famous “The White Album�. This launched a massive copyright debate and turned “The Grey Album� into “the most in-demand piece of media since the Paris Hilton sex tape� (Moss, 2005, n.pag#). Only 3000 copies of the CD were made before he was issued with a cease-and-desist notice from EMI.
- Some viewed “The Grey Album� as blatant theft and others hailed it as a piece of original and creative work that brought the legal rights and restrictions of artists in the digital age into question. Currently intellectual property legislation does not take into account new media technologies and does not reflect current times. Some steps have been made towards an attempt to improve this situation.
- Copyright and intellectual property issues related to digital music and online distribution have given rise to new legislation and treaties. The World Intellectual Property Organisation (WIPO) has introduced the WIPO Copyright Treaty and Performances and Phonograms Treaty (WIPO Treaties) and once this is ratified by thirty counties, binding international rules will be established, clarifying and strengthening protection for copyrighted works in digital form.
- Rightsrouter, the creation of the Association of Independent Music (AIM), also aims to protect the intellectual property rights of independent musicians online. They negotiate deals with distribution channels, like Napster, on behalf of independent musicians to ensure they receive the royalties they deserve. Rightsrouter serves as a direct link between independent artists who want their music distributed and online companies looking for music to distribute.
- Independent music is so important to the music industry because it often serves as a breath of fresh air bringing creativity and diversity. Major record labels tend not to deviate from the mainstream and usually only sign artists they consider guaranteed to sell. Often then will even drop artists they already have signed if they create avant garde music or cater to a smaller commercial audience. The focus of major record labels is often on revenue rather than the actual music they are promoting.
- Independent music offers another option for consumers and when the use of new media technologies becomes more widespread, indie music will be even more accessible. New media technologies have, and will continue to, greatly benefit the growth of independent music. The Internet has provided indie musicians with a new channel to distribute their music. Possibilities for generating revenue have also arisen through this medium. Also fans can play a more active role in the distribution and promotion of the music of their favourite indie artists.
- New media technologies have had a significant social and cultural impact on the music industry by bringing independent music further into the spotlight, giving indie artists more control and a medium to promote their work and reach a global audience.
Subtopics
Bibliography
Print Resources
- Gelman, R., McCandlish, S. and Members of the Electronic Frontier Foundation. (1998) "Copyrights, Licenses, Trademarks and Patents – Protecting Intellectual Property Online". In Protecting Yourself Online – An Electronic Frontier Foundation Guide (pp. 85-113). San Francisco: Harper Collins.
- Godwin, M. (1998). "The Battle Over Copyright On The Net". In Cyber Rights (pp. 162-205). New York: Random House.
- Green, L. (2002). "Information Policy in the Information Society". In Technoculture: From Alphabet to Cybersex (pp.78-98). Crows Nest, NSW: Allen & Unwin
- Gregor, C. (2002). "After Digitopia: The Internet, Copyright and Information Control". In McClean, D. and Schubert, K. (Eds) Dear Images – Art, Copyright and Culture (pp.240-52). London: Ridinghouse ICA.
- Laidler, T. (2001). "Intellectual Property: A Balance Of Rights". In Brown, H., et al. (Eds), Politics of A Digital Present: Fibreculture Reader (pp. 137-42). Melbourne: Fibreculture Publications
- Shapiro, A. (1999). The Control Revolution, USA: Century Foundation.
Internet Resources
- Lanier, J. (1999) Piracy is Your Friend (Reprinted from the New York Times – May 9, 19999) [Online]. Available: www.guitarsite.com/newsletters/990524/15.shtml (Accessed: 1/9/04).
Christelle Tan 11:35, 10 Sep 2004 (EST)
Bronwen Loden 11:36, 10 Sep 2004 (EST)
