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Who is worse; ‘File Sharers’ and ‘illegal downloaders’ that are robbing the music industry blind, or the industry itself?

This isn’t obviously something new, and in case you’re wondering, I’m not only just ‘clocking on’ to the fact that people take music without paying for it. However, what is new is the idea that a court of appeal has this week reduced the sentence for a woman that was sharing 24 songs on Kazaa. Sounds great doesn’t it? She has to pay less, right?

Well… the nice judge did decrease the figure to a measly £41,000 ($65,000) which means that the poor lady sharing 24 songs in 2006 will be paying 51,898 times more for her music than she would if she paid 79p for the songs in iTunes. Now, that’s taking the piss a little isn’t it? It’s probably the only figure on the planet that is actually higher than the rate of inflation in Zimbabwe.

What about the file sharers that share 30,000 tracks? What about the file sharers that share software products (that don’t work by the way)? What about the file sharers who share 10,000 films? Finding a woman that in the grand scheme of things, is pretty innocent, and charging her £41,000 per song seems a little over the top. She was sharing little over 2 albums and she gets caught out and hung, drawn and quartered. The way that this industry is attempting to tackle illegal downloads is so far away from perfect that it’s embarrassing.

Have you ever seen a gangster film where the police chase after the drug users? No. Why? Because they aren’t worth it. Go for the big boys. Go for Pirate Bay. Leave poor Mary alone for Christ sake.

During the process of reading this article, writing this blog and chatting with sP from Sentric Music, I think I have an idea which will change the world.

Ready?

Align the penalties for file sharing with the relativity that it deserves. Looking at other penalties, it becomes easy to see how the industry can tackle a problem that has ‘crippled’ it (it is downloading of course, not the fact that people aren’t writing good music) without alienating the people who are most important; the consumers.

I dropped a cigarette on the floor a few months ago, and I got pulled by one of those traffic coppers. After a long debate about whether the nice gentleman even qualified as a policeman, I was forced to pay a £75 fine. Bit of a ball ache, but given that I must’ve dropped about 50,000 cigarettes on the floor in my time it’s not a big price to pay. It actually made me feel better about the other 49,999 stubs I threw on the floor, as if I’d paid my way somehow.

If you’re unfortunate enough to get a parking ticket, the same principle applies. You’re pissed off at the traffic warden for about 15 minutes, and then you think, ‘I get away with this all the time so if you average out the fine against the amount of times I park illegally, it still works out less than £5 per minute I get raped for every day by parking legally’.

If the Music Industry took this approach, the cost of fining these murderous file sharers would dramatically decrease. Simple letters would be sent, and the fine would be £25 per track for example. If you get fined £25 the parking ticket principle applies; fair enough, it’s more than 31 times the value of the song but it’s £25. You’re given 3 weeks to pay the fine, and if you don’t pay it goes up to £35 per song.

The annoying thing about this whole topic leads me back to a pet hate. The only person than wins in this scenario is the lawyer. Poor Mary can’t afford to pay £984,000 for 24 songs meaning the record label doesn’t get the money. Poor Mary lives a life of hell and goes bankrupt, and so does the artist because the record label won’t commit to another album.

The lawyer gets £3k per hour to solve nothing. The robbing bastard.

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Easily the foremost model of the importance of brand identity for musicians is Daft Punk.  Since their inception in the early 90’s they have forged a gargantuan visual and audible brand identity which has made them one of the most identifiable groups in music.  It’s quiet astonishing that what started as a couple of underground house music producers have now been commissioned to produce the original motion picture soundtrack for the up and coming Disney TRON Legacy.  Such is the strength of the brand they have created.

Guy-Manuesl de Homem-Christo and Thomas Bangalter had their ideas nailed down from the start, combining innovative electronic music with the allure of the sci-fi robotic helmets used to conceal their identity and add to their mystique.  The visual masterpiece they have been painting over almost two decades is equally matched by their ground-breaking music – it’s a perfect marriage of aesthetics and authenticity.  Their legendary Alive Tour incorporated a spectacular light and laser show and was voted by SPIN magazine as tour of the year,  in 2007 they directed their own art-house film debut “Daft Punk’s Electroma” and now they have produced the soundtrack to what is likely to be one of the biggest films of 2010.

The TRON Legacy official motion picture soundtrack will be available to buy from November 22nd 2010.

Disney TRON Legacy Soundtrack

Daft Punk Website

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I’ve been compelled to write this blog post after recently watching the Christopher Nolan movie Inception.  Without digressing too far into the role of movie critic, I’ll simply say I really enjoyed the film and it garnered up the same feeling I had when I first saw the Matrix, this kind of adventure sci-fi oozes authenticity and for the duration of the picture has your inner child believing that what you’re seeing is not outside of the realms of possibility.

Inception is basically a film about intellectual property theft and the characters within the film are highly  skilled thieves who move within victims dreams and extract valuable secrets.  As an act of redemption in the film the lead character is required to carry out a procedure of planting an idea in the mind of a victim.  Such was the height of my engagement with the film; its ideas and themes impregnated my mind and kicked about their tentacles like an over-active octopus foetus.  I began to question the basic notion of an ‘idea’ and what it even means.  Is there ever an original idea? A virgin thought free from the effect of external factors or previous experience.  Then I realised what a pompous, self-indulgent bunch of philosophical tosh to which I was lending valuable time and decided to think again.

In order to remain optimistic and refrain from the belief that it’s impossible to create something original I’ve attempted to relate this theory more pertinently to something I know and love.  Growing up as a fan of Hip Hop music, I’ve learned to respect and appreciate the art displayed by the mother-genre of copyright criminals.  This art is of course sampling.  So what is sampling?

According to the Oxford English Dictionary: Sample

record or extract (a small piece of music or sound) digitally for reuse as part of a composition or song:riffs sampled from other musicians (as noun sampling) *sampling is bringing older music to younger ears

In the case of Hip Hop it’s taking an old record and making it into a new record. Using other people’s ideas and adapting them with tools of modern technology into an innovative piece of art.  Obviously there are different levels application and skill involved, some can be as blatant as taking the whole track, others can be intricate parts of a song chopped up and re-arranged to make a whole new melody, added to an original drum sequence with effects and the original specimen can be unnoticeable.

In the early days of hip hop, records were cut and pasted together in live DJ sets at parties and Grandmaster Flash was one innovator of this technique.  The Adventures of Grandmaster Flash on the Wheels of Steel (1981) is basically a recording of a Flash cutting and scratching several old records.

Before the age of dedicated samplers and computers, musicians would still ‘appropriate’ elements of other musicians.  The Beatles were one of the originators of the art of sampling. In the early 60’s many artists we’re cutting up and manipulating copyrighted recordings with tape recorders.  The Beatles adopted a technique pioneered by William S. Burroughs in which he would record radio broadcasts and dub over certain parts at random, stuttering and distorting the original recording.  This technique is evident on Beatles songs Yellow Submarine, Revolution 9 and I Am The Walrus.

In Hip Hop, sampling soon became an art-form of its own and the sampler became an instrument that was to be learned and mastered the same as any other.  The weapon of choice that would become most popular was the Akai MPC in particular the MPC60 in the late 80’s and the MPC2000 in the 90’s.  This machine combined both elements of a sampler and sequencer meaning that sounds could be recorded into it and then edited and arranged live into a recorded sequence.  The 16 large grey pads on the right hand side allowed particular samples to be played individually; therefore the pads could be played like a musical instrument opening up new worlds of creative possibility.

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From artists like 2 Live Crew crudely sampling Joy Orbison’s Pretty Woman to Aussie electronic band The Avalanches who’s critically acclaimed album ‘Since I left You’ comprised of around 3,500 vinyl samples, the impact of the phenomena of sampling has been colossal.  The ability to record and archive sound has made it possible to stock-pile ideas.

Here’s a few of my favourite tracks containing samples and their originals…

Wu Tang Clan – C.R.E.A.M (1993) Samples: The Charmels – As Long As I’ve Got You (1967)

Outkast – Babylon (1996) samples: Vangelis – 12 o’clock (1975)

Biz Markie – Just a Friend (1989) Samples: Freddie Scott – (You) Got What I Need

Kanye West has just recently revived this Freddie Scott sample with this…

*sampling is bringing older music to younger ears

*I like this bit of the dictionary definition especiallly.  The power of the dictionary! This simple act of bringing older music to younger ears the single most important part of sampling for me, it suggests a power to educate in music and for this we will all benefit.  Artforms of decades gone by can be re-born in a modern context, keeping the spirit of older genres alive.  This promotes listener participation and those that actively seek the origin of samples within some of their favourite songs will widen their breadth of musical knowledge and have endless fun doing so.

One of my favourite websites at the moment is Who Sampled.  They’re building a comprehensive user generated database of songs and the samples they have used.  This is an excellent first stop when digging through the sample archives and a fantastic tool for discovering music.

Boring*Oh I am so annoyed today!!!

I was out last night with a group of friends for a couple of after work drinks, one of them bought along an old school friend of his… As soon as he entered the pub and was introduced he just went on and on about himself, what he did at work, and basically how brilliant he was, when any of use went to contribute to the conversation he simply talked over us… To say the experience was unpleasant was an understatement… The guy just went on and on, you get the picture…

Kenny Powers

What I am trying to get at it is this sort of behaviour is not accepted in the ‘real’ world and this applies to the ‘online’ world also…

If you are a brand and you enter the social media space and constantly bang on about your products and services you are going to annoy lots of people… Had the afore mentioned person engaged us with witty banter, his views on the state of the music industry or simply listened to what we had to say then I am sure he would have been invited back to our after work, chew the fat sessions…

So remember, engage and entertain when you enter the online social media / network space and you will have friends, fans and followers for life…

Rant over…

*BTW the photo is not me, my angry face is just to ugly for your eyes!

Nothing to do with what we do here at Sentric Digital, but we do love a good bit of Street Art…

Here are some snaps we have grabbed of some fine bits and pieces we have spotted…

We love… We Love because of content like this they create… Not happy with putting on some of the best parties known to man and woman, they make engaging content about things they give a damn about…

This episode of We Love TV discusses the whole can of worms that is ‘music distribution’…

Check their vimeo channel for more episodes…

So Facebook get a bit more geared up for bands and artists with the help of Root Music. Root Music have created a platform to add all relevant info for bands to promote themselves… So gigs, music, via a soundcloud plugin, bio, photos, videos, via vimeo or Facebook… everything a budding fan would be interested in…

Now with the supposed demise of MySpace as the place to promote your music as an emerging artist, or lets be honest, any artist, will this become the ‘emperors new clothing’ as the place to promote your musical wares…?

Its quite an easy package to use and it’s free unless you want to add a nice banner at the top, change background colours and fonts then its a $19.99 yearly subscription…

I sent one up in about 10 minutes for a personal project. This is for a series of music based events but does the job…

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Screen Shot 1

Screen Shot 2

Screen Shot 2

I like the fact they have combined tried and tested platforms for hosting and displaying content such as Vimeo and Soundcloud a real ’stand on the shoulders of giants’ approach…

Anyway, we suggest you get out and try it and let us know what you think…

www.rootmusic.com

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So, whilst the Sentric Digital team have been out in Ibiza this week visiting long-term and lovely client We Love…Music, i’ve once again found myself sat in the office, watching the rain pour drawing silly little diagrams to help me understand the world.

I drew David Beckham in a West Ham shirt. That didn’t make sense. I drew David Cameron talking to the Indian Music Industry. That didn’t make sense. I drew a diagram about investors, and this made me think; are investors and creatives the same breed of people? I got all excited and drew some pictures about Investors being creative and creatives investing, and it led me to the conclusion that the principles and processes behind investment decisions and creative decisions lead to the same path – success.

An ex-investment banker that i’m currently doing some work with spent an hour convincing me this morning that serious investors (think investing in an idea and that being Google) like disruptive businesses that are high risk. I thought he was mad given recent events in the financial sector. However, reward far outweighs the risk, and they risk putting money into several businesses knowing that some will fail. The reason it’s high risk is that if it fails to ‘disrupt’ a market/industry, it’s failed. This is quite similar to when you sit down at a ‘creative’ meeting where you put 10 ideas down knowing that nine and a half will fail. Ok, not like you’re putting £100m into the 10 ideas, but you get what I mean.

Linking the investment thought process to the creative thought process, there are similarities. The campaigns that genuniely work are ones that are disruptive. If every brand in the world set up a Facebook page and a blog and talked about the same old rubbish, the world would be a dull place. When someone devises a campaign that is genuinely ‘disruptive’, the campaign, in investor speak, goes Google.

A fine example of such work is Mr Aleksandr Orlov of CompareTheMeerkat.com fame. We all sit down to watch the TV and up comes a Meerkat shouting about cheap car insurance and stupid stories about his ancestors. What. On. Earth. It’s so disruptive it’s daft, and because it’s daft enough to be funny it works. Maybe those GoCompare idiots should’ve taken notice, because their campaigns are just plain annoying.

Bringing this back to Entertainment which is our focus, look at Lady Gaga. She is surely the most disruptive person of this century. Is she a woman? Is she a man? Has she got a c**k? Is she a midget? Why does she dress so funny? Is she a lesbian? Is she a drama queen? Is she a bigger diva than Lady Mariah Carey? The hype that surrounds that little New Yorker with a weird dress sense has propelled her, in little over 24 months, into one of the worlds biggest stars. She’s got over 1bn hits on Youtube, sold over 30 million records and is a genuine phenomenon. Why does she achieve this and Scouting For Girls don’t? Apart from the obvious, she is disruptive. She draws people of all demographics in because she’s intriguing, and her songs are friendly and catchy and she’s genuinely got talent.

So, there are distinct similarities between investors and creatives, however they come from completely different worlds. Investors wear suits and drive posh cars, and the creative genius that is Lady Gaga’s creative team will wear converse and drive posh cars. Investors say they want to make money, artists and creatives say they ‘do it for the art’. Same outcome, but a different way of getting there.

This wraps up another week of rambling. Stay tuned next week for when disruptiveness goes wrong, featuring Lindsay Lohan.

Everyone must’ve suffered writers block at one point in their lives. However, the type of writers block I experienced this morning had nothing to do with writing an amazing lyric or an inspiring poem, it was how to explain the process of growing a social media campaign in words. It’s hard. I couldn’t do it.

This is what you call Art.

This is what you call Art.

So, with the help of a white board, a view of Liverpool for inspiration and a long break for ‘valuable thinking time’ (honest) I set to work on trying to demonstrate how we as a social media company work with clients to achieve their goals.

Firstly, we start with the user who, without doubt, is the most important part of this diagram. Understanding users and getting the messages right will make or break a campaign, and it’s the understanding that leads creatives to the second step which is catchment.

In order to attract users, you’ve got to create something which catches peoples attention enough to make them want to progress to the interaction phase. This is where creatives flourish and their inner-genius get to work. Lot’s of adverts have worked in the past, think the Budweiser Frogs, Terry Tate the Office Linebacker and even the new Nationwide adverts. This is what makes people go to a destination online where they are exposed to a brand and interact.

Interaction is key, as if you want people to tell other people about what they’ve experienced (AKA Viral to you media buffs) then they need to have an interactive experience that hit’s the spot. Regular communication and communication in a language which is familiar to the demographic is key here.

If you get to the point where users become advocates then you’re doing a bloody good job, and you’re probably one of those people that has a stylish haircut and a few tattoos. I’m joking, that’s not cool. But getting people to go and tell other people about your campaign, or to get people to go and interact with your brand in the real world and come back to post their experiences online certainly is.

So there you have it; sometimes drawing out what you’re trying to say helps you say it in a more meaningful way. And it looks better than words too :-) .

This Sunday Tirk Records take over El Salon at We Love… Space for the second time this summer bringing two big hitters in Architeq and Soft Rocks. Long-time masters of the Disco re-edit but by no means pigeonholed, Tirk Recordings are widely regarded as purveyors of the highest quality electronic music, always innovating, never procrastinating.

Once again We Love do what they do best and remain on the offensive in the battle between being relevant and yet filling a dance floor. If you’d like a taste of what’s on offer from Architeq this week there’s a nice live video below. Plus if you slide over to the We Love website you can grab yourself a free track from Architeq and a mix from Soft Rocks…

The party is happening this Sunday @ We Love…Space, Ibiza. Click here for the full line-up

Architeq – Twilight (from the album Gold + Green)

Soft Rocks – Pitch It Up Mix

Architeq Live Vilnius 2010 from vytas realtime on Vimeo.

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