I listened to the entire show. Fascinating topic, the disruption of how any art gets onto the screens we stare at and the speakers we listen to, every day.
Another interesting facet will be how blockchain technology, specifically NFTs, will empower artists to plug their art into a distribution channel that is exclusive, yet widely available to integrate, and which shepherds the art through the distribution value chain, even unto the point of resale.
Yes, NFTs are suffering through the end stage of the early age of piracy and negative environmental impacts, but once this age has passed into an age of regulation, commercialization, and de-carbonization, the future might be very bright indeed for these musicians to retain more control and profit from their art.
Excellent conversation, Ted. I finally cleared up some budget to subscribe to this Substack.
I enjoyed the podcast and have many thoughts, but only one for now. I was in radio programming in the 60s and 70s and it was that industry that led the record business into the data-driven world. Initially, many top 40 stations just played whatever Billboard or Cash Box threw at them. Later, some started surveying local record sales in order to make their playlists a better reflection of reality (which in theory would lead to higher ratings and more advertising). Then in the early 70s stations began plugging their request lines and tabulating the most-requested songs, which often diverged from what the retail sales numbers were showing.
Finally, in the late 70s, stations began random telephone surveys in which snippets of songs were played down the line for respondents, who were asked to rate them. When PCs came along in the 80s, software was developed to schedule music, taking any choice out of the hands of the air talent. All of this, naturally, was accompanied by complaints about the homogenization of playlists, avoidance of new music, etc. The point is that the record labels were forced to develop real data because the radio programmers grew to demand it.
One of the great discoveries during this period was something mentioned in the podcast, that listeners kept liking songs long long after the DJs were sick of them. There was even a name for former #1s that were kept in moderate rotation for months and months: recurrents.
Ted, I loved this podcast - both of you had much to offer. Lots not so new here (I agree with much of what Mark says in the comment below) but a ton of insights I had not appreciated or even thought about. I'm currently writing a book (and substack series) on rock and roll mainly from the 60s. I love art and history and great stories of all kinds, I hate nostalgia and people clinging to the good ol' days. And I'm not yet sure if this discussion and its many facets are making me feel better or worse about my prospects. But thanks anyway!
Also, much of the new music is so lude. Gone are the days of Lollipop Love. Now they just say, $uck a ****. I don’t want that. My kids don’t care for it and no one needs grand babies singing along to WAP. Older music had a good beat and I could dance to it, and it wasn’t rated XXX.
I listened to the entire show. Fascinating topic, the disruption of how any art gets onto the screens we stare at and the speakers we listen to, every day.
Another interesting facet will be how blockchain technology, specifically NFTs, will empower artists to plug their art into a distribution channel that is exclusive, yet widely available to integrate, and which shepherds the art through the distribution value chain, even unto the point of resale.
Yes, NFTs are suffering through the end stage of the early age of piracy and negative environmental impacts, but once this age has passed into an age of regulation, commercialization, and de-carbonization, the future might be very bright indeed for these musicians to retain more control and profit from their art.
Excellent conversation, Ted. I finally cleared up some budget to subscribe to this Substack.
I enjoyed the podcast and have many thoughts, but only one for now. I was in radio programming in the 60s and 70s and it was that industry that led the record business into the data-driven world. Initially, many top 40 stations just played whatever Billboard or Cash Box threw at them. Later, some started surveying local record sales in order to make their playlists a better reflection of reality (which in theory would lead to higher ratings and more advertising). Then in the early 70s stations began plugging their request lines and tabulating the most-requested songs, which often diverged from what the retail sales numbers were showing.
Finally, in the late 70s, stations began random telephone surveys in which snippets of songs were played down the line for respondents, who were asked to rate them. When PCs came along in the 80s, software was developed to schedule music, taking any choice out of the hands of the air talent. All of this, naturally, was accompanied by complaints about the homogenization of playlists, avoidance of new music, etc. The point is that the record labels were forced to develop real data because the radio programmers grew to demand it.
One of the great discoveries during this period was something mentioned in the podcast, that listeners kept liking songs long long after the DJs were sick of them. There was even a name for former #1s that were kept in moderate rotation for months and months: recurrents.
Hopefully more new music reviews.
Off topic, I just re-read "The Good Soldier Schweik" and kept thinking 'this is a book the Honest Broker would probably like.
Ted, "Barbie Life in the Dreamhouse" is a treasure.
Ted, I loved this podcast - both of you had much to offer. Lots not so new here (I agree with much of what Mark says in the comment below) but a ton of insights I had not appreciated or even thought about. I'm currently writing a book (and substack series) on rock and roll mainly from the 60s. I love art and history and great stories of all kinds, I hate nostalgia and people clinging to the good ol' days. And I'm not yet sure if this discussion and its many facets are making me feel better or worse about my prospects. But thanks anyway!
Also, much of the new music is so lude. Gone are the days of Lollipop Love. Now they just say, $uck a ****. I don’t want that. My kids don’t care for it and no one needs grand babies singing along to WAP. Older music had a good beat and I could dance to it, and it wasn’t rated XXX.