Wednesday, 11 December 2013

Critical Investigation Task #3

Critical Investigation: Task #3 
Historical text analysis and research

MTV (originally an initialism of Music Television) is an American basic cable and satellite television channel owned by the MTV Networks Music & Logo Group, a unit of the Viacom Media Networks division of Viacom. The channel is headquartered in New York CityNew York. Launched on August 1, 1981, the original purpose of the channel was to play music videos guided by television personalities known as "video jockeys," or VJs. In its early years, MTV's main target demographic were young adults, but today, MTV's programming is primarily targeted at adolescents in addition to young adults.
MTV has spawned numerous sister channels in the U.S. and affiliated channels internationally, some of which have gone independent. MTV's influence on its audience, including issues related to censorship and social activism, has been a subject of debate for years.
As of August 2013, approximately 97,654,000 American households (85.51% of households with television) receive MTV.

It was formerly known as:  
  • MTV: The Music Channel (May 5, 1980)
  • MTV: Music Television (August 1, 1981–February 8, 2010, August 2011; 1989–present in other countries


MTV (Music Television) is the oldest and most influential 

American cable network specializing in music?related 
programming. It was launched on August 1, 1981, with 
the words "Ladies and gentlemen, rock and roll," spoken 
on camera by John Lack, one of the creators of MTV. 

This introduction was immediately followed by the 
music?video clip Video Killed the Radio Star, featuring a 
band called the Buggles. The title proved somewhat 
prophetic as MTV greatly transformed the nature of 
music?industry stardom over the next several years. At 
the same time, MTV became a major presence in the 
cable?TV industry and in fact in the overall American 
cultural landscape.
One of the earliest and greatest cable success stories, 
MTV was established by Warner Amex Satellite 
Entertainment Company (WASEC) after extensive 
marketing research. The key to MTV's viability, at least 
initially, was the availability of low-cost programming in 
the form of music videos. Originally these were provided 
free by record companies, which thought of them as 
advertising for their records and performers.

A music video (also called a clip or promo clip) is a brief 
(usually three? to five?minute) television segment, usually 
shot on film but intended to be shown only on a TV set. 
The foundation of a video clip is the soundtrack, which is 
a recorded song, the sale of which is promoted by the 
video. In some cases, other material such as sound 
effects or introductory dialogue may also appear on the 
soundtrack. 

Music video and MTV are major ingredients of television 
programming internationally. MTV Europe, launched in 
1987, was followed by an Asian service in 1991 and MTV 
Latino in 1993. VH1 seems poised to follow a similar 
course, having established a European service in 1994. 
Both economically and aesthetically, MTV has wrought 
major changes in the entertainment industries. By 
combining music with television in a new way, MTV has 
charted a path for both industries (and movies as well) 
into a future of postmodern synergy. 

Many of the earliest MTV videos came from Great Britain, 
where the tradition of making promo clips was fairly 
well?developed. One of the earliest indications of MTV's 
commercial importance was the success of the British 
band Duran Duran in the American market. This band had 
great visual appeal and made interesting videos but was 
not receiving radio airplay as of 1981. In markets where 
MTV was available, the network's airing of Duran Duran's 
videos made the band immediately popular. Ultimately 
MTV proved to be immensely important to the careers of 
numerous artists, including Madonna, Michael Jackson, 
Prince, Peter Gabriel, and U2, as well as Duran Duran. 




mtv music awards, 1986, new york



MTV IN THE 1980s

The original purpose of MTV was to be "Music Television", playing music videos 24 hours a day, seven days a week, guided by on-air personalities known as VJs, or video jockeys. The original taglines of the channel were "You'll never look at music the same way again," and "On cable. In stereo." Although the original MTV channel no longer plays music videos 24/7, several of its spin-off channels do, including MTV Hits and MTV Jams. In addition, viewers can play music videos on-demand at MTV.com. MTV continues to support a broad selection of music videos on its international channels as well.

The VJs would record "intro" and "outro" segments to music videos, along with music news, interviews, concert dates and promotions. These segments would appear to air "live" and debut across the MTV program schedule 24 hours a day, seven days a week, though the segments themselves were pre-taped within a regular work week at MTV's studios.

During the early days of the channel, MTV would occasionally let other stars take over the channel within an hour as "guest VJs"; these guests included musicians such as Adam AntBilly IdolPhil CollinsSimon LeBon and Nick Rhodes of Duran DuranTina Turner; and comedians such as Eddie MurphyMartin ShortDan Aykroyd, and Steven Wright; as they chose their favorite music videos. --> disscus the fact that this is still the same on some music channels therefore business model is similar in this way


On August 1, 1981, something happened to cable television - something that would define pop culture, change generations, and shape an industry. That something had a name. The name was MTV. It launched at 12:01 in the morning, ushered in by John Lack (then the Executive Vice President of Warner-Amex Satellite Entertainment) saying, "Ladies and gentlemen, rock and roll." And so it began.

In the late 1980s, MTV began introducing non-music programming and slowly, over time, the flavor of MTV began to change. What happened to the MTV of the 80s? According to some it's been replaced by a commercialized monster. 


Soon after MTV was launched it blitz the airwaves with loud commercials where rock stars instructed you to pick up your phone and demand that your cable company adds MTV. The phrase "I Want My MTV" soon became a popular catch phrase, popular enough that British rock band Dire Straits used it in their song Money For Nothing. The campaign was effective as for the next three years as the commercials aired millions did demand their cable company add MTV as a channel. But for the millions who had no cable television there would be no MTV with the exception for the occasional syndication of it's annual music video awards in truncated form.

1983 was the peak of the music video fad, not because people began to lose interest in the format but because MTV decided to take steps to get rid of their competition. Deals were made with record labels giving MTV exclusive rights to air new music videos forcing the others to wait anywhere from a month to a half year before they could air the same video. MTV spent a small fortune buying the exclusive rights to air Michael Jackson's Thriller, an exclusive they held on to for 20 years. The one month exclusive MTV gave them an advantage over the other cable outlets like TBS's Night Tracks which gradually drew away their viewers.


Artists had been filming live performances and even crude concept videos for several years before MTV came along, but the problem had always been finding a consistent outlet for airing them. Much of the preparation of MTV came out of New York City, but an important prototype actually emerged with Warner’s early cable system, Qube, out of Columbus, Ohio. Some of the ideas exhibited there were picked up by executive Bob Pittman, who combined them with early music video work he had already started.

--->>a place where artists would promote their new stuff

Tuesday, 3 December 2013

Critical Investigation: Task #1

Critical Investigation: Task #1 

TASK #1 TEXTUAL ANALYSIS





The video above is an advertisement on Spotifys YouTube channel. The advertisement represents togetherness and the sharing of music in correlation to making friends. The advert is of a crowd of people at a concert. It emphasises on the fact that no one in the crowds concert knows each other however they are still all together at there favourite artists concert due to one reason and one reason alone... because they share a love for the artist.
Also the use of no words ...
advertising spotify 
Through the use of togetherness & music 


This is on spotifys YouTube channel in order to promote Spotify to audiences across the world (worldwide). On YouTube there is the same video as the one above however in all sorts of different languages. This is because other people in other countries can now understand the advertisement and therefore Spotify is gaining a wider more diverse audience. 





This advertisement poster for Spotify is an attempt to promote and create awareness for them in terms of gaining a greater audience because they are not as well known as they could be. When talking to other people, they actually don't know what Spotify is a and others have heard of it but also don't know what it is. Maybe this is due to the fact that they'd rather use what's more popular in terms of music streaming. Everyone has heard of itunes as it was created by Apple; which is a popular make/brand in terms a technology store. 
The poster above is to promote Spotify as a music streaming site for everyone. The use of the line "Because music doesn't judge" promotes individualism and is connoting that everyone has different tastes when it comes to music however regardless of this you can still use this site as it caters for all audiences. 


The link above is of an advertisement which is on Spotifys YouTube channel. The video emphasises the fact that Spotify is now free for all users across all the different devices. Just recently before the video/advertisement was released, Spotify announced that they will now be releasing the Spotify app for android users too and that it will be free. Throughout the entire advertisement, a lot of mobile devices are shown/used in order to connote the fact that this service is now out for free on all platforms. There is no commentary or voice-over in the entire clip, but instead just a few short statements with a music playing in the background. The statements are... 
  • 'Music for everyone' 
  • 'Now free everywhere' 
  • 'The perfect playlist'
  • 'The artists you love' 
  • 'Play everywhere for free' 
  • '#freeyoumusic'
Note how the word 'free' comes up the most out of the statements in order to get across to audiences/viewers that Spotify is a free service therefore they no longer need to pay to listen to (stream) music. Spotify can afford to advertise their service as 'free' because they are not making their money through subscriptions, but through the advertisers. The free version of Spotify includes advertisements from different organisations attempting to selling their products or brand to people using the service. The advertisement for Spotify addresses viewers directly through the use of words like 'you' and 'everyone'. By saying 'Music for everyone' Spotify is emphasising the fact that they have a ton of music which appeal to a large audience. They can cater to 'everyone' as they have majority of the well known artists on their service and the fact that it's free appeals even more to people as they do not need to go through the hassle of downloading music and syncing it to their device. 
Throughout the entire clip, the advertisement really emphasises the concept of togetherness and friends. Everyone in the clip is with someone; whether that is a friend or a partner; to connote the fact that people share music and like similar music and this service fulfils that this so you should download and use it. 





Thursday, 24 October 2013

Notes and Quotes document

Year 13 - Critical Investigation next steps



So you haven’t advertised on Spotify before, and you’re not a Spotify user. You’re probably wondering what all the fuss is about.
Here is our brief guide to Spotify and the advertising opportunities it presents. But don’t worry if you haven’t got time to digest all this. Academium and Red Apple are Spotify experts – so just get in touch and let us take care of the rest!

What is Spotify?

Spotify is a new way to listen to music. Users can create their own playlists of music, a bit like managing their own radio stations – except Spotify provides the commercials which keep the service free to users. Spotify has millions of tracks that can be listened to legally via PC, Mac, home audio system and mobile phone. It also links with social networks so users can share their own playlists and favourite tracks with their friends.
Because users have to register, advertising can be highly targeted based on age, gender, location – even musical preference.

Advertising Opportunities on Spotify

In addition to your 30″ broadcast ad, you can have much greater impact by including one or more of these visually creative options – so unlike broadcast radio, listeners can respond to your ad instantly.









http://www.academium.co.uk/about-us/what-we-do/radio-spotify/our-guide-to-spotify/

Technology affecting the music industry? - Spotify 

The music industry: in the cloud 
by Patrik Wikstrom

"The music industry is going through a period of immense change brought about in part by the digital revolution. What is the role of music in the age of computers and the internet? 

How has the music industry been transformed by the economic and technological upheavals of recent years, and how is it likely to change in the future?...........

This is the first major study of the music industry in the new millennium. Wikström provides an international overview of the music industry and its future prospects in the world of global entertainment.

 They illuminate the workings of the music industry, and capture the dynamics at work in the production of musical culture between the transnational media conglomerates, the independent music companies and the public."

…………..This book is based on the music industry and how the music industry is changing. This book is perfect for the development of music and the development/future of music.



Internet links: 
The guardian
"When we did the In Rainbows thing what was most exciting was the idea you could have a direct connection between you as a musician and your audience. You cut all of it out, it's just that and that. And then all these f*****s get in a way, like Spotify suddenly trying to become the gatekeepers to the whole process," said Yorke.

"We don't need you to do it. No artists need you to do it. We can build the shit ourselves, so f**k off. But because they're using old music, because they're using the majors… the majors are all over it because they see a way of re-selling all their old stuff for free, make a fortune, and not die."



http://www.theguardian.com/technology/spotify  ---- another link which has news stories based on Spotify 



David Byrne: 'The internet will suck all creative content out of the world'

The boom in digital streaming may generate profits for record labels and free content for consumers, but it spells disaster for today's artists across the creative industries







Immortal technique lyrics based on the rap industry 
Immortal Technique has lashed out at the music industry for its approach to stopping illegal downloads.

The political MC explained that he’d rather have fans download his music illegally on the Internet than have record executives accusing the youth of stealing, when they’re really the biggest crooks of them all. – due to the way that the industry is all money minded and therefore artists don’t have a direct link to their fans anymore.

“You could type my name, no ebonics, Immortal, live forever, Technique, get on the internet and just steal all my music off of it, because I really don’t care about that,” he told Forbez DVD. “I’ve had lots of arguments with executives about that, and I think that they have a lot of audacity accusing children of stealing music when they’ve been robbing artists for years.“
For Tech, he looks at the industry and sees nothing but corruption. “Even now, it’s come up that they were taking royalties under the guise of licensing for past capital. It’s just an embarrassment for them to be using the word 'steal' when realistically speaking, they’re the biggest thieves and gangstas in this entire business,” he continued.

“They make everybody who rhymes about doing gangsta shit look pathetic in terms of the amount of money that they’ve stolen and the amount of culture that they’ve robbed of our people.”
The outspoken rapper suggested that instead of fingering listeners for taking music, the industry needs to re-evaluate its strategy. 

“To me, I don’t quantify success in just record sales or YouTube views or Twitter friends. If you have 12 million friends on Twitter but you can only sell 100,000 units, there’s something wrong with you. 


That means that those statistics really need to be analysed and looked at. So for me, I say yo, go steal all my music if you like what I talk about. You don’t have to agree with everything but if you feel and understand that I’m being genuine, come to a show, check it out for yourself, support us, buy a shirt online, but a CD.”




Who is resisting and why are they doing it?
It's more the industry. There are forces within the industry who like very much what I do. Why? Because it's a money-maker.
It's more people who see the music I make as a threat to the status quo of hip-hop. They don't want people to hear about Palestine, slavery or torture.

They want us to just dance and sing and smile and pretend that the world is OK. They believe hip-hop is sheer entertainment.
 Entertainment can be used for many things: to inspire and educate but also to pacify, to keep people stupid and preoccupied with things that aren't important.




Media Magazine
In the last decade the music industry has faced the most complex set of changes in its history. The conventional industry models have been challenged, largely due to the emergence of new technologies and new ways for music lovers to listen to, and own, the music they love.

The industry is still struggling to deal with how these changes have affected their balance sheets, and the pace of change doesn’t look like slowing yet, but for those who wish to pursue a career in music, it’s important to see how many of these new developments can be used to your advantage.


In the complex, old-fashioned model, the artist brings the talent, and the label provides everything else that only a large corporation can provide – expensive recording facilities, plants to bulk-manufacture records, the network to distribute the recordings widely to shops,

... a large fund to market the work via traditional media, the logistical expertise to mount a proper tour, the business acumen to collect royalties. In the modern digital world, much of this can actually be done on a smaller scale and we may even be able to circumvent the record companies entirely. 





Why the music industry may gain from free downloading — The role of sampling

International University in Germany, 76646 Bruchsal, Germany









  • Martin Peitz 
  • Patrick Waelbroeck

  • Downloading digital products for free may harm creators and intermediaries because consumers may no longer buy the version for sale. However, as we show in this paper, this negative effect may be overcompensated by a positive effect due to sampling: consumers are willing to pay more because the match between product characteristics and buyers' tastes is improved. This indeed holds under sufficient taste heterogeneity and product diversity.
    http://www.sciencedirect.com/science/article/pii/S0167718705001682






    The Evolution of Business Models and Marketing Strategies in the Music Industry

    This article provides a strategic analysis using a services marketing framework of 3 business models in the music industry: the traditional music industry; renegade peer-to-peer music file trading; and new, legitimate online downloading services.

    http://www.tandfonline.com/doi/abs/10.1080/14241277.2004.9669381#.UnuEE_m-2So





    Digital cultures 
    - Understanding New Media
    Edited by Glen Creeber and Royston Martin 
    2009 

    Digital music: production, distribution and consumption 

    "In light of Napster's demise a number of newer peer-to-peer programs emerged that often used open-source software and therefore could not be identified with any particular persons in regards to legal action."  ................page 97 

    "...digital technologies increase the importance of the music video" ........page 99

    "...because virtual music files take up for less physical space than previous formats, it is easier for consumers to collect more music than previously." .........page 99 

    "Those who have taken advantage of the amount of 'free' music obtainable though the internet".........page 99 

    how technology has improved the music industry in my point of view....


    • however discuss other counter-arguments 
    • artists vs. the music industry 
    • successful music artists 
    • illegal downloading due to technology
    • technology affecting the music industry ...(improving?)



    COMMUNICATIONS OF THE ACM July 2003/Vol. 46, No. 7
    DIGITAL MUSIC AND
    ONLINE SHARING:
    SOFTWARE PIRACY 2.0?
    Considering the similarities and unique characteristics of
    online file sharing and software piracy.
    By Sudip Bhattacharjee, Ram D. Gopal,
    and G. Lawrence Sanders

    “A study in 2000 reported 14% of Internet users had downloaded
    music for free [11]. This number has grown rapidly, and online music sharing has
    been estimated to result in annual sales losses of $3.1 billion by 2005 for the music
    industry” ….page 107 





    Do Artists Benefit From Online Music Sharing?
    By Sudip Bhattacharjee, Ram D. Gopal,
    and G. Lawrence Sanders

    “According to a study (Pew 2000), about 14% of Internet users have downloaded digitized music files from the Internet for free. This number is likely to grow rapidly, and illegal online music sharing is estimated to result in annual sales losses of $3.1 billion by 2005 (Clark 2000)” ….page 2

    “Some have claimed that there is little evidence that online music sampling has actually decreased overall sales (Mathews and Peers 2000, Peers and Gomes 2000). It also potentially benefits artists by helping new artists to become ’known.’” …page 4

    “The number of unique artists per year (for the years studied) ranged from 463 to 655, while unique albums ranged from 618 to 921. During the same period, the number of Internet users increased from 3 million to 116.7 million. We find strong evidence (Table 6) that over the last decade, the number of unique artists and albums that have appeared on the Billboard Top 200 album charts have is statistically related to the number of Internet users.” …page 33






    Marketing Strategies in the Music Industry
    The Evolution of Business Models and Marketing Strategies
    in the Music Industry
    Valerie L. Vaccaro
    State University of New York, USA
    Deborah Y. Cohn
    Yeshiva University, USA

    Volume 6, Issue 1-2, 2004


    “The renegade business model is based on illegal, unauthorized P2P music file trading (of digital MP3 files) via the Internet; this activity is enabled by organizations providing software that empowers millions of consumers to become unauthorized mass distributors of music for free.” …page 47

    "The renegade business model is based on illegal, unauthorized P2P music file trading (of digital MP3 files) via the Internet"...page 47 

    "A number of costs contribute to the average retail price of a CD, which in 2000 was U.S.$16.98"...page 49

    "Apple’s $0.99 per download is a good starting price to stimulate trial and purchases from certain older, higher income segments. In the future, to generate acceptable profit levels, the services will have to sell high volumes of songs. To convert P2P file traders, it will be necessary to drastically decrease prices to $0.25 or less per song (Green, 2002)"...page 51

    New albums by Madonna, Radiohead and others are available online long before their official release; …Madonna even resorted to flooding file-sharing services with expletive carrying bogus files in an attempt to confuse pirates and boost sales of her new album, “American Life.” Hackers promptly posted a free copy of the album on her website. (“How to Pay the Piper,” 2003, p. 1)...page 54

    "It has been suggested that the record labels need to change their orientation from lawsuits to a marketing and promotional orientation (Freedman, 2003)."...page 56 





    Media, Culture & Society © 2003
    When creators, corporations and consumers
    collide: Napster and the development of on-line
    music distribution
    Tom McCourt
    FORDHAM UNIVERSITY, NEW YORK, NY, USA
    PATRICK BURKART
    TEXAS A&M UNIVERSITY, COLLEGE STATION, TX, USA

    “It suffered a slump in the mid-1990s as catalog sales reached saturation and the novelty of a new delivery system (compact discs) wore off.” …page 335

    “Technological developments also have threatened the Big Five’s hegemony over music distribution.” …page 336

    “The Audio Home Recording Act of 1992 authorized consumers to make copies of digital music for personal, non-commercial use, yet prohibited serial copies, mandating that consumer CD and DAT
    recorders incorporate Serial Copy Management System (SCMS) technology, which allows a single digital copy to be made from a digital source but disallows second-generation digital copies.”…page 337

    “The domestic recording industry claims to lose $300 million per year to pirate recordings; a report prepared for the recording industry predicted that by 2002, an estimated 16 percent of all US music sales, or $985 million, would be lost to on-line piracy”…page 338



    How Has Technology Affected The Music Industry?








    "We live in an age where anyone and his dog can produce a record from their home lap-top and release it to the world via posting mp3′s on social networking sites- you would think that this would be a good thing- encouraging more people to take up music and add healthy competition to the market, however the truth of the matter is entirely the opposite."

    http://music.taliferro.com/how-has-technology-affected-the-music-industry/




    "An overwhelming 70% of people didn’t feel guilty about downloading music illegally in 2009"

    "It is clear when just looking at the Soul Jass website that the makers love music, its more personal, with a retro style, where as Sony or 1 of the big four has a very industrial look, without the soul, so music is just seen as a commodity instead of art, making the public loose there respect and passion for it, making them use a free survive like YouTube converter or bit torrent. This also shows the issues which consumption."
    http://stcmcmmi12b10.wordpress.com/2011/03/22/%E2%80%9Chow-has-technology-affected-the-music-industry%E2%80%9D/







    “How has technology affected the Music Industry?”

    "Stafford said that anyone can make music now, whether they have talent or not because of technology, and this caused the industry to be less controllable."

    Thursday, 26 September 2013

    Critical Investigation Proposal

    Working title: 
    Technology affecting the music industry? - Spotify 


    Angle: 
    How technology such as spotify is destroying artists income
    Means they have to charge more for gigs due to this being one of the only sources of income
    The industry getting harder for unheard artists as its hard for them to make an income without gaining publicity.

    Hypothesis:
    My hypothesis is that such music streaming sites like spotify are in fact ruining music as its forcing artists to release music which they think will be a big hit (therefore going mainstream) as this is the only type of music that sells as this has the biggest audience. I predict the outcome once researching this will lead to artists producing content which is not as good as it once would just due to the audience. Also, the industry is becoming larger in terms of artists who produce bad music or music which they don't like but others might. changing genres...ect.

    Linked production piece:
    The idea i have for a linked production piece is based on a music video however its not a normal music video. The basic concept of my linked production piece will be a sort of behind the scenes of the album/music video. It will show the artist making the video along with bantering and doing random things in preporation and the making of the video and album in the studio. It links in with my Critical Investigation due to the fact that its based on music and how its being destroyed and ruined due to music technology and institutions.

    MIGRAIN:

    Institution -
    In terms of media language and media techniques used in context to my question, none of these ideas are present at this time due to my primary text being Spotify and based on institutional values rather than a text. Institutional information below.
    The institution shares content from record labels such as Sony, EMI, Warner Music Group and Universal. Headquaters based in London, England Stockholm (Sweden). In terms of genre its pretty much open to everyone as its based online. 
    Genre + Audience -
    Audience has a big part to play in terms of magrain due to the fact that spotify is a large institution and therefore has a large audience based on the internet. The audience of Spotify predominantly is youths as they are more
     likely to use the internet whereas others who are not "ict literate" tend to stay away from music streaming and online sources when finding or looking for music and looking inside music industries. The post stated that all Spotify Open and Spotify Free members would be transferred to a new product which limited audio streaming to ten hours per month. In addition, a user could only listen to a single track a maximum of five times. Spotify Unlimited and Spotify Premium members were not affected by this change.
    Ideologies - 
    Ideologies based on left wing debates
    capitalism
    About what views society are towards the music industry.
    Believes based on Tom York on Spotify

    Issues/Debates:
    ownership and control
    regulation and censorship
    media technology and the digital revolution - changing technologies in the 21st century
    the effect of globalisation on the media

    My critical investigation will be looking to cover these four topic areas in terms of the growth of technology affecting music industries and artists. The four areas are ownership and control, regulation and censorship, media technology and the digital revolution - changing technologies in the 21st century and the effect of globalisation on the media. In terms of ownership and control, the concept of owners of industries can be discussed as well as the owners of certain music streaming sites such as Spotify and itunes. The regulation and censorship is based on the type of music is out and who regulates this to make it suitable for a certain age group ect...
    The digital revolution and media technology will be based on how technology has advanced over the years (especially in the 21st century) and how its affected music.

    Theories:
    Marxism and Hegemony
    Audience theories
    Genre theories

    Research plan (media texts, academic texts and websites)
    Media texts:
    Spotify

    Other media texts:
    and other digital advancements relating to the music industry


    Tv documentaries:



    Academic texts/books:

    The music industry: in the cloud by Patrik Wikstrom
    "The music industry is going through a period of immense change brought about in part by the digital revolution. What is the role of music in the age of computers and the internet? How has the music industry been transformed by the economic and technological upheavals of recent years, and how is it likely to change in the future?
    This is the first major study of the music industry in the new millennium. Wikström provides an international overview of the music industry and its future prospects in the world of global entertainment. They illuminate the workings of the music industry, and capture the dynamics at work in the production of musical culture between the transnational media conglomerates, the independent music companies and the public."

    http://www.csc.kth.se/~gkreitz/spotify-p2p11/spotify-p2p11.pdf
    This acedemic paper talks about spotify and its use in society as well as its purposes.
    Internet links: 
    The guardian
    "When we did the In Rainbows thing what was most exciting was the idea you could have a direct connection between you as a musician and your audience. You cut all of it out, it's just that and that. And then all these f*****s get in a way, like Spotify suddenly trying to become the gatekeepers to the whole process," said Yorke.
    "We don't need you to do it. No artists needs you to do it. We can build the shit ourselves, so f**k off. But because they're using old music, because they're using the majors… the majors are all over it because they see a way of re-selling all their old stuff for free, make a fortune, and not die."
    http://www.theguardian.com/technology/spotify  ---- another link which has news stories based on spotify 

    Launch information

    Spotify's original logo (2008-2012)
    The Spotify application was launched for public access on 7 October 2008. While free accounts remained available by invitation to manage the growth of the service, the launch opened paid subscriptions to everyone. At the same time, Spotify AB announced licensing deals with many major music labels. The company reported a $4.4 million loss for 2008.
    The first steps towards offering free accounts to the public without invitations were taken on 10 February 2009, when Spotify opened free registration in the United Kingdom. Registrations surged following the release of the Spotify mobile service, leading Spotify to stop open registrations in the UK for part of 2009.