Despite the popularity of digital music, from single-track purchases to subscriptions, physical media has continued to generate the most music revenue in (almost) every market in the world. According to data from the International Federation of the Phonographic Industry (IFPI), though, that will soon change: revenue from digital music sales worldwide are on track to equal that of physical sales as early as 2016, and by 2010 in the United States. Digital music first appeared as a statistic in IFPI's measurements in 2004, when it constituted just two percent of total music revenue. At the end of 2008, digital music accounted for 20 percent of the revenue of all music sales worldwide, and has steadily increased by about five percentage points every year since 2005. If the growth continues at this rate, worldwide revenue generated from digital music will equal that of all physical media sold sometime in mid-2016. Consumers in the United States buy the most digital music relative to their total music purchases—revenue generated by digital music was 36 percent of the total at the end of 2008. The growth of the US digital market was quite constant from 2004 to 2007, then jumped 12 percentage points during 2008. Extrapolating this growth shows that digital music will account for the majority of major label revenue in the US market in mid-to-late 2010. Asia trails the US when it comes to digital music buying, but not in South Korea. The country is currently the only place in the world where digital downloads trump physical formats; South Korea's digital music sales were 56 percent of total music revenue in 2006. In Europe, digital music growth has been slow, and constituted just under 11 percent of music revenue during 2008. Because digital music hasn't been around for long, it's important to note that these dates are extrapolations based on known data. Nonetheless, these conservative estimates show that digital music is well on its way to eclipsing physical incarnations as the format of choice, and it's going to happen sooner than you might think.
It's fierce challenger in the music business concern. Especially if you are a new female person artiste ... how do you get your Song dynasty* heard and make yourself jump out from a sea of aspirants? Two words – shock ’em!
Accepting a page from Madonna’s Guide To Popularity, Lady Gaga and Katy Perry have brought off to shock music consultation with their songs and capers that people are staying up and taking notice. In its June 1-15 cover narration, Galaxie profiles both Perry and Gaga, who are without a doubt, the hottest female singers on the charts today.
Gaga has graded two No.1 singles – Just dancing music and Poker Face while Perry’s thirdly single, Hot N Cold has clenched the top spot on the Billboard charts.
All the same, it is Perry’s second single, I bussed A Girl that got her general attention.
Queen of Pop, Madonna, calls to be a fan after hearing to Perry’s beginning single UR So Gay. That song enraged gay activists, who bawled out Perry for being homophobic.
All the same, any kind of packaging is good packaging these days. Even Lady Gaga walks about on Wall Street wearing nothing much and that itself made news when she was broke off by police in Chicago for public nudity.
“It’s not that I don’t like bloomers, I just choose not to wear them a few days. I think no pants is sexy. I love the au naturel human body,” Gaga revealed. True to her words, Gaga posed almost naked on the cover of the latest issue of Rolling Stone.
Apart from sexy female singers, Galaxie also caught up with Anton Yelchin, the hunky actor who starred in two recent blockbusters, Star Trek and Terminator Salvation.
Though he is only 20 years old, Yelchin has worked with some of the finest actors in showbiz such as Anthony Hopkins, Robert Downey Jr and Albert Finney. But Yelchin never imagined that he would, one day, star in a movie which he has loved since he was young.
He told Galaxie, “I’m a fan of (Terminator movies) but I never thought I would one day be part of the franchise. I had Terminator toys and now I’m in this film and I look around and my toys are real and they’re seven feet high and alive and around me. It’s amazing”
More amazing articles in the latest issue of Galaxie, out on newsstands today.
Artist: Linkin Park
Album: Breaking The Habit
Genres: Alternative, Metal, Metal: Alternative, Electronic, ROck: Alternative, Rock
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While 21st-century singers owe much to the legendary performer's look and sound, they do not have the ability to match her talent, according to Simon Bell.
"None of them actually sings like Dusty because, well, frankly they are not capable," he said.
"But they are certainly influenced - you can hear her influence in the production, in the rhythms that are playing - and really that's a great thing.
"They have her to thank that they can go out and make those records today."
The 60-year-old from Ealing was a backing singer based in London when he first worked with Springfield in 1978, forging a strong friendship over the years.
"We went on to become really good friends," he said.
"In the end, I moved in with her and looked after her when she was ill, right up to the last day.
"She was the greatest singer I have ever heard and an inspiration music cally.
"But she was also an ordinary person - she wasn't starry in any way.
"You wouldn't find her in The Ivy, you would find her in the local fish and chip shop or down the pub."
Mr Bell was speaking at a temporary exhibition dedicated to the singer at the British Music Experience, the permanent exhibition that opened at the O2 arena in London last month.
The collection of Springfield's stage outfits and memorabilia opens for just one day, marking the 10th anniversary of her death.
Springfield has been named among the 25 female rock artists of all time in several international readers and artists polls.
Perhaps her most famous song is 1969's Son of a Preacher Man, which gained renewed prominence after it was featured on the soundtrack to Quentin Tarantino's film Pulp Fiction in 1994.
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Artist: Linkin Park
Album: A Gothic Acoustic Tribute To Linkin Park
Genres: Alternative, Metal, Metal: Alternative, Electronic, ROck: Alternative, Rock
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Rap rock, a much-maligned mixture of rap, rock and metal, is slowly becoming cool again, due in part to games like Guitar Hero and Grand Theft Auto and the emergence of dance-floor mash-ups that pair classic hip-hop with six-string riffage.The rap-rock fad will go full-throttle in June when the world's biggest rap star, Lil Wayne, who hit newsstands this month on the cover of Rolling Stone underneath the headline "Lil Wayne Goes Rock," turns his attention to shredding.
To the younger generation, the move will seem revolutionary. But Wayne is in a precarious position. Limitations of the genre have killed the careers of some of its biggest names, and while blips on the radar have kept rap rock on life support in the intervening years, a wholesale return to form hasn't materialized.
It might never.
So be it. We'll always have these tracks, which are the best in rap-rock history.
1. Run-D.M.C., It's Tricky (1986). The Queens-based trio's third album, Raising Hell, put rap music on the map and in the predominantly white shopping malls of North America by mixing big beats with even bigger guitars. The album's huge hit, Walk This Way, Run-D.M.C.'s collaboration with Aerosmith, broke down barriers, but It's Tricky -- which employs the riff from the Knack's My Sharona -- has more legs. Run-D.M.C. have every right to dub themselves the Kings of Rock: Earlier this month, the group became just the second rap act in the Rock and Roll Hall of Fame.
2. Rage Against the Machine, Killing in the Name (1992). This Los Angeles outfit's self-titled release is one of the best debuts in history, for a multitude of reasons. It rocked harder than nearly everything else at the time and its politics were on-point, but the band's marriage of rap and metal was essential to RATM's storied success. Killing in the Name's infamous chorus (a bird-flipping "F you, I won't do what you tell me") can still destroy a party.
3. Beastie Boys, Sabotage (1994). The trio's debut, Licensed to Ill, was the first rap record to hit No. 1 on the U.S. sales charts, but that had more to do with the group's sophomoric bluster (the stereophonic equivalent of poop jokes in movies). Their decision to rap over real instruments on 1992's Check Your Head led to the classic Ill Communication, which earned the Beasties new levels of acclaim in 1994. All praise pointed to the trunk-bombing Sabotage, whose Spike Jonze-directed video might be the greatest of all time.
4. Jay-Z, 99 Problems (2003). Jay-Z has rapped with a number of bands, from the Roots (a very good live hip-hop group) to Linkin Park (a very bad rock band), but Jigga's crowning achievement is this union with producer Rick Rubin, the godfather of rap rock for his work with Beastie Boys and Run-D.M.C. The new-school jam uses an old-school formula (rock samples and Rick Rubin) to utter perfection.
5. Kid Rock, Cowboy (1998). The Detroit native's fourth album tweaked the recipe by pouring classic rock and metal into the b-boy bouillabaisse, to the delight of the 11 million fans who purchased Devil Without a Cause. The album's title track sampled hip-hop legends Whodini and Too Short, while Cowboy embraced southern rock. By doing it all, he created a singular sensation whose result, in the words of Kid Rock, was "a bunch of white boys pimpin' like the K-I-D."
6. Public Enemy, She Watch Channel Zero?! (1988). Public Enemy's collaboration with Anthrax (1991's Bring the Noise) was the first rap/thrash-metal union to qualify as a hit. Unbeknownst to many, Public Enemy's metal track record was already well-established: She Watch Channel Zero?!, a chainsaw of guitars and anger, had sampled Slayer's Angel of Death three years earlier. Such a move would have killed the careers of lesser bands. But in the hands of Chuck D, it redefined heavy.
7. Red Hot Chili Peppers, Give it Away (1991). You could call it funk-metal, but the flow of singer Anthony Kiedis on Give it Away is pure hip-hop. Blood Sugar Sex Magik was a huge success for the band, thanks primarily to the emotional ballad Under the Bridge; its polar opposite was another smash, Give it Away, which caught the ears of nearly everybody with its sex-funk. Everyone involved (Rick Rubin produced the whole album) turns in a star-making performance.
8. Rage Against the Machine, Bulls on Parade (1996). Criticism of early Rage Against the Machine devalued their stylistic limitations. However, the combative group gels on its second outing, Evil Empire, a 46-minute rant set to some of the fiercest rap rock ever. Zach de la Rocha spits fire on the Grammy-nominated Bulls on Parade, whose bottom end is akin to a concrete slab.
9. Biohazard, Punishment (1992). The borough that produced rap king Notorious B.I.G. also spat out Biohazard, a menacing, heavily tattooed Brooklyn rap-metal band. Interest in Biohazard's gritty debut, Urban Discipline, was piqued by Punishment, a surprise MTV hit during the Nirvana era. The band would later collaborate with Cypress Hill, Onyx and House of Pain, but Punishment ranks as the best rap-inspired music of its career.
10. Cypress Hill, Rock Superstar (2000). Cypress Hill doesn't have to sample rock records to be considered heavy. The crew creates a surprisingly effective rap-rock hybrid on Rock Superstar, one of two versions (the other is Rap Superstar) which serve as a cautionary tale for up-and-comers in the biz.
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