Posts by Simon Grigg
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And on Afghanistan, they might have 0.0 reported drinking,
And I'd say the same applies to Indonesia (0.1 on that list), unless those kids you see spinning around Central Java legless on bootleg whiskey were something I imagined.
As a Muslim you can't legally buy it, but you can buy it everywhere.
Which (co)incidentally seems to kill a hefty number of those same illicit consumers in that nation every year as they tend to add methanol for extra kicks, and it's a fine balancing act between kicks and kill.
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I don't think Sir Geoffrey (not sure about your wife) has stepped foot in a bar after 4am for some time to see what's really going on.
I can put my hand up and say I have a couple of times, and my experience matches Damian's pretty exactly.
As a club owner for a decade the trouble patches were always in the window between midnight and two, when the post work pissheads or the kiddies would tip over the edge and cause mayhem in the streets. We would have our full doormen complement on board then, knocking all but one off by 4am when it was always, and I mean, always, into the good humoured, drama free, part of the night.
I also owned the club during the licensing move from 3am to very late closing and watched our wage bill increase dramatically and our bar take remain pretty static. We were taking the same over a longer period and that didn't increase at all as people got used to the hours, it just got kinda nicer as the nights got longer.
And hell, if you've never had the privilege of seeing Nathan Haines and The Enforcers at the end of a four hour set at 5.30am you've not lived.
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Incidentally my Bandcamp purchase of The Phoenix Foundation's album is coming through at 3.9kbs
It's the third time I've tried to buy something off the site in the past three weeks with this result and I've almost given up. Way to sell a an album....
Everything else online today is blisteringly fast
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going by the fact that the number of unsigned artists selling direct to public FAR FAR FAR outweighs the number of artists on major labels - then that info i feel is very relevant -
I'm gonna go out on a limb here and say that number of albums in total sold by unsigned artists, to both majors and indies working as labels, going direct to the public probably accounts for way less than one percent of all music sold worldwide, which given the large number that are doing that, which I agree is very substantial, that gives you an idea of how many units some are selling.
I'd like to think that direct sales from the likes of bandcamp and band sites did provide a reasonable source of income but I don't think it comes close for 99% of all musicians.
Most online sales come via those folks I linked to earlier and people like Amplifier /DRMNZ in New Zealand. Even an indie high profile act like Phoenix Foundation use EMI and other distributors worldwide.
And the long tail is utterly relevant because the studies that were done after it came out indicated that most musicians working outside some sort of label setup, minor or major, sell virtually nothing online directly. There are a very small number that do ok, but largely they're the exception to the rule.
I wish it were otherwise, but we're not there yet.
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and i am SURE that there are many artists selling 100 odd mp3 downloads of an album through their own sites/bandcamp per month.
I think the data that came out after the Long Tail showed quite the opposite. It's incredible how few acts reach any sales momentum at all, and how many self released acts sell almost nothing.
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Russel, that online money earning graph is total bollocks, it neglects to show oncome earnt through sales of entire albums/eps in mp3 formats through bands own websites or sites like bandcamp etc... as that figure would skew the results in totally the other direction, ie, it would be the very top figure.
As much as I admire Bandcamp and use it, the percentage of worldwide sales it transacts is at best insignificant when put next to the big online guns, and the likes of Amazon, Barnes & Nobles, HMV, etc and the thousands of retail stores shipping physical orders garnered via their online businesses.
They, including sales from band sites, would be unlikely to skewer those figures much.
What was missed from that data were two important bits that do have the potential to skewer:
1) The figures sidestepped recoupment and the fact that most acts pay for the cost of the recordings and much more from their small share, given that 70% of record sales are by acts are still signed to majors and the bulk of the balance to indies who still structure their deals much like majors.
2)publishing income was omitted, which, in some cases, and assuming the artist was the writer, pushes the figure back towards the artist, although with noxious 360 deals and increasing cross collatoralisation that benefit is somewhat negated and subject to 1) above. -
C'mon guys, you can't fault his sources:
Newsweek magazine
Life magazine
Look magazine
Mademoiselle magazineand ten, carefully chosen quotes taken out of context and without links, does after represent the sum total of all global scientific study and understanding of the climate at the time.
I guess, in the face of that, to quote James, skepticism is the only rational approach.
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Of course, apart from the droll irony, this may explain his aversion to it.
Nope it was the firmly planted hatred of the Scottish band's take on his beloved Al Green that did it.
But he made me suffer Bob Seger. Which was the greater crime? Orange Juice wistfully paying tribute to the Rev. Al, or Bob Seger being allowed anywhere near a recording studio..ever...
Taking it back, has this been posted here yet, 'cos it's well brilliant DJ Premier Mclaren mix
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I can promise it wasn't me
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The first paragraph of this (courtesy of Mark Harris) seems to contradict parts of John's history, or at the very least add another fascinating element to the development of copyright in the 200 years before the 1709 statute.