Fork Radio Inc. : Overview

The music industry is made of companies which produce and sell music. The music industry as we know it was solidified in the mid-twentieth century, where records succeeded sheet music as the primary product in the music business. Record companies were established, but did not last very long until the late 1980s when the “Big Six”, a group of multinational corporations consisting of Sony, MCA, WEA, Polygram, EMI, and BMG controlled most of the market. Initially there were five corporations (CBS and RCA (both now belonging to Sony), WEA, EMI, and Polygram) that had emerged in 1978 to own 60 per cent of the market. (Wallis and Malm, 1984, p. 81)

The interviews conducted in this study provided further insights into the effects of digitization and the future of the recording industry. Both respondents measured positively in knowledgeability, credibility, impartiality, willingness to respond, and lack of outside constraints. In terms of overall reliability, the key informants interviewed were considered “good” informants overall.

Vancouver Co-operative Radio, CFRO, which is an non- commercial organization. Well, it has already got the radio license from the CRTC in 1974. The station divided into four sections: public affairs and news, music, multi-lingual and arts, and programmes air in ten foreign languages. On December 9, 2010, CFRO applied to exchange frequencies with CKPK-FM, which operated at 100.5 MHz. This application was approved by the Canadian Radio-television and Telecommunications Commission on September 9, 2011, so the public can received in in four ways: 100.5FM on the radio, Cable television-radio throughout most of BC, the internet at co-op radio’s website, shaw direct satellite 854.

In recent years, radio has made even more developments that have made listening to your favorite music even easier. With a simple internet connection, you can listen to streaming audio from almost any radio station all over the world. A new trend in radio broadcasting is also the podcast. This is where individuals put together a recording that resembles a radio show and then post it online for anybody to listen to. In addition to these developments, there is also the creation of the subscription-based radio services. Sirius and XM radio are not controlled by federal regulations in the same way that normal airwaves are governed. This gives both listeners and broadcasters more options to fit their listening pleasure. Made popular

In the years that Motown Records was being established there were many successful Independent labels. For example, Paramount and Gennett Records were widely known and successful. Independent labels started in the 1920’s. Independent labels want that big sound feeling, without the dealing with corporate America. Although, Motown Records started small, founder Berry Gordy Jr. had no intentions of keeping it that way by any means. This essay will briefly explain how Motown grew and the rich history of legendary musicians that helped establish Motown. This essay will also discuss how Motown Records impacted the music industry and how Berry Gordy Jr, and artist such as The Miracles, The Supremes, and Stevie Wonder to name a few create a sustainable

This next Saturday April 22nd Las Vegas, and every major city in the US will be celebrating the 10th edition of Record Store Day, an initiative started on the U.S. and now turned into a worldwide event. As the means through which we consume our music have shifted over the past decade, record stores have slowly become victims of new media, like MP3 digital files and more recently, streaming services. Back in the year of 2007, independent record store owners and their employees met to discuss ways to save their industry, and they brainstormed this idea of Record Store Day, which was in part modeled after a similar event, which focused on celebrating and promoting comic book culture. This once a year event has proven to significantly increase the traffic and profits for independent record stores, an achievement made possible through the collaboration of artists and record labels, who prepare special limited releases, which often include vinyl reissues, live albums or box sets to be released on this

We live in an ever changing world, with technological advancements being made every day. Digital formats are everywhere, from phones to watches with music being a part of it all. Musical formats prior to digital formats have, for the most part, faded into the background, but there is one relic that is regaining popularity and that is the vinyl record. Vinyl records burst on the scene at the beginning of the 20th century and are more popular than ever boasting 52% increase in sales from 2013 to 2014, while the popularity of digital downloads are slowly decreasing dropping by 9% (Gibson). As vinyl makes its way back into the hands of audiophiles, new consumers are racing to get their paws on these vintage music format, but where does one go to acquire vinyl records? Luckily, there are several options from the old standard of the record store to the all inclusive online store. There are also some unusual places to find vinyl such as the thrift and discount stores and the occasional jackpot at a garage or estate sale. Overall the record store has the other choices beat due to the overall experience the collector gains through the record store’s various assets such as, locations and instant gratification, a tangible experience, interacting with owners and other vinyl enthusiasts, and special discounts and events like Record Store Day.

‘Independent record labels have been around since music started being recorded’ (King, 2012, p.13). Created by fanatics with a passion for music, the recording and production process was often self-funded and the purpose was to nurture talent and creativity. Most of the major record companies we know today would have once started in this manner (King, 2012).

The major music-only stores such as Tower Records (which once wielded considerable influence in the industry) went bankrupt, replaced by box stores (such as Wal-Mart and Best Buy). Recording artists began to rely primarily on live performances and merchandise for their income, which in turn made them more dependent on music promoters such as Live Nation (which dominates tour promotion and owns a large number of music venues.)[6] In order to benefit from all of an artist 's income streams, record companies began to rely on the "360 deal", a new business relationship pioneered by Robbie Williams and EMI in 2007.[7] At the other extreme, record companies also used simple manufacturing and distribution deals, which gives a higher percentage to the artist, but does not cover the expense of marketing and promotion. Many newer artists no longer see any kind of "record deal" as an integral part of their business plan at all. Inexpensive recording hardware and software made it possible to create high quality music in a bedroom and distribute it over the internet to a worldwide audience.[8] This, in turn, caused problems for recording studios, record producers and audio engineers: the Los Angeles Times reported that, by 2009, as many as half of the recording facilities in that city had failed.[9] Consumers benefited enormously from the ease with which music can be shared from computer to computer, whether over the internet or by the exchange of

Since the iTunes music store was introduced on April 28, 2003, gross music sales have plummeted in the United States - from $11.8 billion in 2003 to $7.1 billion in 2012, according to the Recording Industry Association of America (Covert). Counterintuitively, during that time consumers were buying more music than ever. How is that possible? It 's because iTunes had made digital singles popular and was selling them cheap. This would change the music industry forever. In 2000, Americans bought 943 million CD albums (Covert), and digital sales didn’t even make a dent in comparison. But by 2007, those inexpensive singles overtook CDs by a wide margin, generating 819 million sales compared to just 500 million for the CD.

1.  According to the case, recorded music decreased and concert tickets increased from the years 2004 to 2007. According to research done by Nielsen SoundScan, recorded music sales declined by 9.5% in 2007 (A&M/Records,3). Additionally, the manufacture’s unit shipments and retail dollar value graph shows a decrease in physical CD album and CD single sales. By contrast, an increase in digital CD and album sales and the mobile and subscription base model had almost an insignificant increase, having no clear impact in the industry. However, by 2007 the trends in concert revenues in the United States had increased by almost 2 billion dollars. Consequently, almost all revenues were coming from concerts rather than physical album sales.

When speaking economically, the digital music sector of the international music industry is undoubtably the most important sector in the industry. Within the last decade, music has seen cardinal changes in the way both major and independent labels distribute their products. An industry that once relied on Payola 's and mass distribution of physical records and CD 's now relies heavily on the power of the internet. The first instance of mass distribution of music through the internet was by the service Ritmoteca.com in 1998 [1]. Ritmoteca had a library of over 300,000 songs, offering individual songs for 99 cents each and albums for $9.99. After signing distribution deals with many major music labels such as Warner

Due to the transaction costs being lower through online channels allows for companies to offer individual products that were previously only sold as part of bundles. The advent of online stores such as Apple’s iTunes music meant music was now sold in the form of individual tracks as opposed to the previous model of the singular album. The ready availability form of singles, raises the question as to whether a number of songs on an album still matters, does it mean the track listing becomes a thing of the past and can hit songs now be relied upon to generate profits as opposed to the declining album format?

The world market of record music in 1990s was dominated by only five big corporations: BMG Entertainment, EMI, Sony Music Entertainment, Warner Music Group and Universal Music Group. The majors could maintain their status thanks to patents and agreements, technological improvements and M&As. The majors had the complete control of patents and music rights from the artists. Even though the artists tried to directly contact to the customers, they could not afford the attempt. Thus, they relied on the professional signers and on the publishing company. The

In a US market where sales growth is declining by 10.4% in 2002, this situation weakens deeply the whole music industry and opens to the door to a change of pattern in the way executives of this industry predict future “hits”.