All three chart positions mark the highest debuts on each tally in the band’s two-decade career. On Alternative Songs (the only chart of the three that predates Blink-182’s first album, Cheshire Cat, in 1995), the No. 18 opening of “Bored” bests the band’s previous top entrances of No. 25 logged by “First Date” in 2002 and “Up All Night” in 2011. (Those songs went on to peak at Nos. 6 and 3, respectively.)
Andrew Whitehurst, writing for The Guardian:
The anti-CGI backlash, which is really a reaction against poorly conceived CGI, rather than the form itself, stems from such overuse and misapplication. No one complains about the mountain of well-planned and well-executed CGI, because no one’s attention was drawn to the fact that it was CGI in the first place. Perhaps unsurprisingly, the studios’ publicists are now frequently keen to emphasise how much of a film was shot “for real”, and play down the use of CGI on a production. A cursory glance through the credits of the film will tell you how true those claims are.
I saw this question posed in our forums and found a really good answer from the mastering engineer Scott Hull:
It’s a simple question with a complex answer. Many websites publish charts explaining how much music fits on one side of a vinyl record. The main purpose of those guidelines is to make it easy for the cutting engineer to do his job. But do you want to have an average record or an extraordinary one? Ah, I thought so. You need to read on.
Mark Gurman, writing for 9to5Mac, on how Apple Music’s Connect is expected to be “demoted” in iOS 10:
In the iOS 10 Apple Music redesign, the Connect feature will follow Ping’s lead and will be demoted. Apple Music Connect currently exists as its own tab across the Apple Music interface, but multiple sources say that the feature will lose its tab and become integrated into the “For You” recommendations page. Connect will still exist within applicable artist pages as it does today, but its demotion from the set of Apple Music tabs indicates that the feature has not lived up to Apple’s expectations from last year. Along with the demotion, Connect is unlikely to see notable new features this year.
Peter Kafka, writing for Recode, on how streaming music has now become Warner Music’s biggest business:
The company announced that money from services like Spotify and Apple Music was the single biggest source of recorded music revenue in the first quarter of the year, surpassing both physical sales and sales of digital downloads. That’s the first time any of the big music labels has hit that inflection point.
Warner’s streaming music revenue increased $72 million for the quarter — more than half of which came from sales outside the U.S. — while downloads declined by $17 million and physical revenue dropped by $6 million. Warner’s recorded music sales increased by 10 percent overall, and the company’s total revenue also increased 10 percent.
Apple Music have announced a new student membership option that discounts the service by 50%.
That means in the U.S., where an individual membership to Apple Music costs $9.99 per month, the student membership will be $4.99 per month instead.
The option isn’t just arriving in the U.S., though. Students in other countries, including the U.K., Germany, Denmark, Ireland, Australia, and New Zealand, will also be able to take advantage of the new membership option.
@WorldOfStu: Ally McBeal was cancelled for having 9.4 million viewers. It would currently be in the top 10 with those numbers. In 2002 it was #65.
For this week’s playlist I’m putting together what I call “The Ultimate Setlist.” This is a concept that my friend Mike came up with back when people still made mix CDs. The idea is to give someone a starting place in a band’s discography, basically a jumping off point to the artist’s best songs and biggest hits. The rules are fairly simple: arrange the playlist in such a way that emulates the perfect setlist for the band, and make sure that the playlist comes in under 80 minutes (that was the length for CD-Rs — remember those, from another life?). This week, I’m jumping in with Jimmy Eat World and you can find my picks on Apple Music and Spotify.
This week’s episode of Encore spends a lot of time talking about all of the Blink-182 news over the past week. We talk about the band’s new song, their new album, the entire thing about the song going up a day early and what happened there, and the band’s massive upcoming tour. We also talk a little about the new Drake album, answer a couple of listener questions, and, of course, talk about beer and basketball as well. You can find all the information to stream and/or download the episode below. I hope everyone has a great weekend.
Rob Levine, writing for Billboard, looks at the strange place YouTube occupies in the music industry:
Most Internet companies need to get permission from labels in order to use their music — a negotiating dynamic that results in high fees. With services that operate under the DMCA — like YouTube and, until recently, SoundCloud — the dynamic is very different. These services also stream music uploaded by users, and copyright holders who don’t want their content online need to file takedown notices — one for each copy of each song. Instead of selling the rights to music that a service needs, label executives say they’re stuck selling the rights to music that a service essentially already has.
Well, that’s the theory. In practice, it’s more complicated.