Ministry Of Sound CEO Lohan Prescencer has issued a strongly worded alternative Christmas message to the music industry criticizing the likes of Apple, Youtube and Spotify as undermining the value of music and damaging the industry. Check it out for yourself below. “Companies often fail to move with the times. That’s different from self-harm. But this is exactly what the record industry has done. Not just once, but many times. Imagine a supermarket offered a £100-a-month all-you-can-eat service. Then imagine it offered free food to 75 per cent of its customers as a kicker. This is Spotify. Amazing for customers. A disaster for the music industry. Why? Because when you’re not getting paid, the talent well begins to run dry. Who’s to blame? Music is a subjective business by definition. Then there are the drugs, the lifestyle and the egos. The industry is a million miles away from the likes of Unilever and its commoditised products. So there’s no prize for guessing the type of person that is attracted to the music business. When Napster first blew up the industry with free music, record executives panicked. What they should have done was calmly get together and agree a digital platform controlled by the industry. What they did instead was abdicate responsibility for working it out to Apple. Strike one. Strike two – YouTube. What an amazing idea! A great opportunity for people to watch music videos, gain critical exposure and break new artists. Except… YouTube was making all the money. In another panic, the industry cobbled together VEVO. Five years on, it has lost a fortune and is up for sale. Strike three – Spotify. All the music you could ever want. Brilliant! But again there’s a wrinkle. Three quarters of Spotify’s users don’t pay. The more Spotify grows, the more free users – 37.5 million at the last count. This is why it loses so much money – €93 million in 2013. And if Spotify doesn’t get paid, who takes the hit? Keen observers may remember Ministry of Sound sued Spotify over its use of our compilations on its playlists. We settled out of court and some of our music is now on Spotify. But that doesn’t address the root problem. In ten short years, music has gone from being valued and paid for to being commoditised and free. Industry revenues have declined from $30 to $15 billion. Profits have been even harder hit. We in the business only have ourselves to blame. And long-term the trend looks dire. Add Spotifiers to YouTube’s one billion users to countless millions using other free music services, and what do you get? A generation who’ve never paid for music. Now for strike four – the new iTunes subscription service due to launch in 2015. Having acquired Beats, Apple plans to pulverise Spotify by offering subscription at half its price. There will also presumably be a free introductory offer. Again, you don’t need to be a genius to guess how the music industry will respond. The terms are probably already agreed. Around and around we go. Will there be a strike five? Almost certainly. Six and seven? Why not? The answer from the industry’s lacklustre executives is always that ‘we must support progress’. And that ‘progress’ means free music. As Chief Executive of Ministry of Sound, one of the world’s largest independent labels, my Christmas message is short but simple. Stop giving it away! We’re smart enough to work things out between us. To control our own destiny. To stop the rot. More than anywhere else in the world, the UK punches way above its weight in music. We’re home to some amazing talent – Ed Sheeran, Sam Smith, Adele, London Grammar, George Ezra to name a few. Let’s put our numerous suitors on hold, invest in developing our own platforms and routes to market. Let’s seize back the keys to the music kingdom.”
The past few days have seen a handful of rappers sound off on Iggy Azalea’s place in the hip-hop community, from mentor T.I. defending her skills to Q-Tipteaching her a lesson to Azealia Banks effectively ripping her apart. Add Will.i.am to that list of artists: the Black Eyed Peas rapper fired off a round of tweets praising Azalea for her impact as a white female within the genre. “hiphop Is global now…it doesn’t matter if your white or black…thanks for contributing & spreading our culture positively,” Will.i.am wrote. He also thanked Blondie for “expanding hiphop” with their song “Rapture” in 1980. See the full tweets brigade below:
Q-Tip addressed Iggy Azalea through Twitter with a powerful and lengthy message Saturday (December 20). The rapper’s posts for Azalea, who has been involved in an ongoing feud with Azealia Banks, were filled with information about the origins of hip-hop and why the culture continues to be an important vehicle for social change. “Hip-hop is fun,” Q-Tip said in the series of Twitter posts. “It’s vile. It’s dance. It’s traditional. It’s light-hearted, but one thing it can never detach itself from is being a socio-political movement. You may ask, ‘Why?’ Well, once you are born black, your existence, I believe, is joined with socio-political epitaph and philos[ophy]. “Based on the tangled and treacherous history, slavery alone, this is the case. It never leaves our conversation…Ever,” he continued. “Whether in our universities, our dinner tables, our studios or jail cells, the effects still resonate with us. It hurts… We get emotional and angry and melancholy.” more: Azealia Banks And Iggy Azalea Are Going At It Again Before ending his posts, Q-Tip explained why he was sending these updates directly to Iggy Azalea. “You are a hip-hop artist who has the right to express herself however she wishes,” Q-Tip said. “This is not a chastisement. This is not admonishment at all. This is just one artist reaching to another hoping to spark insight into the field you are in. I say this in the spirit of a hopeful healthy dialogue that maybe one day we can continue.”
The Sony hack is a hydra-headed monster of a story, emerging from the sea late last month to descend on Los Angeles before going on to smash across the country, sprouting new heads as it went, dragging the badly battered body of a colossal global corporation in its dust. A previously unknown group of hackers calling themselves the Guardians of Peace have become the subject of hundreds of articles splayed across every conceivable media digestion surface in the United States. This week it has become the stuff of both national security and mass market consumption, as Sony preemptively killed its buddy-comedy-cum-espionage-thriller The Interview in response to physical threats the Guardians of Peace made against moviegoers. Then Friday (Dec. 19) the FBI released a statement confirming suspicions of North Korean involvement in the exploit: “As a result of our investigation, and in close collaboration with other U.S. government departments and agencies, the FBI now has enough information to conclude that the North Korean government is responsible for these actions.” North Korea has subsequently denied any involvement. This is quite possibly the most high-profile hack of all time. But according to security experts Billboard spoke to, it was by no means the most sophisticated. “Going by the technical details that have been made public, we are not seeing some great level of sophistication here that we have seen in other attacks,” Marc Maiffret, longtime hacker and the cybersecurity technician credited with discovering the first Microsoft computer worm, told Billboard. Sony Hack Reveals Snapchat Wanted a Record Label, Too Much Money From Vevo Stuart McClure, CEO of cybersecurity firm Cylance, deems the Sony attack “the biggest data dump the cybersecurity industry has ever seen.” He also said there was nothing terribly technically profound about the exploit itself. “All that is total garbage, straight out of Hollywood,” he said by phone. “There hasn’t been anything really new in 15 years, minimum. It’s the same stuff over and over again — because it works.” Sony declined to comment for this story. McClure worked for McAfee as global CTO in 2011 when they were hired by Sony in the aftermath of the Anonymous hack that bedevilled Sony’s Playstation division that year. In recent weeks he has analyzed samples of the data surrounding the most recent attack, though he is not currently working with Sony. He has occasionally delivered keynote speeches on security issues at entertainment industry conferences. “With the Playstation hacks, Anonymous didn’t use anything unique and were able to get in easily and stay a long time,” McClure said. “I got the impression that [Sony] executives didn’t care. Some basic technologies could have prevented a large part of this. This level of destruction of a company on American soil is unprecedented, but my 15 year-old could have written the code.” A letter circulated to Sony Pictures Entertainment employees by CEO Michael Lynton contained the comments of Kevin Mandia, chief executive of the security firm Mandiant, which was hired by Sony to investigate the hack. In the letter, which was subsequently leaked, Mandia characterized the attack as “unique”, “unprecedented” and “undetectable by industry standard antivirus software.” In a phrase calculated to the rigours of legal liability he wrote that “neither SPE nor other companies could have been fully prepared” for the attack. Both Cylance’s McClure and Kevin Mitnick, “the world’s most famous hacker,” claim that the attack was neither unprecedented or unpreventable. THR: Obama: Sony Made a Mistake Canceling ‘The Interview’ Release Mitnick had a tumultuous first three decades as a hacker before establishing Mitnick Security Consulting, a firm specializing in penetrating clients’ security systems for hire with both technical exploits and social engineering. “It’s not [Sony’s] fault that they couldn’t prevent the breach, Mitnick said, “but it is their fault if they were apparently unable to detect it, probably for months. The biggest surprise is the amount of data they were able to exfiltrate.” A statement released by the hacking group claimed it had pilfered 100 terabytes of data from Sony’s servers, an enormous trove greater than the entire contents of the Library of Congress. The data released so far includes complete records of executives’ emails, sensitive employee information including social security numbers and health care data, along with Sony Pictures’ movie projects in various stages of development. McClure said that his research leads him to believe the breach was accomplished through some sort of social engineering, rather than by a computer program. One striking thing to have emerged from the data that the Guardians of Peace have so far disseminated is the lack of security around passwords at Sony, including the revelation of an embarrassingly simple password CEO Michael Lynton was apparently using. It’s a clear sign that the company did not have sufficient corporation-wide password standards. “There was clearly stuff going on with Sony’s security that was well outside of any industry best practice, and these were not one-offs but occurred en masse,” said Maiffret. McClure noted that using even the basic encryption tools native to Windows may have prevented a good deal of the damage. Electronic Frontier Foundation staff technologist Seth Schoen says that compromised passwords are a likely vector of infiltration in the hack, especially given Sony’s size. “There is a password reuse epidemic,” Schoen said, “When attacking a large organization, hackers could try to find the names of people that work there, then look to other sites where passwords have been stolen, looking for matches. Next, trying those username and password pairs at the organization’s sites. As organizations get bigger it is more likely there will be an overlap, the odds just get better.” It remains unclear how far into Sony the data dump will reach. Thus far, only Sony Pictures Entertainment has been directly affected. Mitnick says it’s likely the contagion could have spread to other corporate divisions like Sony’s music division. “There are usually access points [from one division to another],” he said. McClure noted that, given the level of access the hackers were able to achieve, “gaining the same level of access into the other properties would be trivial.” The information that the hacking group continues to release is providing the general public with an incredibly high-def look into the workings of the entertainment industry. The fallout could be enormous, as internal profit reporting is compared with public disclosures, say, or as the details of various deals are scrutinized by stakeholders. Already, some Sony employees have filed suit against the company for failing to protect their private information. “At this stage in the game, not having good information security is negligent,” said Tor Ekeland, a New York attorney specializing in internet law, “and on the face of it, it appears [Sony was] very sloppy. Sony may have a difficult time trying to suppress the information from being shared and published, although they have hired attorney David Boies toward that end, a man whom Ekeland called “the best trial lawyer in America.” Leslie Frank, a partner at the law firm King, Holmes, Paterno & Berliner, who specializes in entertainment copyright, says that Sony is unlikely to sway a court that publication of its internal documents is not protected by the First Amendment. “Obviously Sony would prefer that none of its internal business was revealed, but it doesn’t fall out of First Amendment protection just because it was a hacking,” Frank said. “Courts try not to decide First Amendment protection based on the content of the speech, but rather whether there is a public policy interest in protecting it. I can’t think of one reason that publishing this information would counteract the protections of the First Amendment.” While the scattered viscera of a global entertainment giant are hard to ignore, there is much more at stake in this saga. “Beyond who emailed what to whom, or whether North Korea was responsible, hacking now is on the level that someone could hack a huge corporation like Sony for a physical world material benefit. Everyday types of hackers are going, ‘Wow, I can have that same effect.’ Where does it go next?” said Maiffret. The success of the hack could inspire copycats, and this type of damage could spread on its own hype. The technical tools to carry out such an attack are out there, and have been. Now the bar has been raised for the type of damage that these tools can wreak. “It’s fair to say that this attack marks the dawn of the age of cyber terrorism,” McClure said. Mitnick believes that the US government should release all evidence from the attack to the world’s cybersecurity community, to build trust. McClure agrees: “The greatest travesty of our industry is that [the details of the breach and attack] will never really be shared,” he said. It’s unlikely that this story will find a tidy Hollywood ending. We may never know, completely and definitively, who exactly perpetrated these attacks or how. But hopefully every sizeable organization in America will realize how damaging their internal data can be, and protect it accordingly, even if that causes some organizational discomfort.
For most teams trying to close out their home schedule with a 4-4 mark, they’re usually not at the 10-win mark. But that’s been the case for this Cowboys’ team who is a perfect 7-0 away from home, but has just three wins at AT&T Stadium, the site of Sunday’s showdown with Andrew Luck and the Colts. The Cowboys don’t need to worry about their surroundings, knowing they need just to keep winning to claim the NFC East title. Here are the gut feelings for staff writers Nick Eatman, Bryan Broaddus and David Helman. Bryan Broaddus: This game against the Colts comes down to one simple factor for me – can this Cowboys secondary match up against these Colts receivers and tight ends to take them out of the game like they did the previous week against the Eagles? My gut feeling is that they can. With the likely hood of no TY Hilton in the lineup it will certainly make their job much easier. The Colts will not be able to run the ball and with their make shift offensive line getting pressure on Andrew Luck is a real possibility. I expect that the defense will take an aggressive approach in the way they attack Luck but also do the same with these receivers. Look for plenty of man coverage across the board denying windows for Luck to throw balls in which when that happens tends to hurt his accuracy. Cowboys secondary wins this game 31 to 17. David Helman: Maybe I finally believe this team is different from the ones that came before it, because I actually feel confident that the Cowboys can handle business this weekend. I know DeMarco Murray and Zack Martin might play hurt, and Doug Free doesn’t look likely to play at all. I wouldn’t feel good about that if this were Week 3, but the end is in sight. If the Cowboys can find two more wins – or potentially even just one – they’ll have reached the playoffs. That in itself is some strong motivation, especially since the Colts are already in the tournament, and they’ve got injury problems of their own. So it comes down to this: I think Dallas can stuff the Colts’ ground game, putting the burden squarely on Andrew Luck’s shoulders. Luck is good enough to win this game on his own, but he’s got some pretty stiff competition on the other side of the ball. Even with the injuries, I think the Cowboys can grind out 150 total rushing yards, and Tony Romo will have another interception-free game. Luck is probably going to flirt with 400 passing yards, but the defense will force him into a late-game mistake that clinches the win – something like 34-30. Nick Eatman: All of these gut feelings were written before the Eagles-Redskins game finished. But to me, it doesn’t really matter. I think the Cowboys will treat this upcoming game as if their backs are against the wall, or to seize the moment and go win the division. Either way, this team is playing well right now and I don’t think being at home or away will matter. This crowd will be a good crowd and give the Colts a little bit of trouble- but not much. I think the Cowboys’ offense will be on point and that includes Murray. He may not be 100 percent but he’ll be effective enough. I still think Randle will get some touches and make the most of them. But this secondary for the Colts will have problems all day. Look for Beasley to have another big day as Indy tries to figure out how to stop Bryant but will leave holes. The Dallas defense will do just enough at the end and hold off Luck in the fourth quarter. I see a 28-24 win for the Cowboys.
The singer takes over the three-tiered venue for a sold-out, six-show run that spotlights her two holiday releases Few musicians settle into and succeed in the Christmas season like Mariah Carey. Despite her underperforming album releases over recent years, come each December, she reliably reclaims the holiday chart’s top spot with her original pop track, “All I Want for Christmas Is You.” The upbeat seasonal love song released twenty years ago has now held the top spot for a record fourteen weeks — and counting. It’s an opportunity worth seizing, which Carey finally has — with a sold-out, six-show residency at New York City’s Beacon Theater, ornamented with a red curtain covered in tinsel and snowflakes and topped with an illuminated “MC” wreath. Compiling an 85-minute set list from her 1994 album Merry Christmas and her 2010 follow-up Merry Christmas II You (as well as a few non-holiday hits), Carey decadently delivered all the (very, very) high notes of her many holiday favorites, leaving the audience wishing to Santa for more. See more Ho Ho Ho! 21 of TV’s Most Memorable Christmas Episodes Though the concert run comes two weeks after her widely scrutinized, televised performance earlier this month of her signature hit at the Rockefeller Center tree-lighting ceremony, ticketholders eagerly shed their coats and scarves (but kept on their “MC” Santa hats) for her third show on Thursday. After a little girl in a pink tutu began the show with a short “Dance of the Sugar Plum Fairy” ballet, Carey was revealed in front of Christmas tree and framed by oversized snowflakes, wearing her first of three sparkling mermaid gowns with deep necklines, and powerfully belted the first of fourteen favorites into her gold microphone — each time, meeting the vocal demands she recorded two decades ago. The crowd cheered after every complicated run and ceiling-scraping note, as her right hand (dressed in a fingerless glove) either mapped out her notes, pushed her ear shut or held the hand of one of her dancers while traversing the oft-crowded stage. During Carey’s wardrobe changes, audiences were distracted by kid-filled skits and songs, including a “Santa Claus Is Comin’ to Town” tap dance and a “I Saw Mommy Kissing Santa Claus” duet, as well as Broadway Inspirational Voices’ choir performances of “Carol of the Bells” and “Jesus Oh What a Wonderful Child” — the latter led by Carey’s notable backup singer Trey Lorenz. Her stage was occasionally stuffed with too many acts at the same time — at one point, audiences found themselves watching aerial acrobats, hip-hop dancers, kids and the choir — and pulled out every festive stunt (a dancing snowman, a gift-tossing Santa Claus and choreographed reindeer all clock in throughout). And some scripted pre-song banter fell relatively flat in comparison to her fun, candidly-sung comments of affection to her band and audience — though seemingly introduced like a duet, Debbie Allen randomly appeared to only inform of her current chart reign, and during a chat about what Christmas feels like, Carey asked one child to “do it like we did in rehearsal.” See more Ho Ho Hollywood! Tinseltown’s 22 Best Christmas-Themed Movies Whatever the minimal missteps, they were very quickly forgotten whenever Carey began another beloved track — usually from her first holiday album. She shined brightest on the choir-assisted “Silent Night” and “Joy to the World,” and hit the show’s highest note while nearly alone and simply standing still for the octave-jumping “O Holy Night.” And though she comically shut down the first few bars of “Heartbreaker” — “That’s the wrong show, come on!” she laughed — Carey told her fans that someone instructed her, “Mimi, emancipate yourself to sing one or two” of the old ones: “Emotions,” “We Belong Together” and a freshly-phrased “Hero.” She, of course, closed the heartwarming show with “All I Want for Christmas Is You,” complete with every single dancer onstage, plus metallic confetti and fake snow. Because besides the holiday season altogether, dominating a tally for fourteen weeks (out of eighteen total) — and reminding everyone that you actually haven’t missed too many beats over the past twenty years — are definitely cause for decadent celebration. Set list: Hark! The Herald Angels Sing/Gloria (In Excelsis Deo) Charlie Brown Christmas Oh Santa! Christmas (Baby Please Come Home) Silent Night Joy to the World When Christmas Comes Here Comes Santa Claus (Right Down Santa Claus Lane)/Housetop Celebration Christmastime Is in the Air Again O Holy Night Emotions We Belong Together Hero All I Want for Christmas Is You Email: [email protected]
It’s funny looking at this, because I been telling my dj management team Skam Artist,this Hiphop shit bout to take over,I can see it in the crowds faces,young white girls coming up to me like,pls go dj,I’m sick of this shit!
Two uniformed NYPD officers were shot dead — execution style — as they sat in their marked police car on a Bed-Stuy, Brooklyn, street corner. According to preliminary reports, both officers were working overtime as part of an anti-terrorism drill when they were shot point-blank by a single gunman who approached their car at the corner of Myrtle and Tompkins avenues. “It’s an execution,” one law enforcement source told The Post of the 3 p.m. shooting. The gunman just started “pumping bullets” into the patrol car, another source said. The suspected gunman fled to a nearby subway station at Myrtle and Willoughby avenues, where he was fatally shot. Preliminary reports were unclear on whether he was shot by police or his own hand. “They engaged the guy and he did himself,” one investigator said.