White power music was in trouble. But then racist bands discovered iTunes, and now they’re back in business.
The racist music industry, a once lucrative source of funding for the white power movement, is a shadow of its former self. Over the past decade, it has become increasingly fragmented and disorganized in the wake of the collapse of several major labels and distributors. Concerts have become scarce and those that remain have been driven even further underground. However, the ever-resilient white power music scene has found new hope and new profit amidst the wreckage of a once multimillion-dollar industry from an unlikely source: the world’s largest music vendor, iTunes.
The digital media marketplace, owned by Apple Inc., boasts the sale of more than 21 million songs every week, from a catalog of more that 26 million songs that, as of September 2014, included at least 54 racist bands.
The catalogs of bands from across the spectrum of hate music, ranging from established acts like Skrewdriver, the Bully Boys and Max Resist to little-known, DIY groups, can be purchased as MP3s or streamed with iTunes’ radio service with ease. Providers of MP3s receive a wholesale payout of 70 cents per song and $7 per album sold, as well as an additional fee per play through the iTunes Radio interface and a proportionate share of monthly advertising revenue.
The iTunes legal department did not respond to multiple requests for comment.
Where does this money go? Directly into the war chests of the individuals and organizations promoting racism and violence against minority groups both in the United States and abroad.
David Bowie celebrates his 66th Birthday with the release of his first single in a decade.
Taken from the album: The Next Day (Deluxe)
Available from iTunes
Apple still needs to take next steps: they should allow seamless wireless integration of your Itunes library to your car stereo player. There are many models of stereos, and Apple needs to license a mod or app for manufacturers. It’s highly ridiculous that the means of playing your Itunes songs in a moving bumpy vehicle still involves burning songs to a spinning platter device. If they are not going to integrate, then they need to make their own aftermarket car players.
Also note that right now you still have to hit the “check for update” drop down from within Itunes to get the update if you haven’t hit the point you’ve set to check for updates automatically yet.
Apple Inc. unveiled a new version of its iTunes media service, overhauling its look and feel while integrating it more closely with the company’s iCloud Internet- storage service.
The iPhone maker, which planned to release the upgrade last month, said it needed more time to get it ready. Changes to the iTunes store are intended to make it easier to search for content and discover new material, Cupertino, California-based Apple said when it previewed the changes earlier this year.
The update is one of the biggest Apple has made to iTunes since its debut more than a decade ago. Under Chief Executive Officer Tim Cook, Apple is working to improve the tools that helped make it the largest seller of music while giving customers added incentive to buy more of its other products.
The company is seeking to make it easier for people to access media content from various Apple devices without having to plug them into a desktop. With the iCloud integration, if a user starts a movie on an iPad computer tablet, it can be restarted at the same point on a different device later.
Just like every other time I’ve upgraded Itunes I had to manually find and relink several songs that were already in my cloud. I’ve also lost artwork to several songs that I’ve painstakingly hunted down the covers for over the years - yeah, they are rare cuts that ITunes doesn’t have, know, or care about. [e.g. Stuff like this, this, and this. ]
I heard the first five bars and bought it.
Purchase the single at candyrat.com
Adam Ben Ezra delivers a remarkable one man show in this original multi-instrumental piece called “Openland”.
Talking about how he makes money, the independent musician Jonathan Coulton has compared his business to a “special engineered cow who eats music and poops money.” Coulton doesn’t have any idea what happens inside the cow’s gut, but that’s okay. Money comes out the business end.
And that’s how it is for most online musicians, or artists generally, in today’s digital economy. If they’re lucky enough to make money, they may not heavily analyze the particulars. They feed the cow music, and out comes the money.
So it’s rare that we, as consumers or fans or fellow artists, get the ability to see exactly how successful makers support themselves: to look at the source of their earnings, and to glance up into the cow’s — well, I’ll cut this metaphor now.
The avant garde cellist Zoe Keating has allowed us see her revenue model. Earlier this summer, she posted the details of her Spotify earnings, revealing that every time someone listened to one of her songs, she made about three tenths of a cent. She also posted her iTunes earnings at the time.
But yesterday, she augmented that data with new material: what she makes from Pandora, radio plays, and her participation in the royalty-collecting American Society of Composers, Authors and Publishers (which everyone calls ASCAP).
During those six months, Zoe Keating made (before taxes) $84,385.86. This is where that money came from:
Out of Sight, Out of Mind, an original song from the most recent CD, “This is What Happens”
Joseph Secchiaroli — Vocals/Guitar
Steven Padin — Drums/Vocals
Danny Pizarro Jr. - Piano
Michael Carroll — Guitar/MIDI
Jeffery Jarvis — Bass/Vocals
Sax — Nelson Rivera
Geraldo Castillo — percussion
© 2012 WMG. Download “Whistle” on iTunes now: bit.ly
“Whistle” is off of Flo Rida’s new album, coming this summer! Follow @official_flo on twitter
One of the most prurient aspects of reading the personal emails written to and by Bashar Assad that were obtained by The Guardian has been the chance to observe the dictator’s strange shopping habits on iTunes. Apparently, the Syrian dictator is a big fan of contemporary party music. But Bashar is far from the first dictator to have a strange relationship with pop culture. From Frank Sinatra to LMFAO, TNR takes a look back at the odd cultural tastes of some of history’s most ruthless rulers.
Bashar al Assad. The Syrian dictator’s recent purchases on iTunes include music by LMFAO, Chris Brown, Right Said Fred, and New Order. Of course, picturing Assad dancing to “I’m Sexy and I Know It” is an image that most of us would prefer to block from our minds.
Saddam Hussein. The palaces of Saddam Hussein were found to have been adorned with fantasy art that included depictions of “naked blonde maidens menaced by dragons” and “warriors wrestling serpents.” It seems the former dictator had an aesthetic taste that was closer to that of an adolescent boy than that of a head of state.
Kim Jong-il. The diminutive and departed former leader was a noted film lover, with over 20,000 DVDs in his personal collection. His taste in movies can hardly be considered highbrow, however, with titles such as Rambo and Friday the 13th listed amongst his favorites. Not just content to watch movies, he once kidnapped a top South Korean film director to make a bizarre version of Godzilla entitled Pulgasari.
Hugo Chavez. Chavez, perhaps seeking to solidify his populist image, released an album of patriotic Venezuelan folk songs featuring himself on lead vocals in 2007.
Moammar Gadhafi. Libyan dictator Moammar Gadhafi has become the poster boy for eccentric dictators. He had a major crush on U.S. Secretary of State Condoleezza Rice, a crew of exclusively female (and exclusively virginal) bodyguards — and he also loved American musicians. He paid top dollar for musicians such as Beyonce, Mariah Carey, and Lionel Richie to perform private concerts for his family.
Slobodan Milosevic. The Serbian war criminal was a noted admirer of Disney and Frank Sinatra songs, though we’re guessing that the man who spent his later life trying to expand Serbia’s territory by military force preferred “My Way” over “It’s a Small World.”