![]() ![]() Theirs used only good quality products,” says Neapolitan ethnomusicologist Simona Frasca, author of the book Mixed by Erry: La Storia dei Fratelli Frattasio. “Most of the other pirated tapes were of poor quality, including the ones pretending to be Mixed by Erry. “ La cassette con fotocopie non sono Erry,” the covers read: “Cassettes with photocopied covers are not Erry”. Erry was a kind of trademark, albeit an illegal one: the high quality of his productions was such that he branded his tapes as “false originals”, with a special stamp advising customers to buy only “original fakes”. The Mixed by Erry brand became so famous that there were even imitations – pirated versions of pirated tapes. ![]() I was doing a serious curator job.”Ī party in the streets of Naples following a football victory, sponsored by Mixed by Erry. “I was the YouTube or Spotify of the 1980s,” he said. More than just a copyist, Enrico was a tastemaker: at the end of one album, he might include two tracks by another artist that the listener might enjoy. “With the entrepreneurial experience of my brothers, we went from 50 copies to 300,000 of our great hits,” says Enrico. “We used a quality product, we made a commitment, we listened to the tapes to see how the treble and bass were adjusted. “We were pushers of music,” says Peppe, speaking from Naples. And it was Peppe who expanded the market beyond Naples, importing CDs and cassettes from Bulgaria and visiting expos in Asia to keep up to date with new technologies. The eldest, Peppe, became the manager, driven “by the need to put food on the table and by the birth of his daughter”, says Enrico. As it expanded, his brothers joined the business. When he issued a pirated copy of the compilation album Studio 54 – collecting tracks from the famous New York club, as mixed by Italian radio DJ Foxy John – Enrico adopted his business sobriquet and retitled the release Studio 54 Mixed by Erry. So we have the highest form of engagement, highest formal affinity and lowest per hour price - that doesn’t seem right.Enrico started to professionalise his operation. I would say precisely the opposite: that music is actually the highest affinity entertainment, greater than movies and TV shows, because we use it most frequently. And effectively, we are the lowest form of entertainment where there is monetization. So now you’re at $7, roughly instead of $13.25.”Īfter acknowledging that initial low prices were essential to relaunch an industry that had seen its value cut in half due to illegal file-sharing, and that some services have begun to raise prices, he said, “That is a long time without changing the prices. Some are raising, but inflation adjusted, it should be $13.25 today - and on top of it, in 2014, family plans got introduced, which effectively are lowering ARPU, which you can average out to $7. ![]() “Subscription price on streaming got established in 2011 in the United States at $10 per month per user. So right there, it’s 50% undervalued today. I’m not even counting cable TV, where the ARPU is like insanely higher than that - but just streaming. “This is not my opinion: If you take the U.S., the price that the user pays per hour of consumption of music is half of what they pay for movies and TV shows on streaming services. “I do think that music is undervalued, and I think it’s underappreciated in the markets,” he said. It’s not surprising that such a price increase was one of the major topics of discussion: Without mentioning Spotify by name, the world’s largest streaming subscription service, Kyncl noted that if the price of an individual monthly streaming subscription were adjusted for inflation, it would cost $13.25 instead of $10. subscription price hike - Kyncl gave a talk at Morgan Stanley. On Wednesday, shortly after Spotify livestreamed its a two-hour-plus “Stream On” conference, where it announced a bevy of new initiatives- but no U.S. ![]()
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