Cormega aka Mega hails from Queensbridge New York & is on his way to Australia & New Zealand to celebrate the anniversary of his debut release & 15 years of highly regarded hip hop releases.
Cormega is an emcee that has been highly regarded for powerful lyricism & ability to give descriptive accounts of inner city life, derived from his own experiences& struggles in the NYC streets during the 80s & 90s.
With a solid collection of albums and collaborations since his first full album was released in 2001 he has made a serious name for himself across New York & globally. MEGA has gained a lot of respect worldwide for his skilful lyricism & music, with the knowledge and understanding of both the street life and the struggles of young people hustling on the streets of New York and relatable to audiences in every city.
The Realness hit the Number 1 on the Billboard Charts [Urban Artist: Hip Hop / RnB + Best Independent Album]. It stayed #1 for multiple consecutive weeks and totalled 24 weeks in top lacement by category!
Following The Realness, The True Meaning was the first independent album to ever win a Source Award for Independent Album of the Year.
Cormega then went on to record “The Testament” which featured in Ego Trips Book of Rap, and was listed as one of the best albums in history not released.
Mega was received The “Impact Artist” Award, in the Underground Artist Awards 2004 for his contribution and impact to hip hop scene and genre.
Cormega (NYC) -The Realness 15th Anniversary Hip Hop Tour: OZ & NZ Shows!
Mega is heading Down Under for one epic adventure from late May – early July 2016! Cormega, a multi-award winning legendary hip hop artist out of Queens Bridge NYC & is rockin stages all over OZ & NZ on his long awaited, highly anticipated 1st ever tour down under!!
An Ace High Entertainment Co – LegalHustle Records Production.
CORMEGA (USA) – OZ & NZ HIP HOP TOUR!
…. THIS YEAR CORMEGA IS CELEBRATING A MILESTONE…
”The Realness” 15th Anniversary !”
This World Tour kicked in April 2016 with the first two performances in USA. Both shows in Cambridge Massachusetts and Brooklyn New York SOLD OUT!
Next up CORMEGA is heading Down Under to OZ & NEW ZEALAND, hitting Australia in late May for his 1st EVER OZ SHOW on 27th May in Melbourne.
AUSTRALIA DATES:
MELBOURNE: 27 May – Eureka Hotel
ADELAIDE: 29 May – HQ Complex
SYDNEY: 2 June – The Bald Faced Stag
BRISBANE: 8 June – New Globe Theatre
MELBOURNE: 19 June – Grumpys
PERTH: 24 June – Astor Theatre
NEW ZEALAND DATES: AUCKLAND: 29 June – Neck of the Woods CHRISTCHURCH: 30 June – WunderBar WELLINGTON: 1 JULY – Meow
– 1st Single released off of long awaited the album “The Mazter Chef” Album 2016
Afu-Ratook all the tension built up inside for the somewhat lopsided evidence of bullshit over quality music and slammed it out in the writing and the deliverance of his vocal prowess to bring the world the single
This record is not unlike some of Ra’s previous endeavors but at the same time a lyrical sculpture of a version or verbal gymnastics spine tingling metaphors that he has yet to unleash until now. Afu-Ra quotes “I want to unveil a single to and for my hardcore Hip Hop supporters that will give us all hope that the art of a battle rap mc is not dead but a technique of the future”.
Many might and will be true with their statements that this title was used before on so and so’s record however the impact of this record will be quite different.
This record is yet another staple of the brute force dexterity that Afu-Ra possess’s as he prove. This song crafting skills and MC abilities as he fires off a heat seeking missile of a track as the first single of his fifth solo album.
“Body of the Lifeforce”, “Lifeforce Radio”, “State of the Arts” and “Body of Lifeforce part 2” were classic bodies of work in their own write as well-being being critically acclaimed by many.
Traveling the world, pushing the message of self-inspiration and spiritual guidance ́Ra always feels like he has something left to do that has never done before.
“Wake these heads up that are awoke but sleeping”.
Traveling through the barrage of internet confusion and mediocre talents, PHILTY PRO handed ́Ra this gym of an instrumental and the two of them went to work immediately.
Afu-Ra is excited about his entire body of work but just as much is very proud to deliver to the world the “COBRA CLUTCH”
** CHECK OUT OUR RECENT PODCAST INTERVIEW:
Full length interview with legendary
Hip Hop artist, AFU-RA!
PODCAST July 2016: By Kaz Turbill @Acehighentertainmentco
Including Career Highlights, News, Touring & New Music 2016 – Cobra Clutch (+ video preview), Afu Ra’s long awaited 5th Album release: The Mazter-Chef https://www.youtube.com/watch?v=sOh6ysB19b8
– 1st Single released off of long awaited the album “The Mazter Chef” Album 2016
Afu-Ratook all the tension built up inside for the somewhat lopsided evidence of bullshit over quality music and slammed it out in the writing and the deliverance of his vocal prowess to bring the world the single
This record is not unlike some of Ra’s previous endeavors but at the same time a lyrical sculpture of a version or verbal gymnastics spine tingling metaphors that he has yet to unleash until now. Afu-Ra quotes “I want to unveil a single to and for my hardcore Hip Hop supporters that will give us all hope that the art of a battle rap mc is not dead but a technique of the future”.
PRESS RELEASE:
Hip Hop Artist AFU-RA [NYC]
PODCAST INTERVIEW: AFU RA & Kaz Turbill
– July 2016 @acehighentertainmentco
Discussing AFU-RA’s career from his debut album release in 2000 “Body of the Life Force” with hit tracks “Whirlwind Through Cities”, the 1st ever single release by Afu-Ra and the hugely popular tracks “Defeat” and “Equality”, all of which received the attentions of millions of underground hip hop fans and media alike.
Today there are multiple versions available online with YouTube versions gaining over 2 million views each one video posts. With strong ties and affiliation to the legendary Gangstarr duo, DJ Premier produced these tracks on Afu-Ra’s debut album and numerous others throughout his now 5 album releases and many collaborations and singles which also featured the late Gangstarr emcee, GURU.
Afu-Ra “Whirlwind Through Cites” is the 1st ever single released by Afu-Ra. A timeless track from the first ever full length studio recording from Gangstarr affiliate AFU-RA, hailing from Brooklyn NYC. https://www.youtube.com/watch?v=eeuLcPRSctU
Another hit track was soon released, titled “Defeat” (2000) and ft. Gangstarr’s legendary hip hop DJ and producer, DJ Premier. You Tube Link: https://www.youtube.com/watch?v=dMVVie9uX8I
With the album and artist creating such a buzz straight off the bat, the success of this fresh, new hip hop emcees in 2000, the artist and music, had strong impact of the hip hop community in USA and internationally. With strong sales and radio play, Body of the Life Force and Gangstarr’s newest affiliate, AFU-RA and his 1st ever full length album, singles and music videos were effectively gaining the attention of the global hip hop community; cementing a place in the hip hop scene, interest and success came the timeless hip hop hit “Equality” ft. Reggae singer Kymani Marley
Afu over the last 16 years has gone on to produce a total of 5 studio albums, including the soon to be released, long awaited 5th album “The Mazter Chef” due for release this fall in 2016. It has been 4 years between albums, with Afu-Ra releasing the sequel to his hit debut album, titled Body of the Life Force II back in 2012. While his loyal fans and the wider hip hop community have been waiting a while to hear new music from the NYC rapper, it is hugely powerful, exciting and skilful and will be guaranteed to please his diehard fans and critics alike.
With the 1st single “Cobra Clutch” already released and accompanied by an official music video as a teaser for “The Mazter Chef” it has been received well by the hip hop community who were left in anxious to hear more.
** JUST RELEASED… 2nd SINGLE NOW OUT!!
The Mazter Chef Album: AFU-RA 2016
Gangstarr Foundation: 3 Evil Masters
AFU-RA ft. JERU THE DAMAJA & BIG SHUG
So on the 17th July 2016, on what would have been the 55th Birthday of late Gangtarr emcee and hip hop legend, GURU, DJ Premier released the 2nd single from the new Afu-Ra album to hip hop heads around the globe. A collaboration by the Gangstarr Foundations emcees.
“3 Evil Masters” Afu-Ra ft, Big Shug & Jeru the Damaja – 2nd single release off “The Mazter Chef” Afu-Ra 2016
In this post he paid his respects to his long-time partner in the game, GURU who was such a pillar of the hip hop industry for many decades, legendary hip hop artist loved by so many across the globe. Primo expressed the greatness of the loss of GURU who he described as having a huge contribution and influence on the music for so many decades, unrivalled skills. This are talents and appreciation shared throughout the scene globally, an icon and legacy that would never die and would remain a part of the foundations of hip hop culture. With the Gangstarr Foundation and DJ Premier left to carry on the Gangstarr brand, Premier dropped the latest GSF hit on the world, a solid production that goes hard, titled “3 Evil Masters”. This tracks by Afu Ra, ft Big Shug and Jeru The Damaja is now the 2nd release off of the long awaited soon to be released album by Afu Ra, which will be available soon for purchase throughout the globe in-stores and online.
As Afu-Ra sets to officially release “3 Evil Masters” track across Digital distribution platforms for fans to download, he will also be dropping the official music video on the hip hop world in the coming weeks. Again this video is a solid production shot by Afu-Ra and GFS crew while in Europe earlier in the year.
In the wake of the highly anticipated full-album release, Afu-Ra is now gearing up with new business associate and agent, Kaz Turbill (Ace High Entertainment Co) for an international tour, music and media releases. The Mazter Chef Album Promo Tour 2016 will kick off in the UK in October, followed by Australia and New Zealand from the 10th November and concluding with some shows in Asia in December where he will be making debut performances for long awaiting fans. This will wind up a very busy year for the New York born rapper as 2016 marks a new chapter in the career of hip hop emcee Afu-Ra and marks the beginning of many great things to come from the Brooklyn-born artist.
FOR MORE INFORMATION & TO HEAR THE FULL-LENGTH PODCAST INTERVIEW>
In this half an hour segment we discuss all things from beginning his career and releasing his first debut album in 2000, right through to new beginnings in 2016. Along with chatting about all things Afu Ra from past to present, we delve into detail about all that is to come over the rest of 2016 and beyond. We also take a look at the official music video for the 1st single off his new album “The Mazter Chef”, discuss his associations with Gangstarr over the years, the Gangstarr Foundation and the production of 3 EVIL MASTERS. Released just days ago on the memorial celebrations of the hip hop world, on what would have been the 55th birthday of Gangstarr superstar emcee GURU [17 July 1961 – 19 April 2010], this momentous GSF single has already received huge hype and attention upon its release by DJ Premier in his memorial post to his late partner in hip hop and Afu Ra discusses the coming together of these three hugely talented emcees to create what is already on its way to being a hit track around the globe.
Check out the following links and pages for more information and follow Afu-Ra and Ace High Entertainment for all the latest news and up-to-date inform*ation on his music, release dates and where to purchase, music videos, tour dates and locations, ticketing, media, merchandise and more!
TAKING MEDIA / BOOKING & BUSINESS INQUIRIES via Ace High Ent Co acehighentertainmentco@gmail.com
AFU-RA, Legendary HIP-HOP Artist & GANGSTARR Foundation Emcee, will be hitting the road to launch his album internationally, with “The MAZTER CHEF” Album Promo Tour 2016 from October 2016. Kicking off with 6 shows in the UK, with plans to head to Bristol, Brighton, Manchester, Cambridge, Newcastle & Glasgow from Saturday 1st October through until Sunday 9th October.
See Cormega (NYC)in his 1st ever live performances in Australia & New Zealand in September & October 2015!
After hundreds of thousands of albums sold, multi-platinum appearances, a major label deal, drafting the blueprint for independent success, CORMEGA has cemented his place as one of the greats of hip hop, globally.
Hailing from Queensbridge New York, he is heading down under for his 1st ever Australian appearances, promoting his 2014 release “Mega Philosphy”.
DJ Total Eclipse grew up in NYC & became known world-wide as a member of well-respected NYC groups, lll Sanity, X-Men & the world famous DJ Collective, The X-Ecutioners (NYC). In 1996 took the title as ITF World Champion DJ! DJ Total Eclipse has spent numerous years performing and touring in the United States and around the globe including OZ, where he now resides.
HONOURING Cormega’S 1st OZ tour, We are throwing an OZstyle hip hop party..
“MEGA’s OZ JAM!”
IN ICONIC BONDI… @ JAM GALLERY!!
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Sydney-siders honouring CORMEGA& his 1stTRIP DOWN UNDER…With a Pre-Show OZ STYLE HIP HOP PARTY!
LOCAL hip hop acts from 5pm. Competitions, Door prizes, Drinks Specials, Graff Comp & Signings, as OZ’s biggest city pays tribute to their USA guests in style… Honouring Cormega & celebrating his 1st visit down under!
** CELEBRATING THE 4 ELEMENTS OF HIP HOPALL NIGHT LONG!! **
There will be non-stop sets from 5pm with a dope OZ line-up..
Leading up to the USA sets after 8:00pm…
With 26th LETTER, ODC, HYJAK ft BIG HUSTLE & DJ SKAE AS MAIN OZ SUPPORTS + a HUGE PRE-SHOW BILL OF LOCAL HIP HOP FROM 5pm!
Cormega, Stumik, DJ Total Eclipse & crew will be out amongst it during the pre-show event celebrating & partying with the public (including official signing session)!
PRE-SHOW OZ STYLE HIP HOP PARTY: Meet n Greet with artists, signings& local artists to kick things off in the late arvo/early eve+ Graff / Art comps, DJ sets, merch,comps, prizes & more!
CORMEGA (USA)
“MEGA PHILOSOPHY” OZ TOUR:
SYDNEY SHOW + PRE-SHOW PARTY!!
SUNDAY 4th OCTOBER 2015!
From 5pm – Midnight [Labour Day Long Weekend]
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CORMEGA(Queensbridge, NYC)
DJ TOTAL ECLIPSE(X-Ecutioners, NYC)
+ STUMIK(Raekwon’s IceWater, NYC)
MAIN OZ Support:
Hyjak [Ft Big Hustle & DJ SKAE] – Melbourne, Sydney & Adelaide Only
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LOCAL HIP HOP BILL: (from 5pm)
* ODC + 26th LETTER
* TERA’BYTE
*BENJI
* Jae Druitt + Loso + Intense
* Double ft. 5FD, Papa Tear & DJ Maniak
* Verbal Mechanics
* DJ N-Fluence + MC Rocamic
* Preston
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** GET YOUR TICKETS QUICK!!! ***
G/ADMISSION R18+ PRE-SALE: $45+B/Fee (R18+ Event)
Get your TICKETS NOW!!!
Don’t miss out on Cormega’s 1st ever OZ performances!
Welcome to the CyPHeR – Home Grown.A fresh new Oz hip-hop line-up, mixed with a fusion of music genres. Melbourne Promoter, KaZbAhMeDiA PRESENTS a massive night of MCs and DJs.
THE CYPHER – MCs, DJs, Beats N Free’s | Factory Theatre//
//
Welcome to the CyPHeR – a FRESH new Oz HIPHOP line-up, mixed with a FUSION of music genres
Ali Hughes will kick off the night with original music & her amazing soulful voice fusing music & genres followed by live beat making, arrangements & productions by Low Pro (Melbourne) & Vocalist Erica Ascenzo.
Low Pro will provide fresh beats & live original productions made right on stage for MCs to drop their frees!
Live beat making, scratching & sampling will make the MCs free’s go off in never before seen live OZ hip hop verses, beats & performances!
The CYPHER is set to hit THORNBURY THEATRE on SUNDAY 12th OCT from 7pm.
*** SO JOIN US for a night of amazing music, beats & rhymes!
*** Kickin off the evening with her original music & amazing voice, Ali Hughes will begin the night & fusion of music, genres, hip hop sets & the Cypher!
– Ali will take the stage with musicians, followed by the fresh sounds of Melbourne BEAT MAKERS, Low Pro and vocalist Erika Ascenzo.
THE CYPHER ROUNDS:
LOW PRO will be mixing it up live on stage, creating original music and dropping their beats to the freestyles of the MCs on the Cypher. Their fresh mixes and productions will be made on stage to the flows each MC spits & the vibe of the topics & crowd.
So don’t miss this show, as hip hop artists take to the stage to perform their tracks in sets that follow 3 rounds of beats n frees all made LIVE for you to vibe in performances you’ll want to make sure you’ll be seeing!
Headlined by Adelaide MC Vytal One & KID from up-and-coming West Sydney crew, The Clique, the night will also feature original tracks from MC Tumi (Melbourne) and other local MCs, including Imperial C, AK & Young Bwizzi.
So get down to Thornbury Theatre on Sunday 12th October for THE CYPHER: Home Grown, as part of the 2014 Darebin Music Feast. Be sure to get there early, as you don’t want to miss the soulful sounds of Ali Hughes, Erika Ascenzo [+ special guests] who will be kicking things off from 7pm.
*** A New World Order: ” And an industry in a state of total disorder & ongoing change”
As our love for the internet increasingly dominates, digital technology’s exponential growth continues unravels the music biz, flooding markets with new playforms, devices.
Thus the once mass audiences of media & entertainment have fragmented, dispersed across a multi plethera of free & paid products, services & channels of reception.
This in turn has driven the heavily regulated ways of the old world of the music business into the ground. An industry that has always been based around a strict, centralised hierarchy, where wealth & power have always been controlled by a handful of high rolling suits at the top has ripples. These industry kingpins, who for so long have determined the successes & failure of so many, are no longer in control of the production, distribution & sales of CDs which they so heavily relied on, drove & profited from.
Dominated by so few, the old world of the industry was also heavily restricted & dictated by the limits of the widely accepted theory of an artists success in relation to the shelf life of a compact disc (or cassette tape / vinyl). Musicians regardless of their talent & popularity with fans, where only as successful as their last release, current radio plays& music clips. & They were always in fear of being axed each week / month / year, knowing that not making the cut of albums on a shelf of a store or bed room. They constantly lived in fear of sudden dismissal, not for failing but for existing in conjunction with other artists. Simply by the interest sparked by another similar song, album or artist, a great musician quickly became yesterday’s news, replaced by another on the come up.
The old way in every way was the wrong way, yet these theories and industry models have dictated the careers & incomes of artists & others within music biz since the beginning of its time.
Having an expiry (shelf life) & being so easily replaceable in a powerful, cut throat industry that most never even crack is one of the many ways of the old world that will not be missed . Today technology has fragmented crowds across an array of multimedia devices providing a wealth of choice for listening to music, viewing media and entertainment and has led to the devaluing physical cds with free download and streaming services & social media, like Pandora & YouTube. File sharing and an array of popular, cheap music platforms and the increasing popularity of music sales in mp3 formats, acoss digital plarforms such as itunes & spotify have played a major part in devaluing the product and dropping the price of recorded music on cds & vinyl.
As a result the few at the top of the old industry structure who retained all the wealth & control also lost the power to dictact the terms of the industry and the labels & agencies who maintained control by enforcing this business structure in the industry & the turn over of artists by their shelf life no longer produced or profited from physical cd recordings, their sales & distribution & could no longer maintain their strong hold.
As a result the music industry crumbled & created a huge power shift to the hungry masses who lay idolling waiting below. Control now lays in the hands of the artists, an army of creators once fighting for a place on the racks of stores & limited shelves of living rooms now had a voice, a platform, an ability to reach out to an audience & endless means of self promotion.
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The New World: Danger vs Opportunity
**Opportunity is everywhere:
The danger is where should music be promoted? How do audiences connect the loud, overcluttered & fragmented digital world when there is already far too much traffic jamming the endless stretches of today’s information highway?
**Vs the Dangers:
How do artists make $ when CDs have all but died out and traditional methods of profit from music recordings & CD sales have heavily depleated?
A betting man’s game: Surviving in a cutthroat industry, unstable environment & unpredictable future landscape.
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The new formula: 10% talent + 90% strategy:
Strategic Marketing, self promotion (music/show/image), product/image branding, music/artist management & networking together account for around 90% of actions for success in todays music biz – it is said that only 10% of an artists success comes down to the creative process vs the business process of marketing & promotion & physical roles of performing & touring.
The music essentially is made free as tools for a successful of a career. This is no longer the major part of an artists career. It is now the start, the initial 10% of the task, before promotion & business, before the fight for attention & the stage begins.
By Kaz Turbill (KaZbAhMeDiA)
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See more @MusicClout – Danger Vs Opportunity…
Making it Big = 10% #talent 90%.. The #Music Biz #Today – #Danger vs #Opportunity http://t.co/WihSKpm65g @musicclout
The impact of personal computers, the Internet and new digital media formats on the music industry, copyright laws and consumer behaviours.
[Written Dec 2012 by Karyn Scottney-Turbill - Masters in Media & Comms: Monash University]
ABSTRACT:
Advances is digital technology have revolutionised the very way in which media is distributed and consumed. Digital media innovations have immensely improved the initial quality of audio and visual recordings, as well as subsequent reproductions (Goel, Miesing, Chandra, 2010, p1p1), and have bought about revolution within the music industry, as the debate over legal and illicit downloading rages on. Such new technologies have rapidly altered consumer behaviours, and the industry has been forced to redevelop existing business models, facing serious losses in the retail sector.
FROM CDs to MP3s: Piracy & the Transformation of an Industry –
As such advances in technology lead us to an “era of unprecedented knowledge, cultural reproduction and dissemination, we are challenged to reconsider the fundamentals of copyright law” (Fitzgerald, 2008, p2), and are left to analyse the consequential effects of digital technology and new media. Developments in information sciences in the 1980s, including the introduction of personal computers, made digital technologies like the Internet a reality. The subsequent creation of the MPEG-1 Audio Layer-3 (MP3) format, soon lead to the birth of Napster, the outbreak of the phenomenon of peer-to-peer (P2P) file sharing, Internet pirating, iTunes, and rendered the compact disc all but obsolete (MP3 Developments, 2011, p1-3), with MP3s now the preferred medium. While some prospered from the transition, others believe this technological revolution caused the near death of the music industry (King, 2002, p1and Kravets, 2007, p1).
The music industry “attributes an erosion of sales after 1999 to the illegal copying and sharing of digital files and has taken steps to tighten copyright laws and prosecute violators” (Goel, Miesing, Chandra, 2010, p1), with the losses all but crippling business. In 2009, the International Federation of Phonographic Industry (IFPI) estimated a staggering 95% of downloaded music, within that year had been downloaded illegally (BBC, 2009, p1 and Gloor, Rolston, 2010, p1), without payment to the creators or industries producing it. Yet, others “attribute the downturn to a lack of innovative products and futile efforts by the industry to retain a business model made obsolete” (Goel, Miesing, Chandra, 2010, p1) by progressing technologies, as this is merely a transitional stage of progress, and unavoidable. They believe that such innovations are only capable of destroying business if the industry continues to resist such advances, rather than embrace them (Leckenby, 2003, p25 and Goel, Miesing, Chandra, 2010, p1). This cannot be said for Apple however, who has since secured a strong hold over the industry. Their innovative and successful attempt to secure the new media market was initiated by the introduction of the Apple iPod and the simultaneous roll out of iTunes, their own digital music store in 2003 (Mumbi Moody, 2010, p2).
Underlying the term new media, fundamentally is the digitisation of media and, such new media technologies “come about based upon a ‘platform’ of traditional media which have preceded them” (Leckenby, 2003, p25). This is dubbed “the ‘Transference Phase’ of media development” (Leckenby, 2003, p25) and digital radio is a brilliant example of this, with the successful shift from analogue radio waves to the increasingly popular channels available online and through digital media devices. With the continual reign of digitisation, of the Internet and of new media technologies, many sectors of the media and entertainment are being forced to endure profound transformations within their industries.
Innovations in technology have always led to progressions in the music industry, causing periods of transition to new formats, from existing methods of audio engineering. The industry has come a long way since Thomas Edison’s phonograph revolutionised the world in 1877 and from the introduction radio of in 1923 (Audio Engineering Society, 1999, p4). This medium, originally invented for military communications during the First World War, became the feature of the domestic space from the 1920s (MP3 Developments, 2011, p1-3).
SONY WALKMAN - Pioneers in personal, portable media devices
Before digital technology became a reality in the 1980s, innovations in analogue technologies continued to transform music, with the invention of ‘long players’, or LPs in 1947 (MP3 Developments, 2011, p1-3), and the introduction of the first pocket transistor radios by Sony in 1954 (Audio Engineering Society, 1999, p15), noteworthy as being the first portable, personal media devices. Other notable advances were made by Phillips, who created “the first Compact Cassette tape format, offer[ing] licenses to the world” (Audio Engineering Society, 1999, p15) in 1963, followed soon after by the introduction the Walkman, by rivals Sony, in 1981 (MP3 Developments, 2011, p1-3). That same year, Phillips came back, inventing the Compact Disc, which saw the death of the audio cassette and later, the rise of the ‘discman’ (Audio Engineering Society, 1999, p15). However, the biggest threat and challenge yet to traditional models of production, distribution and reception came about from advances in information sciences during the 1980s.
The development of the 16-bit personal computer, rolled out by IBM in 1981, and followed by Macintosh with their Apple Mac in 1984 (MP3 Developments, 2011, p1-3), initiated the “digitisation of production [which soon] spread through all of the major cultural industries” (Hesmondhalgh, 2007, p 242), paving theway for the Internet and marking the gradual and progressive shift toward the Information Age. Apart from the creation of the personal computer and Internet, one of the most significant innovations altering the music industry, was the invention of the MP3 format in Germany in 1989 (MP3 Developments, 2011, p1-3).
[Image: IBM COMPUTER 1981]
This new media became widely available to consumers in 1998, when MP-3 players, devices to play downloaded audio files (Audio Engineering Society, 1999, p15), hit markets worldwide. MP3s have a lossless quality and the simple format and ease of distribution means the digital medium became rapidly popular and simply the preferred medium of audio consumption (Hesmondhalgh, 2007, p 245 and MP3 Developments, 2011, p1-3).
Then in 1999, in America, a nineteen-year-old college student’s development “proceeded to redefine the Internet, the music industry and the way we all think about intellectual property” (Tyson, 2000, p1), with the invention of his file sharing software, Napster. Once boasting “eighty million registered users, the revolutionary software” (King, 2002, p1), encompassed a search engine of MP3 files, derived from other user’s computers, peer-to-peer (P2P) file sharing tools and Internet Relay Chat (IRC) to locate and communicate with other Napster users (Tyson, 2000, p2). This new concept of peer-to-peer file sharing meant users, when accessing music via Napster were in actual fact downloading MP3s from another user’s machine. Collectively, these users had access to thousands of music tracks, and the ability to illegally and freely download them. This sent shockwaves through the music industry, seriously rivaling their previously unchallenged powers of production and especially distribution, and, in doing so, drastically reducing their profits. According to Jeff Tyson (2000) this ‘decentralised approach’, means there was “no central server maintaining the index of users, [and] no easy way to target and stop the use of the program” (Tyson, 2000, p2), presenting an exceptional, unprecedented dilemma to both the industry and the advocators of copyright law.
However, within the first year of its’ introduction, the Recording Industry Association of America (RIAA), representing an alliance of record labels in the United States, began judicial action against Napster. The RIAA, in their filings, argued Napster “should be held liable for enabling millions of users to share music for free, depriving artists and the publishers and producers of music of revenue they are entitled to under copyright statutes” (CNN, 2000, p1). This was seen as the most fundamental case “involving the application of copyright laws to Internet activities” (CNN, 2000, p1) and was presented before a three-judge panel of the 9th U.S. Circuit Court of Appeals. While the RIAA had the obliteration of Napster firmly in their sights, the wheels of progress remained in motion, and in 2000, Internet provider AOL’s Justin Frankel “released Gnutella, a new file-trading application, into the world” (King, 2002, p1), which AOL subsequently co-opted. Yahoo and Microsoft followed suit, with their own versions of file sharing software (King, 2002, p1), and an already agitated industry was left to face the reality of the infiltration of peer-to-peer file sharing and the seemingly unstoppable dominance of illegal downloading.
The RIAA was eventually successful and “accomplished its goal of serving Napster with a copyright infringement lawsuit” (King, 2002, p1), but by this point Napster was already a global phenomenon, and easily replicated. Seven years after litigations began, Bertelsmann, one of Germany’s largest media conglomerates was forced to pay “the National Music Publishers Association one hundred and thirty million dollars to settle the Napster case’s final copyright claims” (Kravets, 2007, p1). Bertelsmann was found to have financed Napster, “thereby allowing Napster to continue allowing millions of users to pilfer music” (Kravets, 2007, p1), and was the final junction served in the case against Napster, originally filed in 2000. During the trials, Napster was forced to cease its operations as a free file sharing network and has since been re-launched as a paid music provider. Yet the basic peer-to-peer model it initiated was now unstoppable (Kravets, 2007, p1). In 2010, following the successes of litigations against Napster “the company operating LimeWire file sharing service was found liable for copyright infringement” (Gloor, Rolston, 2010, p6), in another noteworthy case filed by the RIAA, four years prior, in 2006 (Gloor, Rolston, 2010, p6).
Such digital technologies, deemed new media, were set to challenge copyright laws of a number of nations, which in the case of the United Kingdom, had remained unchallenged for three hundred years (Hough, 2011, p1). Copyright infringements are taken very seriously by creative industries and judicial systems. The laws of “copyright apply to works which are still within the period of copyright protection [and the] duration of copyright varies according to the type of copyright material” (Music Australia, 2008, p1). Copyright laws state that the “use of copyrighted material without permission may constitute infringement” (Herreman, 2009, p9) invoking cases of various liabilities against each defendant. Most consumers however, in their ‘format shifting’ of music… from personal collections onto MP3 players” (Walsh, 2006, p1) are unbeknown to the fact they are actively committing such offences.
In light of advancing digital technologies and the popularity of new media devices, some governments have since reviewed Copyright laws, reforming them to discount such behaviours. Such steps have been taken by the Australian government, who in 2006 announced that “transferring music from CDS onto iPods and other MP3 players [would] no longer be illegal” (Walsh, 2006, p1), with the federal cabinet’s ruling defining a momentous change to Australia’s long standing copyright laws. Member of Parliament, Philip Ruddock, in making the announcement, went on to warn of the repercussions of the illegal downloading of copyrighted content. He announced that police would have the authority to issue hefty fines and courts the “powers to award larger damages payouts against internet pirates” (Walsh, 2006, p1), demonstrating the combined work of the police, legislative forces and creative industries, in their tireless attempts to wage a war on illegal downloading.
Many involved in such debates over the legality of copyright infringements, believe Internet Service Providers (ISPs) should be monitoring illegal file sharing and downloading, taking action against offenders, or if not, at the very least, reporting them (Gloor, Rolston, 2010, p6). In 2010, the United Kingdom took such steps, with the introduction of the Digital Economy Bill; a ‘three strikes’ system to be employed by Internet Service Providers, notifying users of violations regarding the downloading unlicensed materials. As the explanation suggests, such violators will be given three written warnings, before disconnecting there services, temporary, or in the cases of serious or repeat offenders, on a permanent basis (Gloor, Rolston, 2010, p7). Other countries have since followed suit, with their own versions of such bills of culpability, including the United States, with the introduction of the SOPA Act in 2011 (The Shontell, 2011, p1).
The actions of the music industry in recent history have highlighted a clear unwillingness to accept what they see to be the converse results of digital formatting. Many have refused to adequately remodel existing business structures to suit the current digital climate, also in denial of the pros of such new media technologies. The exception has of course been Apple, who has not only embraced such new technologies, but has used innovations in digital formatting to accelerate business and profits, and, in doing so, surpassing their once dominant competition. According to Bill Werde, editorial director at Billboard, such moves have secured Apple “80 percent, 70 percent market share in that digital space” (Mumbi Moody, 2010, p2), attained through their online music store, iTunes. Regardless of Apple’s efficacious re-modeling and on-going success in the digital market, other sectors of the industry continue to resist the transition, with few attempts to produce a reasonable online retail market model.
Tony Wadsworth (2009), chairman of BPI has worked tirelessly with governments in their efforts to counter pirating, which is occurring in plague proportions. However, in light of the undeniable benefits that also come with such new media innovations, stated that such developments have “meant music is consumed in more places in more ways than ever before” (The Independent, 2009, p1), which of course is invaluable. Nevertheless, he reiterated the importance of artists and producers getting paid what is due, to ensure fair use and to guarantee the future of the industry (The Independent, 2009, p1).
The outrage of lost profits and issues of piracy have underpinned the slow progression of the industry, to embrace new digital formats. The International Federation of the Phonographic Industry (IFPI) “represents the recording industry worldwide, with a membership comprising some 1400 record companies in 66 countries and affiliated industry” (IFPI, 2012, p1) and attributed the profit losses from the retail sector, to a seven precent decline of the world music market in 2008. According to the IFPI, even though digital sales were increasing, they failed to parallel increasing losses from CD sales (IFPI, 2012, p1).
Many notable musicians have joined the debate, and English pop star, Lily Allen on her MySpace blog claimed that “illegal file-sharing was making it “harder and harder for new acts to emerge”, (The Independent, 2009, p1). While there is some truth to this, digital technologies and new forms of social media should not have their role in discovering new talent discounted. The Internet and new media sites such as YouTube and other popular social media networks have actually “been one of the most powerful tools used by artists to share their content… introduce[ing] millions to artists, musicians and personalities that would have never been discovered” (Manarino, 2012, p1) without such services. Moreover, as Manarino (2012) rightfully highlighted, “creators of every genre have discovered the ability to market and publish themselves in a way where they [can] garner viral attention” (Manarino, 2012, p1), meaning such new, digital technologies, in having the ability to put the control of the production of content in the hands of the consumer, have in fact been crucial to the discovery and popularity of many new artists.
Downloading digital music has “seen the return to the singles-driven business of the 1950s” (Anderson, 2004, p10), with consumers now able to avoid the unwanted content upon whole albums. Consumers now have the power to select what music they want, when they want it. While most within the music industry were busily concerning themselves with the detriments of the phenomenon of peer-to-peer file sharing, waging a war against illegal downloading, Apple was getting on with business, and, in 2003 it rolled out its online music store, iTunes. This new concept, “with its’ simple interface, its’ simple concept — 99 cents per song” (Mumbi Moody, 2010, p2), along with the simultaneous introduction of the “revolutionary MP3 device, the iPod (Mumbi Moody, 2010, p2),” were originally rolled out for Apple Macintosh systems only. Thus, initially the success and any future profitability of this innovative marketing concept were drastically underestimated.
Over the next eight years, Apple went on to sell “three hundred million iPods and ten billion tracks via the iTunes Store, leapfrogging Wal-Mart and Best Buy as the world’s biggest music retailer” (Knopper, 2011, p1). This gave Apple the supreme and unchallenged power to set the pricing and the standards of the industry’s inevitable shift to online markets. In 2007, chairman and chief executive of Warner Music Group when assessing the importance of iTunes to music fans due to its dominance, commented that “while Apple’s stock went from eight billion dollars to eighty billion dollars, [theirs] went in reverse” (Knopper, 2011, p1), highlighting the need for others in the industry to find their own competitive business models, for the digital age.
In recent years, in the face of profits lost from illegal downloading, artists and industry professionals have made successful attempts to bolster profits derived from other resources. According to statements made by Tony Wadsworth, chairman and chief executive of EMI, in 2008, “live gigs, merchandising, advertising, digital licensing, broadcast – had grown from £121.6m (11.4% of total revenues in 2007) to £195m (18% of the total in 2008)” (The Independent, 2009, p1). He also stated that “the future business model of this industry might not be based on transactional music sales for much longer” (The Independent, 2009, p1), drawing attention to innovations such as Guitar Hero, as an example of the emergence new profitable ventures. He also mentioned popular rock band Radio Head’s success in their own marketing attempts, selling their latest album online, for as little as the consumer was willing to pay. According to Wadsworth, this move gave them not only a profitable share in their music downloading, but also a newly found popularity from the subsequent media attention (The Independent, 2009, p2).
Regardless of the debates about illegal file sharing, fears about the future of an industry and uncertainties in pricing, it can be said, we are at the point in our creative histories, where there is simply not enough shelf space, nor radio waves for the content that has already been produced, or to suit the desires of every consumer (Anderson, 2004, p4). Furthermore, considering the cost of stock purchasing, leasing, overheads and staffing, “an average record store needs to sell two copies of a CD per year to make it worth carrying” (Anderson, 2004, p2), when the reality, according the RIAA is, less than ten percent of major label CDs become profitable (BBC, 2009, p2). Whilst the directors of long standing, traditional music businesses have resisted progress, refusing to benefit online consumption, the “market that lies outside each retailer is getting bigger and bigger” (Anderson, 2004, p7). The CEO of one digital jukebox company, stated that of the tens of thousands of songs available on his site and others, there is a demand for each and every one of them (Anderson, 2004, p5), impossible for any physical outlet to stock. Therefore these ventures remain unmatched by current fiscal models in retail.
Supporting this argument are the executives at “iTunes, Amazon and Netflix [who] have discovered that the ‘misses’ usually make money too” (Anderson, 2004, p6), stating that over history more mediocre songs have been produced, than hits. Their ability to carry thousands and thousands of these titles, without the overheads of physical retail outlets, swiftly adds up to be highly profitable. According to Wadsworth, as fast as the hugely popular file sharing domain, Raphsody adds tracks to its library, those songs find an audience” (Anderson, 2004, p6), leaving many wondering why others within the industry continue to resist these new digital formats. The progressive shift to new digital media has already occurred, and the digital realm is dominating, like it or not. The question now, is whether they will be able to make such substantial changes to their business dealings, before the digital market destroys them.
Advances in digital technology, have caused the “multiplying distribution channels, declining entry barriers for content producers” (Lewis, 2008, p1), making file sharing software possible and piracy easy. Moreover, “continuous technological advancements, and mounting competitive pressures” (Lewis, 2008, p1), have led to the transformation of entertainment industries, but none more so than the music industry. Music consumption has been revolutionised by the creation of the MP3 and file sharing software, and the industry has been forced to face piracy head on, in the reality of their ever plummeting profits. The Internet has challenged traditional business structures and supplier, consumer relationships within the music industry, rendering retail distribution models almost obsolete. Like Apple has demonstrated, an adequate business structure, suiting the digital climate of the new Information Age, needs to be employed in order to maintain a market share (Knopper, 2011, p1). Moreover, in light of the successful growth of many online music stores, it has been proven that others in the music industry can still win, in the ongoing war, waged against Internet piracy.
Fitzgerald, B, 2008, The Future of Copyright, European Intellectual Property Review, April 2008Sage Publications, viewed 23rd May 2012, http://eprints.qut.edu.au
A FRESH new Oz HIP HOP line-up, mixed with a FUSION of music genres. Melbourne Promoter, KaZbAhMeDiA presents a full night of MCs, DJs & performances not to be missed!
Hip Hop Cypher, Freestyles, MCs, Live Beat Making, Singers & Acoustic Artists – Never before seen FUSION OF MUSIC & Genres!
Feat. ALL26, Ali Hughes, Toomz, Low Pro, Patrick Quinlan & Guests
These Melbourne based MCs, DJs & Musicians are on a roadtrip to join the Sydney Fringe to showcase a fresh new Ozhip hop line-up mixed with a fusion of music genres in a night of performances you wont want to miss!
ALL26 (Hip Hop MC) & Ali Hughes were both finalists inthe 2014 “Search 4 Pearls” Oz music competition. ALL26 took out 1st place in the hip hop / modern music category & 3rd overall. Ali Hughes also claimed 1st place in the solo female category and 4th place overall. These two talented young artists will be joined by MCs, DJs and musicians in a line-up of fresh new music that will blow the crowd away!
ALL26, formally known by the stage name (Crisp) is a Hip Hop MC from Melbourne Australia. Inspired by the artists of both the Boom Bap era and the Golden era, he is an OZ MC with serious skills.
His lyricism and technique sets him apart from others and earnt him 1st place for hip hop in the 2014 ‘National Search 4 Pearls’ music competition earlier this year and 3rd place overall.
Now performing in the Sydney Fringe, the Darebin Festival and a number of popular venues around Melbourne, ALL26 is set to release his MixTape this month, with a full length album due to hit the streets in late 2014.
Featuring fresh new beats from talented local DJ & Producer DJ Distance & the dopest flows yet from Melbourne MC, ALL26 (AKA MC Crisp). ALL26 is a 21 year old rapper who is makin’ a name for himself with fans & the industry. Taking out 1st place for Hip Hop / Modern Music in the 2014 National “Search 4 Pearls” Music Competition & 3rd overall (out of 900+ entries), he is a local MC on the come up!
At the age of 21, he is preparing for his first USA/EUR tour in 2015 and is an act to look out for in the coming years.
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Artist manager & promoter: KAZ TURBILL [KaZbAhMeDiA]
Ali Hughes is a self-taught musician who grew up travelling the world, living in Africa, Asia, India and the Pacific Islands. Ali, who is part Papua New Guinean, part Australian started writing songs at just 11 years of age.
Now living in Australia she has spent time refining her song writing and has been performing at numerous venues around Melbourne.
Soulful, cultural, diverse and talented artist, Ali creates music that is unique. She fuses her pop, RnB, reggae, hip hop and dance influences with original acoustic sounds.
Musical Influences:
“I have roots in a range of genres & music styles- world music (African, Indian, Cuban, Island Reggae, Reggae, Zouk), RnB & Hip Hop. Australian Music also and Country Music, Pop, Classical Guitar, Blues, Soul and Funk. Artists that have really inspired me greatly, now and as a teen would have to be Whitney Houston, Tracey Chapman & Bob Marley”.
Ali Hughes amazing voice & soulful sound touches listeners while the beautiful lyrics & original acoustic music took Ali to the major finals of the recent “Search 4 Pearls” National Music Competition organised by Black Pearl Studios and KaZbAhMeDiA, (who now represents Ali as her management/agency/promoter).
**Ali Hughes took the #1 SPOT in the Solo Female HEAT of the 2014 NATIONAL “SEARCH 4 PEARLS” MUSIC FINALS!**
She finished 4th overall at the competition’s major finals at Black Pearl Studios on the 10th June 2014.
Ali also headed to the stage as one of four performers selected for the Melbourne semi final of the Soulfest ‘Soul Food’ Artist Search. Competing for one of two places in a head to head major final round, the winner will perform alongside international acts such as Common & Mos Def at Australia’s major hip hop & soul music festival this October.
So be sure to check out this beautiful singer / songwriter / musician via the links below, as Ali Hughes has a big future ahead of her!
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LIVE PERFORMANCES:
Check her out LIVE in Melbourne Venues & OZ Festivals:
* SOULFEST ‘Soul Food’ Local Artist Search – 401 Bar: FRI AUG 1st
* Slightly Left of Centre + Ali Hughes & ALL26 – Northcote Social: SUN 3rd AUG
* ALL26 [MixTape Launch] + Ali Hughes & the D.Y.E – Evelyn Hotel: SUN 31st AUG
* SYDNEY FRINGE – Forum Theatre: Fri 26th & Sat 27th AUG
KaZbAhMeDiA presents… tHE CyPheR! Here you will see Ali Hughes collaborate with MC ALL 26 & others as a line up of skilled MC’s take the stage. In a fresh new music concept & a new wave of hip hop acts, performances fusing this amazing female singer/songwriter & acoustic artists will come together in a new concept & showcase of amazing acts & sounds.
* DAREBIN FESTIVAL – Thornbury Theatre: SUN 12th October 2014
[+ More to be confirmed]
* 2015: USA & Euro tour – Ali Hughes & ALL26 [KaZbAhMeDiA]
“Quarterly Retort” – Feat. some of the Best Acts from the Melbourne Comedy Festival
Quarterly Retort: Saturday 26th July 2014
The Quarterly Retort is Australia’s biggest small comedy festival held over one night in the heart of Kensington at Revolt Melbourne Artspace. Every three months, the best acts from the Melbourne International Comedy Festival are invited back to remount their shows one last time for audiences who missed them at the world’s third largest comedy festival.
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Organised by Yawp comedy magazine and returning next Saturday July 26th for ONE night only at Revolt in Kensington are four of the BEST comedy shows that were featured during the 2014 Melbourne International Comedy Festival:
6pm: Rama Nicholas in ‘After Ever After’
7:45pm: Simon Keck in ‘Nob Happy Sock’
9:30pm: Asher Treleaven in ‘Smaller Poorer Weaker Cheaper’
11:00pm: Triple J sensation ‘Al & Anna’s Music Rant’
* Total Eclipse || 2012 DMC U.S. Finals Showcase 
[Written Dec 2012 by Karyn Scottney-Turbill - Masters in Media & Comms: Monash University]
[Image: IBM COMPUTER 1981]
KaZbAhMeDiA 
