Music industry

What's followed in the days since has been a conversation around whether politics and pop can exist in the same sentence, but it's also sparked a deeper fear of the power that billionaires can wield and how they can shape the world to look how they want it to.

Here to discuss those topics with me is Katherine Strong, an associate professor in the music industry program at RMIT.

Katherine, welcome to The Briefing.

Look, this story has gone absolutely viral this week.

Everybody is talking about it.

It seems everyone has an opinion on it.

But from a music industry perspective, can you think of an issue that's been as contentious for artists to weigh in on as the free Palestine one has?

Not for a very long time.

I don't.

Is nepotism and funded careers anything new in the music industry? No.

But I still want people to know who and what they're listening to.

But let me know what you think about Stella Lefty and her song in the comments and follow for

All right.

What you saw working as security in the music industry was so detrimental.

No, no, no.

This is as an artist.

And I'll keep on breaking it all down for you.

In the meantime, you can grab a copy of my book, Copyright in the Music Industry, your go-to practical guide for navigating copyright and IP with clarity and confidence.

I've linked to it in the show notes for you.

See you in the next episode.

And in some of Asia's larger markets, like you mentioned Taiwan, your work has won major recognition overseas.

When you look at Singapore's music industry today, how healthy is it?

Okay, let's talk about the type of musical work that we have.

I will differentiate that into two parts.

I want to come back to the violinist here because it's also an example of something broader.

A Singapore-led film creates work not only for animators, actors and filmmakers, but for composers and musicians as well.

So if we want a bigger music industry, do we actually need our other creative industries to grow alongside it? Film, TV, games, live entertainment?

Yes, of course.

Metadata is probably the least sexy topic in the occasionally glamorous music industry, but it is undoubtedly one of the most important.

Welcome to The Future of What? I'm Portia Sabin, president of the Music Business Association.

On today's show, we talk to Mark Isherwood of the D-DEX Secretariat about the work D-DEX has been doing over the last 20 years to help our industry iron out some of its most fundamental problems.

That's one problem.

And how do people manage that? And, you know, I think technology seems to be catching up with that.

And then there was the problem of, you know, historically, the music industry has been quite siloed where, you know, people aren't sharing data.

And then there was the issue of capturing data in the first place.

Which types of data are we trying to capture? And is there any uniformity across platforms and companies?

He's making huge waves.

In the artist music industry.

He writes politically, he writes social commentaries, but his voice is just immaculate, isn't it?

Oh, he's gorgeous.

was

bought for what the song was.

That's the music industry, isn't it? How are you treated in the industry, Ciarán, do you think?

I don't know, to be honest.