“Bands were alongside pop acts on the radio and on TV,” says frontman Paul Smith. In the era of sales-based charts and Top of the Pops, they had eight Top 40 hits.
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So what happened?Īrt-pop band Maxïmo Park broke through in 2005, during the huge post-Strokes boom in rock bands. The album charts are still regularly topped by bands thanks to loyal fanbases who still buy physical formats – such as Mogwai, Architects and Kings of Leon in recent weeks – but not since 2016 has one hung on for a second week. Only one band, the Lathums, appeared on the BBC’s annual tastemaking Sound of … longlist this year, which is not unusual: bands haven’t been in the majority since 2013.
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That’s the 1975, Haim, alt-J, Rudimental, Bastille and Tame Impala, and the last of those is effectively a solo project. Of those that have emerged in the past decade, only half a dozen have headlined either Coachella, Reading/Leeds, Latitude, Download, Wireless or the main two stages at Glastonbury. Of course, radio and streaming are dominated by pop, rap and dance music but festival lineups don’t point to a golden age of bands, either. In Spotify’s Top 50 most-played songs globally right now, there are only three groups (BTS, the Neighbourhood, and the Internet Money rap collective), and only six of the 42 artists on the latest Radio 1 playlist are bands: Wolf Alice, Haim, Royal Blood, Architects, London Grammar and the Snuts. There are duos and trios, but made up of solo artists guesting with each other. Two are the Killers and Fleetwood Mac, with songs 17 and 44 years old respectively, while the others are the last UK pop group standing (Little Mix), two four-man bands (Glass Animals, Kings of Leon), two dance groups (Rudimental, Clean Bandit) and two rap units (D-Block Europe, Bad Boy Chiller Crew). Right now, there are only nine groups in the UK Top 100 singles, and only one in the Top 40.
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and to a chilling effect in the production of creative works (which Lessig worries about constantly).Whichever metric you use, the picture is clear. However, I can honestly say that there is a dangerous blurred line between what you are allowed to do according to "fair use" and what you are going to get in trouble for doing according to "copyright law." The fact that this line is so ill-defined is what leads to all the questionable lawsuits against artists and end-users. Now, I have not watched the documentary under discussion, so I can't say whether they tackle these fringe cases in a thoughtful way. Sometimes they are illegal yet many people feel they are legitimate personal uses, or important creative uses. Sometimes they are legal yet still legally persecuted by the big-labels. a film-maker begin told to pay thousands of dollars because a Simpsons clip was playing in the background of one of the scenes in a documentary). Lawrence Lessig (in his books, blog entries, talks, etc.) provides many other examples of activities which straddle this line (e.g.
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This is one case where there is disagreement about how to interpret the actions, hence a "blurred line." The music labels said that this was "clearly infringement" whereas many artists and fans said this work was novel and original, and clearly something that should be allowed under fair use (whether or not it actually is fair use is for courts to decide, I suppose, but the arguments regarding copyright are not so much about what the law is, but rather what it should be). The example given in the summary is DJ Danger Mouse, who mixed two different works to create something totally original. However, your implication that there is no "blurred line" isn't fair.
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Well of course the "blurred line" won't appear when you counterpoint two extremes: short clips on the one hand (clearly fair use) versus distributing full copies to millions of people on the other hand (clearly copyright infringement, according to current laws).