The Big Question: Music in the Digital Age

December 2007

The definition of success in the music industry has always varied, but for artists in the age of iPod's, mp3's, and online connection, musical success comes from reaching as many people as possible.

James Sawyer, 25, is a singer-songwriter from Campbellville, Ontario who released his debut album, Next to You in 2006. As of 2007, he has sold just under 1000 copies, about 500 of them being physical CD's. The rest of Sawyer's sales come from the 30 companies that market his music digitally.

Ever since the introduction of the online music sharing service Napster in 2000, internet music stores have become a widespread phenomenon. Online music stores allow for the purchasing of albums or singles off of the store's website. Apple's iTunes is the most recent and by far, most popular of these online stores, having sold three billion songs as of July 31st, 2007. Sawyer isn't too concerned with this new form of purchasing affecting his overall sales. "I see it as the future...online selling gives me the opportunity to sell to people all over the world."

Sales of digital songs have been on a dramatic increase; according to Neilsen SounScan, 582 million digital singles were purchased in 2006, which was a 65 percent increase from 2005. Even major record labels are begnning to latch on to internet success. In May 2007, EMI allowed iTunes to start selling it's catalog of song online for the first time. Sawyer owns and operates his own record label, Interstate Records 66, and finds that record labels, both major and minor, and undergoing drastic change. "[The labels] are mainly becoming distributors of music...we are in a transition from the old record company business to the new independent and online business." When you couple this transition with successful online album sales, online single sales, ringtone sales, and more, it's a wonder that every recording artist hasn't abandoned the compact disc completely. So the question is, is there any room left for the CD in the digital age?

Sawyer seems to think so, though he remains a little skeptical. "CD's will be around for another 10 years at most, only because you won't see parents or grandparents downloading tunes anytime soon."

Physical music sales have already suffered in the market; according to the Canadian Recording Industry Association, physical music sales fell 35 percent in the first quarter of 2007, a 12 percent drop from 2005 to 2006. Online promotion, however, is soaring. Music videos promoting songs have leapt from television to computer screens with the introduction of Youtube. When the video-hosting website began showing music videos, Sony Music, EMI, Warner Music, and Universal Music all signed licensing deals, allowing Youtube to promote artists legally.

One of the controversies surrounding digital sales came with the online release of In Rainbows, the seventh studio album from English rock band Radiohead. Having fulfilled their contractual obligations with EMI, the band released the album on their own website and gave buyers the option of naming their own price. Recent surveys revealed that despite the option of being able to get the album for free, the average price paid for the album was between ₤4 and ₤5. The release followed that band's recent sentiments that record labels were no longer needed and had becomes a "decaying business model".

This shift in marketing and sales has also become apparent in social networking sites such as Myspace. The website allows for artists and bands to set up their own webpage, where they can post songs for free download, as well as promoting and advertising for upcoming events. Online promotion such as this enables a musician to record from their basement and still be heard without need of a record label.

Charles Wallace feels a little differently. The 21-year-old musician plays the saxaphone in Bound, a Toronto band that is releasing it's debut album later this week. Though his band is currently unsigned, Wallace feels that major labels still play a role in the distribution process. "It all depends on how far you want your music to reach your audience. If you only want it to reach Toronto through word of mouth, then that is fine. But if you want it to be heard by everyone in Toronto and across the Atlantic, then you need a major record label. Your music will not be able to get into HMV or even Walmart by yourself. There is no representative and buyers will think nothing of you."

In addition to the regular CD format, Bound will be offering its album on sonicbids.com. a website that permits showcomers and promoters to download their music for a price defined by the band. Wallace and his band haven't discussed offering their music through major stores such as iTunes, but are taking it into consideration. "Seeing how we are an up-and-coming band, providers such as [iTunes] are not a bad idea, but we need to think of profitability."

According to an analysis by the Future of Music Coalition, the profits of an artist are calculated as a percentage of the suggested retail list price, which is usually about $16.98. From this price, the record label deducts a 25 percent packaging cost, a 10 percent breakage cost, and a 25 percent new technology cost, leaving the new price at about $8.58. The artist then receives 10 to 14 percent of this price per album sale, which equals between $0.86 to $1.20.

The contract between iTunes and an artist is seen as a "reseller agreement". In essence, Apple buys the songs from the artist and sells it in their online store for $0.99 per song ($1.29 for popular singles, $9.99 for most albums). Out of the $0.99, Apple keeps a portion, and the rest is sent back to the record label who distributes the remaining money to artists, producers, songwriters and etc. Sawyer is selling his album on iTunes, receiving $0.64 per download due to owning his own label. The Future of Music Coalition reveals that major label artists receive between $1.00 to $1.40 per album download -- about a $0.20 increase between a CD sale and an online sale. iTunes also has no deductions for packaging, breakage, or new technology, which makes it far more profitable than the regular business model.

Why is it then, that musicians keep releasing albums in CD format? "Because it sells," answers Sawyer. "I have sold more CD's that I have online." Artists like Sawyer reely on their emotional connection with audiences during live shows to sell albums. "Musicians need to sell merchandise at live events...that's where we make our money. When I play a show, I react with the audience and give an emotional memory that makes them want to buy an album. With [online sales], you don't have that interaction."

And the reason CD's are in decline? According to Wallace, it's a question of quality. "[CD's] are being hard pressed compared to the other mediums that are available," he says. "All audio and video formats are being replaced with newer and better formats that can hold more data and improve sound and video quality." iTunes markets its songs with Advanced Audio Coding (AA), a format designed to have a more efficient sound quality than the mp3 format on a CD.

Even though the place CD's hold in the ever-expanding digital market is shaky at the present, their future appears grim. With the continued enhancements being made to digital music, the CD is slowly losing its hold on the music market. Online stores and webpages have evolved and produced a quick, effortless way to access songs for a small or even non-existent price. Artists and bands can also make greater profits through online services due to the lack of deductions that are present in most major record production deals. Sawyer believes that audiences will always demand a hard copy of music, whether it be a CD, or a new innovation. "[People] will need to have something to buy at a concert or a store, like a memory stick with digital songs". Whatever the technology is, it's difficult to say just how long compact discs will remain current before their eventual digital replacements overrun them.

Man Charged After Air Rifle Found In Trunk

March 2007

Since the days of his youth, Anthony Beckles has had a problem with guns.

Beckles' troubles began at 16 when he used an air rifle to intentionally shoot himself in the foot He and a friend shot their bare feet to see what it felt like. His foot stung after the shot, he testified in court yesterday, but no serious harm was done.

In March 2003, Beckles, 24, used the butt end of a sawed-off shotgun to assault a victim during a bank robbery. The gun was accidentally fired, shooting Beckles in the left arm. Beckles had to have his arm aputated. Beckles said he was shot again, this time in the leg, in September 2006.

Three months later, on December 12, 2006, Beckle's past revisited him when an air rifle was found in the trunk of the car he was driving. He has been charged with possession of a weapon and breach of probation. He has plead not guilty.

Beckles testified that he was on his way to Mississauga with a friend, Temitope Olusoga. Beckles was driving a car that belonged to his boss, and was going to a nightclub. Beckles, who was under house arrest for previous convictions, was not supposed to be out unless working or accompanied by his mother.

While driving along Highway 427, Beckles cut off a police cruiser, and was pulled over and asked for his licence and registration. Beckles, who knew he was not supposed to be out, said he planned to try to slip out of trouble. "My plan was really was to use my brother's name and just get out of it." However, Beckles said he was pulled out of the car by an officer and showed his licence. However, the officer who dealt with Beckles disagreed, testifying that Beckles never presented any identification.

The officer, Dan Balachorek, placed Beckles in the back of the cruiser, where he was questioned by another officer, who couldn't see one of Beckle's arms. When he remained silent, Beckles said, the officer along with several others called as backup drew their weapons. Beckles' friend told officers his arm was missing.

After securing Beckles in the police cruiser, officers found an air rifle in the trunk of the car. Beckles testified that he did not know the weapon was there. Defence lawyer Jason Forget told the court Beckles had a "misconception about air rifles". Beckles told the court he believed the rifle could not seriously injure anyone because of his previous experience with it. "I thought they were totally harmless. I even got shot with one."

The trial continues in the Superior Court of Justice before Justice Caroyln Horkins.

Massimo Capra

A day in the life of Toronto's busiest chef

February 2007

As saucepans sizzle and flames crackle to life on the stove, chef Massimo Capra hastily searches his kitchen for a missing ingredient.

"Mikey, where are my anchovies?" he asks a fellow chef while inspecting the freezer. No luck.

Capra weaves through his kitchen, skillfully dancing his way around bustling chefs, hot stoves, and boiling pots of water. He reaches his saucepan, crackling with oil, garlic and chopped red peppers. A spoon appears in his hand from seemingly nowhere and he swiftly stirs the contents.

Bringing his pan to a simmer, Capra hurries off again in search of his missing anchovies. After what appears to be a futile search, Capra once again retreats into his freezer. This time, he returns with a small can clutched in his hand and a grin on his face. With a deft movement, Capra peels open the can, chopping the anchovies into small, neat chunks and tossing them into the still simmering pan.

After completing his dish with tomato sauce and spaghettini, Massimo gives his creation a quick look of satisfaction -- and digs in. "This is just my dinner." says Capra with a wink. "Now the real fun begins." It is 5:15 p.m. and Capra's restaurant, Mistura, is about to open.

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Cooking is second-nature to Capra, 47, who has worked in the restaurant business for more than 26 years. Born in Cremona, Italy, his interest in cooking began by helping his mother in the kitchen and his father in the garden.

Capra moved to Canada in 1982 after receiving a job offer from a distant relative, taking up a position as chef at Toronto-based Archer's Restaurant (now defunct). After seven years at Archer's, Capra became executive chef at Prego della Piazza on Bloor where he worked for 10 years. After leaving Prego in 1997, Capra opened Mistura, where he is currently co-owner and executive chef. Located at 265 Davenport Rd., Mistura is now entering it's 10th year of operation. Following his success in the business, Capra released a cookbook last September, titled One Pot Italian Cooking.

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Although the restaurant doesn't open until 5:30 p.m., Capra's workdays start much earlier. At 8:15 a.m., he is already at the back doors of the restaurant loading his van with bins of ingredients. "Hey, come on. We gotta go," he shouts to his wife, Rosa, and his son, Andrew, who assist him with restaurant duties. Chef Capra is on his way for a morning appearance on CityLine, a television program that offers advice and information from experts. He appears on CityLine once a month for a cooking segment

With his trusted BlackBerry at his hip, Capra arrives on set at 33 Dundas St. East, and takes a few minutes to get his makeup done before settining to work on preparing his cooking area. "We're gonna burn the place up today," he promises one of the makeup artists.

Capra is very methodical in arranging his grill, plates, cutlery and containers of ingredients to prepare his Korean barbecue for two. When a worker grabs one of the small containers to have a closer look, Capra jokingly calls out "Don't disrupt my feng shui."

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CityLine begins as show host Marilyn Dennis introduces Capra to the audience. As Capra lazily slice a pear he explains the dish he is making. "Since it's Valentine's, we're going to be making something very sexy -- something that encourages the mood," he says. "It's fantastic."

The knife in his hand swiftly flicks through the ingredients. Peppers, carrots, plums, clams and shrimp land hissing in the grill. Capra allows them to simmer for a moment, then nimbly moves them onto a shimmering red plate. He makes sure the clams and shrimp are carefully surrounded by a small garden of fruits and vegetables. As he finishes the dish with a touch of spice, Denis asks for his advice for those trying to make the dish.

"Just take it easy, and go slow," Capra says with a smile.

Even after a busy morning on the set, Capra is already back at work, receiving calls on his handy BlackBerry. "I was on TV, man, I can't answer my phone," he says to one caller. "I'll meet you at the restaurant in half an hour - Ciao!"

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After an afternoon meeting with two of his business associates, Capra is back at Mistura, alternating between making telephone calls and checking e-mails in his laptop. Mistura is just one of many Toronto restaurants participating in Winterlicious, an event showcasing more than 100 restaurants, and Capra is busying himself with reservations and food preparations.

Capra dials a number and twirls the telephone cord like a lasso before putting it to his ear. "My min is about to explode," he says, grinning beneath his handlebar moustache. His mind, however, is taken off business when when the album Tattoo You by the Rolling Stones starts playing on the restaurant speakers. "I love this song," he says, waving his fists to "No Use In Crying."

Capra moves to his final and most pressing task of the day -- creating a chocolate-tasting menu for a catering event. He meets with one of his chefs to brainstorm ideas for intriguing dishes.

"Somehow, we need to combine meat and chocolate," Capra says.

"We could do short ribs," suggests the chef. Capra agrees at first, but quickly changes his mind. "It's good, but instead let's do cocoa brazed wild boar - it's more interesting."

Many compelling dishes are created for the menu during the session, including shrimp with white chocolate sauce, hot chocolate shooters, and tuna tartar with mango and white chocolate. One of Capra's associates suggests a traditional idea.

"How about strawberries dipped in chocolate?"

Capra considers this for a moment. "No, no, that's too tacky," he says, putting forward a more unorthodox suggestion. "How about fingers dipped in chocolate? Suck on that."

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With the menu complete, Capra dons his white apron and marches off to the kitchen. There, he devours his plate of spaghettini and sets to work, pulling out ingredients and firing up the stoves while cheerily conversing with his staff. It is now 5 p.m. Time for the real job to begin.