The history of the MP3 is one of technological innovation, consumer demand and all-too-persistent litigation, often against those very consumers who embraced the format in the heady post-Napster days. The story of this resilient digital audio file has been recounted many times — from the recording industry’s early wars of attrition to the MP3s role in the filesharing explosion to the bloggers who help curate an oversaturated music marketplace.
What doesn’t garner as much discussion is how the MP3 format — celebrated, reviled or somewhere in-between — has come to define the digital music experience, both for millions of listeners, and for those who help drive discovery. At one point, not so long ago, music bloggers sat near the top of the curatorial heap, using MP3s to help create overnight stars out of teenage indie rockers. Others highlighted niche genres and aural nuggets from decades past.
[This post was co-authored by FMC Policy Intern Eric Perrott]
There’s no doubt that the 10th Anniversary Future of Music Policy Summit (Oct. 3-5, 2010) sparked plenty of conversations and even some controversy. Topping the list of the latter was the onstage chat between award-winning musician/producer T. Bone Burnett and music scribe Greg Kot of Chicago Tribune. Any press is good press, but we’re wondering if maybe some of the articles missed T Bone’s overall point. read more