Notes

Several of the notes include addresses of web pages where you can consult my sources directly. Unless otherwise noted, these addresses have been checked and were current as of 6 January 2007. In a few cases, these have since become unavailable. Where there are references to in these notes to published books, rather than articles, links to the books can be found in the Bibliography.

1. www.iamplify.com, http://tapeitofftheinternet.com, http://eventful.com, http://upcoming.org, www.fictionwise.com, and http://realtravel.com.
2. Chris Anderson (2006) The Long Tail: How Endless Choice Is Creating Unlimited Demand, Random House.
3. www.jamendo.com and http://amiestreet.com.
4. One of the initial presentations of this theory can be found in Pirolli, P. & Card, S. K. (1999) "Information foraging," Psychological Review, 106(4): 643–75. This and other papers by Peter Pirolli about the theory can be found at www2.parc.com/istl/groups/uir/publications/author/Pirolli_ab.html. The references to foraging throughout this book do not follow closely the information foraging theory developed by Pirolli and colleagues, which include sophisticated mathematical models for predicting behavior. In the main I have just adopted the metaphors at the heart of the theory.
5. "Information foraging: Why Google makes people leave your site faster," Jakob Nielsen’s Alertbox, 30 June 2003, www.useit.com/alertbox/20030630.html.
6. "Novice vs. expert users," Jakob Nielsen’s Alertbox, 6 February 2000, www.useit.com/alertbox/20000206.html.
7. Paul Morley (2003) Words and Music: A History of Pop in the Shape of a City, Bloomsbury.
8. "David Goldberg on Yahoo’s value in music," Billboard PostPlay, 2 March 2005, http://billboard.blogs.com/billboardpostplay/2005/03/david_goldberg_.html.
9. Markus Giesler (2006) "Consumer gift system: Netnographic insights from Napster," Journal of Consumer Research, September: 283–90. Also available via www.markus-giesler.de/publications.htm.
10. These figures are taken from two BBC News stories: "Lost records 'fuel digital drive,'" BBC News Online, 15 November 2005, http://news.bbc.co.uk/1/hi/entertainment/music/4436414.stm; and "Music collections 'worth £1,500,'" BBC News Online, 17 June 2005, http://news.bbc.co.uk/1/hi/entertainment/music/4102786.stm (which in turn is based on a poll by research company ICM, reported at http://tinyurl.com/dnoya). Note that the higher figure (178) is based on data from men only.
11. "Music buyers 'are growing older,'" BBC News Online, 2 August 2005, http://news.bbc.co.uk/1/hi/entertainment/music/4738181.stm, based on figures from the International Federation of the Phonographic Industry.
12. "Age no bar as baby boomers rock the music industry," The Guardian, 28 November 2006, http://music.guardian.co.uk/news/story/0,,1958516,00.html.
13. "Melody maker," The Guardian, 1 March 2004, www.guardian.co.uk/arts/features/story/0,11710,1159112,00.html. There has been a trend over recent years for the proportion of album sales to younger age groups to decline while the proportion of sales to older groups increases. In 2002, the 12–19 age group accounted for 16.4% of album sales, the 40–49 age group for 19.1%, and the 50–59 age group for 14.3%. The people who became music Savants and Enthusiasts from the 1960s onwards appear to have staying power.
14. Evan Eisenberg (2005) The Recording Angel: Music, Records and Culture from Aristotle to Zappa, 2nd edn, Yale University Press.
15. At the time of the research Emap had four music magazines, but it closed its largest pop title Smash Hits early in 2006 due to falling circulation. The circulation of its heritage and specialist magazines Mojo, Q, and Kerrang! has been rising.
16. Details and downloads of the Project Phoenix research were published at www.baueradvertising.co.uk/insight/project_detail.asp?CaseStudyID=136. Project Phoenix 2 materials are at www.baueradvertising.co.uk/insight/project_detail.asp?CaseStudyID=163.
17. "Upbeat about downloading? You could be out of pocket," The Observer, 1 May 2005, http://observer.guardian.co.uk/cash/story/0,,1473919,00.html.
18. IFPI Digital Music Reports 2005 and 2007, www.ifpi.org/content/section_news/20050119.html and www.ifpi.org/content/section_resources/digital-music-report.html (accessed 29 January 2007).
19. Since 2003 when the research was conducted the average price of both CDs and broadband has declined. ("Quid" is English slang for a pound sterling.)
20. The book that defined this area was probably Dick Hebdige (1979) Subculture: The Meaning of Style, Routledge.
21. Raymond MacDonald, Dorothy Miell, & Graeme Wilson (2005) "Talking about music: A vehicle for identity development," in Dorothy Miell, Raymond MacDonald, and David J. Hargreaves (eds), Musical Communication, Oxford University Press.
22. Malcolm Gladwell (2000) The Tipping Point: How Little Things Can Make a Big Difference, Abacus. Wikipedia has a concise overview of the book's concepts, including Connectors, Mavens, and Salesmen, at http://en.wikipedia.org/wiki/The_Tipping_Point_(book).
23. These terms are taken from pages 8 and 107 of Justin Kirby & Paul Marsden (eds) (2006) Connected Marketing: The Viral, Buzz and Word of Mouth Revolution, Butterworth-Heinemann.
24. Sven Rusticus, "Creating brand advocates," in Kirby & Marsden, op. cit.
25. Bradley Horowitz (2006) "Creators, synthesizers, and consumers," Elatable, 17 February, www.elatable.com/blog/?p=5. Horowitz's figures appear to be based only on data from Yahoo! Groups, but are backed up by a range of data from other sources, reported by web usability expert Jakob Nielsen, who refers to the issue as "participation inequality" ("Participation inequality: Encouraging more users to contribute," Alertbox, 9 October 2006, www.useit.com/alertbox/participation_inequality.html).
26. Donald Clark (2006) "Everyone writes and no one pays," March, http://fm.schmoller.net/2006/03/everyone_writes.html.
27. http://en.wikipedia.org/wiki/Wikipedia provides as a measure the 27,000 users who made at least five edits, and 4,000 users who made 100 or more edits during the month of December 2005, while http://en.wikipedia.org/w/index.php?title=Wikipedia:Wikipedians&oldid=33575412 gives the number of registered users at that time as over 700,000 (supplemented by an "unknown but quite large" number of unregistered contributors).
28. This pattern is described at greater length in Aaron Swartz (2006), "Who writes Wikipedia?," www.aaronsw.com/weblog/whowriteswikipedia.
29. www.cityofsound.com/blog/2006/03/why_lost_is_gen.html. Hill also notes Steven Johnson's term "para-sites" to refer to the same phenomenon.
30. For more extended discussion on Second Life and related developments, see J. D. Lasica (2005) Darknet: Hollywood's War Against the Digital Generation, John Wiley; or Don Tapscott & Anthony D. Williams (2006) Wikinomics: How Mass Collaboration Changes Everything, Portfolio.
31. The key text in this area is Etienne Wenger (1998) Communities of Practice: Learning, Meaning, and Identity, Cambridge University Press. There is a brief introduction to the concepts at www.ewenger.com/theory.
32. As often occurs between artists and dedicated fan communities, a finely nuanced discourse of ethics arises around issues like amateur not-for-profit bootleg recordings of live gigs. Fans and artists may feel that these recordings pose no threat to sales of professional studio recordings, and artists may take a stance of neither moving to prevent it or (explicitly) condoning it. The lines between what is and is not acceptable practice are drawn differently for different artists, and their precise location is something that novice community members will pick up informally from the old hands.
33. Etienne Wenger (undated) "Communities of practice: A brief introduction," www.ewenger.com/theory.
34. Lee Rainie (2007) "28% of online Americans have used the Internet to tag content," Pew Internet and American Life Project, www.pewinternet.org/ PPF/r/201/report_display.asp (accessed 4 February 2007).
35. Dylan Jones (2005) iPod Therefore I Am: A Personal Journey through Music, Weidenfeld and Nicholson.
36. The fictional celebrity playlist is a form I have explored myself, creating playlists that could have been compiled by Neil Young, Philip Jeays, and others. These playlists are linked from the book site at www.netblogsrocknroll.com.
37. Amy Voida, Rebecca E. Grinter, Nicolas Ducheneaut, W. Keith Edwards, & Mark W. Newman (2005) "Listening in: Practices surrounding iTunes music sharing," Proceedings of the CHI 2005 Conference, ACM. At the time of the research, the iTunes software allowed users on the same subnet of a local area network to share music between their computers.
38. Erving Goffman (1959) The Presentation of Self in Everyday Life, Doubleday.
39. www.mystrands.com/top (accessed 19 October 2006).
40. www.last.fm/charts/music/artist (accessed 19 October 2006).
41. Matthew J. Salganik, Peter Sheridan Dodds, & Duncan J. Watts (2006) "Experimental study of inequality and unpredictability in an artificial cultural market," Science, 311(5762): 854–56, www.sciencemag.org/cgi/content/abstract/311/5762/854.
42. Quoted from Platinum Blue website home page, www.platinumblueinc.com (accessed 18 October 2006). For more on this technology, see "Making hit music into a science," BBC News, 15 June 2006, http://news.bbc.co.uk/1/hi/entertainment/5083986.stm.
43. See, for example, the story of 2bigfeet.com in John Battelle (2005) The Search: How Google and its Rivals Rewrote the Rules of Business and Transformed our Culture, Nicholas Brealey Publishing.
44. James Surowiecki (2004) The Wisdom of Crowds, Doubleday.
45. "Classical music makes digital leap," Reuters, 21 January 2006, http://tinyurl.com/9g2jd (accessed 23 January 2006, no longer available July 2007).
46. "Big demand for classical downloads is music to ears of record industry," The Guardian, 28 March 2006, http://arts.guardian.co.uk/netmusic/story/0,,1741087,00.html.
47. http://en.wikipedia.org/wiki/UK_classical_chart.
48. Louis Barfe (2004) Where Have All the Good Times Gone? The Rise and Fall of the Record Industry, Atlantic Books.
49. In September 2006, MySpace said it hosted over 3 million recording artists ("MySpace to let members sell music," Wired News, www.wired.com/news/wireservice/0,71713-0.html). In November 2006, the iTunes Store claimed over 3.5 million songs (www.apple.com/itunes/store, accessed 25 November 2006).
50. C. Marlow, M. Naaman, d. boyd, & M. Davis (2006) "Position paper, tagging, taxonomy, Flickr, article, ToRead," paper presented to WWW2006 Tagging Workshop, available via www.rawsugar.com/www2006/29.pdf.
51. Andrew Keen (2007) The Cult of the Amateur: How Today's Internet Is Killing our Culture and Assaulting our Economy, Nicholas Brealey.
52. "The politics of the playful web," Test (Matt Locke's blog), 3 March 2005, www.test.org.uk/archives/002380.html.
53. The edited article, "Veni, vidi, Wiki," can be found at www.wired.com/news/technology/0,71733-0.html and Singel’s commentary is at www.wired.com/news/technology/0,71737-0.html.
54. "Bob Dylan record sales go through the roof," NME, 1 October 2005, www.nme.com/news/bob-dylan/21130.
55. The archive of "Readers Recommend" playlist features can be found at http://music.guardian.co.uk/readersrecommend/0,,1929388,00.html.
56. Chris Anderson (2004) "The Long Tail," Wired, October, www.wired.com/wired/archive/12.10/tail.html.
57. My account of the Global Jukebox is based largely on the writings of Michael Naimark, who was part of the project team with Alan Lomax. These writings can be found at www.naimark.net/projects/jukebox.html. Martin Edlund also describes his interaction with the Global Jukebox prototype in his article "The Madonna Code: Searching for the perfect music recommendation system," Slate, 5 July 2005, www.slate.com/id/2121998.
58. This account is based on Gage Averill (2003) "Cantometrics and cultural equity: The academic years," in Ronald D. Cohen (ed.), Alan Lomax: Selected Writings 1934–1997, Routledge.
59. Pandora FAQ at http://blog.pandora.com/faq (accessed 8 February 2007).
60. See, for example, David Porter, "How best to discover," 25 January 2006, http://davidporter.wordpress.com/2006/01/25/6; Steve Krause, "Pandora and Last.fm: Nature vs nurture in music recommenders," 30 January 2006, www.stevekrause.org/steve_krause_blog/2006/01/pandora_and_las.html; Chris Dahlen, "Better than we know ourselves," Pitchfork, 22 May 2006, http://pitchforkmedia.com/article/feature/36524/Better_Than_We_Know_Ourselves.
61. A much more extensive list of attributes appeared on Wikipedia at http://en.wikipedia.org/wiki/List_of_Music_Genome_Project_attributes.
62. "Outside the box—Pandora rekindles the magic of music," Star News Online, http://tinyurl.com/n9wov.
63. Pandora FAQ at http://blog.pandora.com/faq (accessed 8 February 2007).
64. Ian Cross (2005) "Music and meaning, ambiguity and evolution," in Miell, MacDonald, & Hargreaves, op. cit., p. 30.
65. Brian Eno (1994) "Resonant complexity," Whole Earth Review, Summer 1994. An excerpt is available via http://music.hyperreal.org/artists/brian_eno/resonant.html.
66. Peter Wollen (1976) "North by Northwest: A morphological analysis," Film Form, 1: 19–34. Wikipedia has a good basic introduction to Propp's framework at http://en.wikipedia.org/wiki/Vladimir_Propp.
67. Quotes in the text are taken from A. C. North, D. J. Hargreaves, & J. J. Hargreaves (2004) "The uses of music in everyday life," Music Perception, 22: 63–99. Media coverage includes: "Download generation 'apathetic,'" BBC News, 10 January 2006, http://news.bbc.co.uk/1/hi/entertainment/4599340.stm; "Downloads in music overload," Scotland on Sunday, 11 December 2005, http://news.scotsman.com/scitech.cfm?id=2384402005.
68. www.apple.com/ipod/nike.
69. The best-known commentary is Walter Benjamin's essay "The work of art in the age of mechanical reproduction," included in the Illuminations collection of his writings (Schocken Books, 1968).
70. Brian Eno (1996) "Ambient music," in A Year with Swollen Appendices, Faber and Faber.
71. Mark Coleman (2004) Playback: From the Victrola to MP3, 100 Years of Music, Machines, and Money, Da Capo Press.
72. Michael Bull (2000) Sounding Out the City: Personal Stereos and the Management of Everyday Life, Berg. Michael Bull has a new book, Sound Moves: iPod Culture and Urban Experience, due to be published by Routledge in 2007.
73. Michael Bull (2005) "No dead air! The iPod and the culture of mobile listening," Leisure Studies, 24(October): 343–55. See also "Bull session with Professor iPod," Wired News, 24 February 2004, www.wired.com/news/mac/0,2125,62396,00.html.
74. Marcia J. Bates (2002) "Toward an integrated model of information seeking and searching," Keynote paper for The Fourth International Conference on Information Needs, Seeking and Use in Different Contexts, Lisbon, available via www.gseis.ucla.edu/faculty/bates/articles/info_SeekSearch-i-030329.html.
75. Battelle, op. cit.
76. For an analysis of how iTunes diminishes the resources for discovery compared with vinyl record covers, see Wayne Bremser (2004) "iTunes versus Preservation," www.harlem.org/itunes/index.html.
77. The de facto standard for metadata in MP3 files is called ID3 tags. This standard has gone through various versions, though the latest version has only slowly gained widespread acceptance and use.
78. David Weinberger (2002) Small Pieces Loosely Joined: How the Web Shows Us Who We Really Are, Perseus Press, p. 141.
79. John Seely Brown & Paul Duguid (2000) The Social Life of Information, Harvard Business School Press.
80. del.icio.us can be found at http://del.ico.us and Furl is at www.furl.net.
81. The exact figures vary in different tellings of this story. These are taken from Sandi Thom's website, www.sandithom.com/site/sandi.php.
82. "Music groups in detail," Project Phoenix research download, www.baueradvertising.co.uk/insight/project_detail.asp?CaseStudyID=136.
83. "eMusic checks into Westin Hotels deal," Billboard.Biz, 4 May 2006, http://tinyurl.com/vnbor.
84. David Kusek & Gerd Leonhard (2005) The Future of Music: Manifesto for the Digital Music Revolution, Berklee Press.
85. Personal email to the author.
86. Andrew Corcoran, Paul Marsden, Thomas Zorbach, & Bernd Röthlingshöfer, "Blog Marketing," in Kirby & Marsden, op. cit.
87. "Message forum spam," MetaFilter Community Weblog, 25 January 2005, www.metafilter.com/mefi/38963. See also "Web of Lies," .net magazine, May 2005, www.netmag.co.uk/features/default.asp?pagetypeid=2&articleid=36238 (no longer available July 2007).
88. www.jose-gonzalez.com (accessed 28 November 2006).
89. Both sides of this story are explored in "An internet superstar—or just another rock’n’roll swindle?," The Guardian, 31 May 2006, http://arts.guardian.co.uk/netmusic/story/0,,1786403,00.html. A detailed chronology of key points in Sandi Thom's rise, and some of the controversy surrounding them, is recorded at http://en.wikipedia.org/wiki/Sandi_Thom.
90. Quoted in "Web of lies," .net magazine, May 2005, www.netmag.co.uk.
91. See, for example, "BurnLounge—Still ripping off consumers?," Digital Music Weblog, http://digitalmusic.weblogsinc.com/2006/07/19/burnlounge-stillripping-consumers-off, and "BurnLounge—MLM comes to digital music," Digital Music News, www.digitalmusicnews.com/blog/310.
92. "MySpace to let members sell music," Wired News, 2 September 2006, www.wired.com/news/wireservice/0,71713-0.html.
93. Through services like Nielsen BuzzMetrics' Blogpulse (www.blogpulse.com).
94. Kirby & Marsden, op. cit., p. xxvi.
95. "Weird web trail: Conspiracy theory—or marketing for Nine Inch Nails LP?," MTV News, 15 February 2007, www.mtv.com/news/articles/1552470/20070215/nine_inch_nails.jhtml (accessed 22 March 2007).
96. "The real secret of Blair Witch," Fortune, 18 September 2000, http://money.cnn.com/magazines/fortune/fortune_archive/2000/09/18/287666.
97. "The taste-makers," The Guardian, 30 September 2005, http://arts.guardian.co.uk/filmandmusic/story/0,,1580828,00.html.
98. When the single came out in the US, Amazon.com’s editorial review reported, slightly curiously, that it had "gate crashed the UK charts at #1 and no-one saw it coming… except the fans!" But as film-maker John Ford said, "When the legend becomes fact, print the legend."
99. John Seely Brown & John Hagel III (2005) "From push to pull: The next frontier of innovation," The McKinsey Quarterly, 3, www.mckinseyquarterly.com/links/18708.
100. William Goldman (1996) Adventures in the Screen Trade: A Personal View of Hollywood, Abacus.
101. In 2004, Robin Sloan and Matt Thompson created a short flash animation that purported to have been made in 2014. It described a scenario where Google and Amazon had merged to create Googlezon, to combine the data storage and indexing of the former with the collaborative filtering and recommendations of the latter. For more details see http://en.wikipedia.org/wiki/Googlezon.
102. The services described in this paragraph are, at the time of writing, not part of the mainstream MyStrands service, but are in the development labs section of its site at http://labs.mystrands.com/features/recommendations/lastfmrecs.html.
103. See, for example, Leon Benjamin (2005) Winning by Sharing: A New Way of Working, a Different Way of Doing Business, Business for Good.
104. Robert Scoble & Shel Israel (2006) Naked Conversations: How Blogs are Changing the Way Businesses Talk with Customers, John Wiley.
105. The School of Rock (2003), written by Mike White, Paramount Pictures. Full quote www.imdb.com/title/tt0332379/quotes.
106. For an analysis of the social currency and dynamics of hanging out, see danah boyd (2006) "Identity production in a networked culture: Why youth heart MySpace," transcript of talk given to American Association for the Advancement of Science, available via www.danah.org/papers/AAAS2006.html.
107. Clay Shirky wrote "Social software is stuff that gets spammed" on his blog at http://many.corante.com/archives/2005/02/01/tags_run_amok.php.
108. For example, I recommend both the book and accompanying CD for Joe Boyd (2006) White Bicycles: Making Music in the 1960s, Serpents Tail; and Sean Wilentz & Greil Marcus's (2004) collection The Rose and the Briar: Death, Love and Liberty in the American Ballad, W. W. Norton.
109. This paragraph is based on Tom Coates, "On the BBC Annotatable Audio project…," plasticbag.org blog, 28 October 2005, www.plasticbag.org/archives/2005/10/on_the_bbc_annotatable_audio_project/. At the time ofwriting, the BBC is piloting this service as "Find, Listen, Label."
110. Owen Myers' Lyricator software can be found at http://web.media.mit.edu/~meyers/lyricator.html. It analyzes a song’s lyrics on three dimensions (pleasure/displeasure, arousal/nonarousal, and dominance/submissiveness), and then classifies the mood of the song based on its position in these dimensions.
111. See, for example, "Grouper just says "no" to Kenny G," TechCrunch, 6 January 2007, www.techcrunch.com/2007/01/06/grouper-just-says-no-tokenny-g.
112. "Record company suspends kids’ PR scheme," The Guardian, 21 December 2004, http://media.guardian.co.uk/marketingandpr/story/0,,1377667,00.html.
113. The ideas in this paragraph owe a lot to a talk given by John Riedl at the Recommenders '06 summer school in Bilbao, Spain. Details of this talk can be found at http://blog.recommenders06.com/?p=12.
114. "Record bought at flea market fetches $155,401," CNN.com, 10 December 2006, www.cnn.com/2006/SHOWBIZ/Music/12/10/vintage.velvet.ap/index.html. The winning bid later turned out to be a fraud, but it seems unlikely that all the high bids were insincere.
115. Henry Jenkins, "I want my Geek TV!," Flow, 1(3), September 2005, http://jot.communication.utexas.edu/flow/?jot=view&id=936.
116. "Web 2.0 — Google CEO — Take Your Data and Run," Network World, 7 November 2006, www.networkworld.com/news/2006/110806-web-20-google-ceo-take.html.
117. See, for example, AttentionTrust (www.attentiontrust.org) and Attention Profiling Mark-up Language (www.apml.org).
118. For more on this case, see "Privacy fears shock Facebook," Wired News, 7 September 2006, www.wired.com/news/technology/0,71739-0.html. For more detail, see danah boyd, "Facebook’s 'privacy trainwreck': Exposure, invasion, and drama," Apophenia blog, 8 September 2006, www.danah.org/papers/FacebookAndPrivacy.html; and Fred Stutzman, "Case study: Facebook feeds and networked political action," Unit Structures blog, 2006, http://chimprawk.blogspot.com/2006/11/case-study-facebook-feedsand.html.
119. "Snooping fears plague new iTunes," BBC News, 13 January 2006, http://news.bbc.co.uk/1/hi/technology/4608882.stm.
120. Andrew Carton's Treonauts blog (http://blogs.treonauts.com) is one of the best-known examples.
121. In a typical display of transparency, Andy publishes the revenue he earns from the site (see www.grange85.co.uk/galaxie/index.php?article_id=159).
122. Richard Feynman (1998) The Meaning of It All: Thoughts of a Citizen Scientist, Perseus. Feynman won the Nobel prize in Physics in 1965.
123. The renegade philosopher of science Paul Feyerabend argued precisely this point in relation to scientific discoveries in his book Against Method (Verso, 1975). Despite this title, Feyerabend wasn't denying the value of scientific methods, he was arguing against hidebound adherence to any particular set of rules and methods. His anarchistic theory of knowledge argued for a more laissez-faire approach to combining multiple approaches, and being prepared to bend the rules when circumstances encouraged it. Feyerabend's work is controversial in science, which strives to articulate the objective truth that underpins events. But its spirit can less contentiously be applied to discovering the books, music, or films that you might find interesting. In these fields it is subjective opinions that count, not objective truth.
124. Entertainment Media Research and Olswang (2006) Digital Music Survey, www.entertainmentmediaresearch.com. In the US, terrestrial radio is reported to have its lowest number of listeners for several decades, but, according to data from Bridge Ratings, even there 45% of its survey sample said terrestrial radio was their preferred means of discovering music; curiously, television was not included in their responses ("Terrestrial radio still primary new music discovery destination," www.bridgeratings.com/press_07.21.06.New%20Music.htm).
125. Mark Thompson's Royal Television Society Fleming Lecture, "The BBC programmes and content in an on-demand world," 25 April 2006, www.bbc.co.uk/print/pressoffice/speeches/stories/thompson_fleming.shtml.
126. "Rivals round on BBC initiative," The Guardian, 25 April 2006, http://media.guardian.co.uk/broadcast/story/0,,1761193,00.html.
127. At the time of writing, Wikipedia (http://en.wikipedia.org/wiki/Crowdsourcing) cites the first use of this term as being Jeff Howe's in his June 2006 Wired article, "The rise of crowdsourcing," www.wired.com/wired/archive/14.06/crowds.html. Arguably, crowdsourcing has been in use since at least the nineteenth century when large numbers of volunteers contributed, by post, to help compile the first edition of the Oxford English Dictionary. It is also commonly cited as one of the success factors of open source software development.
128. "And now for some snuff comedy…," The Guardian, 24 October 2006, http://arts.guardian.co.uk/features/story/0,,1929884,00.html.
129. "You do like reading off a computer screen," Locus Magazine, March 2007, www.locusmag.com/Features/2007/03/cory-doctorow-you-do-like-readingoff.html (accessed 22 March 2007).
130. Examples include the Rhino Records "Rhinocast" (www.rhino.com/RZine/rhinocasts), Sub Pop Records (www.subpop.com/syndicate) and US music publisher BMI (www.bmi.com/podcast).
131. Cowboy Junkies official website at www.cowboyjunkies.com/exclusives/anatomy/anatomy.html.
132. For example: "Lily Allen – This year's girl," The Independent, 31 December 2006, http://enjoyment.independent.co.uk/music/features/article2114939.ece. For Hawthorne Heights, see "The hit factory," Wired, November 2005, www.wired.com/wired/archive/13.11/myspace.html.
133. "Music's new gatekeeper," Wall Street Journal, 9 March 2007, http://tinyurl.com/2eecsz (accessed 16 March 2007).
134. For details of this scenario, see, for example, Kusek & Leonhard, op. cit.; and William W. Fisher (2004) Promises to Keep: Technology, Law, and the Future of Entertainment, Stanford University Press.
135. I say "may be able to" because when I started this chapter, several Norman McLaren films (including his Oscar-winning Neighbours) were available on YouTube, but were subsequently taken down, presumably at the request of copyright holders. A handful of other McLaren films then cropped up a few weeks later. Seven complete Bruce Conner films were available at the time of writing, plus one 'mashed up' with a new soundtrack.
136. This policy can be found at http://en.wikipedia.org/wiki/Wikipedia:Neutral_point_of_view.
137. Quoted in "Noel Gallagher attempts to start feud with overzealous record packagers," Idolator blog, 11 November 2006, www.idolator.com/tunes/oasis/noel-gallagher-attempts-to-start-feud-with-overzealous-recordpackagers-213323.php.
138. Coleman, op. cit. Sales increased from roughly $100 million in 1945 to $500 million in 1958 (I assume these figures are for the US market).
139. "No future," The Guardian, 6 January 2006, http://arts.guardian.co.uk/harris/story/0,,1680003,00.html.
140. Heaney is quoted as saying that Eminem "has created a sense of what is possible. He has sent a voltage around a generation. He has done this not just through his subversive attitude but also his verbal energy." "Seamus Heaney praises Eminem," BBC News Online, 30 June 2003, http://news.bbc.co.uk/1/hi/entertainment/music/3033614.stm.
141. Boyd, op. cit.
142. "Web 'fuelling crisis in politics,'" BBC News Online, 17 November 2006, http://news.bbc.co.uk/1/hi/uk_politics/6155932.stm.
143. Malcolm Gladwell, "The Coolhunt," The New Yorker, 17 March 1997, www.gladwell.com/1997/1997_03_17_a_cool.htm.

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First published in Great Britain by Nicholas Brealey Publishing in 2007
© David Jennings 2007: The right of David Jennings to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988.

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