Wouldn't Quadrophenia 2 just be Octophenia?

It's not often you find yourself agreeing wholeheartedly with The Who, but their reaction to the plans for a sequel to Quadrophenia are pretty much spot-on:

Pete Townshend and Roger Daltrey have denied involvement, calling the project "a blatant attempt to cash in".

In a strongly-worded statement, they said: "For the avoidance of doubt, this project isn't endorsed by The Who, Who Films, Universal or any of the other rights owners of the original."
Bill Curbishley, the band's manager who produced the original film, added: "Quadrophenia is a significant and influential film based on The Who's music, not some Carry On franchise.

"Any follow-up could only be made by the authors of the original and would need to be worthy of the name. This karaoke sequel announced recently would be totally ridiculous."

The filmmakers, though, think they've got this covered:

the follow-up would be set in the present day and based around events in the book To Be Someone, by Peter Meadows, which was inspired by the original movie.

His book picks up where the narrative of The Who's album (rather than the film) ends, following the hero, Jimmy, through the punk era as he becomes a drug dealing gangster.

Director Ray Burdis - who previously produced The Krays, starring Gary and Martin Kemp - claimed Townshend had given Meadows' book the seal of approval, suggesting this counted as an endorsement for his film.

Yes. That's exactly how that works.

Spotify: An upside-down pyramid

Digital Music News report on the proportion of users who Spotify rely on:

90% of Spotify’s Revenue Comes from 30% Of Its Users

This, surely, isn't that surprising though - if you're operating a freemium model, it's probable that most of your revenue will flow from the premium end rather than the free end:

89.9% of Spotify’s revenues come from just 31.4% of its users, according to more financial data now surfacing. The 2015 filing, registered with EU regulators last week, showed that paying subscribers generated a hefty $1.96 billion in revenues. By stark comparison, free, ad-supported users generated a relatively paltry $222 million.

It is a problem for Spotify, though, who are currently burning money like you wouldn't believe.

That effectively translates into a cash inferno, with everyone seemingly benefiting… except for artists, a group witnessing deteriorating per-stream revenues over the past few years. According to the same filing, rank-and-file employees are enjoying sharply-rising salaries, with average compensation now surpassing $168,000 per year. At the upper end, top executives and board members are pulling down north of $1.3 million a piece, with stock options potentially minting billionaires after a successful IPO.

Not, of course, that Spotify's business plan is to get close enough to profit in order to cash in its chips. Of course.

This week just gone

The most-read May stories:

1. Eurovision: Liveblog
2. Russia don't like the Eurovision result
3. Eurovision: Tumblr speaks
4. Azeailia Banks isn't that nice
5. Why did Yacht think anyone would be interested in a sex tape?
6. NME misunderstands Eurovision half time
7. Banks tries a half apology
8. Beyonce has upset the police
9. Robbie Williams gets a dubious gig
10. Cilla Black was Dionne Warwick's Moriarty


Last week and interesting:


Kate Jackson - British Road Movies

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Marissa Nadler - Strangers

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Melanie De Biasio - Blackened Cities



Christy Moore - Lily

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