thereport ISSUE 361 | 04 MARCH 2015

Long playerHow the album is coping with the streaming age

Contents06 Beyond music: Cybersecurity07 Pinboard: Stats, deals, startups and more 09 Country profile: Portugal

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The arrival of iTunes in 2003 saw songs being uncoupled from albums, liberating consumers to buy a track or two rather than the full album. The rise of streaming, however, was supposed to help a return to album listening as consumers could theoretically listen to everything for a set fee each month. We have picked 10 very different albums to investigate just how listening trends apply across all the songs on each. The results are surprising and puncture some commonly accepted myths about streaming in general and the album in particular.

From the start of this month, the UK is following the lead of Sweden (in 2013) and the US (last year) by adding streaming into the albums

chart. The Official Charts Company is looking to shore up the relevance of the albums chart in the streaming age but, in doing so, had to considerably rework its tabulation methodology for how it combines streaming data with download and physical sales.

Firstly it selects the top 12 tracks from an album, basing that on the common number of tracks from the CD era, and then works out the average streams across them all. Most significantly, and to prevent albums with just one massive song and a lot of cobwebbed filler from over-indexing, it is down-weighting the two biggest songs on an album to get a more balanced overview of the performance of the album as a whole. At the heart of this is much talk about genuflecting before the album as an artistic statement as much as protecting it as a commercial format.

Album listening, the logic goes, is moving to streaming and the charts have a duty to reflect this and, in doing so, maintain both their relevance (as a measurement of popularity and success) and the relevance of the album as a body of work. Noble intentions, sure. But just how much are full albums being streamed?

COVER FEATURECOVER FEATURE

Long player How the album is coping

in the streaming age

Do consumers, now no longer required to pay up front for a CD and feel they have to play everything to wring the most value out of their purchase, still listen to everything in the order the artist presents it to them? Or does streaming mean they are instantly able to sort the wheat from the chaff?

Andreas Ahlenius, commercial director at Universal Music Sweden, told music:)ally last year, “Everything has changed. It is not what people buy that matters – it’s what people listen to. When it comes to what audience to reach, we used to target people with money but what is now more important is to target people with time. It is their time we are after, not their money.”

What he meant was that marketing in Sweden was no longer about driving huge sales in the opening weeks of an album’s release but rather about finding ways to get listeners to keep going back to albums to play them again and again over a period of months and years.

With all these changes in mind, we have picked 10 albums that represent different iterations of the album as a body of work across different genres and eras and then analysed just how the plays spread out across the album as a whole.

Note on methodology: we have used Spotify data for global plays because it is the only audio streaming service that is fully open with its play data. We can

presume that similar listening dynamics are identifiable on Rhapsody, Deezer,

Rdio and others. All streaming data was collated on the same day, 23rd February, using Spotify’s publicly available global

streaming figures.

MARK RONSON UPTOWN SPECIAL

• Uptown’s First Finale • Summer Breaking • Feel Right • Uptown Funk • I Can’t Lose

• Daffodils • Crack In The Pearl • In Case Of Fire • Leaving Los Feliz • Heavy & Rolling • Crack In The Pearl Part II

TOTAL STREAMS: 169,381985

Rush-released at the start of the year, lead single ‘Uptown Funk’ was being talked about as a smash even before it went to radio

in November 2014. There is, however, a huge disparity between the single and the rest of the album, which spells out some of the issues facing pop albums on streaming services – or pop albums with a massive lead-in single. Historically singles have been the key medium for pop but often they have caused a slipstream effect whereby a huge single can drag with it significant sales of the accompanying album. This is something that might start to unravel a little as the streaming world lets consumers vote with their ears and their time. In the sales world, ‘Uptown Funk’ has sold 1.3m copies in the UK but the parent album has so far only managed 66k copies, showing a similar dynamic at play here. It is, of course, the first single

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off the album and when marketing kicks in around the subsequent singles, this could start to chip away at the 91% share ‘Uptown Funk’ has of the overall album plays.

ED SHEERANX

• One • I’m A Mess • Sing • Don’t • Nina • Photograph • Bloodstream • Tenerife Sea • Runaway • The Man

• Thinking Out Loud • Afire Love • Take It Back• Shirtsleeves • Even My Dad Does Sometimes • I See Fire

TOTAL STREAMS: 1,073,726,218

The UK’s biggest selling album of 2014, X is an interesting example of four songs – ‘Sing’, ‘I See Fire’, ‘Thinking Out Loud’ and

‘Don’t’ – doing most of the heavy lifting, accounting for around 742m of the album’s 1.07bn streams (so around 75% of plays). That said, the other tracks on the album are not so disproportionately pushed out of the equation. The hits are, of course, by far the most played, but the listening data suggests the album is appealing enough that consumers will dig deeper into it and give the other songs considerable plays. An album that, despite having huge hits

– ‘Thinking Out Loud’ had 226m plays and ‘I See Fire’ had 206m plays – is not totally overwhelmed by them.

SAM SMITHIN THE LONELY HOUR

• Money On My Mind • Good Thing • Stay With Me • Leave Your Lover • I’m Not The Only One • I’ve Told You Now• Like I Can • Life Support • Not In That Way • Lay Me Down

• Restart • Latch - acoustic • La La La • Make It To Me TOTAL STREAMS: 882,195,347

The second biggest album of 2014 in the UK and the only artist album to sell 1m+ copies in both the UK and the US, most of the album’s

sales have been on CD ( just over 1m of its 1.46m UK sales are physical). But, as with Ed Sheeran, while four tracks – ‘Stay With Me’, ‘Money On My Mind’, ‘I’m Not The Only One’ and ‘La La La’ – dominate the album (making up 73.5% of total plays), the other songs do appear to be getting a decent crack of the whip with listeners. Against the trends identifiable on the Mark Ronson album, Sam Smith and Ed Sheeran suggest an album needs the gravitational pull of familiarity that three or four big hits can bring in order to draw listeners in and

properly explore what else is on there. Of course, having four songs on an album that are capable of being big hits is another matter entirely.

BELLE & SEBASTIANGIRLS IN PEACETIME WANT TO DANCE

• Nobody’s Empire • Allie • The Party Line • The Power Of Three • The Cat With The Cream • Enter Sylvia Plath• The Everlasting Muse • Perfect Couples • Ever Had A Little Faith?

• Play For Today • The Book Of You • Today (This Army’s For Peace) TOTAL STREAMS: 8,493,484

There is a highly romanticised argument that major label acts are all about big singles whereas indie acts create delicately

sculptured works of art that have to be listened to in toto. Taking one of the biggest UK independent albums of 2015 so far made by a band that has been going for two decades and built up a feverishly loyal fanbase, it’s not quite as clear-cut as all that.

One song, ‘The Party Line’, makes up just over 50% of its 8.4m streams, while ‘Nobody’s Empire’, the opening song on the album, has just shy of 1m streams.

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THE WAR ON DRUGS LOST IN THE DREAM

• Under The Pressure • Red Eyes • Suffering • An Ocean In Between The Waves • Disappearing • Eyes To The Wind • The Haunting Idle • Burning

• Lost In The Dream • In Reverse TOTAL STREAMS: 41,672,266

Alongside St Vincent by St Vincent, this was arguably the biggest critical success last year, coming first in many end of year polls. This

is where albums can do the most business as people read about them and want to investigate if the critical consensus around them is correct or misguided.

Single ‘Red Eyes’ is by far the biggest track on the album, accounting for almost exactly a third of the album’s 41.6m streams but thereafter listening is pretty evenly spread across the remaining tracks. This is perhaps a model for acts to aim for in the future (or, more tellingly, resign themselves to), where one song acts as the entry point for many.

Perhaps it works as enough for some listeners who, on hearing it, don’t feel the need to investigate further; but, for those who do like it and want to dig deeper, it means they give the rest of the album relatively equal attention.

ADELE21

• Rolling In The Deep • Rumour Has It • Turning Tables • Don’t You Remember • Set Fire To The Rain

• He Won’t Go • Take It All • I’ll Be Waiting • One & Only • Lovesong • Someone Like You

TOTAL STREAMS: 409,676,479

An album that was initially held off Spotify and proclaimed, given its staggering 30m+ sales, as the saviour of the album at

a time when many had presumed the album was dead. Its performance on Spotify is, against that particular contextual backdrop, a fascinating one. Really, it appears to be about three songs – ‘Rolling In The Deep, ‘Someone Like You’ and ‘Set Fire To The Rain’ – that were the three lead singles from the album. Collectively they account for 70% of the

album’s 409m streams. Given this, it is going to be interesting to see if

Adele keeps the follow up to 21, due later this year (possibly), off streaming services for a set period, especially considering that this album wasn’t a consistent performer across all

the tracks when made available to stream.

Thereafter, however, plays are reasonably well spread across the rest of the songs on the album. So the great enduring myth of indie albums is perhaps only 50% right.

YOUNG FATHERSDEAD

• No Way • Low • Just Another Bullet • War • Get Up • Dip • Paying • Mmmh Mmmh

• Hangman • Am I Not Your Boy • I’ve Arrived

TOTAL STREAMS: 2,918,866

Picked because it was the winner of the 2014 Mercury Music Prize, an award ceremony that deifies the album

as an artistic statement. One song, ‘Get Up’, accounts for just

under 30% of the album’s 2.9m streams and two others, ‘No Way’ and ‘Low’, slightly punch above their weight, but the rest of the songs get roughly the same number of plays.

Given that ‘Get Up’ was the only single from the album, that would explain its dominance here and was most likely the first port of call (where they went straight to the top played tracks on the group’s Spotify profile page) for consumers who had never heard of Young Fathers until their Mercury win.

COVER FEATURE

CHARLI XCX SUCKER

• Sucker • Break The Rules • London Queen • Breaking Up • Gold Chain • Boom Clap • Doing It • Body Of My Own • Famous • Hanging Around • So Over You • Die Tonight

• Caught In The Middle • Need Ur Love • Red BalloonTOTAL STREAMS: 144,103,234

Not quite to the extremes of Mark Ronson, this is still another example of the Huge Hit Single Syndrome. Admittedly, the album had

only been out one week by the time we looked at the data so ‘Boom Clap’, one of the biggest pop hits of last year, was guaranteed to dominate as it was re-leased six months ahead of the album and so had half a year to gather its 109m plays. There was only a gap of two months between Ronson’s ‘Uptown Funk’ coming out as a single and the associated album being released so it was not going to gather the same head of steam in that period as ‘Boom Clap’ did (which explains why it dominates the album as consumers only had a matter of days to explore beyond the big hit). This is definitely one to revisit six months down the line to see how or if the spread of track plays changes.

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LED ZEPPELIN IV, contd.

• Black Dog • Rock n Roll • Battle Of Evermore • Stairway To Heaven

• Misty Mountain Hop • Four Sticks • Going To California

• When The Levee BreaksTOTAL STREAMS: 43,838,981

withoutbonustracks

slightly to 43.8m plays, suggesting that extra tracks, even those that have not been heard outside of the studio since they were recorded over 40 years ago, are only of cursory interest to super-fans.

In the old days of CDs, “bonus tracks” were a fantastic way to get fans to pay more in advance for a reissued album; but the reality appears to be that, when offered up to consumers on streaming services, they do not seem very fussed about blowing the dust off them.

ROYAL BLOOD ROYAL BLOOD

• Out Of The Black • Come On Over • Figure It Out • You Can Be So Cruel • Blood Hands

• Little Monster • Loose Change • Careless • Ten Tonne Skeleton • Better Strangers

TOTAL STREAMS: 38,370,263

Of all the albums we chose to analyse, this is the one most evenly split across plays. With a total of 38.3m streams across all 10 tracks,

the single biggest performer was ‘Figure It Out’ with 7.1m streams – which is equal to 18.5% of the total plays. If it were exactly even, each track would get 10% of the plays, meaning 18.5% is not that jarring, especially considering just how much the Mark Ronson and Charli XCX albums skew so heavily towards just one song. Plus it is on a major label which somewhat punctures that idea that only indies put out albums full of tracks that people want to listen to equally as a creative statement. :)

LED ZEPPELIN IV

• Black Dog • Rock n Roll • Battle Of Evermore • Stairway To Heaven• Misty Mountain Hop • Four Sticks • Going To California

• When The Levee Breaks • Black Dog (basic) • Rock n Roll (alt) • Battle Of Evermore (mandolin/guitar) • Stairway To Heaven (mix)

• Misty Mountain Hop (mix) • Four Sticks (alt) • Going To California (mandolin/guitar) • When The Levee Breaks (alt)

TOTAL STREAMS: 45,301,991

withbonustracks

An incontestable classic album by one of the biggest acts of all time and also one that, until last week, Spotify had the streaming exclusive on. This album is included for two reasons: firstly, being one of the biggest albums of what is taken as the golden era of the format; and secondly, an album that came with a whole host of previously unreleased material when re-issued last year. Inevitably, ‘Stairway To Heaven’ hogs the majority of the streams here and thereafter listening across the tracks on the original album is roughly even. The most interesting point here is, however, related to the bonus tracks. The deluxe album had 45.3m streams across all the songs, but when the bonus tracks are stripped out the total plays only dip

COVER FEATURE

Royal Blood

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T he Sony Pictures hack late last year was embarrassing for that company, but it should act as a wider wake-up call to businesses of

all sizes and types. And not just in terms of their senior executives watching what they write in emails.

In 2015, there are more cybersecurity threats than ever to prominent companies and the firms that they deal with – whether from dedicated cybercriminals or simply hackers with a point to prove.

It’s the latter that should perhaps worry music industry firms most: a few years ago, sticking it to The Music Man would usually involve trying to take a major label or industry body’s website offline with a Distributed Denial of Service (DDoS) attack.

Now, there’s a very real prospect of tactics shifting to try to worm into their internal systems and root around for embarrassing emails and documents to leak. Imagine the ramifications if a Sony Pictures-scale hack happened to, say, Universal Music Group?

The kneejerk answer to this threat is to splash out on cybersecurity, putting in place more defences against hackers and stricter rules on what staff – senior executives included – can and can’t do. Lockdown mode.

BEYOND MUSIC

Should the music industry think more about corporate privacy?Cybersecurity threats are rising – is encryption the answer?

“Sony had all kinds of things: intrusion detection, firewalls, antivirus […] But they got hacked anyway. The security measures that enterprises do frequently get breached,” said Silent Circle’s Phil Zimmermann in a recent interview. “A lot of this stuff could have been encrypted.”

A company that sells encryption software recommending other companies spend money on that instead of firewalls and antivirus tools? Not a huge surprise, but Zimmermann’s wider points about privacy are worth taking on board for music companies.

“People don’t think of privacy much when they think about enterprises, but enterprise privacy is a real thing: it’s the collective privacy of everybody in the company, and the privacy of the company assets as well,” he said.

“In Sony’s case, there were emails about Hollywood actresses that got breached. That’s connected with personal privacy. I think companies retain too much information.”

One of the rules of cybersecurity is you don’t talk too much about your cybersecurity measures – major labels included. But don’t be surprised, with those Hollywood actresses in mind, to see more artists (or, at least, their managers) asking questions about how large music companies are protecting their privacy. :)

“Sony had all kinds of things: intrusion detection, firewalls,

antivirus […] But they got hacked anyway. The security measures

that enterprises do frequently get breached. A lot of this stuff could

have been encrypted”Phil Zimmermann, Silent Circle

Numerous companies who make their money selling cybersecurity consultancy and/or technology are more than willing to talk up the risks, unsurprisingly.

There’s another theory, albeit one being put forward by a company that also makes its money from businesses spending money on security – Silent

Circle, which makes encrypted communications software and the Blackphone smartphone.

Its pitch is that companies should focus, not on corporate security, but on “enterprise privacy” – and that, by respecting the privacy of their staff, they’ll become more secure.

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ISSUE 36104.03.15 TOOLS Pinboard » Deals

Kobalt has raised $60m in a new funding round led by Google Ventures. Kobalt, which had previously raised $68m in funding, says it will use the investment to fuel its global expansion, notably in Asia and Latin America.

Spotify, through a deal with Musixmatch, is offering its users synchronised lyrics when they play music on the service’s desktop app. This follows Deezer securing a similar deal with Musixmatch at the end of 2014.

Google has acquired the gTLD (generic top level domain) name .app after bidding just over $25m to secure it from Icann, which handles the auctioning of customised web names.

KOBALT

GOOGLE SOUNDCLOUD

BEATPORT

SoundCloud has reported it has paid over $1m in ad revenue to copyright owners and artists since August 2014 when it launched its On SoundCloud initiative to wrap ads around tracks.

@MickPuck I have gobbed on this building. #punkwars tmblr.co/ZU4YOy1ev3m_3

@amandapalmer For $50,000 amanda palmer will scream your name out while having sex

with sandman creator neil gaiman

@jherskowitz Watching a lot of new musictech startups is like watching

someone play Pitfall that hasn’t yet learned they must jump on the crocs’ eyes.

Follow Music Ally on Twitter...twitter.com/musically

Tweets#MusicAllyVESSEL

Beatport has launched an invite-only beta test for its free streaming service. The dance-centric download store has been looking to expand its offering and this new streaming side will link through to Beatport Pro for downloads.

SPOTIFY/MUSIXMATCH

New freemium video service Vessel has signed a deal with Universal Music Group to gain exclusive early access to some of the label’s music videos.

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DENMARKRECORDED MUSIC SALES

JAPANMUSICSALES

Source: IFPI Denmark, Feb. 2015DKK1 = US£0.15

2013 2014

CD

Streaming

Downloads

YOUTUBE 2014: 1bn global viewers

7.6 (+27.9%)

(trade value, DKK millions)

4bn

3bn

Vinyl

YOUTUBE: REVENUE (US$)

RECORDED MUSIC SALES

2013 2014

297.9312.3

43.741.6

2013 2014

26.422.3

15.4 8.1

7.92.7

RECORDED MUSICDIGITAL SALES

353.9 341.6

Physical

Digital

Downloads

MobileStreaming

Other

Total

104.2 (–26.7%)

69.3 (–36.1%)

255.9 (+50.5%)

437.0 (+1.8%)

108.4

170.0

429.3

142.2

6.0

2013 2014

Source: RIAJ,Feb. 2015¥1,000 = US£8.36

Source: Wall Street Journal, Feb. 2015

Viewers Total views

91%

Otherviewers

85%

15%

Super viewers 9%

(trade value, ¥bn)

Pinboard » Stats

NEW SERVICE CHEW.tv

What is it?Streaming DJ sets is hardly a new idea – from Mixcloud for audio-only sets to The Boiler Room and numerous other video livestreams of steel-wheel wizardry.

British startup Chew.tv is hoping to make an impact, armed with a canny pitch of being “Twitch.tv for DJs”; games livestreaming service Twitch was bought by Amazon for $1bn last year, so this is catnip to investors.

Anyway, Chew streams videos of DJs mixing and archives them for on-demand viewing. “Mixcloud with video” might be a more apt tagline; Chew is using a similar blanket licence to cover its rights and wants to make money from a mixture of branding deals and pro-user accounts.

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T he headline figures for Portugal’s recorded music industry have not made for happy reading of late. When music:)ally profiled the

country in August 2012, it had experienced a 55.5% fall in recorded music sales over the previous five years and the most recently published IFPI figures suggest that decline has continued.

In 2012, revenue from recorded music in Portugal fell 13.4% according to IFPI; in 2013, it dropped a further 6.6% to just $28.5m, leaving Portugal as the 34th largest music market globally, behind such giants as New Zealand, Malaysia and Hong Kong.

In terms of digital revenue, the country ranked 36 in the world in 2013 (the last year the IFPI’s current figures cover). Digital revenue may have grown slightly in 2013, up $0.2m year-on-year to $6.9m, but single-track sales fell from 1.1m units in 2012 to 0.6m in 2013 while sales of digital albums were flat at 0.1m.

And yet, much like its Iberian cousin Spain, the digital music industry in Portugal is seeing tiny glimmers of hope in 2015.

It’s not just that the country’s economy has returned to growth after years of decline, expanding 0.9% in 2014 (admittedly against a backdrop of continuing high unemployment).

But the country’s digital music market is also on the up, according to José María Barbat, president of Sony Music Iberia, who says that digital grew 32% year-on-year in 2014. “The main drivers were penetration of YouTube and the growth of streaming income, despite the decrease of the à la carte business,” he explains.

What’s more, the Portuguese Parliament last month gave a potential boost to the country’s digital music industry by revising the country’s Copyright Act to remove the imposition of mandatory collective management of performers’ exclusive rights.

“The difference is to have or not have the conditions to develop digital business in the musical field,” Barbat explains. “This change in Portuguese law is very important for artists, as artists are now empowered to decide over the use of their recordings in the digital market.”

Barbat explains that the licensing environment in Portugal is now consistent with that of most territories globally,

MARKET PROFILE Portugal

Recorded music revenues have been struggling for years in Portugal but the return to growth by the national economy is having a pronounced impact on the market. Digital revenues grew 32% last year and changes to copyright legislation and licensing in the country should soon start to reap rewards. YouTube was the key driver in the country’s digital uptick but it is having an enviably diverse streaming market that, now the pieces are falling into place, should start to deliver results in the coming years.

STATS

f Population 10.8md GDP per capita US$22,900h Internet users 7.3mc Broadband households 2.3mj Mobile subscriptions 17.2mi Smartphone users 6.5mSources: IFPI, CIA World Factbook

PORTUGAL

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meaning there is no longer a barrier for global digital services to launch in Portugal. And yet the country is already comparatively well served for digital music, with big global names like iTunes, Deezer, YouTube Music Key, Spotify and Rdio joining local services such as MEO.

Of the international giants, several are relatively recent additions: Spotify opened in Portugal in February 2013; Google Play Music All Access launched six months later; and YouTube Music Key arrived in Portugal in November 2014. The YouTube service is, for the moment, invite-only. But the fact that Portugal is one of seven initial launch countries (alongside the US, the UK, Spain, Italy, Ireland and Finland) suggests that Google sees Portugal as being a country with potential.

This may be due to the fact that the country is said to have a relatively tech-savvy, mobile-friendly population: Google

claimed that Portugal had a smartphone penetration rate of 32.1% in 2013 in its Our Mobile Planet report, above countries such as Thailand, Argentina and Turkey, but below the likes of South Korea, Norway and the UK. (It is worth nothing that other reports put the Portuguese figure at closer to 40%.) The Google report also revealed that in 2013 83.3% of smartphone users in Portugal accessed internet via their mobile every day.

As such the bundling deal between Vodafone and Spotify, which launched in January offering the telco’s Portuguese customers Spotify Premium plus mobile data packages, could prove crucial.

Barbat says that Spotify’s awareness and penetration are increasing all the time and this will only grow with the Vodafone deal. Spotify, he explains, is not an “extreme success” but it has maintained “a solid growth line every month since

its solo launch”. He adds, “The marketing investment Vodafone is doing right now will hopefully bring a fast and higher growth to the service.”

Other factors that could help to grow the digital music business in Portugal include working with brands and increased customisation, according to the Sony Music Iberia president.

“Even though the major players in the digital music industry are present in Portugal, they are normally handled on a centralised basis, together with other territories or with shared resources,” he says. (Deezer, for example, has an editor in Portugal but no office.) “This is a limitation to customising and localising the offer to the Portuguese customers.”

The hope, then, for the Portuguese music industry is that it can follow Spain in overall growth in recorded music revenue for the

first time in years when its official 2014 figures are announced.

That may sound like wishful thinking; Spain and Portugal may be neighbours, but aren’t as similar as many outsiders seem to believe. On the other hand, many of the factors said to have contributed to Spain’s 21.2% leap in recorded music revenue last year do also apply to Portugal, including the growth of streaming and a decline in piracy.

Portugal may not be in line for an instant recovery following years of decline, but there is cautious optimism in the country’s music industry that the worst could just be behind it. :)

MARKET PROFILE Portugal continued...

ISSUE 358

[Spotify] has maintained a solid growth line every month since its solo launch”

José María Barbat, Sony Music Iberia

Physical59%

Digital24%

Source:IFPI, 2014

Performancerights17%

Recorded music sales by sector, 2013

Physical$16.6m

Digital$6.9m

Source:IFPI, 2014

Performancerights$4.9m

CD2.9m

Otherphysical

0.4m

Source:IFPI, 2014

Single tracks(digital) 0.6m

Digitalalbums

0.1m

Recorded music revenues, 2013 Recorded music sales volume (units), 2013

This change in Portuguese law is very important for artists, as artists are now empowered to decide over the use of their recordings in the digital market”José María Barbat,

Sony Music Iberia

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Music Ally is a music business information and strategy company. We focus on the change taking place in the industry and provide information and insight into every aspect of the business, consumer research analysing the changing behaviour and trends in the industry, consultancy services to companies ranging from blue chip retailers and telecoms companies to start-ups; and training around methods to digitally market your artists and maximise the effectiveness of digital campaigns. We also work with a number of high profile music events around the world, from Bogota to Berlin and Brighton, bringing the industry together to have a good commonsense debate and get some consensus on how to move forward.

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