music streaming
Chronicling how music streaming services work, and reactions to them
Tony Lashley and
music streaming
Lawsuits from major publishers against Suno and Udio are not, as libertarian boosters, VCs and Tech Bros would say, an attack on innovation. They are a warning shot against a business model that turns creative labor into raw machine fuel under the pretense of fair use.
We already know that by ownership independents account for nearly half of the recorded music market. The reality is that the feeding frenzy in the independent sector is a sign of the majors’ weakness rather than their strength.
Streaming has shattered the barriers to market entry the majors created in the CD age. That trend will only continue.
The... See more
Streaming has shattered the barriers to market entry the majors created in the CD age. That trend will only continue.
The... See more
Bruno Guez • Nothing will stand in the way of independents (and why the world’s first three-person indie unicorn is only a matter of time away) - Music Business Worldwide
Though their advocates and spokespeople have a tendency to use the word union loosely, they’re better understood as advocacy and lobbying groups than labor unions in the traditional or legal sense. Despite UMAW’s robust social media presence, their numbers and structural leverage are fractions of those of the AFM.
Worker’s Song | Franz Nicolay
14. All those nasty, rebellious songs that defy authorities are now owned by hedge funds.
Ted Gioia • 14 Warning Signs That You Are Living in a Society Without a Counterculture
In reality, Spotify was subject to the outsized influence of the major-label oligopoly of Sony, Universal, and Warner, which together owned a 17 percent stake in the company when it launched. The companies, which controlled roughly 70 percent of the market for recorded music, held considerable negotiating power from the start. For these major... See more
Liz Pelly • The Ghosts in the Machine
Just a moment...
crsreports.congress.gov“Because over-the-air transmission by broadcast radio stations falls outside the definition of ‘digital audio transmission,’ radio stations do not need to pay royalties to the performers, record labels, or other owners of the sound-recording copyright to publicly perform a sound recording.”
New technologies may be disruptive to the existing population of working musicians, but even more irresistible to the general public than new technology are new forms of music, which may introduce new classes of musicians who don’t fit neatly into the existing professional categories. Take the rise of rock and roll.
Worker’s Song | Franz Nicolay
“Mr. Chief Justice, and may it please the Court: copyright infringement is the only commercially significant use of the Grokster and StreamCast services, and that is no accident.”