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Sakis, I agree. but in today's digital world isn't that what artists have to do to get ahead?
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One last thing, Apple Music. Apple Music can minimize their UI problems very quickly and they can do something none of their competitors can do. They can invest a significant amount of money in producing music and signing legacy and emerging talent, whose work is exclusive to their service. Honestly, I thought that was the plan all along when they hired Mr. Iovine. Would someone please forward this to Mr. Cue?
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"Digital Darwinism is a chance to shine or fade into obscurity." I think you used to call this ADAPT. Wow. pretty amazing diatribe for destruction. You even pulled out the Thom Yorke, Radiohead giveaway and allude to Mike Masnick as your friend. Well, if nothing else, it is clear where your anthropology is rooted. For all the innovation you proclaim, you've certainly used a lot of old graphs and talking points to make your "innovative" talking points. I sense you pulled a lot of this together from previous posts to make it kind of a greatest hits. Here's the problem, Brian. You want to present a black and white solution to a problem that is highly nuanced. It is the lack of financial balance between the creator and the corporation(s) that is creating such high levels of destruction to the creative class. You obfuscate the discussion and take it sideways by claiming the consumer sets the value of creative content, rubbish. One need look no further than Red Bull to know it doesn't have to be that way. You cite the innovation of Spotify, yet somehow pull in the example of Netflix, an almost 20 year old innovator, to make a point. Big difference. Netflix is a successful innovator, the jury's still way out on Spotify as they approach 1 BILLION in debt and sustain greater losses as their subscriber base grows. You probably don't care, Spotify is really Napster 15 years later. How's that for evolution? Now, it didn't have to be this way. First, I don't know what the labels were thinking or what kind of Cool Aide they were drinking, but trading their future for an equity share in Spotify was a seriously bad move. Like the Obama Bank Bail Out, the labels could have set some limitations on the deal as opposed to giving Spotify the keys to the kingdom. To your point, it proved the labels had lost their way in digital marketing. Then you have Spotify, who clearly had no idea how to market their service, other than to say we have everything and you can get it for free. Now, are you getting the Napster connection or did you just know it all along and didn't want to share? Netflix and their creative partners handled things a little bit differently. First Netflix, like Sirius XM, established value from the beginning. You want what they have, you pay. Also, neither screwed the pooch by giving it ALL away for free. Sirius XM and Netflix invest in talent, yes Howard Stern counts. So here's the problem with your rather long winded hypothesis. We don't need to live in an either or world, nor do we need to dumb down talent to make it affordable for the masses.
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Cortney, here’s the problem. True artists are not looking for alternative careers. As a fan who at one time worked in nearly all aspects of the record business, I want the great stuff and know it when I experience it. I appreciate the work that goes into writing and producing a great record and am more than willing to support it, financially. Artists who have the potential to be great, to leave a legacy of timeless, important work. That’s really what we’re interested in. This is where Johnson got off track with his NYT piece. At least you seem to know something about music. I talk to musicians, filmmakers and authors; I know how broken it is out there. Johnson does not. So no matter how much data he uses to support his position, I know it is not true. Had his article talked about the opportunities for part time and non-professional artists the artist community would not have been up in arms. But the fact he drew conclusions that so resembled ‘The Sky is Rising’ and all the pro-piracy arguments that go along with it was irresponsible BS. The fact that it was a feature article in the magazine section of the Sunday NYT was tragic. Just to show you how differently I think, I don’t believe there will be very much great music produced in the coming years unless musicians are able to sell their music. I don’t care whether you play tennis or play a stratocaster to be great requires incredible dedication and enormous amounts of time and natural talent.
Toggle Commented Aug 28, 2015 on The Creative Nonpocalypse at hypebot
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Aug 28, 2015