Posts by Simon Grigg
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Don't you just end up being an enabler?
There is that of course, but then I feel that every time I find myself watching ten minutes of American Idol.
I can't be bothered with Kiwiblog or that Whale fella or any other the try-hard Kiwi wackos, they're too wannabe, like a poor man's Xerox of the American sub-species that fester in the comments pages of WND and the like.
I'm hoping James enjoyed the last part of your first paragraph without gagging too hard on his teabags.
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how do you make sure of your revenue streams?
Many of these sorts of streams are already monetised and collected in music and have been for some time. There are global agencies in place to collect, administer and distribute the funds from things like streaming, performance and quite a lot of other income generated by the copyrights you find in a recording. They're efficient and charge little for their services.
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Kind of like ripping scabs of a partially healed wound?
You do that too?
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And yet TDS mocked them before as well. There's no requirement on Stewart to only mock the politicians.
Unless of course it's starts to get nasty I get some sort of perverse pleasure watching these wackos. Real Clear Politics's front page usually has a link or two to the more extreme blogs, which often make the comments on Red State look like a charm school. I just can't help myself. People think I'm odd, but looking at this thread I feel more comfortable in my fetish. I'm not alone.
At least we know where they are now. Sixty years back they were hiding under white sheets in the Appalachians and planting burning crosses. Of course then came TV and the HUAC and we never looked back.
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The Internet can be your best friend here, if you use it right by getting up to speed with what's available. But too many people don't understand it and declare it the enemy.
And it has the added bonus of actually reducing the significant costs of a recording project when one factors in the huge costs incurred, especialy in bigger territories, in promotion (you mean I don't have to mail out 2000 albums to reviewers and 5,000 to radio stations?), and video costs...I mean, who makes million dollar videos anymore? Very few when YouTube has given the artists a way of getting very low cost videos to a massive audience over over again.
Simon, licencing deals are grand, for those who can get them.
Those are the cream and are not what I'm talking about. The core income stream from non-sales is performance. APRA is doing verywell at the moment in this 'free' environment so clearly someone is paying and paying well, including much of the stuff that's coming off the net.
I think waving the word 'free' around is a bit dishonest. We're not there and unlikely to be there in the near future although the return from physical sales just in pure dollar terms is likely to drop further, but don't forget that sales of units actually rose in 2008, so people are paying for music.
And under most of the plans put forward will, in one way or another continue to.
But at the least, if that's the primary means of recouping, it's going to mean a change in what gets (funded to be) recorded.
No because the money has always been in the publishing and the performance. Even in NZ, I wager Neil Finn and Dave Dobbyn's income from publishing and performance and such vastly outweights their return from record sales. I reckon you could count the number of NZ acts who've actually made any money from sales of their albums on the fingers of two hands. And that's been neither improved nor diminished by the rise of the net.
But the potential return from the performance and publishing since the advent of the internet is much more.
NZ's music has virtually never been funded on whether it will make money because overwhelmingly it won't and that hasn't changed in decades.
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that's half of the picture, now all you need is the other half that shows those projects breaking even, and if they don't break even where the money comes from to cover those short falls.
So essentially then, nothing has really changed. I think the oft quoted figure in the US was that 1 act in 20 recouped (I know you hate that word Rob but it's a part of the playing field and doesn't go away) and thus made money from master recordings (as compared to publishing and performance which pays from day one). There was a brief moment in the mid to late 1990s when that percentage improved due to the CD boom. The figure was very much worse in NZ because, uhhh, no-one lives there.
As you say, someone has to cover the shortfalls, and in the past it's often been a record label...NZ's majors have been enormously generous over the years mostly because of the passionate qualities of many of their managing directors..one has to wonder how many millions of dollars Adam Holt, Jerry Wise, Tim Murdoch, Chris Caddick and the others have quietly let slip away, often hidden from their corporate masters because they believed they had an obligation to support the largely loss making NZ recording industry. It is a myth to imply that all of a sudden, because of some ogre of file sharing this has changed and an industry has been destroyed (maybe it's me but I'm having trouble actually finding much NZ music on the p2p networks).
It's always been ludicrously hard to make money from records in NZ and it's usually had to subsidized by someone.
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Like him, I'm not prepared to call it a great leap forward.
but it's only free if one assumes that sales to listeners are the primary income stream for music creators and once that's been stripped there is little other way to make a return. That's not been the case for most of a decade now. Even before that I'd wager the the bulk of the income of just about any substantial recording artist over the past few decades has not come from the direct sale of master recordings of performances to end users.
The big question is whether the free model has negatively impacted the production and creation of music. And that is something even the most casual observer can see has not happened to date. There was more music released commercially in the US in 2008 than in any other year ever and the UK is currently undergoing a flurry of fresh innovative grassroots bands and acts. Clearly those 'significant costs' are being covered somehow, and that argument from Glenn Peoples misses the point that in the past past those significant costs include supporting vast and hugely expensive (and bloated) recording organisations which are quite clearly rapidly being washed away.
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Robbery is now taking issue with Jake's commentary on his argument style by using the same masterfully annoying tactics Jake just analysed.
whilst wilfully misstating my thoughts yet again....god.....
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And many times since, Simon ;-)
I can sidestep that by saying I was opting out of sub-threads, which I do, but overall this thing still holds some fascination. It's just those death spirals i can't deal with.
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Jake..brill, just brill. Did I really opt out on page 1? I guess I did but some things just keep on giving.