NY Times Gets It Wrong on Musician Stats | Stats Chat

The NY Times get’s it wrong. Stats Chats takes on the numbers:

The larger category, “Musicians and Singers”, has been declining.  The smaller category, “Music Directors and Composers” was going up slowly, then had a dramatic three-year, straight-line increase, then decreased a bit.

Going  into the Technical Notes for the estimates (eg, 2009), we see

May 2009 estimates are based on responses from six semiannual panels collected over a 3-year period

That means the three-year increase of 5000 jobs/year is probably a one-off increase of 15,000 jobs. Either the number of “Music Directors and Composers” more than doubled in 2009, or more likely there was a change in definitions or sampling approach.

 

READ THE FULL STORY AT STATS CHAT:
http://www.statschat.org.nz/2015/08/22/changing-who-you-count/

Steven Johnson & A Thesis That Isn’t | The Illusion Of More

If we strip away some of the color and simply look at the assertions being made, then the basic structure of the article reveals an important fallacy. First Johnson states that most of the evidence of harm done to creators in the digital age is anecdotal, and this is partly true — although anecdotes from professionals should not be misconstrued as mere random complaining. So, to get beyond the anecdotal, Johnson then cites macroeconomic data, compiled by the Labor Department, most of which suggests a big-picture view that creative people in all media are doing better than they were a decade ago. But, having previously scorned the anecdotal negative, Johnson then cherrypicks bits and pieces of the anecdotal positive — some of which he misrepresents — in order to support his interpretation of the economic data he cites.

READ THE FULL POST AT THE ILLUSION OF MORE:
http://illusionofmore.com/steven-johnson-thesis-isnt/

UK police are waging war on piracy sites’ funding — and it’s working | Business Insider

Ad Funded Piracy. Follow The Money. It’s not about sharing, it’s about profits.

Most big piracy sites don’t charge their users a fee, but are still able to profit off of copyright infringement. Why? Because the operators plaster their pages in advertising.

But British police now say they are making major headway in tackling this: On Wednesday, the Police Intellectual Property Crime Unit (PIPCU) announced that Operation Creative, launched in 2013, has led to a 73% decline in advertising “from the UK’s top ad spending companies on copyright infringing websites.”

READ THE FULL POST AT BUSINESS INSIDER:
http://www.businessinsider.com/operation-creative-piracy-73-percent-decrease-pipcu-2015-8

Music Artists Take On the Business, Calling for Change | New York Times

The New York Times quotes representatives of the artists rights movement including Blake Morgan of the #irespectmusic campaign, Melvin Gibbs of C3Action.Org (Content Creators Coalition), David Lowery of the Trichordist as well as musicians Zoe Keating, David Byrne and others.

“None of these companies that are supposedly in the music business are actually in the music business,” Mr. Gibbs said. “They are in the data-aggregation business. They’re in the ad-selling business. The value of music means nothing to them.”

READ MORE AT THE NEW YORK TIMES:
http://www.nytimes.com/2015/08/01/business/media/music-artists-take-on-the-business-calling-for-change.html

5 Seriously Dumb Myths About Copyright the Media Should Stop Repeating | John Degen @ Medium

Please read John Degen’s 5 Seriously Dumb Myths About Copyright the Media Should Stop Repeating at the link below.

There you have it. I hope this quick list has helped my friends and colleagues in the media who may be hurrying to file a story on World Book and Copyright Day. Here’s a final, simple, rule of thumb for writing about copyright.

If you want to understand how a working artist feels about copyright, talk to an actual working artist.

The last time I checked, ivory-tower legal-theory departments and digital-utopian advocacy groups were not the best places to look for actual working artists.

READ THE FULL POST AT MEDIUM:
https://medium.com/@jkdegen/5-seriously-dumb-myths-about-copyright-the-media-should-stop-repeating-a92e934f12a4

c3 : DEMONSTRATE TO SUPPORT ARTISTS RIGHTS !

Announcement From c3 (The Content Creators Coalition)

“Google is in the process of systematically destroying our artistic future… if the creative community doesn’t intervene now, and by now, I mean, fucking now — we will be bound to a multigenerational clusterfuck that will take 40 to 50 years to unravel.” – Kurt Sutter Attacks Google: Stop Profiting from Piracy (Guest Column) | Variety

DEMONSTRATE TO SUPPORT ARTISTS RIGHTS
when:  THIS SUNDAY, Oct 19th, at 4:30-5:00pm
where: Google 8th ave btwn 15th and 16th sts in Manhattan)

MARCH WITH US at 4pm sharp from Le Poisson Rouge
(158 Bleecker St., btwn Sullivan and Thompson in Manhattan )
—OR—
MEET US at Kelly Park at 4:15 pm
(W 16th St., btwn 8th and 9th avenue in Manhattan)

This action is sponsored by the c3, the Content Creators Coalition, a non-profit organization dedicated to the achievement of economic justice in the digital domain.

*  Google: Stop the Attack on Artists’ Rights.
*  Google/YouTube: Pay Creators For All Use Of Copyrighted Materials: When Profit Is Being Made, The Artist Must Be Paid:  Support An Artists Right To Choose: Take-Down-Means-Stay-Down!
*  Google: Stop brokering ads to corporate black market sites.

Please Forward

SUPPORT ARTISTS RIGHTS! #supportartistsrights
Join Us: ccc-nyc.org http://ccc-nyc.org/

c3_NYC101814

Sons of Anarchy’s Kurt Sutter Is A Rock Star for Creators Rights

We love Kurt Sutter’s unapologetic response to Google and Silicon Valley’s assault on creators. Below are links to Kurt’s two editorials that are essential reading for all creators to understand what the “internet economy” means for artists of all disciplines.

Kurt Sutter Attacks Google: Stop Profiting from Piracy (Guest Column) | Variety

Google is in the process of systematically destroying our artistic future, and more importantly, the future of our children and grandchildren. They’re spending tens of millions of dollars each year on eroding creative copyright laws. I believe that if the creative community doesn’t intervene now, and by now, I mean, fucking now — we will be bound to a multigenerational clusterfuck that will take 40 to 50 years to unravel.

The last time this happened was in the 1950s, when the tobacco industry spent millions to hide the truth, and convince everyone that smoking cigarettes wasn’t really dangerous to your health.

Earlier this year, Kurt took to writing a response in Slate to an editorial by Google Lobbyist Marvin Ammori (which lead to a later editorial disclosure of Mr. Ammori’s relationships).

Not-So-Zen and the Art of Voluntary Agreements | Slate

Every writer, producer, actor, musician, director, tech wizard, and fine artist working today needs to be aware of what this all means for our future—we will lose the ability to protect and profit from our own work. Every kid out there who aspires to be an actor or musician or artist: This is your future that’s at stake. More importantly, everyone who enjoys quality entertainment: This impacts you most of all. Content excellence cannot sustain itself if it loses its capacity to reward the talent that creates it. Consider this clunky analogy: If your local car dealership started selling your favorite luxury car for $1,000, then $100, then started giving it away, what do you think would happen to the quality of that vehicle? Before long, the manufacturer would be forced to let go of the skilled laborer, the artisan, and the craftsman, and eventually cut back on everything in the production process. And before long, that fabulous, high-end car you so enjoyed will be a sheet of warped plywood on top of two rusty cans.

Yep, it’s cheap, and it’s shit.

Among the arguments that Kurt brings to light are the use of Merchants Of Doubt tactics by Silicon Valley interests, the mechanics employed by Google and YouTube detailed by The Digital Citizens Alliance and the ability for creatives of all disciplines to join Creative Future for a unified voice against these forces of exploitation.

Spotify’s Daniel Ek is Really Bad At Simple Math, “Artists Will Make a Decent Living Off Streaming In Just a Few Years”

The future of music for artist revenue streams seems more uncertain than ever. Digital Music News is reporting a quote from Spotify’s Daniel Ek on CNN Money which appears to show the failure of the companies CEO to perform simple math.

It should be noted that Daniel Ek was also the CEO of uTorrent, “the world’s most popular Bit-Torrent client” which is advertising funded.

Spotify CEO: “Artists Will Make a Decent Living Off Streaming In Just a Few Years” | Digital Music News

CNN: At what point can an artist survive on a Spotify income?

Ek: Well, I mean, the interesting thing here is that we’re just in its infancy when it comes to streaming. And we just last week had an artist announcement where we basically said if there would be 40 million subscribers paying for a service like Spotify, it would be more than anything else in the entire music industry, including iTunes.

We don’t want to say Mr.Ek is lying, but he does appear to be very bad at simple math and to be misinformed about the actual size of the record business and the revenue being generated by Apple’s Itunes.

Is anyone actually capable of doing simple math in a spreadsheet? Here goes. 40m Spotify Subs at $10 a month is only $3.3b in annual revenue to artists and rights holders at paying out 70% of gross. How is $3.3b “more than” the current $15b total annual global revenue or the $7b in domestic revenue in the US?

Here’s the simple math…

40,000,000 * $84 = $3,360,000,000

$84 dollars per subscriber annually is calculated at $10 per month per subscriber paying out 70% to Artists & Rights Holders or, $7 per month. $7 per month, multiplied by 12 months equals $84 per year, per subscriber payable to Artists and Rights Holders.

40m Subscribers x’s $84 per year = $3.3b in annual global revenue to artists and rights holders (assuming they really are paying out 70% of gross).

Simple math.

If you are an artist you might also read these links below:

Music Streaming Math, Can It All Add Up?

Venture Capitalist Admits Artists Can Not Make A Living On Streaming Royalties…

The Internet Empowered Artist? What 1 Million Streams Means To You!

Streaming Price Index : Now with YouTube pay rates!

It appears to us that music streaming can only truly be profitable to those with participating equity in the streaming company itself. Those with equity are leveraging their catalogs of assets against the potential revenue of an IPO (in which the catalog of assets is being leveraged for that equity). Thus far however, it appears that the artists and songwriters who have created those assets as the basis for that equity leverage do not participate in any profit sharing that the equity shares may earn.

So it’s not that music streaming can not be profitable, it’s just that it can not be profitable (or equitable) to artists.

Please tell us which artists are being compensated from the $3b sale of Beats music to Apple? Let’s see a show of hands… Bueller… Bueller… Bueller…

Remember when we were told that in countries where music streaming was the most successful that transactional sales also increased? We’ve got a bridge in Brooklyn to sell you too, and cheap. More food for thought below.

Streaming Isn’t Saving the Music Industry After All, Data Shows… | Digital Music News

Album Sales Hit A New Low | Billboard

No Surprise Here: Spotify Streams Soar While Track Sales Fall | Billboard

 

David Lowery: Here’s how Pandora is destroying musicians | Salon

David Lowery has become both beloved and notorious over the last year as one of the musicians most critical of the ways musicians are paid in the digital era. The Camper van Beethoven and Cracker singer brings an artist’s rage and a quant’s detached rigor to his analysis of the music business.

He’s currently fired up about a federal lawsuit filed in New York in which several record labels have sued Pandora (and before that, Sirius FM) for neglecting to pay royalties for songs recorded before Feb. 15, 1972. Here’s how Billboard summarizes the suit: “The labels say both digital music services take advantage of a copyright loophole, since the master recording for copyright wasn’t created federally until 1972. … But the labels claim that their master recordings are protected by individual state copyright laws and therefore deserve royalty payments.”

Lowery thinks the loophole provides a way for Pandora to simply not pay older musicians for their work — while profiting from it themselves. The case could get bigger and change in strange ways, with broad implications.

READ THE FULL STORY AT SALON:
http://www.salon.com/2014/08/31/david_lowery_heres_how_pandora_is_destroying_musicians/