“isn’t the sharing economy just the desperate economy…”
“Free Ride” author Robert Levine takes on Steven Johnson’s stats and conclusions…
In this weekend’s New York Times Magazine, author Steven Johnson wrote a piece, “The Creative Apocalypse That Wasn’t,” which ventured to examine the state of creative business in the digital age. Johnson conclusion was that it’s thriving. I have strong feelings on this topic, since I wrote a book that makes the opposite argument. I’d very much like Johnson to be right, since the health of the creative business strongly correlates with my ability to put food on the table. But although I think he’s a smart writer — we worked together, briefly, years ago — I think he’s looking at wrong information in the wrong way. He ends up oversimplifying a complicated subject to make a contrarian point.
Johnson’s premise is that the best way to assess the health of the creative businesses isn’t to look at falling sales or struggling companies but how actual creators themselves are faring. It’s a smart, refreshing approach. But his evidence that creators are thriving is far flimsier than it looks.
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A must read from Scott Timberg at Salon.
Musicians, writers, and other creative folk are still scratching their heads over the cover story in Sunday’s New York Times Magazine: “The New Making It” — packaged online as “The Creative Apocalypse That Wasn’t” — looked at how the Internet economy, instead of destroying creative careers, had redrawn them in “complicated and unexpected ways.” The story’s author, Steven Johnson, is an engaging writer, and the piece is told largely through statistics, which most readers assume to be beyond criticism. So why are so many people who work in the world of culture wondering why the article seemed to describe a best-of-all-worlds planet very different from the one they live on?
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:
One of the mantra’s that we always hear about the internet and musicians is that the revenue has shifted from recording sales to live ticket sales. So the great accomplishment of the internet according to Silicon Valley wisdom (and Steven Johnson of the NY Times Mag) is that artists can hit the road. “The dream of the 90s is alive, the 1890s…”
Well, if you’re not an established hit artist, here’s how that is working out in the post-napster era. Oh, and by the way, songwriters don’t tour, record producers don’t tour, recording engineers don’t tour… well, you get the point. Here’s the stat as reported by Digital Music News.
Note that in 1982 almost 40% of the revenue was divided between the “bottom” 95% of artists, while in 2003 they received only 15% of all revenue.
Could it be that these top-grossing artists benefited from launching in an era when artists didn’t have to be in the top 1% to develop a healthy live following over years of touring?
READ THE FULL POST AT DIGITAL MUSIC NEWS:
This week there will be a lot of discuss about Steven Johnson’s piece in the NYTimes Magazine. It’s important to note that there are some very serious questions about how Johnson arrived at his conclusions. This piece from Digital Music News from 2013 offers another perspective, and one that is far more consistent with what we see.
There’s more music being created than ever before, but paradoxically, musicians are making less. Which means there are also fewer musicians and music professionals enjoying gainful employment, thanks to a deflated ecosystem once primed by major labels and marked-up CDs.
It’s a difficult reality to stomach, especially given years of misguided assumptions about digital platforms. But it’s not really a revolution if it’s not getting people paid. And according to stats supplied by the US Department of Labor, there are 41 percent fewer paid musicians since 1999.
READ THE FULL STORY AT DIGITAL MUSIC NEWS:
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:
This week’s apology episode from Johnson is entitled The Creative Apocalypse That Wasn’t — and its one of the most brain dead pieces that the New York Times Magazine has ever published. I’m shocked the Public Editor has not already taken Johnson to task. I won’t go into all the details because David Newhoff has already destroyed most of Johnson’s argument that the Internet monopolies have actually been a boon to the average artist. This is total nonsense as this chart shows.
READ THE FULL POST AT MEDIUM:
Chris Castle at Music Tech Policy does a takedown of the NYT Magazine anti-artists disinformation piece… read on…
Originally posted on MUSIC • TECHNOLOGY • POLICY:
If you read the New York Times Sunday Magazine (which probably means you’re over 40 or live inside of the Acela corridor), you may have noticed a story last week titled “The Creative Apocalypse That Wasn’t“. This piece is another of these “Sky is Rising” type things bankrolled by the Computer & Communications Industry Association, aka Google. I’m not accusing the author of being on anyone’s payroll (except perhaps the Times itself…more about that later), but I can’t help noticing the similarities.
Here is the author’s thesis:
But starting with [Lars] Ulrich’s  testimony [in the Napster case and hearings], a new complaint has taken center stage, one that flips those older objections on their heads. The problem with the culture industry is no longer its rapacious pursuit of consumer dollars. The problem with the culture industry is that it’s not profitable enough. Thanks to its legal…
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Social Passivity Resulting in Current Invasive/Spying Technology
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