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usic Thread 2.0

I heard an NPR story this week about a new member based music streaming platform from soundcloud that will pay artists based on their actual number of listens and downloads instead of services like Spotify that has a giant pool of money and pays artists based on their percentage of the total streams. In the story they briefly interviewed one of the guys from Galaxy 500, a band that broke up after recording 2 albums in the late 80s (Dean Wahrem(sp?) of Luna was in Galaxy 500). They noted that they get like 700,000 streams permonth on Spotify and that leads to about $1000 per month per band member. I thought it was actually a pretty good deal that ~35 years after these guys wrote and recoded these songs as teenagers they are still bringing in money off this music. But the guy from the band was complaining about the system. What am I missing? Seems like if the record industry was still based on CD and record sales and touring these guys would be looong past any income on these recordings. I’d be pretty psyched if music I’d made with my friends from high school was getting me any money at all.
 
I'm not sure Galaxie 500 (or Luna, or Wareham's solo stuff) is as forgotten as you think.

There are also plenty of articles criticizing Spotify's model (and I can link 'em if you'd like) but one I often talk about when I teach mass media is how this "money pool" system might effect smaller musical acts disproportionately.

Also how the difference between consumers purchasing media and paying (through ad/attention revenue) to listen per song stream (percentage as it may be) might affect the creation of music. Pop music on steroids, basically. Instead of participating in a market where selling a few records might make you profitable, you're competing for a percentage share of a money pool so you turn to the most accessible styles and tropes and feature only the most successful musicians. The circle gets smaller and smaller.
 
TenaciousKory said:
I'm not sure Galaxie 500 (or Luna, or Wareham's solo stuff) is as forgotten as you think.

There are also plenty of articles criticizing Spotify's model (and I can link 'em if you'd like) but one I often talk about when I teach mass media is how this "money pool" system might effect smaller musical acts disproportionately.

Also how the difference between consumers purchasing media and paying (through ad/attention revenue) to listen per song stream (percentage as it may be) might affect the creation of music. Pop music on steroids, basically. Instead of participating in a market where selling a few records might make you profitable, you're competing for a percentage share of a money pool so you turn to the most accessible styles and tropes and feature only the most successful musicians. The circle gets smaller and smaller.
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Selling a "few records" wouldn't make you profitable. Selling a lot of records made you profitable and able to take time with artists like Springsteen, U2, etc. People like Berry Gordy or Gamble & Huff could give new people lots of chances due to how successful The Spinners, Temptations, etc., were.

On top of that, songwriters used to be able make good livings. Today, you can't.

Last year here are the top selling albums:

Folklore, Taylor Swift – 1.2 million.
After Hours, The Weeknd – 476,000.
Map of the Soul: 7, BTS – 361,000.
Legends Never Die, Juice Wrld – 342,000.
Fine Line, Harry Styles – 333,000.
Chromatica, Lady Gaga – 312,000.
Manic, Halsey – 279,000.
Evermore, Taylor Swift – 270,000.

Here's the list of the best selling albums of the 1980s. FYI, you had to sell more than 4,100,000 to make #100.

https://rateyourmusic.com/list/abyss89/the_100_biggest_selling_albums_of_the_80s__usa_/

Kory, I understand you know more about everything, including the music business, than I do, but you couldn't be more wrong about the creation of music. This should be a golden era, but the internet has made it boring and pop music is a wasteland as compared to other eras.

It's a shame. It should be so much better.

Kory, I know my place in your world view. I know that I know nothing and no one in the music business and never have versus your omniscience. But once in a while, you may be wrong and I may be right.
 
TenaciousKory said:
Also how the difference between consumers purchasing media and paying (through ad/attention revenue) to listen per song stream (percentage as it may be) might affect the creation of music. Pop music on steroids, basically. Instead of participating in a market where selling a few records might make you profitable, you're competing for a percentage share of a money pool so you turn to the most accessible styles and tropes and feature only the most successful musicians. The circle gets smaller and smaller.
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RJKarl said:
Kory, I understand you know more about everything, including the music business, than I do, but you couldn't be more wrong about the creation of music. This should be a golden era, but the internet has made it boring and pop music is a wasteland as compared to other eras.

It's a shame. It should be so much better.

Kory, I know my place in your world view. I know that I know nothing and no one in the music business and never have versus your omniscience. But once in a while, you may be wrong and I may be right.
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dude you agree with me

what the hell is wrong with you
 
"Instead of participating in a market where selling a few records might make you profitable, you're competing for a percentage share of a money pool so you turn to the most accessible styles and tropes and feature only the most successful musicians. "

The wording of this section and the earlier made it appear that you thought this model works better. The reason I thought that there is no market where "selling a few records might make you profitable" for a national or international record company.

If that is wrong, my bad.

Make no mistake, I am not supporting the thieves of the old record companies.

If you don't mind a funny story about that, here goes. In the mid-80s, a friend (who had sold millions of records) and I were at the Rock & Roll Hyatt on Sunset (as seen in Almost Famous). Why were there, I won't publish.

As we waited for my car at valet, we heard a high pitch voice, "Is that you (directing it at my friend)?

We turned to see it was Little Richard. My friend and I said hi. Then Richard said, "Does your friend know how many millions were stolen from me?"

I said I did. My friend looked at Richard and told him a sentence or two about me. Richard smiled and said to me. "Tell your friends to be careful or they will get robbed, too."

Back in the day, talent did get screwed but they also had more real opportunities.
 
TenaciousKory said:
I'm not sure Galaxie 500 (or Luna, or Wareham's solo stuff) is as forgotten as you think.

There are also plenty of articles criticizing Spotify's model (and I can link 'em if you'd like) but one I often talk about when I teach mass media is how this "money pool" system might effect smaller musical acts disproportionately.

Also how the difference between consumers purchasing media and paying (through ad/attention revenue) to listen per song stream (percentage as it may be) might affect the creation of music. Pop music on steroids, basically. Instead of participating in a market where selling a few records might make you profitable, you're competing for a percentage share of a money pool so you turn to the most accessible styles and tropes and feature only the most successful musicians. The circle gets smaller and smaller.
Click to expand...

Can you post or pm me some links. I am genuinely interested in this. I’ve bought a lot of cds and gone to a lot shows for the artists I like and I want to support them the best way I can, especially in these times. I was just surprised to hear the Galaxy 500 guy complaining since under the old model the vast majority of the their income for those songs would come in the first few years, especially a band that broke up right after the records were finished.

Btw, Luna in NYC in 1993 was my first show ever.
 
The Covid musicians joke:

The guys named their band 999 Mega Bytes

They couldn't get a gig.
 
Picked up tickets to Hinterland today, along with an RV camping pass. Really hoping they can pull it off, but we shall see. I saw that Coachella and Stagecoach are pushing back another year, so it will be interesting to see what others do.

Great line up:

8/6 - Avett Brothers, Old Crow Medicine Show, CAAMP, Yola, Shura, Hex Girls
8/7 - Tyler Childers, Black Pumas, Tanya Tucker, Marcus King, Shooter Jennings, Paul Cauthen, The Dip, Kesley Walden, Lillie Mae
8/8 - Leon Bridges, Khruangbin, Mt Joy, Elle King, Orville Peck, Hamilton Leithauser, Charley Crockett, Bendigo Fletcher, Vincent Neil Emerson
 
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birdman said:
Can you post or pm me some links. I am genuinely interested in this. I’ve bought a lot of cds and gone to a lot shows for the artists I like and I want to support them the best way I can, especially in these times. I was just surprised to hear the Galaxy 500 guy complaining since under the old model the vast majority of the their income for those songs would come in the first few years, especially a band that broke up right after the records were finished.

Btw, Luna in NYC in 1993 was my first show ever.
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I figured it wasn't a case of you personally not being familiar with Luna/Galaxie/Dean, since you've posted about Luna before (Penthouse is one of my all-time favorite records).

Damon Krukowski was one of the first to call attention to this model: https://pitchfork.com/features/article/8993-the-cloud/ -- this is probably a longer-form version of what Dean was talking about on the NPR segment you listened to.

The Ringer put together a good piece I recall: https://www.theringer.com/tech/2019...-music-streaming-service-royalty-payout-model

Here's an earlier NPR segment (or maybe the one you were referencing?): https://www.npr.org/2019/07/22/7437...been-great-for-some-but-is-there-a-better-way
 
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New vinyl day
 
BarcaDeac said:
What vinyl brush do y’all use? Also which inner sleeves?
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I've got a carbon fiber anti static brush from Turn Table Lab that seems to work well. I also use a cheap RCA brush as well as one that came in a kit with some cleaning spray. They all seem to work well enough for my needs - if I had to recommend one, I'd suggest the TTL one.
 
As for inner sleeves, I don't have a recommendation for a specific inner sleeve, but I've been happy with TTL outer sleeves, so I'd feel comfortable with their inners if I needed some, personally.
 
Happy 76th B'Day Eric Clapton!

Here's a video most haven't seen.

 
new spencer krug out 4/16, here's the lead single



he dances like me
 
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