Does Spotify Make Sense For Non-Superstars?


6 comments posted

I'm so tired of reading over

Submitted by evolvor (not verified) on July 18, 2013 - 2:12pm.

I'm so tired of reading over and over again this pointless arguement, and even more tired to see wealthy assclowns like Yorke trying to be all tough and remove their tracks from Spotify.

It's this simple. If you are obscure and not well known, you're not going to make a cent, which shouldn't matter because you weren't going to make a cent ANYWAY. If you're popular then you'll make some change. There is no middle ground in this business and their never was. If you don't want people to become a fan of your music, leave it off the damn thing and good luck trying to sell your CD's out of your car truck. In the meantime if money is so important, get overself and go get a real job like the rest of us. No one is forcing you to try and make a living in a failing, completely lost-cause business model.

Evolvor: I'm afraid you're

Submitted by kevin on July 18, 2013 - 2:30pm.

Evolvor: I'm afraid you're mistaken. Our data shows that most working musicians are in the "middle ground"! Check it out at

This is as level-headed and

Submitted by Jeremy (not verified) on July 18, 2013 - 10:05pm.

This is as level-headed and open-minded a look at this sticky situation as I have read. Thank you for this. It's a shame the first commenter did not rise to the level of your post, but this is the internet after all, and this is the comments section. Abandon intelligence and humanity all ye who enter here.

@Evolvor Are you an artist?

Submitted by Domingo (not verified) on August 16, 2013 - 2:51pm.


Are you an artist? If you are it doesn't make sense what you said.

Thanks FMC for posting this

I have elsewhere argued

Submitted by Bruce Falk (not verified) on August 18, 2013 - 2:14pm.

I have elsewhere argued extensively for compulsory licensing of digital media in exchange for strict enforcement of attribution transparency (original works’ and their authors must respectively be accurately labeled and identified), with royalty payments metered by usage to be paid out of a collective pool by collection services such as ASCAP, BMI, SESAC, and SoundExchange. The mechanism I describe at eliminates piracy by moving the locus of payment from those end users who do not directly pay for streaming, downloading, and/or synch rights to regulated taxpayer- and commercially-funded royalty pools, on the basis of monthly aggregated data collection and reporting. While the extension of compulsory licensing sacrifices some artistic independence and control, I will argue that doing so both fulfills the intent of copyright to “promote the useful arts” and increase and diffuse knowledge while also acknowledging the reality that nonarbitrary, cost-effective enforcement is impractical (if not impossible) in the digital age. I conclude however by explaining why dreams for such a regime must remain futile if entrenched commercial interests (the RIAA and the major labels they represent along with their Pandoras, Rdios, and Spotifys, to say nothing of the MPAA and the big five media conglomerates) cannot be coopted to participate in adoption.

Elijah Wald recently published a terrific book, subtitled "An Alternative History of American Popular Music" (which I have reviewed at that tells the sordid tale of AFM's 1940s strike against technology. It is far more sensible to adapt to changing climates than to fight tidal forces or seek to ostrich it out.

What a about a cooperative

Submitted by Rahul Varshney (not verified) on December 4, 2013 - 6:38am.

What a about a cooperative music label? Has this been explored to bring up royalty rates?

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