Source 3: The New Necessity In The Music Business

Even so, when the artist put their time and hard work into making songs that will catch the subscribers attention just for it be free. For instance, Jacob Carter of “The Changing Landscape of the Music Business” quotes “In November of 2014, award-winning musician Taylor Swift pulled her entire music catalog from Spotify, a popular streaming app, claiming that their business model suggests that music does not hold much worth.” This shows that Taylor Swift does not believe with the fact that her music is just out there for free and she not receiving money just for it be out there for the public. Thus, Darrius Johnson of “Selling Out Not Worth the Risk” quotes “In many situations, a record label owns the rights to an artist’s music, and if they license a song to a company or other party the artist has no control over how the song can be used.” To clarify, this information artists would not have their own opinion of doing any commercial because their music doesn’t belong to them but the record labels. This proves, that some artist has their opinion about their music they make and they just want to be free for the world to have because they took their time to create

Every music artist begins somewhere. Every artist had to do something to get their music out there. No one just automatically becomes famous. Then everyone wants to listen to your music. You start out new and anonymous and become more popular over time. Artist become famous by advertising. Every music artist should be able to advertise.

I propose that all unsigned rising artist should target the business side of the music industry to be successful in the entertainment business because it allows the artist to be taken seriously and make solid connections that can further his/her career. Learning the works of the music industry also enables a new artist to be further successful and profitable. Recent studies show that most new artists without professional representation and a business mindset have a slimmer chance in getting signed to major or independent labels (Lowry, 2011). Overall, the specific change needed is that unsigned artists should be concentrating on their careers as professionals and not amateurs, thus focusing on the ins and outs of the music business and

The feel-good essence of a lot of commercial pop music has the outcome of concealing the reality of structural where a people may not be treated as equals around the world (McKay, 2000, p.2). Therefore, commercial pop music has the triple socialising effect of having listeners forget the environment that they live in, having them believe there is validity in commercial power, and of muting people by mass-producing blaring, fused type of pop music while censoring others. This is concerning since the increasing variety of media controlled by the same corporations. An argument to this is that this feel-good aspect can help consumers feel, that they have escaped the conditions they live in. (McKay, 2000,

For instance, a musician could earn between 0.5 to 0.7 cents per stream that is $5000 to $7000 per million streams, which literally adds to nothing compared to what they might earn if they were to physically sell their albums. According to him, many popular streaming companies like Pandora and sportify are believed to be worth about $2 and $3 billion respectively but yet contributed very little to annual revenue of the American recording industry. (Ben Sisario, page 3). With this I personally believe and support the fact that online streaming did improve the musical system but as a result it also hurt sales. All the three articles were focused on one main concern-how streaming has hurt sales and royalties to musicians, but each addressed it inherently different. Author James c. McKinley Jr. showed how these days the internet taken over music video that were used to be aired on MTV which was the main platform for many musicians and producers to promote and advertise their new albums. He added that due to this, musicians need to be extra creative with a comic idea, has to be telling a story or showing sexually fabricated images in order to attract much audience to repeatedly watch the video. One of the most significant impacts that the Internet had on the music industry conveyed by these articles is the ability of musicians to be creative

This proves that an image that an artist created for the band can be destroyed by selling out to companies. If a band created an image of being rebellious, and they sell out; then, they are going to seem less rebellious and leave their fans betrayed. While this may all be true, the benefits of artists making deals with corporations are far greater. Such as, "A corporation paying for these costs can make the difference between artists growing their careers, or completely giving up on the music business altogether"(Coates). If an artist cannot pay for the costs of touring and selling music, then they could use the advertisement to get enough money to keep their dream alive. Artists making deals with companies has many positives, such as: giving bands exposure, and helping with the revenue of bands, and making bands more recognizable. There are many benefits to artists starring in advertisements with corporations, which is why music should be in advertising.

With technology growing more and more each day, it is no surprise that the music industry is transitioning to rely more and more on online sales. However, problems can arise from this when artists are taken advantage of by people who illegally download their music off of the internet for free. When one college radio host publically stated that she illegally downloaded her music, a professor by the name of David Lowery saw a problem with this and decided to speak up about it. He wrote a letter addressed to the college radio host, Emily, called “Letter to Emily White at NPR All Songs Considered”. With this, he also addresses the general public and calls them to make a change in their music buying, or lack thereof, habits. He explains that illegally downloading music is not a harmless task and we must understand the effects that it has on the artists as well as the music industry as a whole. While Lowery has strong uses of ethos, logos, and pathos, his conversational and

Instead of working on their own music, and their career, they are working on an advertisement that might ruin their career as an artist. Through this can come stress, even as a young and new artists. Instead of creating an identity for them, they are letting a product define them. Instead of working on withholding their identity, they are working on someone else's identity. By upholding and promoting a certain product or company, could be leaving their fans in the dust. An artists writing about true meaning and feelings in a song, then going to do advertising about some polar opposite, "can leave your fans feeling betrayed" (Johnson). This may make fans lose interest and respect. Artrists passion are fading because their "art is turning into just another tool for corporations" (Johnson). Artists are leaving it on the line for a company to define them, when they should be defining themselves.

For all of music’s history, the industry has favored the interests of songwriters over those of the performers. It appears that the industry believes that songwriters, both composers and lyricists, have full exclusive rights to whatever they compose, while performers have none to the music they perform. In Rock: Music, Culture, and Business, Schloss, Starr, and Waterman hold this value to be true in all of music’s history as well as currently, today. In terms of music business, this still remains an uneasy question to answer; to say whether, performers and composers both have rights, I have to agree. Schloss, Starr, and Waterman would be correct in that fact because performers like composers place their own styles and twists on the music. Therefore,

Over the past fifty years, the British Music Publishing industry has undergone dramatic changes. It has evolved as an entity with innovations in technology, changes and creations of laws and new mediums to promote and exploit songs to a wider audience. Therefore, the way in which the music publishing industry operates and exploits its assets has completely transformed, and continues to do so at a rapid pace. This paper will attempt to explore the ways in which publishers exploit song copyrights and the way in which this has changed over the past 60 years. It is important to define what is meant by copyright and its role within the industry. The Performing Right Society website states: “Copyright

Most popular music today is driven by violence and sex. These musicians put out albums that glorify violence and promote causal sex. When the albums are being produced, the artist does not think of how it will affect the perspective merchant. When

The music industry has changed in very quickly in so many ways it almost seems impossible. Thomas Edison recorded the first voice in 1877 and now we listen to hundreds of different types of music on devices that hold more information than the computers that sent the first astronaut to the moon. People have been getting music in tons of ways for the past hundred plus years and when the internet came into the picture, the music industry sky rocketed. People could get their own music out and be heard just by clicking a few measly buttons and using the internet to stream millions of songs with high speed. But even though the internet has helped the music industry by making it easier to distribute, advertise, and produce music, it still has its disadvantages.

No one can deny that technology is actively changing the music industry. Production, distribution and sales of music have been affected dramatically within the last 10 years along with artists, composers, and technicians. Most of the changes have been great for consumers, but vastly negative for professionals in the music industry, however a few artists have found ways to adapt to the changing atmosphere of digitally downloaded music and use it to their advantage. We’ve seen music change form from physical, tangible products like records and CD’s to electronic single tracks stored in an invisible cloud. Two major factors in this sudden revolution are online music stores (specifically iTunes) and file sharing websites that allow music to be downloaded illegally.

Nowadays, teenagers are living constantly surrounded by technology. Even if the younger generation may not see it, technology has had an impact on different factors. The widespread use of digital technology in the music industry has allowed consumers to reproduce digital versions of copyrighted songs inexpensively, with the help of many software and websites. There has been an increase in digital copying activities and those are most of the time claimed responsible for producers’ loss in revenues. While some people claim that the increase of digital technology has killed the music industry, in fact it has lead to innovation and new ways of consuming and sharing music, such as

The evolution of the music industry follows the familiar pattern of digitization. Innovation began with the introduction of the vinyl record, transitioned from the cassette tape to the compact disc and landed us in an era of digital downloads. The emergence of music streaming services like Spotify has progressed the industry even further, giving consumers the ability to access music on demand using download-free online platforms. Spotify faces criticism from artists as a result of the overlap of creativity and commerce. They argue that business activities corrupt creativity, transforming it into a tool for profitability rather than an outlet for expression. Artists insist that Spotify deters album sales, favors established artists and fails to support them financially. However, Spotify was created for consumers. It delivers an accessible alternative to purchasing and downloading music. The interplay between creativity and commerce is changing the nature of the music industry. Spotify has adapted to this change, providing a platform that supports both artists and consumers. Through analysis of the market, artist’s revenue, record labels and consumers, I will argue that artists should accept the evolution of the industry and support Spotify.