Suzanne Vega Analysis

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

I, Helen Katz, was the youngest of eight children. I was born and raised in a religious Jewish family living in a small town in northeastern Hungary. I was always considered the "baby" of my family, I was the focus of everyone's love and affection, although my Hebrew name was Hannah, my family always called me by my nickname, Potyo, which meant "the dear little one”.

When wanting to listen to a song today, one no longer has to buy or download a physical copy. In today’s world, streaming has become one of the top ways of retrieving music content. This major change has led to a profound shift for the music industry and its artists. It has developed a continuous conflict that affects the way music is distributed and how artists make a living. Listeners stream music electronically through their computers, phones, cars, and more. Most of these streaming platforms allow for the content to be free, which directs to the question of whether music should be free or not. Streaming is a topic that has presented itself to be a valid issue on whether it ultimately hurts or helps artists and their careers. Streaming has both pros and cons, but in order to aim to figure a possible solution there needs to an examination of the history of the issue, a proper analysis of both sides, and evaluating its importance.

- Spotify advantages over other legal music streaming services include free subscriptions, easy to use, able to use on multiple devises, and it has a large music catalog.

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

Katelyn VanVoorst is a fairy-tale loving, musically talented, fear-seeking human being currently residing in Sioux Falls, SD. Of course, this is not where she wants to live forever. She is one of those girls with big dreams to live in big cities, New York City, and LA. Very big citites with incredibly large population (and pollution levels. But hey, to each her own). She prefers hot weather, so LA would be key. This makes sense as she loves summer for it’s hot weather and endless oppertunities.

Jill La Tore’s reaction to the situation reminds me of my own in a not to different situation. In tenth grade apparently another kid was taking my work and copying down two or three paragraphs while no one was looking. It wasn’t until the teacher made a comparison one day and call both of us out during class. In order to get to the bottom of things she assigned us both an assignment to do in class, then separated us the entire period. I was literally done within ten to fifteen minutes, while the other guy sat there half the class. It was extremely obvious who the plagiarist was at that point though. Our teacher made us both stay after class to explain to him what he had did was wrong and he admitted to it. When she turned to hear my response

This case study about the Spotify business model allows a broader vision of what the digital music industry is. In a short time, many companies have developed and managed marked their territory in a highly competitive industry. The start-up Spotify has undergone a remarkable evolution in a financial point of view but also in terms of its popularity. Its various competitive benefits regarding the market leader and its respect for music labels have enabled the company to be renowned and to have a reputation in the real business. Today, five years after its creation, Spotify is certainly criticized in some aspects of

The ever-changing landscape of music distribution, due to constant advancements in technology, is sometimes hard to keep up with for artist, producer, and consumer alike. New editions of textbooks in Music Business classes are issued each year, and changes are made in the industry before the semester is even over. Because of this, it is vital for the industry to not only not only be aware of what is currently going happening, but also be able to foresee the direction that the music business is heading in. In this aspect, it seems that we are at a turning point where consumers and artists are taking

All I can say from doing this research is to, for myself, pay closer attention and be aware of the shaping of our society through the way radio stations push certain songs and we interpret them. I feel as if with this information it can open up more room for investigation as far as learning how the payola procedures play out and how does radio become more dominant than the actual music industry who produces the music. With this piece of knowledge, I find myself wanting to reject the idea of radio being available to help us find new music, instead I see it as a way to promote certain artists and profit off of them without actually paying their songs because its good. These industries are continuing to push for consumerism when in reality it should be set up as a world of knowledge that teaches everyone through their lyrics and the information they put out. Its should not be this easy to influence someone to do the morally incorrect. The morality aspect of doing he right thing when it comes to their audience and it is all about who is paying the most to get themselves

3-4). While these statistics provide a look into the numerical growth of the streaming industry, it is also important to discuss the power that these streaming services have generated—over both the music industry and over established/aspiring artists. Subscriptions are on the rise, having increased significantly over the past ten years, but as is the amount of users streaming music on a free-trial or ad-supported basis—ultimately undercutting the music industry and artists alike. Blewett and Gollogly (2017) elaborate on this point, stating that, by the end of 2016, paid music streaming subscriptions drove a revenue growth of 60.4%—this growth more than offsetting a “20.5% decline in downloads” and a “7.6% decline in physical revenue” (Blewett & Gollogly, 2017, para. 4). Moreover, Borja and Dieringer (2016) explore the concept of streaming even further in their academic article, positing that the decline in paid digital downloads may be a direct result of streaming—as, music streaming can be perceived as a “complement” for music piracy, in which listeners can freely sample music to pirate later on (Borja & Dieringer, 2016, p. 1). The authors also suggest that streaming can provide a “venue for discovering and listening to new releases”; and after completing their 1052 surveys, conclude that streaming increased the likelihood of piracy by

The "business side of music is struggling to generate enough revenue because of the new technology" ("How the Internet Changed Music."). "Most of the people who are part of making a record are paid in royalties, and anytime music changes hands without money being involved, those royalties can’t be paid—which is why so much has been done in recent years to try and reduce music piracy"("How The Internet Changed Music."). iTunes and Amazon has helped by offering cheap downloads for single songs, which allows the customer to only purchase songs they like rather than the entire album ("How the Internet Changed Music."). Spotify and Pandora, who offer either ad-based or paid subscription streaming of their music libraries, are Internet radio stations which have also helped with the piracy problem ("How The Internet Changed

When speaking economically, the digital music sector of the international music industry is undoubtably the most important sector in the industry. Within the last decade, music has seen cardinal changes in the way both major and independent labels distribute their products. An industry that once relied on Payola 's and mass distribution of physical records and CD 's now relies heavily on the power of the internet. The first instance of mass distribution of music through the internet was by the service Ritmoteca.com in 1998 [1]. Ritmoteca had a library of over 300,000 songs, offering individual songs for 99 cents each and albums for $9.99. After signing distribution deals with many major music labels such as Warner

Spotify is an online commercial music streaming platform that, despite earning a massive sum of Euros in 2012, has never recorded any profit ever since its launch in 2008. Royalty costs and increases in licensing costs cover most of Spotify’s expenses, and these fees continue to be a problem as it prevents Spotify from making a profit.

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.