Rex Manning Day
Releasing a comparatively underwhelming lineup, waiting for the festival to sell out anyway because it always does, then adding Daft Punk as a surprise would have to rank among the most amazing troll moves in festival history.
“Spotify is not generating their own value besides creating the architecture for a streaming service (which by the way, they’re riding the coattails of Facebook for user accounts). They do not create (significant) content or value.”
According to the NY Times, in 1995, “when a CD is sold, 35 percent of the retail price goes to the store, 27 percent to the record company, 16 percent to the artist, 13 percent to the manufacturer, and 9 percent to the distributor.” (source: http://www.nytimes.com/1995/07/05/arts/pennies-that-add-up-to-16.98-why-cd-s-cost-so-much.html?pagewanted=all&src=pm)
I might be mistaken, but I don’t recall anybody complaining that record stores were keeping too much money for themselves in the 90s. Furthermore, back in that pre-digital golden age of record sales, rightsholders were only keeping 43% of CD revenues. That’s less than half! On Spotify, rightsholders keep 70% of revenue.
You’re right, Spotify is not being generous in paying 70% to rightsholders. Nor, however, are they being somehow unreasonable in keeping 30%. That’s less than a physical store kept in the 90s, and it’s significantly less than the store and the distributor kept combined. If you were right and building Spotify wasn’t worth anything, then the record companies wouldn’t have agreed to this revenue scheme in the first place. They would have laughed those techies out of the room, slapped together their own service, and called it a day.
But they didn’t. They saw value in Spotify, and they agreed that that value was worth 30% of revenues. You might argue that record companies were forced to agree to this by the current environment, to which I reply: yes, duh, welcome to capitalism. When nobody is willing to buy music any more, whoever builds the biggest streaming service will be king.
Artists and labels are fighting for better deals and better venues to distribute their music. The labels weren’t forced at gunpoint into this agreement. They got the best deal they could in the market that existed. If you ask me, artists should spend more time overhauling the record labels and less time complaining about the current version of the record store. Fixing the labels will produce far, far more money for artists than getting Spotify to drop its rate ever will.
Preemptive criticisms of indier-than-thou Stereogum comments are the new indier-than-thou Stereogum comments.
I am not Rex Manning. I am Rex Manning DAY.
A fine distinction, but an important one.
Anyhoo, I am just always amused when dudes go off about how everyone’s so “overly-sensitive” about “political correctness” these days, and I like to point out such occasions so that others may join in my amusement. I am simply spreading joy, here.
Always nice to see 2 dudes sort out the finer details of what is and isn’t misogyny among themselves.
I mind that stuff being included in the first place.
Oh look, another Justin Timberlake song that is already too long at 5 minutes but then segues into an unnecessary vocal beatbox interlude followed by a dully repetitive coda that will be removed from the radio edit because nobody wants to listen to it.
If you want to put yourself in physical peril, just hang out with Ray Lewis and his friends after the Super Bowl, amirite?
First off, admitting that you are trolling defeats the entire purpose of trolling. You imply that you might respect her for trolling, but disrespect her for not admitting it. But by denying that she was trolling, she is simply continuing to troll. Thus, you should respect her for sticking to her guns.
But you don’t, because you have been trolled.
It’s also worth noting that there are two kinds of potential trolling here: 1, playing bad songs just to get a reaction; and 2, playing songs she likes that are nonstandard for the environment and are thus likely to garner a reaction. It’s Trolling v. 1 that she denied doing, and she was probably being honest in that denial because she seems to genuinely enjoy the songs she played. But she is probably guilty of Trolling v. 2, because she must have known that Boiler Room is typically a more-obscure-than-thou contest and therefore could probably have foreseen that playing T. Swift would get a negative reaction. But she played it anyway because who cares, get over yourselves, this is a stupid thing to be talking about.