A design negotiated by the French music streaming service Deezer and Universal Music Group has recently attracted a lot of media attention in addition to the pro-rata and user-centric approaches to delivering audio streaming profits that were highlighted in piece 15. However, iƫ iȿ not the user-centric tყpe tⱨat Deezer has advocated in the ρast, but a so-called artist-centric design.
The Music Streaming Economy– Part 16: The Artist-Centric Model
This date dates back to April 2017, when Mark Mulligan entirely revealed on his Midia Music Industry website that Deezer was considering bringing a user-centric unit and had already discussed options with big right buyers. ]1 ] But nothing practical followed. The French broadcasting services invited journalists to a press conference in Paris two years later to learn about its plans to conduct a user-centric type testing in France starting in the new year. Worldwide, 40 categories and music producers, including Believe Digital, have spoken out in favour of switching to the new concept, and Deezer assured the media present that the introduction of the user-centric design do not require substantial funding. ]2 ]
The transition from the pro-rata to the user-centric concept has been silent once more. Ɗeezer’s planned IƤO, whįch was repeatedly announced, ȩnded up goiȵg back with a pause on July 5, 2022 on the Euronext in Ƥaris, making it possible that it waȿ σverdue. ]3 ] It was therefore a surprise when Deezer, together with the Universal Music Group, announced the introduction of an artistic-centric model in a joint press release on 6 September 2023″ ]… ] to better reward artists and music, while enhancing fan experience”. ]4 ] This should be achieved by letting “professional artists” to make more than 1, 000 channels per month from at least 500 unique people. These artists ‘ streams are valued at half as much as those at these levels. Additionally, the value σf music that įs conȿtantly searched fσr and accessed by users doubles. This results in four days more profits for guitarists above the boundary, who are artists whose song is constantly searched for and not suggested by systems. This double enhance is intended to lower the importance of analytic songs recommendations and increase music fans ‘ involvement in streaming royalties distribution. It also aims to remove the” white noise” of non-music from the revenue pool. Increased security measures are iȵ place ƫo prevent fraud involving tainted ȿtreams during the moⱱe. ]5 ]
What the media release does no notice, however, is that only a few designers may benefit from the “royalty improve”. Let’s recollect that in the UK in 2020, just 97, 222 or 23 per cent of players were able to make more than 1, 000 channels per month. Around 327, 000 performers remain below this level. Deezer and Universal are adamant about downgrading all of these musicians as “non-professionals. ” The percentage of artists who see theiɾ ȿtreaming income double or tɾiple is more reḑuced įf the Deezer laω aIso mandateȿ 500 unique users per month and that they aɾe constantly searching for the audiσ. This is why we should not talk about an artist-centric model, but rather a superstar-centric model ,]6 ] because only the really successful artists will benefit from this regulation. According to Mark Mulligan’s blog, DIY artists without a label contract increased their music streaming income by 60 % between 2000 and 2022, compared to the majors ‘ streaming income, which only increased by 35 % between 2000 and 2022. DIY artists accounted for 8 % of the world’s music streaming market in 2022. Ąccording to ⱨim,” The fastest-growing and ɱost dynamic aspect oƒ thȩ music industry could become a permaȵent funding mechanism for thȩ biggest labels and stars,” because many oƒ ƫhese artists onIy had fewer thαn 1, 000 streams per month. ]7 ] This is, of course, in the interests of Universal Music Group, which has the world’s largest music catalogue and represents many of the superstars whose streams are now being’ gold-plated’. Therefore, Deezer will likely pay significantIy hįgher amounts tσ Universal and the other maɉors. However, the artist-centric model will do nothing to change the income misery of the vast majority of artists, on the contrary, it will exacerbate it by economically devaluing their music streams. The pictưre is unchanged at all because of tⱨe double increase iȵ the number of musicians in the UK ωho receive betweeȵ 1, 000 and 10,000 streams eαch ɱonth.
Finally, Deezeɾ must be mentioned ƫhat Universal was forced to alter its mind ḑuring negotiations because the French streaming servįce haȿ long advocated fσr the switcⱨ from α pro-rata ƫo a user-centric model. However, the artist-centric model retains the pro-rata model, and the higher valuation of some streams merely redistributes the streaming revenue in favour of the music companies. Warner Music Group is also signing agreements with Deeȥer aȵd label licensing companყ MERŁIN in November 2023, which are putting pressure on oƫher streaming services ƫo adoρt ƫhe artist-ceȵtric royalty model.
Endnotes
]1 ] Mark Mulligan,” Exclusive: Deezer Is Exploring User Centric Licensing”, Midia-Music-Industry-Blog, April 19, 2017, accessed: 2024-07-05.
]2 ] Music Business Worldwide,” Deezer plans 2020 User-Centric Payment System pilot launch – if it can get rightsholders to sign up”, September 11, 2019, accessed: 2024-07-05.
]3 ] Music Business Worldwide,” Deezer goes public: Spotify rival makes stock market debut on Euronext Paris”, July 5, 2022, accessed: 2024-07-05.
]4 ] Universal Music Group press release,” Universal Music Group and Deezer to Lauch the First Comprehensive Artist-Centric Music Streaming Model”, September 6, 2023, accessed: 2024-07-05.
]5 ] Ibid.
]6 ] Basically, it is still a pro-rata model in which only the market shares are redistributed by the higher valuation of streams.
]7 ] Mark Mulligan” How to make artist centric artist centric”, Midia-Music-Industry-Blog, September 6, 2023, accessed: 2024-07-05.
]8 ] Music Business Worldwide,” Warner Music Group has signed up for Deezer’s ‘ artist-centric’ royalties model in France”, November 12, 2023, accessed: 2024-07-05.
]9 ] Music Business Worldwide,” Indie artists shift to artist-centric payments on Deezer, as streaming service signs new deal with Merlin”, March 21, 2024, accessed: 2024-07-05.
Along with the pro-rata and user-centric fashions mentioned intimately partially 14, there are different various approaches to distributing streaming revenues amongst rightsholders. These fashions, in addition to the idea of equitable remuneration used within the distribution of radio and TV royalties, can be examined in additional element on this a part of the collection on the economics of music streaming.
The Music Streaming Financial system – Half 17: Various Distribution Fashions
Spotify has additionally introduced a brand new distribution mannequin for 2024. This mannequin will apply to artists who generate greater than 1,000 streams per yr. Those that don’t attain this threshold can have their shares stream into the overall royalty pool. Billboard has calculated that two-thirds of the out there catalogue will now not be remunerated. This can end in a redistribution of royalties of 0.5 per cent of whole revenues. Whereas this will likely seem like a comparatively modest sum, it represents a redistribution of US $46 million in whole revenues.[1] Spotify justified this alteration by arguing that it was a strategy to fight streaming fraud and push again non-music. To again this up, it has additionally launched a EUR 10 superb for each monitor that’s 90 per cent manipulated (e.g. by streaming farms). As well as, non-music tracks, reminiscent of recordings of rain and the sound of the ocean, have to be at the least two minutes lengthy to be remunerated.[2]
Nonetheless, Spotify’s new distribution mannequin shouldn’t be an actual various to the pro-rata mannequin. It retains the pro-rata mannequin and redistributes the streaming pie by introducing a decrease restrict on the variety of streams. In an instructional article,[3] Frederik Juul Jensen recognized Spotify’s streaming cap mannequin as considered one of 5 various cost fashions that may be mixed with each the pro-rata and user-centric fashions. Another choice can be to think about the totally different lengths of tracks when calculating the worth. At present, all tracks streamed for greater than 30 seconds are charged on the similar price. This discriminates towards longer tracks, reminiscent of these generally present in classical music, jazz and even some rock genres (e.g. artwork or psychedelic rock). These might be charged at a better price relying on their size.[4] The context of streaming might also be necessary. It makes a distinction whether or not music is actively looked for and streamed, or passively listened to, as on the radio.[5] It’s exactly this distinction between curated passive music consumption and lively music listening that Deezer has made in its double increase mannequin, the place tracks which might be actively searched and streamed are rated twice as extremely as these instructed by a music suggestion system. The mannequin of paying for a tune solely from the second stream is comparable. The concept behind that is that music shoppers solely worth a tune in the event that they play it repeatedly. Due to this fact, music that’s performed solely as soon as shouldn’t be included within the distribution pool for streaming royalties.[6]
Lastly, the Affiliation for Unbiased Music (AIM) has launched the “artist progress mannequin”, whereby the music of artists at the beginning of their careers needs to be valued extra extremely than that of established superstars. The concept is to mitigate the winner-takes-all phenomenon that AIM believes has been amplified within the music streaming economic system. This mannequin relies on the idea of social and cultural assist measures that many European music accumulating societies have carried out by channelling a part of the storage media remuneration into corresponding funds to advertise younger, native artists.[7] AIM has commissioned former Spotify chief economist Will Web page and ASCAP vice-president David Safir to develop such a mannequin for the UK. It proposes that the highest 10,000 tracks streamed every month are divided into ten deciles, with the highest two deciles devalued by 8 per cent. This 8 per cent is then redistributed to the subsequent 4 deciles. The worth of the underside 4 deciles would stay unchanged.[8] It sounds sophisticated, and it’s. That’s the reason AIM in contrast this mannequin with a digressive tax system throughout the DCMS parliamentary hearings on the music streaming economic system, to make the idea comprehensible to the MPs.[9]
Musicians’ curiosity teams within the UK, which have joined forces to kind the Council of Music Makers (CMM), have introduced one other remuneration mannequin into the DCMS hearings, the idea of Equitable Remuneration (ER), which has already been tried and examined for radio royalties. In lots of European international locations, together with the UK, performers are remunerated for the efficiency rights within the sound recordings through which they seem. When these recordings are carried out in public or broadcast on the radio, they’re entitled to a price, as are the music labels. These are collected by accumulating societies reminiscent of Phonographic Efficiency Ltd. (PPL) within the UK, Gesellschaft zur Verwertung von Leistungsschutzrechten (GVL) in Germany or Leistungsschutzgesellschaft (LSG) in Austria and is distributed not solely to featured artists but additionally to session musicians and background singers.[10]
In the UK, this remuneration is named Equitable Remuneration (ER), as it’s distributed in a 50:50 ratio between the rights holders (sometimes the labels) and the artists (32.5 per cent for featured artists and 17.5 per cent for non-featured artists) after the deduction of the accumulating society’s administrative bills. One benefit for the performers is that these royalties are excluded from the standard label contracts and subsequently stream on to the artists, fairly than being topic to recoup the prices of a music manufacturing.[11] Nonetheless, ER, which applies to broadcasting and on-line radio, was not prolonged to music downloads and on-demand music streaming on account of stress from the key labels. Consequently, studio musicians and background singers don’t obtain a share of the streaming income, and featured artists solely obtain their share if the prices of music manufacturing are recouped.
This case was not solely thought-about unsatisfactory by the musicians’ consultant organisations within the UK, but additionally by the members of the DCMS parliamentary committee, who offered a essential last report on the hearings in July 2021. Amongst different issues, the report referred to as for the introduction of an equitable remuneration system for revenues from digital music gross sales and music streaming. In level 5 of the suggestions for motion to the federal government, the MPs wrote within the last report: “The proper to equitable remuneration is an easy but efficient resolution to the issues attributable to poor remuneration from music streaming. It’s a proper that’s already established inside UK legislation and has been utilized to streaming elsewhere on the planet.” They usually adopted this up with a powerful suggestion: “We advocate that the Authorities legislate in order that performers take pleasure in the correct to equitable remuneration for streaming revenue.”[12]
Kevin Brennan, who sat on the DCMS Committee for the Labour Celebration, wished to get right down to enterprise immediately and launched the Brennan Invoice, named after him, within the Home of Commons, proposing the introduction of truthful remuneration into the UK Copyright, Design and Patents Act 1988.[13] He met with fierce resistance, particularly from the British Phonographic Trade (BPI), whose CEO, Geoff Taylor, summarised the rejection in a remark in Music Enterprise Worldwide: “[E]quitable remuneration (ER) would, fairly frankly, be a recipe for catastrophe – a black gap that will suck worth away from music sector and in direction of the platforms.”[14] Given the pro-industry Tory majority within the Home of Commons, it was hardly stunning that the Brennan Invoice was rejected by a majority of MPs in December 2021.
This brought about an uproar amongst truthful remuneration advocates, prompting the federal government to fee a research from the Mental Property Workplace (IPO) to evaluate the impression of introducing ER into the UK copyright system. The IPO then commissioned music advisor Chris Carey to hold out the research, which in contrast totally different situations and evaluated the Spanish mannequin of ER for streaming revenues. These anticipating a transparent scientific assertion for or towards the introduction of a good remuneration regime for streaming revenues within the UK have been disenchanted. Chris Carey remained imprecise and referred to the necessity for additional analysis: “Whereas this paper didn’t got down to conclude in favour or towards any mannequin, the one key conclusion that may be drawn is that ER doesn’t supply a easy resolution to the streaming conundrum. There are numerous unknowns and complicated interdependencies inside the modelling, and a variety of additional questions that benefit deeper consideration. Importantly, this paper didn’t got down to decide what’s truthful and that necessary debate is outdoors the scope of this analysis.”[15]
The British authorities’s response was all of the extra stunning, because it interpreted the research as a transparent rejection of the ER distribution system and the accountable minister, Julia Lopez, drew conclusions that aren’t to be discovered there: “Its findings recommend that making use of the so-called ‘broadcast mannequin’ of equitable remuneration to music streaming is prone to be extraordinarily disruptive for the music {industry} with a excessive probability of damaging unintended penalties. That might embrace diminished funding in new artists and a discount in alternative for artists in how they negotiate with file labels.”[16] The representatives of the recording {industry} cheered loudly, as they have been capable of declare a significant lobbying success within the UK authorities’s rejection of the ER mannequin and noticed of their statements the hazard averted that Equitable Remuneration might undermine the flexibility of labels to put money into younger expertise and new music.[17] Given the huge income that the key labels specifically are incomes from the year-on-year progress in music streaming revenues, these statements appear virtually frivolous when you think about how little of the music streaming pie the vast majority of musicians are getting. Though the DCMS committee was capable of acquire an in depth image of the distribution of revenue within the music streaming economic system throughout the hearings and noticed truthful remuneration as an enchancment within the revenue state of affairs of performers, supported by music greats reminiscent of Paul McCartney, Sting, Stevie Nicks and Chris Martin,[18] the UK authorities gave ER a first-class funeral. Nonetheless, it’s uncertain that this may put an finish to the controversy concerning the distribution of streaming revenues within the UK, and it stays to be seen whether or not the Labour authorities elected within the July 2024 will put the difficulty again on the agenda.
Endnotes
[1] Billboard, “Every thing to Know About Spotify’s New Royalties Mannequin: How Does It Work & Who Will It Influence?”, November 20, 2023, accessed: 2024-10-07.
[2] Ibid.
[3] Frederik Juul Jensen, 2024, “Rethinking royalties: various cost programs on music streaming platforms”, Journal of Cultural Economics, 02 March 2024, https://doi.org/10.1007/s10824-024-09507-z.
[4] Ibid., pp 10-11.
[5] Ibid., pp 11-12.
[6] Ibid., pp 12-13.
[7] Ibid., pp 13-15.
[8] Affiliation of Unbiased Music (AIM), 2021, “Find out how to repair streaming–an introduction to the artist progress mannequin”, YouTube-Video, July 5, 2021, accessed: 2024-10-07.
[9] Affiliation of Unbiased Music (AIM), 2022, “SOLUTION: ‘Artist Development’ Mannequin for Fairer Streaming Outcomes”, Supplementary written proof submitted by the Affiliation of Unbiased Music for the DCMS Committee Hearings on the Economics of Music Streaming, February-March 2021.
[10] See Peter Tschmuck, 2021, The Economics of Music, 2nd version, Newcastle-upon-Tyne: Agenda Publishing, pp 97-98.
[11] See Music Managers Discussion board (MMF), 2015, Dissecting the Digital Greenback, half 2. Ashford: Hartley Brothers, pp 42-43.
[12] DCMS-Committee, 2021, Economics of music streaming. Second Report of Session 2021–22, HC 50 incorporating HC 868 2019-21, revealed on 15 July 2021 by authority of the Home of Commons, pp 103-104.
[13] Music Enterprise Worldwide, “Document labels actually, actually don’t like a brand new Invoice that might – ultimately – change how artists receives a commission within the UK”, November 24, 2021, accessed: 2024-10-07.
[14] Music Enterprise Worldwide, “Op/ed by Geoff Taylor: ‘Recognition is by far the largest determinant of success in streaming, simply because it has been for each recorded format earlier than it’”, April 13, 2021, accessed: 2024-10-07.
[15] Chris Carey, “The potential financial impression of ER on performers and the music market within the UK”, Research commissioned by the Mental Property Workplace (IPO), revealed on February 19, 2024.
[16] Music Enterprise Worldwide, “UK authorities confirms it has no intention to undertake ‘equitable remuneration’ payout mannequin for on-demand music streaming”, February 20, 2024, accessed: 2024-10-07.
[17] Ibid.
[18] Music Enterprise Worldwide, “Why are Paul McCartney, Led Zeppelin, Sting, Chris Martin and Stevie Nicks demanding the UK authorities ‘fixes streaming’?”, April 20, 2021, accessed: 2024-10-07.
The word “breakage” dates back to a day when information were made of acrylic and may break during travel. A label was obviously unable to continue selling these records, so clauses were written in the label contracts at the time to make sure that damage was not taken into account when determining the artists ‘ communicate. The phrase has survived into the modern era and is used to describe a band’s income that is not required to get shared with artists. In this final installment of the line on streaming music’s economics, we examine precisely what this profit is and the controversy that has arisen from it.
The Music Streaming Economy – Part 18:” Breaking” in the Digital Age
In” Record Makers and Breakers,” John Broven’s regular work on the US music business from the 1940s and 1950s exposes the deliberate use of record labels to break shellac records to prevent music productions from breaking even, avoiding paying the artists their profits. Henry Stone, the leader of De Luxe Records, claimed in an interview with the writer that the business was able to recover the lost revenue because the sales were typically covered by insurance against breakage. ]1 ]
But,’ breakage’ is also important in the modern age, albeit in a unique form. This has to do with the legal arrangements between music streaming services and brands, which we have covered extensively elsewhere. In a nutshell, Spotify &, Co. make progress payment to the categories to be allowed to use their song directories. These improve payments are therefore recouped using the streaming fees. Nevertheless, if the income is less than the progress, the change remains with the brands as “breakage”. A brand has US$ 25,000 in extra income that is not required to be distributed to the artists if a streaming company pays a label US$ 1 million as an advance for the contract period but the label’s catalogue is simply streamed to the value of US$ 750, 000 as an advance. The proceeds from the sale of the collateral that the degrees have acquired from streaming services are the same. They can convert it into dollars when they are sold, such as in an Investor like Spotify, where the designers are not required to disclose their artistic accomplishments, which in turn increased the value of the streaming service. The record label must determine whether or not to give “its” performers this money.
Many performers and their administrators have asked themselves whether their names, mainly the main labels, promote electronic “breakage” with them. Darius Van Arman, the founder and publisher of Secretly Group, criticized the majors ‘ “breakage” practice in a much-reported guest article for Billboard Magazine. He stated that” the majors typically share breakage only when required to do so in their contracts with big artists or larger distributed labels. ]… ] Unfortunately, this practice of maximizing breakage puts a downward pressure on the value of music ( i. e. in negotiations, major labels are requesting larger lump-sum payments, rather than pushing for higher royalty rates ), when really the whole music industry should be working together to increase the value of music, especially as large technology companies continue their assault on copyright”. ]2 ]
This was stated by Van Arman in advance of his evidence at the US Congressional” Music Licensing” sessions held on 10 and 25 June 2014 before the Subcommittee on Courts, Intellectual Property, and the Internet of the House Judiciary Committee. During the reading, the Members of the House interrogated representatives of the music industry, collecting societies, streaming services and labels, as well as Roseanne Cash, the daughter and heiress of singer and Johnny Cash, who testified about the disparate supply of streaming revenues between rights owners and artists, and called for a radio straight for authors in the US. In his detailed written statement, Darius Van Arman criticized the major labels, which “use their market power to maximize only the guarantee” [ …] with the intention that the guarantee cannot possibly be recouped within the time allotted for it. The major does not have to share the money with its artists, the independent labels that the major distributes, or publishing interests because it cannot be attributed to specific recordings or performances. ]5 ]
As a positive counterexample, Van Arman cited the indie label licensing association MERLIN, which distributes all “breakage” revenues to its members ,]6 ] although it should be added that MERLIN’s members are indie labels, not artists. However, in a” Labels ‘ Fair Digital Deal Declaration” ]7] drawn up by the Worldwide Independent Network ( WIN), the indies have agreed to share breakage revenues with their artists on a voluntary basis.
The public debate that ensued caused the music majors to feel uncomfortable. However, they were only made to comply when a contract between Spotify and Sony Music Entertainment was leaked in May 2015, disclosing the major labels ‘ business model of preferential treatment and terms of favor. [8 ] The International Music Managers Form ( IMMF) immediately responded by writing an open letter to music publishers and labels asking for more transparency in the reporting of streaming revenues, citing the Spotify-Sony deal, and voicing concerns about the music majors ‘ breakage practices. [9 ] In an interview, IMMF Vice-Chairman Volker May vehemently criticized Sony &, Co.’s handling of these” collateral additional revenues,” saying that” the labels are receiving all manner of collateral benefits from supplying the artists ‘ music to digital platforms, benefits that are not shared with the artists ( performers or writers )”. ]10]
Sony was forced to respond to these accusations by issuing a solemn statement in which it solemnly assured that the group’s labels would distribute all of its recording artists ‘ unallocated income from advances, non-recoverable payments, and minimum revenue guarantees as part of its digital distribution agreements. ]… ] This applies to all revenue under digital catalogue distribution agreements, whether or not the guarantees, advances or ‘ flat’ payments can be associated with individual master transactions”. ]11]
It’s probably not a coincidence that Warner Music Group leaked an anonymous royalty statement to Music Business Worldwide shortly afterward, revealing that Warner does indeed “break” revenues with its artists. To be fair, Van Arman specifically excluded Warner from his criticism. In any case, Warner Music Group felt obliged to issue the following statement:” Warner Music shares all advances, minimum guarantees and ‘ flat fees’ with its artists, ]…] This policy has been in effect at Warner Music since 2009, purposely treating breakage like other digital revenue”. ]12]
The statements from Sony and Warner have now put pressure on the third major music label, Universal Music Group, to also comment on its handling of “breakage” revenues. Universal also clarified its approach to digital “breakage” revenues on June 2 by stating that” we also choose to share with artists minimum guarantees as well as unrecouped digital advances, where they exist,” while the most significant source is composed of royalty payments. ]13]
However, the majors ‘ statements did not address whether all signed musicians would receive a portion of the “breakage” money or just a select few stars with bargaining leverage. Additionally, it’s unclear whether the sharing provisions only apply to artists who are currently under contracts or to those whose contracts have expired but whose music is still available and making money. In any case, we can only speculate about the artists ‘ share of the “breakage” revenues and the amount of compensation.
Finally, one might wonder why the majors have implemented such a system of improvements for music streaming services. Risk avoidance plays a particularly significant role in risk avoidance in addition to the same way that was used to recover advances from label contracts. In the early days of music streaming, there were many short-living players, with a high risk that they would generate little or even no streaming revenue. The advances were a revenue guarantee from the perspective of the majors, and they had the advantage of reducing the reliance on streaming services.
Overall, the example of “breakage” revenues highlights how multifaceted and complex the distribution problem in music streaming is. We have seen that rights holders are fiercely opposed to switching to alternative revenue distribution models like pro-rata and user-centric, and that revenue distribution models like pro-rata and user-centric have a negative impact on the distribution of streaming revenues. However, research on the musician’s income shows that only a select few stars profit from the streaming industry and that the majority of artists only make a small amount of money from music streaming. The big winners, on the other hand, are the labels and, secondarily, the music publishers, who were able to significantly improve their income situation in the US with the Music Modernization Act 2018. The main pillar of the business model of music streaming services is the music rights ( master and publishing rights ), which makes them structurally dependent on the rights holders, and, as we have seen with Spotify, makes it very difficult for them to operate their business model profitably.
Endnotes
]1 ] John Broven, 2010, Record Makers and Breakers. Voices of the Independent Rock ‘ n’ Roll Pioneers, Urbana and Chicago: University of Illinois Press, p 141.
]2 ] Billboard,” ‘ We Want to Compete,’ Says Secretly’s Van Arman, Ahead of His Congressional Testimony Tomorrow ( Guest Post )”, June 24, 2014, accessed: 2024-10-14.
]3 ] These hearings marked a significant step forward toward the Music Modernization Act of 2018.
]4 ] Testimony by Roseanne Cash before the” Subcommittee on Courts, Intellectual Property, andthe Internet” of the House Judiciary Committee, 113th Congress, 2nd Session, Hearing on” Music Licensing under Title 17 ( Part I &, II ) on June 10 &, 25 2014, pp 240-242 of the hearing-transcript.
]5 ] Written statement complementary to Darius Van Arman’s testimony before the” Subcommittee on Courts, Intellectual Property, andthe Internet” the House Judiciary Committee, 113th Congress, 2nd Session, Hearing on” Music Licensing under Title 17 ( Part I &, II ) on June 10 &, 25 2014, pp 270-286 of the hearing-transcript, cit. on p 274.
]6 ] Ibid., p 275.
]7 ] World Independent Network ( WIN),” Fair Digital Deals”, n. d., accessed: 2024-10-14.
]8 ] The Verge,” This was Sony Music’s contract with Spotify”, May 19, 2015, accessed: 2024-10-14.
]9 ] International Music Managers Forum ( IMMF),” Open letter on Record Label and Music Publisher Deals in the Digital Market”, May 21, 2015, accessed: 2024-10-14.
]10] Cited in Music Business Worldwide,” Managers react to leaked Sony and Spotify contract”, May 22, 2015, accessed: 2024-10-14.
]11] Cited in Music Business Worldwide,” Sony: We share Spotify advances with our artists”, May 27, 2015, accessed: 2024-10-14.
]12] Cited in Music Business Worldwide,” Warner pays artists share of Spotify advances… and has for 6 years”, May 29, 2015, accessed: 2024-10-14.
]13] Cited in Music Business Worldwide,” Universal: Yes, we share digital breakage money with our artists”, June 2, 2015, accessed: 2024-10-14.
As we noticed partially 14 of the collection on the streaming economic system, most music creators obtain so little income from streaming music that it’s economically irrelevant. To know this higher, we have to have a look at the accounting mechanism for music streaming revenues. The commonest mannequin is the pro-rata mannequin, which distributes income based on the market share of the rights holders. That is contrasted with the user-centric mannequin, the place precise utilization by streaming clients types the idea for distribution. This a part of the collection examines how these two programs work and the distributional results they’ve.
The Music Streaming Financial system – Half 15: Professional-Rata versus Consumer-Centric
Within the music streaming enterprise, the pro-rata distribution mannequin predominates. On this mannequin, the music streaming service calculates the overall month-to-month streaming income (after tax) based on the pricing fashions provided and retains an administrative share of round 30 per cent, as we’ve got already seen. The remaining complete quantity to be distributed to the rights holders (labels, music publishers, gathering societies, digital music distributors, and so on.) is split by the sum of all payment-relevant streams (greater than 30 seconds taking part in time) per thirty days. This worth is then multiplied by the repertoire shares attributable to the rights house owners, ensuing within the month-to-month cost quantity per rights holder. If this worth is larger than the upfront cost contractually agreed by the streaming service, the cash is distributed in that quantity. Nevertheless, if the distribution is lower than the contractually agreed upfront cost, the rights holder receives the upper quantity.[1] The distinction between the upfront cost and the precise payout is understood within the trade as ‘breakage’, however extra on that later.
The professional rata mannequin will be mathematically formulated as follows:[2]
RX … Income for streamed observe x
SX … Sum of all streamed tracks x
TS … Whole variety of streams
RG … Whole streaming income
A really simplified instance illustrates how the royalty mannequin works. In 2022, the music “As It Was” by Harry Types was streamed round 2.9 billion instances (SX) on Spotify worldwide.[3] In the identical 12 months, a complete of 1,600 billion streams (TS)[4] had been recorded on Spotify and Spotify distributed round EUR 8.2 billion (RG) to all rights holders.[5] Making use of these figures to the system above, the share of the payout for “As It Was” is EUR 14 million. Harry Types is signed to the Sony label Columbia Data. If we add up all of the payouts for Harry Types’ songs and do the identical for all artists signed to Sony Music, we get the overall payout from Spotify to Sony Music Leisure. The funds should not calculated on a worldwide foundation, however individually for every nation, contemplating the completely different pricing fashions. Nevertheless, the simplified calculation ought to present how the cash collected by Spotify is distributed.
In his meta-study on the distribution of streaming revenues, Rasmus Rex Pedersen exhibits that within the pro-rata mannequin royalties are paid per stream, although customers pay a month-to-month flat fee, “which ends up in a cross-subsidization from low-streaming person to heavy-streaming person.”[6] He illustrates this with a extremely simplified mannequin based mostly on two customers, every of whom streams just one music, with completely different ranges of utilization depth (fig. 1).
Determine 1: Income distribution within the pro-rata mannequin
Supply: After Pedersen (2020, p 5)
Consumer 1 and person 2 pay the identical month-to-month subscription payment of EUR 10, with person 2 being an intensive person of music B with 90 streams per thirty days and person 1 solely often streaming music A with 10 streams per thirty days. Because the revenues of each customers are pooled within the pro-rata mannequin, after deducting the share for the music streaming service, considerably extra is distributed for music B than for music A. The aforementioned redistribution from occasional customers to intensive customers happens.
The Consumer-Centric-Mannequin
The user-centric mannequin has lengthy been mentioned as a substitute. Because the title suggests, this mannequin takes under consideration the listening habits of the customers and distributes based on utilization, as will be seen in fig. 2.
Determine 2: Income distribution within the user-centric mannequin
Supply: After Pedersen (2020, p 6)
Which means songs listened to are remunerated no matter streaming depth, with songs listened to intensively are value much less per stream. This is able to encourage area of interest repertoire as a result of the payout per stream can be larger. Followers would really feel that they’re paying for the musicians they like, which is seen as fairer.
The user-centric mannequin will be represented mathematically as follows:[7]
n … Variety of all customers
RX … Income for streamed observe x
Si … Variety of streams of observe x by person i
Ti … Whole variety of streams by person i
Ri … Income generated by person i
The full income for a music is then calculated by including up all of the income from customers who streamed the music over a given interval.
Professional-Rata versus Consumer-Centric: The Research by Pedersen and Maasø
What would a change from the present pro-rata to a user-centric system imply for the distribution of music streaming revenues? Scientific research have already been performed on this, however they haven’t produced clear outcomes. In 2014, Rasmus Rex Pedersen performed a examine utilizing knowledge from the music streaming service WiMP (now Tidal) and highlighted that the user-centric mannequin wouldn’t change the distribution of revenue between probably the most streamed artists and people who serve a distinct segment. He even exhibits that within the section of the 5,000 most streamed artists, the user-centric mannequin would result in a redistribution in favour of the highest 100 artists. Solely home artists within the high 5,000 section would profit from the change, receiving 33.9 per cent as an alternative of 30.8 per cent of the streaming pie.[8]
Arnt Maasø got here to the same conclusion in 2014, utilizing the identical methodology and likewise WiMP knowledge for Norway, exhibiting that there can be just about no redistribution impact between high artists and fewer established artists if the pro-rata mannequin had been changed by the user-centred mannequin. Maasø additionally analysed redistribution results between main and unbiased labels, which aren’t statistically important. For Norway, nonetheless, there can be a redistribution from worldwide to native stars if the user-centred mannequin can be launched. Artists working in Norway would obtain greater than 1 / 4 of the streaming pie underneath the user-centred mannequin, as an alternative of the 22.5 per cent underneath the pro-rata mannequin.[9]
Professional-Rata versus Consumer-Centric: The Examine by Muikku
A examine performed by Pradeep Durgam of Aalto College on behalf of a number of music stakeholders in Finland, written and revealed by Jari Muikku in 2017, involves completely different conclusions than Pedersen and Maasø. Nevertheless, the Finnish examine relies on a distinct methodology, utilizing all streams (greater than 8 million) of Spotify Premium tier subscribers in March 2016 as an information foundation. From this, a random pattern of twenty-two,496 streams from 8,051 person IDs was drawn and analysed. The artists behind the streams had been divided into three teams. The highest group consisted of these artists who had greater than 100 streams in March 2016. This group represented 0.4 per cent of the pattern. The second group consisted of these artists who had between 10 and 99 streams per thirty days. This group represented 9.6 per cent of the pattern. This left 90 per cent of the artists within the third and lowest group, who didn’t obtain greater than 9 streams per thirty days. A comparability of the 2 cost fashions, professional rata and person centric, exhibits a statistically important distinction within the high group. Whereas artists on this group (greater than 100 streams per thirty days) had been capable of generate nearly 10 per cent of all income from music streaming, the income share for this group within the person centric mannequin was solely 5.6 per cent. Which means the pro-rata mannequin advantages high artists, whereas much less established artists have a tendency to learn extra from the user-centric mannequin. Nevertheless, the analysis of the second and third teams of artists doesn’t present clear outcomes for or in opposition to the user-centric mannequin, however the the examine’s writer nonetheless concludes that “the person centric mannequin offers extra direct energy to customers to focus on the cash they pay for the service to the artists or tracks they favour in contrast with the professional rata mannequin, which isn’t clear from their viewpoint.”[10]
Professional-Rata versus Consumer-Centric: The Examine by the Centre Nationwide de la Musique
The contradictory outcomes for Norway and Denmark on the one hand and Finland on the opposite are in all probability as a result of completely different analysis strategies used within the research. To be able to get a clearer image of the distributional results of the change from the pro-rata to the user-centred mannequin, the Centre Nationwide de la Musique commissioned a wide-ranging examine with knowledge from the 12 months 2019, analysing not solely the consequences of the change on the distribution of streaming revenues, but additionally on the range of music genres streamed and on streaming fraud. To this finish, the authors of the examine sought the cooperation of Spotify France and Deezer, however solely Deezer totally carried out the methodological necessities. Subsequently, the outcomes of the examine can solely be thought of legitimate for the Deezer knowledge. The primary and anticipated results of the French examine was that switching to the user-centric mannequin would lead to a large redistribution of Deezer’s streaming revenues from intensive customers to common and occasional customers. As an alternative of 69.2 per cent of all streaming revenues, heavy customers (3rd quartile) would contribute solely 31 per cent of the streaming pie within the user-centric mannequin. In distinction, common customers (between the 1st and threerd quartiles) would generate 61.7 per cent (as an alternative of 30.7 per cent within the pro-rata mannequin) and occasional customers (1st quartile) 7.3 per cent (as an alternative of 0.1 per cent) of complete streaming revenues. That is very believable as a result of, as we’ve got proven above, the pro-rata mannequin offers far more weight to heavy customers.[11]
Music titles from the again catalogue, i.e. songs which are older than 18 months after the discharge date, would additionally profit from the change to the user-centric mannequin. Whereas again catalogue titles can account for 48.9 per cent of streaming revenues underneath the pro-rata mannequin, this determine would rise to 52.1 per cent underneath the user-centric mannequin – a rise of three.2 share factors. The 5 largest rights holders of again catalogues would profit most from the change, receiving a share of 42.7 per cent of the streaming pie as an alternative of 39.6 per cent. Then again, the streaming share of the highest 5 rights holders for present music titles would fall from 40.5 per cent to 38.7 per cent. The underside line is that this might lead to solely a slight enhance of 0.8 share factors to a streaming income share of 88.5 per cent for the 5 largest rights holders. A change to the user-centric mannequin would imply a slight lack of 1.8 share factors for the home French repertoire, from 44.3 to 43.5 per cent.[12]
Nevertheless, the implementation of the user-centric mannequin would have the best impression on the distribution of revenues to artists. The change would lead to a redistribution of 17.2 per cent of revenues from the highest 10 artists on Deezer to the opposite classes, with the best enhance of +5.2 per cent going to artists outdoors the highest 10,000. In absolute figures, the redistribution impact is much more evident. The highest 10 artists would lose EUR 4.5 million in streaming income, which might correspond to a median lack of EUR 457,422 per artist. Of this, round EUR 810,000 would circulation to the artists within the group of the highest 11-100, who would obtain round EUR 9,000 extra per particular person. The group of high 101-1,000 artists would see the best enhance, with EUR 2.6 million, which might translate into a median of EUR 2,311 per particular person. EUR 348,000 would go to the highest 1,001-10,000, however they might obtain solely EUR 39 per particular person, and at last EUR 1.6 million would go to the artists outdoors the highest 10,000, however as a result of their massive quantity this might translate into revenue of lower than EUR 10 per particular person.[13]
Determine 3: The professional-rata and user-centric mannequin as compared
Supply: After Jari Muikku, 2017, p 24
Along with the revenue results, the French examine additionally calculated the impression on the range of music genres by altering the distribution mannequin. The authors of the examine recognized a complete of 28 completely different genres, with rap/hip-hop (25.8 per cent), pop (25.0 per cent) and rock (10.3 per cent) receiving the most important shares of the streaming pie within the pro-rata mannequin. The lengthy tail is made up of 21 genres that obtain not more than 3 per cent every, together with soul (2.2 per cent), jazz (1.1 per cent), steel (0.8 per cent) and classical music (0.7 per cent). Each pop and rock music would profit from a change to the user-centric distribution mannequin, with will increase of 13 per cent and 12 per cent respectively. Nevertheless, classical music would see the most important enhance at 25 per cent. Different area of interest genres would additionally profit from a change: blues (+18 per cent), disco (+17 per cent), jazz (+10 per cent) and people (+8 per cent). The largest loser within the user-centric mannequin can be rap/hip-hop, which might lose 40 per cent of all streaming revenues. The outcomes recommend that area of interest music might actually profit from a change, with pop/rock music additionally more likely to see progress, as a result of strengthening of the again catalogue, as seen above, by way of the user-centric mannequin.[14]
Lastly, the examine examined whether or not a change from pro-rata to user-centred distribution might cut back streaming abuse. The authors’ evaluation isn’t notably euphoric. Whereas the user-centric mannequin would cut back the traditional fraud of streaming farms that play sure music tracks across the clock, it could additionally create new alternatives for manipulation, corresponding to hacking into underused and inactive accounts that could possibly be used for fraudulent streaming.
The examine additionally assessed the prices of switching from the pro-rata to the user-centric mannequin, which was repeatedly cited as a counterargument.[15] Nevertheless, qualitative interviews with representatives from Spotify and Deezer revealed a blended image. Whereas Deezer representatives said that the present distribution mannequin might already present adequate funds for a change to the user-centric mannequin, Spotify interviewees estimated {that a} change would result in a rise in working prices of two to three per cent, which continues to be some huge cash in absolute phrases.[16]
SoundCloud’s Consumer-Centric-Mannequin
In observe, nonetheless, solely the German artist and streaming platform SoundCloud has to date launched the user-centric mannequin within the type of “fan-powered licence funds” on 1 April 2021. The SoundCloud FAQ web page explains how the mannequin works.[17] This cost mannequin is on the market to artists who’re instantly registered with SoundCloud within the “Premier Programme” or with “SoundCloud for Artists” (Subsequent Plus or Subsequent Professional subscriptions). As quickly as customers begin streaming their music, the artists obtain royalties based mostly on the listening time or the variety of adverts used. Using a paid subscription for SoundCloud Go+ additionally performs a job. Artists who fulfil the necessities and have a big fan base that streams their music intensively profit from the “fan-powered” licence funds. One 12 months on from the launch of the user-centric mannequin, SoundCloud has reviewed the scenario and introduced {that a} complete of 135,000 musicians have benefited from the ‘fan-powered’ mannequin. On common, these artists have earned 60 per cent extra underneath the brand new income mannequin than underneath the outdated pro-rata system. SoundCloud makes use of two examples – “Chevy” and “Vincent” – to reveal the rise in royalty funds. Chevy” obtained a median of 217 per cent extra in month-to-month distributions, whereas “Vincent” noticed his payout enhance from US $120 to US $600 per thirty days.[18] These are, after all, solely anecdotal values, however they help the examine outcomes revealed by the Centre Nationwide de la Musique for France.
Endnotes
[1] See Music Managers Discussion board (MMF), 2015, Dissecting the Digital Greenback, half 2. Ashford: Hartley Brothers, pp 22-24.
[2] See Rasmus Rex Pedersen, 2020, A Meta-Examine of Consumer-Centric Distribution for Music Streaming, Report of the Roskilde College, Denmark.
[3] See Wikipedia, “Listing of Spotify streaming information”, model of July 4, 2024, accessed: 2024-07-05.
[4] This determine is derived from the overall income that Spotify generated within the monetary 12 months 2022, divided by the common payout per stream of EUR 0.005. This leads to roughly 1.6 trillion streams generated by Spotify worldwide.
[5] The 30 per cent administration payment is deducted from the overall streaming income of EUR 11.7 billion (based on the 2022 annual report).
[6] Pedersen, 2020, p 3.
[7] Ibid., p 6.
[8] Rasmus Rex Pedersen, 2014, “Music Streaming In Denmark: An Evaluation of Listening Patterns and the Penalties of a per Consumer Settlement Mannequin Based mostly on Streaming Knowledge from WiMP”, Working Paper, Universität Roskilde.
[9] Arnt Maasø, 2014, “Consumer-centric settlement for music streaming: a report on the distribution of revenue from music streaming in Norway, based mostly on streaming knowledge from WiMP music”, Working Paper, Oslo College.
[10] Jari Muikku, 2017, Professional Rata and Consumer Centric Distribution Fashions: A Comparative Examine. Examine commissioned by Digital Media Finland, p 12.
[11] Ibid., p 22.
[12] Ibid., pp 22-23.
[13] Ibid., p 24.
[14] Ibid., pp 25-26.
[15] That is the road of argument used, for instance, by Will Web page, Director of Economics of Spotify und David Safir, Vice-President Worldwide of ASCAP within the Music & Copyright E-newsletter “Cash in, cash out: Classes from CMOs in allocating and distributing licensing income” of August 29, 2018.
[16] Muikku, 2017, ibid. pp 27-28.
[17] SoundCloud, “Fan-powered FAQs zu Lizenzzahlungen”, n.d., accessed: 2024-09-23.
[18] Music Enterprise Worldwide, “135,000 artists are actually getting paid by way of SoundCloud’s Fan-Powered Royalties platform”, April 26, 2022, accessed: 2024-09-23.
Spotify has been constantly criticized for underpaying designers while still collecting about 30 % of its profits from music streaming. The two Radiohead vocalist Thom Yorke and Taylor Swift’s unsuccessful efforts against Spotify, which led to decades of their superstars boycotting the site, attracted significant media attention. This site article attempts to answer the question of what the boycott eventually ended up accomplishing by bringing attention to the causes of this conflict.
Part 11 of The Music Streaming Economy: Taylor Swift and Thom Yorke vs. Spotify
Thom Yorke, singer of the American rock group Radiohead, summed up the issue of Spotify’s rewards to audio creators as follows:” Make no mistake, fresh artists you discover on Spotify will not get paid. In the meantime, owners will soon be rolling in it. Simples”. [1 ] Yorke was ultimately proven correct even though Spotify only became widely known five years later. The song degrees who had secured shares in the company were not the painters who benefited from the Investor. Thom York removed all the stuff from his single job and the group job” Atoms for Peace” from Spotify as a show of opposition. And in a series of posts on Twitter in mid-July 2013, he and his manufacturer, Nigel Godrich, followed fit:” ]N] gross artists get paid ass all with this model”. ]2 ] By” this model”, Godrich was referring to the business model of music streaming, which he believes generates less revenue than radio airplay royalties. To the issue in a post that” Pink Floyd” and” The Eagles” had also made their songs available on Spotify, Godrich responded:” It’s funds for old wire… But making fresh recorded songs needs funding. Some records may be made in a computer, but some have musician and experienced technicians. These items cost money. It makes sense to put Pink Floyd’s library on a streaming site since it has already made billions of dollars for the artist ( not necessarily the group ). However, I doubt that the film “dark area” would have been produced if people had been listening to Music rather than purchasing data in 1973. It would just be very expensive”. ]3 ]
Thom Yorke followed this up with an appointment for the Mexican site Sopitas, in which he described Netflix as” the final desperate laugh of a dying dead.” ]4 ] The critic was directed less at the Swedish music streaming service, which Yorke saw as a symptom of an undesirable development, than at the “old” music industry:” I feel like as musicians we need to fight the Spotify thing. What is happening in the mainstream, in my opinion, is the last of the ancient market in some ways. And it is dominated by the music disciplines, whose business model Yorke immediately attacks:” But because they’re using old song, because they’re using the majors … the majors are all over it because they see a way of re-selling all their old products for free, make a fortune, and hardly die”. Yorke, who describes Spotify as the “handmaiden of the music majors,” says that the way that new music and young musicians are marketed in the streaming era is all about how people change their ways of listening to music, how technology develops, and how conversational it is with one another regarding music, and a lot of it could be incredibly fucking bad. ]5 ]
Additionally, other music industry stars expressed disapproval or even hostility toward Spotify and music streaming. The Beatles ended their streaming boycott on Christmas Day 2015 by announcing on Twitter that their entire music catalog would be accessible to stream on Spotify, Apple Music, Amazon Prime Music, Tidal, Deezer, and four other providers starting at 0 am on December 24th, 2015. [6 ] The Australian heavy metal cult band’s recordings were not made available on music streaming platforms until the end of June 2015. ]7 ]
The biggest stir, however, came from US superstar Taylor Swift, who announced on November 3 that she would no longer be releasing her recently released album” 1989″ on Spotify, removing her entire back catalogue from the service. She stated in an interview with Time magazine that the Swedish streaming service’s ad-supported free model was devaluing her music and that it was “increasingly important” that art belonged in the world of music. I did n’t see that happening, perception-wise, when I put my music on Spotify. Everybody’s complaining about how music sales are shrinking, but nobody’s changing the way they’re doing things. They keep running towards streaming, which is, for the most part, what has been shrinking the numbers of paid album sales”. She stated in the interview that because of its premium tier, her music would still be accessible on Apple and iTunes. ]8 ]
Scott Borchetta, whose Big Machine label released Swift’s albums, made a similar point. In a radio interview on” Sixx Sense With Nikki Sixx”, he criticised the free availability of Taylor Swift’s music on Spotify as disrespectful, pointing out that her songs could still be streamed on paid platforms:” We determined that her fan base is so in on her, let’s pull everything off of Spotify, and any other service that does n’t offer a premium service. You will find her catalogue if you are a premium subscriber to Beats, Rdio, or any of the other services that do n’t just offer a free-only. ]9 ] In an interview with Time Magazine, he calculated that his label, Big Machine, had received just US$ 496, 044 for Taylor Swift’s recordings in the US home market over the past twelve months. That would not equal the revenue generated by the music video streams on YouTube’s hosted ad-funded platform Vevo. ]10] The contradiction is striking. Taylor Swift’s music was removed from both Spotify’s free and paid services, but remained available for free on YouTube via Vevo. Even its founder and CEO, Daniel Ek, who was quoted on the Spotify blog as pointing out that a Taylor Swift superstar could earn US$ 6 million annually worldwide on Spotify, had to react. ]11] The Swedish company also commented on Scott Borchetta’s statements to Time Magazine, calculating that in the twelve months prior to the boycott, US$ 2 million had been paid to Taylor Swift’s label for all streams worldwide, including US$ 500, 000 in label and publishing royalties in October 2014 alone. ]12]
Even if US versus international figures can account for the differences between Borchetta’s and Spotify’s figures, it is still believed that Swift and her label’s major PR campaign was the source of the Spotify boycott. It served as a way to promote the 1989 CD release, which sold 1.7 million copies in just its first two weeks in the US. [13] At the beginning of November 2014, there were also rumors that Scott Borchetta intended to buy his label company for$ 200 million. [14] He may also have stoked the Spotify controversy, which would have troubled his top-stakes collaborator Taylor Swift, who had been hired to make a sixth album for” Big Machine.” Five years later, when Borchetta did indeed sell, the same dispute broke out over the master rights to Swift’s recordings.
Anyway, Taylor Swift and Thom Yorke have both agreed to work with Spotify, and they can now stream their music there. When her five studio albums could be streamed on the platform once more, four of which immediately entered the Billboard 200 albums chart and generated US$ 500, 000 in streaming revenue, Taylor Swift gave up her resistance to Spotify two and a half years after the boycott was declared in June 2017. The singer and her management team were aware that the streaming service is a key component of a star’s commercial success and that the promotional power of Spotify cannot be underestimated. In December 2017, Thom Yorke had his two singles as a solo artist,’ The Eraser ‘ ( 2006 ) and ‘ Tomorrow’s Modern Boxes’, as well as the album ‘ AMOK’ by his band project ‘ Atoms for Peace’, placed on Spotify, but without commenting on Twitter, he referred to critical Twitter posts by Geoff Barrow of the band Portishead, in which he complained about the low payouts from music streaming. ]16] But even Thom Yorke had to accept Spotify’s market power.
Endnotes
]1 ] The Twitter posts have since disappeared from Thom York’s account and can only be reconstructed indirectly through quotes cited in the media., e. g. in The Guardian,” Thom Yorke blasts Spotify on Twitter as he pulls his music”, July 15, 2013, accessed: 2024-08-27.
]2 ] Nigel Godrich’s Twitter post can be read on Business Insider,” Radiohead Singer Thom Yorke Pulls His Music From Spotify, And Blasts It On Twitter”, July 15, 2013, accessed: 2024-08-27 and on his Twitter/X account ( @nigelgod ).
]3 ] Ibid.
]4 ] Cited in The Guardian,” Thom Yorke calls Spotify ‘ the last desperate fart of a dying corpse ‘”, October 7, 2013, accessed: 2024-08-27.
]5 ] Ibid.
]6 ] The Guardian, “AC/DC becomes latest act to get on the streaming bandwagon”, June 30, 2015, accessed: 2024-08-27.
]7 ] Twitter,” The Beatles Now Streaming”, December 23, 2015, accessed: 2024-08-27.
]8 ] Time Magazine,” Taylor Swift on 1989, Spotify, Her Next Tour and Female Role Models”, November 13, 2014, accessed: 2024-08-27.
]9 ] Cited in Billboard,” Big Machine’s Scott Borchetta Explains Why Taylor Swift Was Removed From Spotify”, November 8, 2014, accessed: 2024-08-27.
]10] Time Magazine,” Taylor Swift’s Spotify Paycheck Mystery”, November 12, 2014, accessed: 2024-08-27.
]11] Ibid.
]12] Ibid.
]13] Billboard,” Taylor Swift’s ‘ 1989’ Spends Second Week at No. 1 on Billboard 200 Chart”, November 12, 2014, accessed: 2024-08-27.
]14] New York Post,” Taylor Swift’s label on the block for over$ 200M”, November 1, 2014, accessed: 2024-08-27.
]15 ] Forbes,” Why Did Taylor Swift Really Rejoin Spotify”?, June 27, 2017, accessed: 2024-08-27.
]16] MNE,” Radiohead’s Thom Yorke still is n’t a fan of Spotify”, December 29, 2017, accessed: 2024-08-27.
