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> The Aussie girl is in the NYT clip who basically made the song still lives in relative obscurity (you can find her on twitter, probably well paid, but still l

> The Aussie girl is in the NYT clip who basically made the song still lives in relative obscurity (you can find her on twitter, probably well paid, but still living without much fanfare), despite this song among others blowing up in the charts. The sad part is they don't even name her in the summary. She's "a 23-year old songwriter". The famous producers and vocalists get named, but she doesn't.

dmix 6y ago
Kanye might tweets some crazy stuff but his recent crusade against shitty record contracts (tweeting out his entire Warner contract deal for example and calling out real owners to stop robbing kids) and the general nonrecognition of the artists themselves is something I can get behind. https://www.gq.com.au/entertainment/music/heres-the-rundown-on-kanye-wests-contractleaking-grammypeeing-twitter-rant/news-story/4e40e19bbc69e25a973bf69eb2da5486 https://www.gq.com.au/entertainment/music/heres-the-rundown-... I almost went into the music industry before programming which is why this stuff piques my interests and I'm happy I didn't in many ways due the lawyering. There are big problems in the music industry with plenty of analogies to SciHub/Aaron Schwartz and the academic paper world (10x). There needs to be a rethinking of how musicians and promoters get paid and how ownership of what musical artists are creating is controlled. Not to totally sidetrack the main point of my original comment :p
- colinmhayes 6y ago
  Kanye is himself a shitty record label. He signs people promising to produce their record or feature him on his albums and then dumps them.
  - dmix 6y ago
    I was worried mentioning his name would take this thread off-topic and become all about Kayne. I'm neither an expert on GOOD Records's past nor seek to defend him in general. These arguments applies generally to the industry as a whole and are hardly limited to just to Kanye himself. The way I came across his statements on the matter was that it was a sort of recent revelation he had. And that it's a thing thats out in the wide open, people have been talking about it for a long time, but it's still just the way it is. The labels have a ton of power, regardless of the changes in the industry. It's reminds me of entrenched businesses exploiting out-of-date regulatory systems. Like trying to apply the old taxi car numbers cap / medallion model to Ubers system just doesn't make sense at all. The internet changed the music industry even more than taxis. Especially with artists becoming social media 'influencers' in the process (and almost as a pre-requirement) and more of the power is going back into their hands. So I support anything that gives the artists more control of their masters/content, more say in the room about distribution since it's not all backroom radio shows and record store deals like it used to be. When you have soundcloud rappers getting famous with zero major label help its just basic logic that the old-school contracts, major parts of which are still apparently being used frequently by the big labels, will need updating. Certain power dynamics have clearly changed. I'm not a lawyer and don't have all the answers but it is an opportunity for more decentralized control and wealth going back to the creators and promoters more directly.
eru 6y ago
Some people might prefer lucrative obscurity?
- dredmorbius 6y ago
  Fame carries its own burdens.
- dmix 6y ago
  Fair point.
dwd 6y ago
Very much the next Sia who lived in public obscurity for many years but was well known and highly regarding in the business and independent music scene. Sarah won multiple APRA awards for her work (the ones the Australian music industry cares about) so she'll likely stay in high demand.

dmix 6y ago

Kanye might tweets some crazy stuff but his recent crusade against shitty record contracts (tweeting out his entire Warner contract deal for example and calling out real owners to stop robbing kids) and the general nonrecognition of the artists themselves is something I can get behind. https://www.gq.com.au/entertainment/music/heres-the-rundown-on-kanye-wests-contractleaking-grammypeeing-twitter-rant/news-story/4e40e19bbc69e25a973bf69eb2da5486 https://www.gq.com.au/entertainment/music/heres-the-rundown-... I almost went into the music industry before programming which is why this stuff piques my interests and I'm happy I didn't in many ways due the lawyering. There are big problems in the music industry with plenty of analogies to SciHub/Aaron Schwartz and the academic paper world (10x). There needs to be a rethinking of how musicians and promoters get paid and how ownership of what musical artists are creating is controlled. Not to totally sidetrack the main point of my original comment :p

colinmhayes 6y ago
Kanye is himself a shitty record label. He signs people promising to produce their record or feature him on his albums and then dumps them.
- dmix 6y ago
  I was worried mentioning his name would take this thread off-topic and become all about Kayne. I'm neither an expert on GOOD Records's past nor seek to defend him in general. These arguments applies generally to the industry as a whole and are hardly limited to just to Kanye himself. The way I came across his statements on the matter was that it was a sort of recent revelation he had. And that it's a thing thats out in the wide open, people have been talking about it for a long time, but it's still just the way it is. The labels have a ton of power, regardless of the changes in the industry. It's reminds me of entrenched businesses exploiting out-of-date regulatory systems. Like trying to apply the old taxi car numbers cap / medallion model to Ubers system just doesn't make sense at all. The internet changed the music industry even more than taxis. Especially with artists becoming social media 'influencers' in the process (and almost as a pre-requirement) and more of the power is going back into their hands. So I support anything that gives the artists more control of their masters/content, more say in the room about distribution since it's not all backroom radio shows and record store deals like it used to be. When you have soundcloud rappers getting famous with zero major label help its just basic logic that the old-school contracts, major parts of which are still apparently being used frequently by the big labels, will need updating. Certain power dynamics have clearly changed. I'm not a lawyer and don't have all the answers but it is an opportunity for more decentralized control and wealth going back to the creators and promoters more directly.

eru 6y ago

Some people might prefer lucrative obscurity?

dredmorbius 6y ago
Fame carries its own burdens.
dmix 6y ago
Fair point.

dwd 6y ago

Very much the next Sia who lived in public obscurity for many years but was well known and highly regarding in the business and independent music scene. Sarah won multiple APRA awards for her work (the ones the Australian music industry cares about) so she'll likely stay in high demand.