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An Artist's View of the Modern Music Biz
An anonymous reader writes "A member of the band OK Go wrote an interesting open letter giving an artist's perspective on the current state of the music business and how labels finance producing, distributing, and marketing music and music videos. A very insightful perspective of 'both sides': the argument that music and music videos are meant to be heard and, in the case of the latter, seen by a wide audience; and the argument that the money needs to come from somewhere. Unfortunately, the letter doesn't address the perspective outsiders have of outlandish salaries in the music labels, but it is interesting nonetheless." Their new video is not bad either.
David Byrne (of Talking Heads fame) did a fantastic article for Wired a few years ago about this. He discusses (with details!) how the music industry works, some of the "models" of releasing music, and the economics/incentives to each one. Great read.
On a semi-related note, it's also worth looking at Steve Albini's now classic essay "The Problem With Music", which showcases how horrible the modern music industry is to musicians. It was written before the whole "digital revolution", but it helps remind me why I don't feel sympathy for suits in the music business.
There's another old article going as far back as 2000 from Courtney Love. Although I find her and her music distasteful she sure does open up a lot of numbers that -- although larger -- probably work the same way today. If that isn't condemnation of the music executives milking artists like animals and then dumping them, I don't know what is.
My work here is dung.
Labels write checks. That's what no one else does. They are very much like loan sharks, the interest rate on the checks they write are terrifying, but if you are a small band, or a young band, many times you can afford tens or hundreds of thousands of dollars to do all those things you mentioned above.
As someone mentioned above, the alternative is to "grow organically" which really means grow very very slowly. In many cases, these bands have grown slowly. They have had regular jobs to pay for their equipment. They play tiny gigs at small bars in their home town, and they've probably worked really hard doing, essentially, two jobs, for a long time to get to the point of being recognized by a label. They have barely enough money to buy guitars and a car to get to the next gig, much less move their recording and promotion to the level that a label can offer.