How Sir Walter Raleigh Calculated the Value of Streaming Music

How Sir Walter Raleigh Calculated the Value of Streaming Music

A centuries-old bet with Queen Elizabeth shows that you just need to use the right scale. So what’s the value of music? Let’s take one possibility off the table: it’s not “zero,” because, as we know, there’s demand. I mean, the value of air is not zero, plentiful as it still is — it’s legally protected, and if you still insist that it has no inherent value, well, just have it taken from you. See? Value. Are there similar analogies that can be instructive within the streaming music space? Well, yes. Check out “How Sir Walter Raleigh Calculated the Value of Streaming Music,” my latest piece on...
ASCAP Runs My Piece on The Future of Songwriting

ASCAP Runs My Piece on The Future of Songwriting

Honored to have ASCAP pick up my piece on tech’s effect on songwriting. Question: In the streaming economy, do songs have a financial incentive to change what they look and sound like? For instance, Spotify, the clear leader in the streaming space, pays after 30 seconds, so an honest question is: Why write beyond that? And… Are you, in fact, screwing yourself six times over for writing a three-minute song (:30 x 6 = 3:00 song)? A “song disruptor” would just cut everything back to :32 or so, and see huge positive results in his/her own streaming royalty statements. Labels would love it for the same reason (more money). Thinking ahead: If a critical mass were to adopt song forms of these lengths, would Spotify payouts to creators suddenly rise sixfold? That would probably crush the business model, wouldn’t it? I mean, it can’t make a profit as is, and songs are clocking in at around three minutes. Are streaming services just skating by on all that non-monetized listening time? Spotify also pays higher rates at around five minutes — because of course it does. It makes the company money to not have to pay out for four entire minutes of a song. Taking this into account, what is this thing – songwriting – going to look and sound like in the not-too-distant future? Read more on ASCAP’s web site. Original post on...
Bears as Art and Social Criticism – A Collection

Bears as Art and Social Criticism – A Collection

They do what you think you said. More Bears as Art and Social Criticism: http://pinterest.com/mikeerrico/bears-as-art-and-social-criticism/ More Tune in for music, shows, announcements, giveaways, videos and all that stuff, here: Facebook || Twitter || YouTube || Bandcamp || Pandora Tallboy 7, Inc. Box 20463 NY NY...
New York Observer Runs My Songwriting Piece

New York Observer Runs My Songwriting Piece

With all that’s going on in the streaming space, what is the future of this thing — songwriting — we’re all talking about? Redefining an art form isn’t new, but neither is the concept of streaming, which was happening with elevator music in the 1930s, and was theorized decades earlier. But now that streaming has taken off, will song form react? Will it just be three choruses and nothing else? Is it the return of the ABAB song form, where the sections have a balanced weight and there are no sections dedicated to “setting up” another section? Pre-choruses?! Who’s got time for a “pre”-anything? And bridges? Bridges to what, exactly? Who has time for a bridge? You’re either there or you’re not there. Why get stuck in transit from one section to another? So, if “Gangnam Style” had been 1:10 instead of 4:13, what might have happened? Would it not have been as “good?” I don’t know, but: How much of “Gangnam Style” can you sing back right now? It’s probably not 4:13 worth. Psy left money on the table. At billions of views, that’s a lot of money. Read more at...
The Independent Runs My Songwriting Piece

The Independent Runs My Songwriting Piece

London’s The Independent is running my article on technology and songwriting on the front page of its arts section. They added a lovely infographic and everything. Check it out. The future of songwriting: How streaming is changing everything we know about making music Here’s the online...
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