Quotulatiousness

March 19, 2025

Solving the “Spotify problem”

Filed under: Business, Economics, Media, Technology — Tags: , , , — Nicholas @ 03:00

Sadly, as Tim Worstall explains, it probably can’t be done:

It’s that time of year for the ritual complaints about Spotify. Woes, musicians can’t get any money.

The reason for this is that we out here, the Great Unwashed, value recorded music at something just above toss. Therefore musicians get paid, on average, just above toss. And there we have it, there’s the whole and the complete of the thing.

    Spotify is trumpeting big paydays for artists – but only a tiny fraction of them are actually thriving

Yep.

    $10bn is a hefty number, but it needs to be closely examined. This money, around two-thirds of its total income, is what Spotify has paid through to record labels and music publishers. Spotify cannot be held responsible for egregious label and publisher contracts, but it needs reiterating that only a portion of that $10bn will make its way to the people who wrote and recorded the music.

    The company also says this $10bn is “more than any single retailer has ever paid in a year” and is “10x the contribution of the largest record store at the height of the CD era”. That may be true, but it says less about Spotify’s benevolence and more about how streaming’s market share has mostly consolidated into the hands of four global heavyweights – Spotify, Apple, YouTube and Amazon.

Only one part of that has any relevance. The $10 billion and the 2/3rds.

Obviously there are costs to running a company. To running the servers which hold near all of all recorded music. Of being able to get that out onto the internet.

The $10 billion (OK, 15) is about what people think music is worth to them.

[…]

The reason your really important socially relevant indie band is touring the upper peninsula, still after all these years, the bogs are your changing room and the only rider you’ve been able to achieve is access to tap water, is that the general public values your output at some fraction above toss. Therefore you earn that fraction above toss.

Really, that’s it. It’s not capitalism it’s general public indifference. Really, folk just don’t care.

February 24, 2025

“Camouflage” – and a History of Military Deception – Sabaton History 129 [Official]

Filed under: History, Media, Military, WW1, WW2 — Tags: , , , , , , — Nicholas @ 02:00

Sabaton History
Published 22 Oct 2024

Today’s episode is about a song that is not a Sabaton original, but a cover they did of Stan Ridgway’s “Camouflage” from 1986. The story itself is easy enough to understand if you follow the lyrics, but it inspired us to do an episode not about the song, but about camouflage itself; its history, how it works, how it’s supposed to work, and even its limitations.
(more…)

February 8, 2025

A Love Supreme after 60 years

Filed under: History, Media, USA — Tags: , , , , — Nicholas @ 04:00

John Coltrane’s A Love Supreme was one of the first four jazz albums I ever bought. It quickly became my favourite and led me to listening to a lot more of Coltrane’s work. Some I loved nearly as much (Giant Steps, Blue Train, The Complete Africa/Brass Sessions) while others I just bounced off (Sun Ship, Interstellar Space, Stellar Regions), but most became fixtures of my various jazz playlists.

Ted Gioia notes the moment as A Love Supreme hits 60 years after release:

Ivy League theoretical physicist Stephon Alexander will even tell you that John Coltrane has a lot in common with Albert Einstein. People still consult the saxophonist’s mathematical analysis — the so-called Coltrane Circle — as if it were a source of esoteric wisdom.

But in 1964, John Coltrane was also a father. John Coltrane Jr. was born on August 26, 1964 — the first of his three children. Ravi Coltrane arrived in 1965, and Oran in 1967.

You wouldn’t think that Coltrane could find time for anything else at the close of the Summer of 1964. But he did.

At that juncture, he disappeared into an upstairs guest room at his home. And spent day after day with just a pen, some paper, and his horn.

He emerged five days later. “It was like Moses coming down from the mountain,” Alice later recalled. “It was so beautiful. He walked down and there was that joy, that peace in his face, tranquility.”

“This is the first time that I have received all of the music for what I want to record,” he told her.

Note that word: Received. He didn’t say composed. He didn’t say created. It was a gift from something larger than himself.

This was the music John Coltrane would perform in the studio three months later. It’s know today as A Love Supreme.

Coltrane said that his music was his gift back to the Divine.

He made that clear in his liner notes, which opened with an invocation in capital letters: DEAR LISTENER: ALL PRAISE BE TO GOD TO WHOM ALL PRAISE IS DUE…

But if there were still any doubt, Coltrane also included a devotional poem — which began:

    I will do all I can to be worthy of Thee O Lord.
    It all has to do with it.
    Thank you God.
    Peace …

Needless to say, this was not typical for jazz liner notes in the mid-1960s. Or at any time, for that matter.

Not your typical liner notes.
Photo by Ted Gioia

And it almost certainly would limit sales — or so the conventional wisdom went back then. A few months later, Capitol Records execs had a meltdown when Brian Wilson wanted to give the name “God Only Knows” to a song. But that was nothing compared to the full-blown ritual that Coltrane was now unleashing on the hip jazz audience.

I use the word ritual advisedly here. I’ve heard other people describe A Love Supreme as a suite, but they’re missing the whole point. I have no doubt that Coltrane intended this ritualistic effect.

He even starts chanting toward the end of the opening track.

This was first time Coltrane’s voice had ever been featured on a studio recording. And he didn’t sing a love song or belt out a blues. Instead he was chanting:

    A love supreme
    A love supreme
    A love supreme
    A love supreme
    A love supreme …

He chants that phrase nineteen times in a row.

January 22, 2025

QotD: The Who

Filed under: Britain, Media, Quotations — Tags: — Nicholas @ 01:00

The Who’s case for being the greatest rock band in history, and it has one, depends on the band having been a four-piece act in which all four pieces had the absolute maximum of performing ability and musical personality. To find any equivalent — maybe Zeppelin comes close — you would probably have to quit rock and go rummaging through the jazz section.

But I’ll tell you right now, there ain’t no Moon over there. I mean, good Lord: OF COURSE Keith Moon and John Entwistle were a difficult rhythm section for a guitarist to play in front of. Have you listened to those records? Professionals have talked about how watching Moon play up close was an exercise in constant suspense — you would see him take off at the start of the bar and go roaming around the drum kit and wonder how he could possibly make it back in time. He usually did make it — when he wasn’t so zonked he was falling off his stool, which is also a thing that happened sometimes.

This intricate, frantic quality is what made Moon the most inimitable of the great rock drummers — someone whose style you could recognize in a matter of seconds if he were playing on biscuit tins — but the difficulty of playing in front of a notional “timekeeper” so adventurous, and particularly doing it in concert, ought to be self-evident.

The standard advice for a rock guitarist in this predicament would be to make sure he had a very steady, unadventurous bass player to anchor the group. And the bassists for many excellent groups do, in fact, secretly stick to four or five notes they’re real comfortable with. But Entwistle offered Moon-like challenges as part of a rhythm section, albeit without inducing the same terror. At any moment his left hand might start leaping like a salmon on the fretboard, and if he played half notes in one bar, this was no guarantee he wouldn’t be doing startling, blinding sixteenths in the next.

That’s what makes Who records Who records; that’s what lifts the best ones above even the empyrean level of Townshend’s songwriting. But it meant, as Pete explained in his apology, that he could never step out and “shred” as a guitarist. The entire structure of the traditional rock group was topsy-turvy with the Who, and Townshend, whose ego is at least as big as the next fellow’s (spoiler: it’s bigger), was forced in some regard to be the responsible one, the custodian of the rhythm.

Colby Cosh, “Leave Pete Townshend alone!”, National Post, 2019-11-29.

January 2, 2025

QotD: Sincerity

Filed under: History, Media, Quotations, USA — Tags: , , , , — Nicholas @ 01:00

“… in the ’90s, the human spirit was alive and free. And that’s the vibe that resonates with me.”

This is what the French call le horse pucky. If we may be so bold as to speak of “the human spirit” — which is pretty heavy for a column starting with a professional wrestler — the 90s killed it stone cold dead. The human spirit can flourish in the most awful situations, but one indispensable requirement is: Sincerity. You just can’t be snarky about the “Ode to Joy” or ironic about the Sistine Chapel. If you do, then there really is no difference between Beethoven and MC Funetik Spelyn, nothing to choose between Michelangelo and a dog turd on the sidewalk — someone placed them there intentionally, which is the only distinguishing characteristic of “art” possible in a world overrun by Postmodernists and Deconstructionists.

Severian, “Why the 90s Was the Worst Decade Ever”, Rotten Chestnuts, 2021-07-04.

December 25, 2024

Repost – “Fairytale of New York”

Filed under: Europe, Media, USA — Tags: , , , — Nicholas @ 04:00

Time:

“Fairytale of New York” by The Pogues featuring Kirsty MacColl

This song came into being after Elvis Costello bet The Pogues’ lead singer Shane MacGowan that he couldn’t write a decent Christmas duet. The outcome: a call-and-response between a bickering couple that’s just as sweet as it is salty.

December 17, 2024

“Freebird” by Lynyrd Skynyrd cover in Middle English BARDCORE

Filed under: Media — Tags: , , , — Nicholas @ 02:00

the_miracle_aligner
Published Aug 17, 2024

When your king Richard asks you after the battle why you singlehandedly charged at the Saracen lines before he gave the order.

“But my lord, ‘Freebird’ was playing …”

One of my favorites was a hit during the Third Crusade where the English were certainly the MVPs. A very big thank you to everyone involved who helped me bring this into the world 😂
(more…)

December 13, 2024

“We Didn’t Start the Fire” (Bardcore | Medieval/Renaissance Style Cover)

Filed under: Europe, History, Media — Tags: , , , — Nicholas @ 02:00

Hildegard von Blingin’
Published Jul 16, 2024

There are many covers of Billy Joel’s “We Didn’t Start the Fire” that adapt it to different times, but we wanted to give it the bardcore treatment. *Unlike the original, the list is not chronological, and jumps around in time a lot. It very loosely spans from around 400 to 1600, and is from a rather Eurocentric point of view. Thank you to my brother, Friar Funk, for devising the lyrics and providing the majority of the vocals. Many thanks as well to his new wife and our dad for joining us in the chorus at the end.

The image of the monk is from MS Bodleian 602. A scribe at his desk © The Bodleian Libraries Oxford
There are simply too many other images to credit here, but the majority are public domain from wiki media.
(more…)

December 6, 2024

Liberal cabinet minister accepts “free” Taylor Swift tickets

Filed under: Cancon, Media, Politics — Tags: , , , , — Nicholas @ 03:00

I’ve often joked that it isn’t surprising that politicians can be bought … what is surprising is just how little it can take. This situation isn’t quite as clear-cut as that, but it looks bad to everyone except Liberal Party insiders:

Former Canadian Defence Minister Harjit Sajjan in happier times (yeah, it’s the only picture I have of the minister).

On Tuesday we learned that federal Liberal cabinet minister Harjit Sajjan will be attending a Taylor Swift concert at BC Place in Vancouver, in a private suite, courtesy of PavCo, the Crown corporation that operates the stadium. The federal government partially funds PavCo, including $116 million earlier this year for improvements to the stadium in advance of the 2026 World Cup.

It’s a textbook conflict of interest. Open and shut. Dead to rights. So much for Sajjan’s political career. Only … not. The only people who seem to disagree that it’s a conflict are federal Liberals and, sorry to say, the office of the Conflict of Interest and Ethics Commissioner — because Sajjan donated $1,500 to a food bank as a gesture to compensate for the coveted opportunity.

“If an item is paid for through a charitable donation, then it would not be considered a gift,” a spokesperson for the commissioner said in response to questions from National Post. “In the case of Minister Sajjan, for example, the original market value of a ticket to a Taylor Swift concert in Vancouver was roughly $600.”

Where do we even begin with this nonsense?

PavCo offered private-box seats to various dignitaries on the understanding they would donate some appropriate amount of money to good causes. Sajjan says he’s proud to have participated.

But you can’t “pay for” a free concert ticket — to use the commissioner spokesperson’s term — by giving money to a food bank. That’s like The Keg offering you a free dinner so long as you pay for it at Montana’s … except food-bank donations, unlike steak dinners, come with tax receipts.

December 2, 2024

The question of our era

Filed under: Books, Media, Politics, USA — Tags: , , , , , — Nicholas @ 04:00

At PJ Media, Athena Thorne asks the most pertinent, relevant question of our times:

Is Donald Trump the Long-Awaited Messiah of the Band ‘Rush’ Era?

Rush in concert, Milan 2004.
Photo by Enrico Frangi, via Wikimedia Commons

Greetings, PJ readers! I hope you all had a wonderful Thanksgiving and are still feeling lazy and slovenly. In that vein, here is a tasty morsel of a column from a friend and fellow reader, Kato the Elder. He makes an excellent argument — one with which I heartily agree — that President-elect Donald Trump is the small-L libertarian hero of our time. Enjoy!

    In a particular moment during my precocious, autodidact pre-teen years, I stumbled upon a copy of Ayn Rand’s novel Atlas Shrugged at an estate sale in an old New England barn. There, in a hay-covered stall, I found that dense brick of a book that seemed, in a creepy sort of way, to be waiting for me to pick it up and take it home — consequences be damned. It was like Guy Clark’s song about a haunted guitar, found in a pawn shop, with the name of the next victim to pick it up already written on the case. And, like Guy Clark’s guitar, Atlas Shrugged is one of those cultural objects that once picked up cannot be put down. Who could ever forget, on page 455, where it is asked, “What advice would you give Atlas if he became weary of holding up the world? Shrug.” A libertarian is born. I quickly worked my way through the remainder of Rand’s parables and then the essays.

    Rand’s novella “Anthem” led to my discovery of the Canadian rock band Rush, which had adapted “Anthem” as the rock opera entitled 2112. It’s the story of a man who suffers under the autocratic rule of the Priests of the Temple of Syrinx, progressives who use computers to create a scientific, expert-driven utopia that does not recognize the value of the individual or the right to think and create and dissent. In “Anthem”, it is the protagonist’s discovery of an ancient incandescent light bulb that leads to the discovery of an earlier and freer society and puts the hero on a collision course with the collectivists. In the Rush version, the long-lost incandescent light bulb is replaced with a guitar, but of course it would be, because what kind of crazy government would take away someone’s light bulbs?

    A very strong Randian libertarianism runs through Rush’s music; the heroes of many Rush songs are those individuals struggling, of course, against a government that is determined to pound the individualism and free thought out of its subjects, whether that individual is Tom Sawyer or teenagers living in subdivisions or the teen boy awaiting the world’s applause or the community suffering from mob violence and witch hunts. But Rush, and Rand, are not rejecting the Eisenhower-era type of corporate conformity, but rather the conformity of counter-culture which has taken power and proven the deficiency of the government-expert-knows-best mindset. The epitome of that strain of Randian libertarianism comes in the song “Red Barchetta”, a power ballad about a boy who, in conspiracy with his uncle, escapes to the countryside to race a classic, gas-powered Ferrari against a bland EV car of some kind that has supplanted the freedom and adrenalin rush of gas-powered freedom. Because what kind of crazy government would take away someone’s choice of car?

    I saw Rush in concert at least 12 times, and every concert was full of people who looked like me, dressed like me, and sounded like me. We sang along with Rush at the top of our lungs about the freedom of music and the individualism which is closer to the heart. As we all grew older and grayer and our American society became less tolerant of dissent and more dependent on corporate/government cronyism, we could only wonder whether we would find our Howard Rourke, the nonconformist New York developer and architect of Rand’s novel The Fountainhead, who would lead us to the promised land.

November 23, 2024

Kitaro – “Silk Road” (live)

Filed under: Japan, Media — Tags: , , — Nicholas @ 02:00

Kitaro
Published Jul 11, 2024

From the album Zen – Live In Katsuyama
(more…)

November 12, 2024

“Nice business ya got there, Patreon. Wouldn’t want anything to happen to it …”

Filed under: Business, Media, USA — Tags: , , , , , — Nicholas @ 04:00

Above the paywall, Ted Gioia discusses Apple’s latest attempt to cut itself a nice big middleman’s slice of the indy creator market by putting the thumbscrews to Patreon:

Can Apple really charge a 30% tax on indie creators?

What Apple is now doing to indie creators is pure evil — but this story has received very little coverage. Journalists should pay attention, because they are under threat themselves.

Apple is now putting the squeeze on Patreon, a platform that supports more than a quarter of a million creators — artists, writers, musicians, podcasters, videographers, etc.

These freelancers rely on the support of more than 8 million patrons through Patreon, which charges a small 8-12% fee. Many of these supporters pay via Patreon’s iPhone app.

Earlier this year, Apple insisted that Patreon must pay them a 30% commission on all new subscriptions made with the app. In other words, Apple wants to take away close to a third of the income for indie creators — almost quadrupling their transaction fees.

This is the new business model from Cupertino, and it feels like a Mafia shakedown. Apple will make more from Patreon than Patreon does itself.

The only way for indies to avoid this surcharge is by convincing supporters to pay in some other way, and not use an iPhone or Apple tablet.

This is what happens when Apple decides to treat a transaction as an “in app payment” — as if an artist’s entire vocation is no different than a make-believe token in a fantasy video game.

But you can easily imagine how almost anything you do with your phone could be subject to similar demands.

I’ve been very critical of Apple in recent months. But this is the most shameful thing they have ever done to the creative community. A company that once bragged how it supported artistry now actively works to punish it.

November 3, 2024

The end of the “cheap streaming era” is at hand

Filed under: Business, Media, USA — Tags: , , — Nicholas @ 05:00

Ted Gioia explains why your streaming services are going to be jacking up their prices — if they haven’t already done so:

I got a request to explain why streaming subscription prices are so damned high — and getting higher.

This came in response to a chart I shared two days ago:

And it’s not just Disney.

All the streaming platforms are jacking up prices. I still subscribe to five different streaming services—down from six previously. Every one of them raised prices this year, and always by more than the inflation rate.

Here’s what Spotify is doing:

What’s going on? And will it continue?

I recently described this as an “endgame strategy” — but that might be confusing to readers.

Endgame is a term drawn from chess, where it refers to a body of wisdom about the final moves on the board. But business is like chess, so I frequently analyzed endgame situations back in my days at the Boston Consulting Group and McKinsey.

I now see these endgame strategies getting implemented in various media, entertainment, and streaming businesses. But almost nobody inside those businesses wants to talk about it.

So let me lay it out for you.

The Entertainment Industry Is Adopting an Endgame Mindset

You pursue an “endgame” strategy when demand for your business hits a wall, and it’s hard to attract new customers. The most typical endgame strategy is to cut back investment into new products and services, while raising prices sharply.

You’re willing to accept some loss of customers, because you’re now squeezing more profit-per-user out of your remaining consumers — who stick with you out of loyalty or habit or inertia.

These are your sheep, ready to be shorn.

Profit per customer is now the key metric driving your business. It’s more important than innovation or growth or artistry or any of those old fashioned ideas.

That’s why, for example, Netflix won’t share data on the number of subscribers anymore. They claim this is no longer relevant to their business model — and they aren’t lying.

Price increases are now the engine of their business.

October 25, 2024

QotD: The treason of the music critics

Filed under: Media, Quotations, USA — Tags: , , , — Nicholas @ 01:00

This is what I was saying above: everything in music criticism and music culture has changed, except music poptimist perceptions of music criticism and music culture. That is what refuses to mutate. And I think it’s ugly and toxic and has left us in this bizarre place where people who write about music for large audiences think their sacred duty is to affirm the legitimacy of what the audience already likes, instead of championing something entirely new and totally different. But then, that’s what happens when you tell a lot of mostly white and mostly male taste makers that a particular set of tastes is inherently sexist and racist — they sprint in the opposite direction as fast as they can. Because aging white men are almost as afraid of being called racist and sexist as they are of being old.

Freddie deBoer, “A Few Indisputable Points About Poptimism and Then I Give Up”, Freddie deBoer, 2024-07-22.

October 20, 2024

QotD: The “Spirit of the Sixties”

Filed under: History, Media, Quotations, USA — Tags: , , , , — Nicholas @ 01:00

Quick, ask the Boomers what was so great about The Sixties™. I hope you’ve got a few months to spare, but if you boil it all down, it’s “the spirit”. They really thought they were fundamentally transforming the world, and may God have mercy on all our souls, they were right. Same thing with the WWII generation, the Progressive Era, whatever. Even those who wax nostalgic for the 80s will talk about the feeling of the age — “the last golden Indian summer of America”, as someone quoted in the comments yesterday, and doesn’t it break your heart?

Not to get all Classical Rhetoric up in here, but for prior generations, things like “The Beatles” are synecdoche. They’ll go to their graves insisting that The Beatles were “the greatest band ever”, but if you press them on it, most of them are honest enough to admit that Ringo et al weren’t such great shakes, musically. At their best, The Beatles’ songs are musically simplistic and lyrically gibberish; at their worst, they’re “Rocky Raccoon”. The Beatles are “great” because they were innovators, not so much musically but because they were so goddamn pretentious. They wanted to be not mere entertainers, but artistes, and we indulged them, and that combo — pretentiousness and indulgence — became The Spirit of the Sixties.

Thus if you answer “The Beatles” to the question “What’s so great about The Sixties?”, it’s a synechdoche for “the spirit of the age”.

Severian, “Why the 90s Was the Worst Decade Ever”, Rotten Chestnuts, 2021-07-04.

Older Posts »

Powered by WordPress