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peterconnelly

Drought-stricken US warned of looming 'dead pool' - BBC News - 0 views

  • Sitting on the Arizona-Nevada border near Las Vegas, Lake Mead - formed by the creation of the Hoover Dam on the Colorado River - is the largest reservoir in the United States and provides water to 25 million people across three states and Mexico. Here, the stunning scale of a drought in the American west has been laid plain for all to see.
  • Californians have been told to conserve water at home or risk mandated water restrictions as a severe drought on the West Coast is expected to get worse during the summer months.
  • People have been told to limit outdoor watering and take shorter showers. In Los Angeles, many are being asked to cut their water use by 35%. The restrictions come after California recorded the driest start to the year on record.
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  • Farmers are already feeling the pain. About 75% of the water from Lake Mead goes to agriculture.
  • "With climate change, it seems like the dominoes are beginning to fall," Nasa hydrologist JT Reager told the BBC.
  • the western United States is now entering one of the worst droughts ever seen.
  • For many living in California's agricultural heartland, the wells have already started to run dry and they can't afford to dig a deeper well. Charities deliver bottled water and large tanks of non-potable water for washing.
  • Many farmers argued that it's time for another massive infrastructure project like the Hoover Dam, which was built in the 1930s, so that more rainwater can be stored instead of being let to end up back in the ocean.
  • Dams are controversial and typically opposed by environmentalists - but with the drought now so severe, even California's Democratic leadership - largely aligned with environmental groups - have proposed rethinking some of the state's shelved dam projects.
  • Kat George, a manager at Source, was in California's Central Valley where the company is installing hydro-panels on 1,000 homes so people can have clean drinking water.
Javier E

The un-celebrity president: Jimmy Carter shuns riches, lives modestly in his Georgia ho... - 0 views

  • The Democratic former president decided not to join corporate boards or give speeches for big money because, he says, he didn’t want to “capitalize financially on being in the White House.”
  • Presidential historian Michael Beschloss said that Gerald Ford, Carter’s predecessor and close friend, was the first to fully take advantage of those high-paid post-presidential opportunities, but that “Carter did the opposite.”
  • Since Ford, other former presidents, and sometimes their spouses, routinely earn hundreds of thousands of dollars per speech.
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  • “I don’t see anything wrong with it; I don’t blame other people for doing it,” Carter says over dinner. “It just never had been my ambition to be rich.”
  • Carter decided that his income would come from writing, and he has written 33 books, about his life and career, his faith, Middle East peace, women’s rights, aging, fishing, woodworking, even a children’s book written with his daughter, Amy Carter, called “The Little Baby Snoogle-Fleejer.”
  • Carter costs U.S. taxpayers less than any other ex-president, according to the General Services Administration, with a total bill for him in the current fiscal year of $456,000, covering pensions, an office, staff and other expenses.
  • Carter is the only president in the modern era to return full-time to the house he lived in before he entered politics — a two-bedroom rancher assessed at $167,000, less than the value of the armored Secret Service vehicles parked outside.
  • Ex-presidents often fly on private jets, sometimes lent by wealthy friends, but the Carters fly commercial. Stuckey says that on a recent flight from Atlanta to Los Angeles, Carter walked up and down the aisle greeting other passengers and taking selfies.
  • “He doesn’t like big shots, and he doesn’t think he’s a big shot,” said Gerald Rafshoon, who was Carter’s White House communications director.
  • With book income and the $210,700 annual pension all former presidents receive, the Carters live comfortably. But his books have never fetched the massive sums commanded by more recent presidents.
  • The federal government pays for an office for each ex-president. Carter’s, in the Carter Center in Atlanta, is the least expensive, at $115,000 this year. The Carters could have built a more elaborate office with living quarters, but for years they slept on a pullout couch for a week each month. Recently, they had a Murphy bed installed.
  • Carter doesn’t even have federal retirement health benefits because he worked for the government for four years — less than the five years needed to qualify, according to the GSA. He says he receives health benefits through Emory University, where he has taught for 36 years.
  • Carter’s office costs a fraction of Obama’s, which is $536,000 a year. Clinton’s costs $518,000, George W. Bush’s is $497,000 and George H.W. Bush’s is $286,000, according to the GSA.
  • “He didn’t feel suited to the grandeur,” Eizenstat said. “Plains is really part of his DNA. He carried it into the White House, and he carried it out of the White House.”
  • “I am a great admirer of Harry Truman. He’s my favorite president, and I really try to emulate him,” says Carter, who writes his books in a converted garage in his house. “He set an example I thought was admirable.”
  • The Jimmy Carter National Historic Site is essentially the entire town, drawing nearly 70,000 visitors a year and $4 million into the county’s economy.
  • Carter has used his post-presidency to support human rights, global health programs and fair elections worldwide through his Carter Center, based in Atlanta. He has helped renovate 4,300 homes in 14 countries for Habitat for Humanity, and with his own hammer and tool belt, he will be working on homes for low-income people in Indiana later this month.
  • Carter’s gait is a little unsteady these days, three years after a diagnosis of melanoma on his liver and brain. At a 2015 news conference to announce his illness, he seemed to be bidding a stoic farewell, saying he was “perfectly at ease with whatever comes.”
  • In October, he will become the second president ever to reach 94; George H.W. Bush turned 94 in June. These days, Carter is sharp, funny and reflective.
  • The Carters walk every day — often down Church Street, the main drag through Plains, where they have been walking since the 1920s.
  • “I grew up in church with him,” says Maya Wynn. “He’s a nice guy, just like a regular person.”
  • “He’s a good ol’ Southern gentleman,” says David Lane.
  • Carter says this place formed him, seeding his beliefs about racial equality. His farmhouse youth during the Great Depression made him unpretentious and frugal. His friends, maybe only half-joking, describe Carter as “tight as a tick.”
  • That no-frills sensibility, endearing since he left Washington, didn’t work as well in the White House. Many people thought Carter scrubbed some of the luster off the presidency by carrying his own suitcases onto Air Force One and refusing to have “Hail to the Chief” played.
  • Stuart E. Eizenstat, a Carter aide and biographer, said Carter’s edict eliminating drivers for top staff members backfired. It meant that top officials were driving instead of reading and working for an hour or two every day.
  • That’s less than half the $952,000 budgeted for George H.W. Bush; the three other living ex-presidents — Clinton, George W. Bush and Obama — cost taxpayers more than $1 million each per year.
  • When Carter looks back at his presidency, he says he is most proud of “keeping the peace and supporting human rights,” the Camp David accords that brokered peace between Israel and Egypt, and his work to normalize relations with China. In 2002, he was awarded the Nobel Peace Prize for his efforts.
  • “I always told the truth,” he says.
  • Carter says he thinks the Supreme Court’s Citizens United decision has “changed our political system from a democracy to an oligarchy. Money is now preeminent. I mean, it’s just gone to hell now.”
  • He says he believes that the nation’s “ethical and moral values” are still intact and that Americans eventually will “return to what’s right and what’s wrong, and what’s decent and what’s indecent, and what’s truthful and what’s lies.”
  • They are asked if there is anything they want but don’t have. “I can’t think of anything,” Carter says, turning to Rosalynn. “And you?” “No, I’m happy,” she says.
  • They watch Atlanta Braves games or “Law and Order.” Carter just finished reading “The Innovators” by Walter Isaacson. They have no chef and they cook for themselves, often together. They make their own yogurt.
Javier E

Dispute Within Art Critics Group Over Diversity Reveals a Widening Rift - The New York ... - 0 views

  • The need for change in museums was pointed out in the 2022 Burns Halperin Report, published by Artnet News in December, that analyzed more than a decade of data from over 30 cultural institutions. It found that just 11 percent of acquisitions at U.S. museums were by female artists and only 2.2 percent were by Black American artists
  • Julia Halperin, one of the study’s organizers, who recently left her position as Artnet’s executive editor, said that the industry has an asymmetric approach to diversity. “The pool of artists is diversifying somewhat, but the pool of staff critics has not,” she said.
  • the matter of diversity in criticism is compounded by the fact that opportunities for all critics have been diminished.
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  • While most editors recognize the importance of criticism in helping readers decipher contemporary art, and the multibillion-dollar industry it has created, venues for such writing are shrinking. Over the years, newspapers including The Philadelphia Inquirer and The Miami Herald have trimmed critics’ jobs.
  • In December, the Penske Media Corporation announced that it had acquired Artforum, a contemporary art journal, and was bringing the title under the same ownership as its two competitors, ARTnews and Art in America. Its sister publication, Bookforum, was not acquired and ceased operations. Through the pandemic, other outlets have shuttered, including popular blogs run by SFMOMA and the Walker Art Center in Minneapolis as well as smaller magazines called Astra and Elephant.
  • (National newspapers with art critics on staff include The New York Times, The Los Angeles Times, The Boston Globe and The Washington Post. )
  • David Velasco, editor in chief of Artforum, said in an interview that he hoped the magazine’s acquisition would improve the publication’s financial picture. The magazine runs nearly 700 reviews a year, Velasco said; about half of those run online and pay $50 for roughly 250 words. “Nobody I know who knows about art does it for the money,” Velasco said, “but I would love to arrive at a point where people could.”
  • Noah Dillon, who was on the AICA-USA board until he resigned last year, has been reluctant to recommend that anyone follow his path to become a critic. Not that they could. The graduate program in art writing that he attended at the School of Visual Arts in Manhattan also closed during the pandemic.
  • “It’s crazy that the ideal job nowadays is producing catalog essays for galleries, which are basically just sales pitches,” Dillon said in a phone interview. “Critical thinking about art is not valued financially.”
  • Large galleries — including Gagosian, Hauser & Wirth, and Pace Gallery — now produce their own publications with interviews and articles sometimes written by the same freelance critics who simultaneously moonlight as curators and marketers. Within its membership, AICA-USA has a number of writers who belong to all three categories.
  • According to Lilly Wei, a longtime AICA-USA board member who recently resigned, the group explored different ways of protecting writers in the industry. There were unrealized plans of turning the organization into a union; others hoped to create a permanent emergency fund to keep financially struggling critics afloat. She said the organization has instead canceled initiatives, including an awards program for the best exhibitions across the country.
  • “It just came down to not having enough money,” said Terence Trouillot, a senior editor at Frieze, a contemporary art magazine . He spent nearly three years on the AICA-USA board, resigning in 2022. He said that initiatives to re-energize the group “were just moving too slowly.”
  • The organization has yearly dues of $115 and provides free access to many museums. But some members complained that the fee was too expensive for young critics, yet not enough to support significant programming.
  • Efforts to revive AICA-USA are continuing. In January, Jasmine Amussen joined the organization’s board to help rethink the meaning of criticism for a younger generation.
  • Amussen, 33, is the editor of Burnaway, which focuses on criticism in the American South and often features young Black artists. (The magazine started in 2008 in response to layoffs at the Atlanta Journal-Constitution’s culture section and now runs as a nonprofit with four full-time employees and a budget that mostly consists of grants.)
Javier E

Todd Gitlin, a Voice and Critic of the New Left, Dies at 79 - The New York Times - 0 views

  • “Gitlin sees himself as an independent thinker and heretic who dares to dissent from common left wisdom,” Douglas Kellner, who specializes in media literacy at the University of California, Los Angeles, wrote in 2006. But, he said, “the positions Gitlin himself ends up affirming are ever more frequently simply those of conservatives, such as his trashing of theory, cultural studies, postmodernism, the ‘academic left’ and university-based activism.”
  • he had made a transition that others had not, from revolutionary and radical politics to a more practical politics, a sort of left wing of the possible.”
  • He would go on to regard much of the establishment news media as tools of the profit-driven corporate state it covered, the goal of both being to perpetuate the status quo.
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  • His dissertation at Berkeley turned into a book, “The Whole World Is Watching: Mass Media in the Making and Unmaking of the New Left,” published in 1980 and revised in 2003. In it, he traced the media’s symbiotic role in political movements, S.D.S. in particular.
  • His well-received “Inside Prime Time” (1983, revised in 1994), for which he interviewed 200 people in the television industry, showed how advertisers and network executives colluded to set the cultural agenda.
lilyrashkind

California gas prices: If Gov. Newsom's $400 rebate plan gets approved, how soon could ... - 0 views

  • CALIFORNIA -- Californians shouldering the nation's highest gas prices could soon get a tax break, free rides on public transit and up to $800 on debit cards to help pay for fuel under a proposal revealed Wednesday by Gov. Gavin Newsom, but how soon could taxpayers start seeing the money?Gas prices have soared in recent weeks, the result of pandemic-induced inflation and Russia's invasion of Ukraine
  • State governments across the country have been debating what to do about it, with the most popular choices being slashing fuel taxes or offering rebates to taxpayers.Last week, the governors of Maryland and Georgia signed laws temporarily suspending their state's gas taxes, while Georgia on Wednesday also offered $1.1 billion in refunds to taxpayers in a separate action.California's average gas prices hit a new state record Wednesday at $5.88 per gallon, more than $2 higher than it was a year ago, according to AAA. California has the second-highest gas tax in the country at 51 cents per gallon. But the state's Democratic leaders have been wary of suspending the gas tax because they fear oil companies would not pass along the savings to drivers.
  • RELATED: Are California drivers paying a hidden gas fee?
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  • "This package is also focused on protecting people from volatile gas prices, and advancing clean transportation," Newsom said.Rebates like the ones Newsom is proposing take time to deliver, with the governor's office saying people could see the money by July.Rising fuel prices are a tricky policy issue for Newsom, who is trying to wean the state off fossil fuels. He has signed executive orders aimed at banning the sale of new gas-powered cars in the state by 2035 and halting all oil extraction by 2045.He has proposed a total of $10 billion in funding over six years to boost zero-emission vehicle production and build charging stations.
  • Newsom's plan must be approved by the Legislature, where Democrats dominate both the Assembly and the Senate. Democratic leaders, however, don't like the idea of giving money to rich people.They have been discussing their own rebate proposal, one that would give $200 rebates to every taxpayer and their children with taxable income less than $125,000 for single filers and $250,000 for joint filers. That means a family of five would get $1,000 while a single parent with two children would get $600.
  • A spokesperson for Democratic Assembly Speaker Anthony Rendon called Newsom's idea "consistent with the Speaker's goal of providing targeted financial relief to Californians most in need" but stressed the idea is "in the very early stages."Newsom's plan is similar to a separate proposal floated last week by more moderate Democrats in the state Assembly that would give every taxpayer $400, regardless of income.
  • "People need relief now," said Assembly Republican Leader James Gallagher. "We've got now, like, four different competing plans amongst the Democrats. These guys are going to negotiate against themselves for weeks to months and who knows what we're going to get."
Javier E

He's Narrating Your New Audiobook. He's Also Been Dead for Nearly 10 Years. - WSJ - 0 views

  • AI’s reach into audiobook narration isn’t merely theoretical. Thousands of AI-narrated audiobooks are available on popular marketplaces including Alphabet Inc.’s Google Play Books and Apple Inc.’s Apple Books. Amazon.com Inc., AMZN +0.25% whose Audible unit is the largest U.S. audiobook service, doesn’t offer any for now, but says it is evaluating its position.
  • The technology hasn’t been widely embraced by the largest U.S. book publishers, which mostly use it for marketing efforts and some foreign-language title
  • it is a boon for smaller outfits and little-known authors, whose books might not have the sales potential to warrant the cost—traditionally at least $5,000—of recording an audio version.
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  • Apple and Google said they allow users to create audiobooks free of charge that use digitally replicated human voices. The voices featured in audiobooks generated by Apple and Google come from real people, whose voices helped train their automated-narration engines.
  • Ms. Papel said there is still plenty of work for professional narrators because the new era of AI auto-narration is just getting under way, though she said that might not be the case in the future.
  • “From what I can see, human narrators are freaking out,
  • Melissa Papel, a Paris-born actress who records from her home studio in Los Angeles, said she recorded eight hours of content for DeepZen, reading in French from different books. “One called for me to read in an angry way, another in a disgusted way, a humorous way, a dramatic way,” she said.
  • Charles Watkinson, director of the University of Michigan Press, said the publisher has made about 100 audiobooks using Google’s free auto-narrated audiobook platform since early last year. The new technology made those titles possible because it eliminated the costs associated with using a production studio, support staff and human narrators.
  • “I understood that they would use my voice to teach software how to speak more humanly,” Ms. Papel said. “I didn’t realize they could use my voice to pronounce words I didn’t say. That’s incredible.”
  • DeepZen pays its narrators a flat fee plus a royalty based on the revenue the company generates from different projects. The agreements span multiple years
  • a national union that represents performers, including professional audiobook narrators, said he expects AI to eventually disrupt the industry.
  • Audiobook sales rose 7% last year, according to the Association of American Publishers, while print book sales declined by 5.8%, according to book tracker Circana BookScan.
  • eepZen says it has signed deals with 35 publishers in the U.S. and abroad and is working with 25 authors.
  • Josiah Ziegler, a psychiatrist in Fort Collins, Colo., last year created Intellectual Classics, which focuses on nonfiction works that are out of copyright and don’t have an audiobook edition. 
  • He chose Mr. Herrmann as the narrator for “The War with Mexico,” a work by Justin H. Smith that won the 1920 Pulitzer Prize for history whose audiobook version Dr. Ziegler expects to publish later this year.
  • DeepZen, which has created nearly a hundred audiobooks featuring Mr. Herrmann’s voice, is pursuing the rights of other well-known stars who have died.
Javier E

Opinion | Blue Lives Matter and How the Thin Blue Line Came to Jan. 6 - The New York Times - 0 views

  • a now-familiar variant of the American flag: white stars on a black field, with alternating black and white stripes, except for the stripe immediately beneath the union, which is blue.
  • as a political totem it is undeniably powerful. A merger of the American flag with a symbol representing the police, the thin blue line flag has become a potent statement in its own right.
  • First introduced in the 2010s, it quickly became the dominant popular symbol of the police, flown in pride, solidarity, memoriam, defiance. It was something more than that, too. Beyond a marker of professional affiliation, it was a symbol of personal identity, one that was not restricted to members of law enforcement — one that could even, eventually, be used against them.
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  • But it starts an ocean away, during the Crimean War, 169 years ago.
  • Almost as soon as the phrase was coined, its definition was broadened to become shorthand for the British military more generally, particularly its courage in the face of long odds or superior numbers.
  • “Between the law-abiding elements of society and the criminals that prey upon them,” Mr. Parker said, “stands a thin blue line of defense — your police officer.” The police, in his vision, weren’t just protecting public safety; they were combating the decline of Western civilization, the rise of Communism, the moral laxity of postwar America, the decay of the nuclear family, and so on.
  • Like other mash-ups of identity flags with the American flag, the thin blue line flag is a rallying point for a marginalized identity, a way to lay claim to the American birthright, a demand for long-denied respect
  • Mr. Parker’s vision went beyond policing as a profession. In 1965, he told a civil rights commission investigating the Watts riots that “the police of this country, in my opinion, are the most downtrodden, oppressed, dislocated minority in America.” This belief, a half-century later, would animate an identity politics that blurred the blue line.
  • Blue Lives Matter is not just an expression of support and solidarity for the police, but a response to and rejection of Black Lives Matter. It suggests that it is not Black people whose lives are undervalued by society, but police officers.
  • Blue Lives Matter is a movement that belies the simplicity of its name: It can certainly mean that the police deserve respect for doing a critical and dangerous job. But it can also mean that overzealous racial politics have inverted the criminal justice system, punishing the peacekeepers, coddling the criminals and turning those who carry a badge into the most embattled and victimized group in the nation. Blue Lives Matter transformed policing into a tribal affiliation.
  • As the L.G.B.T. American flag does, it exploits a visual pun, but much less playfully: The blue line divides America against itself.
  • The thin blue line would become the dominant metaphor for the police. In 1981, President Ronald Reagan said the thin blue line held back “a jungle which threatens to reclaim this clearing we call civilization”; in 1993, President Bill Clinton called it “nothing less than our buffer against chaos, against the worst impulses of this society.”
  • This blossoming identity was an opportunity for any politician bold enough to take it. While trust in the police was dropping among Black and Hispanic Americans, it actually was rising for white Americans
  • Donald Trump was particularly well suited to take advantage of the rise of policing as identity politics. His entrance onto the political scene in the 1980s was his call for the reinstatement of the death penalty and less oversight of police.
  • The Trump campaign cast the Democrats as enemies of law and order who sought to incubate riots in American cities and chaos at the border.
  • Mr. Trump claimed that while the Democratic ticket stood with “rioters and vandals,” he stood with “the heroes of law enforcement.”
  • After Mr. Trump’s prophecy came true and the soft coup of representative democracy denied him a second term, when his supporters rallied for one last stand on the grassy field in front of the Capitol, it was inevitable that they would see themselves as bearing the mantle of law and order, a thin blue line smashing through a thin blue line.
  • In the aftermath of Jan. 6, when the nation saw that flag held aloft by the rioters who attacked the Metropolitan Police officer Michael Fanone (he says they literally beat him with it), the thin blue line flag has become increasingly controversial among police officers. In 2023, the Los Angeles Police Department banned its public display on the job. In an email explaining his decision to his officers, Chief Michel Moore lamented that “extremist groups” had “hijacked” the flag.
Javier E

There has never been more music made - but most artists go hungry - 0 views

  • “Fifteen years ago,” says Will Burgess, of Practise Music, a management company, “if you wanted to record a song you needed two days in a studio, at £400 a day, plus a sound engineer at £100 a day. That’s the cost of a laptop, on which you can make unlimited amounts of music today.”
  • These days you don’t need to be able to play a musical instrument to be a musician and you don’t need a studio. All you need is a computer. “I’ve created songs that have gone to No 1 in my daughter’s bedroom downstairs,” says Crispin Hunt, former lead singer of the Longpigs and now a songwriter who has worked with Lana Del Rey, Rod Stewart and Ellie Goulding.
  • You can sketch out a musical idea on a laptop, you can add instrumentation, you can record your own vocals. If you want to collaborate with others around the world, no problem: when Luke Sital-Singh, a singer-songwriter who works in London, needs drums, he asks a friend with a studio in Lewes to send the files to his computer. He’s working with a guitarist in Santa Fe, to whom he sends a rough version of the song; his collaborator sends him back a guitar track.
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  • Special effects software can give your music all sorts of subtle vibes. For $299, for instance, you can make your song sound as though it was recorded in Sound City Studios in Los Angeles, on the $20,000 vintage microphones with the $100,000 mixing console that recorded Fleetwood Mac and Nirvana. For $259 you can simulate the Beatles’ Abbey Road Studios
  • In the past, when you assembled all the tracks for a song, it would have to be mixed and mastered in a studio by a sound engineer adjusting the levels. Now an app will do it for you.
  • Now, all you need to do is get the files uploaded to streaming services. If you are signed with a label, they will do that for you, but you don’t need a record deal to do that. There are companies such as DistroKid that act as postmen: for £17.99 a year, you can ensure that the song you created in your bedroom is available on multiple streaming platforms.
  • Some artists thrive on social media. It suits lively, quirky performers like Ryder, and artists who want to experiment with different genres. Mxmtoon, a 23-year-old American YouTuber, singer-songwriter and ukulele player, is also a streamer on Twitch, a platform on which people watch others playing online games, has published graphic novels and made a podcast. Maia — the artist’s name — describes mxmtoon as “a multi-hyphenated project”.
  • More traditional musicians struggle with some aspects of tech. “We get together,” says Sital-Singh of his contemporaries in the business, “and have a little moan about how everyone’s telling us to do TikTok and we can’t bring ourselves to dance and we feel old and decrepit.”
  • Even digital natives struggle sometimes: “I already have nostalgia for a simpler past, even though I’m 23,” says Maia. “It’s exciting but it does put so much pressure on a normal individual to be an entrepreneur to advertise their own personal brand.”
  • Journalists, regrettably, no longer have the power they once did. What matters these days is social media. The A&R (artists and repertoire) people at record companies who would once have hung out in basement clubs scouting for new talent now sit in meetings examining the data on artists’ social media performance.
  • Now that the whole world’s music is available all over the world at the click of a play button, there’s a greater diversity among top-selling artists.
  • People making videos of themselves performing or dancing to the song on TikTok helped propel it to the stratosphere. It has been streamed a billion times. Sethi now plays to packed venues in America and Europe; last year, he performed at Coachella, America’s Glastonbury. “Without digital technology I would be a south Asian indy musician, working on the fringes of Bollywood,” he says from his home in New York.
  • For musicians, it’s more ambiguous. Because the costs of making music are lower, anybody with ambition can have a go. Many more people, as a result, are getting into the music business. According to PPL, the organisation which distributes money to music performers and rights-holders, the number of registered artists has risen from 61,310, when the industry was at its nadir, to 165,039 last year.
  • That makes the business fiercely competitive. As Will Page, former chief economist at Spotify and author of Tarzan Economics, points out, around 100,000 tracks are being uploaded on to Spotify every day: that’s more than were released in an entire calendar year in the 1980s
  • That has cemented the power of the record companies. When the digital revolution started, it was widely expected that record labels would cease to exist, and be replaced by a model in which everybody promoted and distributed their own music. That’s not what has happened: because it’s so difficult to get noticed, embryonic stars need record labels to promote them.
  • A label invests in the production of the music, the styling of the band, video content, interviews, touring and the crucial business of getting a song on a streaming service’s playlist that suggests the song to listeners to suit their tastes. Artists that are signed with major labels get paid more, per stream, than those that aren’t.
  • Three quarters of streamed tracks have one of the major record labels behind them. And even though streaming is booming, it doesn’t contribute much to the incomes of the vast majority of artists.
  • Most artists stay hungry. A single stream will earn a musician anywhere between 0.1p and 2.4p. Crispin Hunt reckons that on average a million streams for a song — a wild ambition for most musicians — will, if you have to pay a cut to a record company, probably make you £1,000
  • If you’ve then got to pay your manager 20 per cent, and divide the rest between the four band members, “it barely pays for a Sainsbury’s shop. That’s why music is dominated by middle-class people called Crispin whose parents can afford to buy them an electric guitar and a laptop.”
  • For Christie Gardner, half of Lilo, a two-woman band, it helps planning gigs. “You can see where your listeners are and you can tell what they’re listening to. We make decisions about shows on that basis.” But for most bands, the economics of live performance are pretty grim.
  • Deathcrash’s manager Joe Taylor says that the band has been offered the opportunity of a European tour supporting a much bigger act. It would be good for their career but not their bank balance. The fees per show would be €200; once the costs of a sound engineer, a tour van, a driver, fuel, hotels and a carnet for importing musical instruments into the EU had been factored in, they would lose £15,000.
  • music has always been an uneconomic business, which people subsidise through other activities. The fiddler in the village pub probably worked in the fields in the daytime and played for money and fun in the evenings and at the weekend, rather as Ryder ran a juice bar and sang at weddings. These days, there is also the wafer-thin chance that they might end up being one of the 1,200 artists who make more than $1 million a year on Spotify
  • There are some signs that in the new musical economy, the balance of power between artists and the big record companies may have tipped slightly in the artists’ favour
  • the share of streaming revenues going to artists increased from 19.7 per cent to 23.3 per cent between 2012 and 2021 and that going to songwriters has risen from 8 per cent in 2008 to 15 per cent in 2021. “Outcomes for consumers, artists and songwriters,” it concludes, “are getting better.”
  • Most of the extra revenues generated by streaming are going to the top earners. But the stars are not the only ones benefiting. Between 2017 and 2022, the number of artists earning over $1 million on Spotify more than doubled, but so did the number earning over $10,000
  • more than two fifths of artists who release their own music aren’t expecting to make a full-time career. They’re in it for fun, for the love of it, or to be able to show their mum that they have released a song on Spotify.
  • It seems likely that the more music is being created, the greater the chance that wonderful tunes are being written, but it’s not necessarily the case. The best stuff might get buried under a mound of mediocrity.
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