I think it's worth distinguishing that 'most creators get paid a pittance' is only true on a per-view basis. The total outflows to creators is higher, but the total viewership is massively increased due to the leftward shift in where we live on the demand curve. There's no 'money for nothing' solution where everyone just accepts higher prices and continues consuming at the current rate.
Is that actually true, though? I've lost count of the number of times I've heard that bands only really make money from touring these days and that streaming money is basically a rounding error.
The total pie has absolutely grown. There were a little under 1 billion US album sales in 2000 (the peak of CDs). Spotify alone paid around $3.5B in royalties in the US last year (with similar #s for apple music and a bit less for YT music).
I suspect the disconnect comes from
a) a big increase in the # of artists
b) artists trying to compare apples to oranges #s as though every stream would've been an album/MP3 sale
c) the timeline of revenues: an album sale is a big cash flow shortly after the album release, but streaming revenue is a slow trickle as users gradually discover the album, listen, re-listen, etc
Well, we just saw Hollywood unions have a 4-month long strike over the portion of residuals they were receiving under streaming. I'm willing to bet that their complaints about not getting what they used to under prior contracts and models are entirely accurate.
We're also in a situation now where the media owners are building silos for their own content instead of licensing it and letting independent platforms compete on platform services and quality. That's not good for the people buying those services, either.
The pie might be bigger, but the same old middlemen are claiming the difference.
There's at least one bit that's missing here, even if the claim is entirely accurate:
Both the total pie and the total number of creators has increased. Hollywood feature film production is [estimated](hhttps://www.quora.com/How-many-people-work-in-the-film-indus...) to be 3000-7000 people. There are [approximately 61.1 *million* YouTube creators](https://explodingtopics.com/blog/youtube-creator-stats), or approximately 10,000 times more. There could easily be 100x more money flowing to the total visual entertainment creator community and the old guard film creators could still get less than they used to.
I don't know exactly what to search for to get similar numbers for music production, but I suspect it is similar: There's a lot more creators and they get less each even though it's more in total, and this is especially hitting "old timers" that used to get the bulk of the old total and get less with the new setup.
The industry has shifted greatly for creatives. Musicians especially. In the 90s which was peak old industry music, the labels would take chances on various artists and those artists would have a shot at something big for little while. The label paid for the studio time.
These days with creative tools so accessible and widespread, and the ability to publish so cheap, artists need to produce their own music and find their own following before the label takes them on. Instead of the label paying for studio time the artist does. I think that's why these discussions concentrate on the whole "fewer artists making more of the share" part. It IS different, but its not the whole story.
And I'd probably argue in favor of making creative endeavors more widespread instead of being in the lap of a few label executive taste-makers, but you definitely have fewer artists who can just concentrate on making great music and getting nice royalties. Now you have to do everything for a smaller pay day.
I am sorry but this is completely false.
All artist contracts in the 90s stated the label would pay upfront, but all costs would be recouped from future album sales and touring profits before the artist saw a dime.
The labels didnt take a chance on anything, they heavily covered their asses by monumental contracts which were very famously difficult to get out of once signed.
If the label contracts were structured as loans that had to be repaid, I agree with "completely false".
But if, as I suspect, most contracts were structured as advances, then if the musician was successful, you could look at it as the musician just having gotten a loan.
But, famously, most musicians aren't very successful, and they aren't in general asked to pay back their studio time.
So I don't think "completely false" is a reasonable response to "the label paid for studio time".
I suspect it’s true, but that also a bigger share of that pie is going to fewer labels and artists. It works out to a net gain for a minority and a net loss for everyone one.
I recently caught part of a radio interview where a musician bemoaned the fact that he used to be able to sell 10,000 copies of a CD and make a living, whereas now he can have millions of listeners online but still not cover the production costs.
How many times have you listened to your favorite album? Some of my CDs would have worn out in the 00’s if I hadn’t ripped them. In fact I had to use a disc doctor on a few to get a clean scan.
