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Nine Inch Nails’ Trent Reznor is the latest artist to join the music industry’s war of words with YouTube, attacking Google’s video service over the role it plays for musicians.
“I find YouTube’s business to be very disingenuous. It is built on the backs of free, stolen content and that’s how they got that big,” said Reznor in an interview with Billboard.
Reznor was not speaking purely as an artist, however. He is also chief creative officer at Apple Music, the streaming service launched by Apple in 2015, which is one of the key rivals to YouTube in the digital music world.
“I think any free-tiered service is not fair. It’s making their numbers and getting them a big IPO and it is built on the back of my work and that of my peers. That’s how I feel about it. Strongly,” said Reznor, widening his criticism to other rivals like Spotify in the process.
Analysis Why is the music industry battling YouTube and what happens next? Labels are facing off with Google’s video service over revenues and rights, yet it’s also their biggest partner for streaming music Read more YouTube has faced a barrage of criticism from musicians and music-industry bodies in 2016, as part of a campaign in the US and Europe to rework copyright legislation that grants the service “safe harbour” status when users upload copyrighted material without the permission of the rights owners.
Rightsholders have also argued that YouTube’s vast catalogue of free music could impede the growth of paid music-streaming subscription services like Apple Music and Spotify’s premium tier – important context to Reznor’s comments, given his role.
In its most recent public statement, following an open letter to Alphabet boss Larry Page from rock band Sixx:AM, YouTube indicated that the criticism is having an impact on the company’s plans.
“The voices of the artists are being heard, and we’re working through details with the labels and independent music organisations who directly manage the deals with us,” a spokesperson said.
“Having said that, YouTube has paid out over $3bn (£2.1bn) to the music industry, despite being a platform that caters to largely light music listeners who spend an average of one hour per month consuming music – far less than an average Spotify or Apple Music user. Any comparisons of revenue from these platforms are apples and oranges.”
Following Reznor’s criticism, YouTube issued a new statement addressing his comments.
“The overwhelming majority of labels and publishers have licensing agreements in place with YouTube to leave fan videos up on the platform and earn revenue from them. Today the revenue from fan uploaded content accounts for roughly 50 percent of the music industry’s YouTube revenue,” said a spokesperson.
“Any assertion that this content is largely unlicensed is false. To date, we have paid out over $3 billion to the music industry – and that number is growing year on year.”
_________________ When the sadness in you meets the sadness in me let's start changing our lives.
Joined: Tue September 24, 2013 5:56 pm Posts: 47163 Location: In the oatmeal aisle wearing a Shellac shirt
Whatever. The notion of making a handsome profit margin for the sale of a physical copy of music represents a very small window within the span of music history. The ones who seem the most upset about the changes are the ones who had gotten used to making money hand-over-fist. I'm sure Trent's soundtrack work is keeping him plenty rich (and I think he was born into an upper-class family anyway).
I am of the Steve Albini mindset that compensation for music should be roughly on par with being a great plumber: You do your job for a certain amount of hours, you deliver a certain quality of work, and you make what the market will bear based on the quantity and quality of your work. (Full disclosure: I tried to make a lot of money via music publishing residuals, and failed miserably. I'm not upset about that -- it was a misguided effort on my part.) Grazing through music on Youtube or torrent sites is perfectly acceptable behavior, as is paying a premium for a super-deluxe-vinyl pressing. I believe the bigger villains in music sales are those who trade in cracked audio software (guilty); the gatekeepers at major radio; Apple for cornering the market and providing fucking TERRIBLE support for iTunes; and anyone who creates music that is solely derivative of other peoples' work without any originality. "I should get paid extra money every time someone presses play on my song" is bullshit. Should I pay the guy who designed my refrigerator every time I open the door?
Edit: Also, there are no great unions representing working musicians; the one major musicians' union is a joke. If music professionals could somehow obtain great health care and some sort of retirement plan -- like many other jobs in this country -- it would help make their lives much easier.
I liked the song. Its not different from anything Trent and Atticus did with NIN...i mean, it even has a nana chorus at the end. Im still confused why this is not a NIN release.
Joined: Tue January 01, 2013 6:03 pm Posts: 9359 Location: Washington State
Also I was walking home the other day listening to Hesitation Marks. Who actually wanted a pop Nine Inch Nails album? Don't get me wrong, I mostly like the first half of the album but the second half could be completely cut off and you'd have an alright EP.
Quote:
Plus, there'll be a special-edition LP-only version of The Fragile called The Fragile: Deviations 1, which will have four discs including instrumentals, alternate versions, and unreleased songs.
Joined: Tue September 24, 2013 5:56 pm Posts: 47163 Location: In the oatmeal aisle wearing a Shellac shirt
bune wrote:
Also I was walking home the other day listening to Hesitation Marks. Who actually wanted a pop Nine Inch Nails album? Don't get me wrong, I mostly like the first half of the album but the second half could be completely cut off and you'd have an alright EP.
I agree the album is too long by about half. But I think it's easily the best music since The Fragile.
What's your issue with Ross's involvement? It's always been a revolving door situation anyway, and he's never going to top the '94 sound.
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