Posting your music on the blockchain won't automatically make money either, but it's far easier to work with web 2 technology. Ask the long tail of "NFT artists" who make nothing on what they've minted, in fact lost money through the fees. But hey, picks n' shovels industry is going gangbusters...
Posting your music on the blockchain won't automatically make money either, but it's far easier to work with web 2 technology. Ask the long tail of "NFT artists" who make nothing on what they've minted, in fact lost money through the fees. But hey, picks n' shovels industry is going gangbusters...
The commercial success of any great artist always seems inevitable in retrospect. But art does not sell itself. It invariably takes teamwork, even if the "team" consists of the artist and one other extremely diligent, supportive and resourceful person.
Sure, that's a given. We are talking about platforms and distribution systems here, though, which are part of the business stack you are referencing.
Whether they are better solutions (or offer different opportunities and business models) remains to be seen.
In the current blockchain world 90%+ (easily) of projects are scams and/or incompetent (for many reasons), so you need a heavy filter to strain them for any real potential.
Paul, you're mistaking Ted's contentions for mine. I haven't said anything about blockchain pro or con. I merely took exception to a side issue. It got me so riled up I've begun tossing around adverbs willy-nilly. I've set a terrible rhetorical example.
Not really. I do understand, but they're not separate issues, if you zoom out.
They're platforms that enable business models, you still need all the rest - as you point out.
That said, artists are able to do more of the heavy lifting themselves or with a smaller team now, so it is possible to self-manage or collaboratively manage.
Posting your music on the blockchain won't automatically make money either, but it's far easier to work with web 2 technology. Ask the long tail of "NFT artists" who make nothing on what they've minted, in fact lost money through the fees. But hey, picks n' shovels industry is going gangbusters...
The commercial success of any great artist always seems inevitable in retrospect. But art does not sell itself. It invariably takes teamwork, even if the "team" consists of the artist and one other extremely diligent, supportive and resourceful person.
Sure, that's a given. We are talking about platforms and distribution systems here, though, which are part of the business stack you are referencing.
Whether they are better solutions (or offer different opportunities and business models) remains to be seen.
In the current blockchain world 90%+ (easily) of projects are scams and/or incompetent (for many reasons), so you need a heavy filter to strain them for any real potential.
Paul, you're mistaking Ted's contentions for mine. I haven't said anything about blockchain pro or con. I merely took exception to a side issue. It got me so riled up I've begun tossing around adverbs willy-nilly. I've set a terrible rhetorical example.
Not really. I do understand, but they're not separate issues, if you zoom out.
They're platforms that enable business models, you still need all the rest - as you point out.
That said, artists are able to do more of the heavy lifting themselves or with a smaller team now, so it is possible to self-manage or collaboratively manage.
For example. I was part of a collaborative song effort on twitter ( https://farawayhandshake.bandcamp.com/track/pushing-forward ) and one of organisers just released a legal framework for musicians to use:
https://twitter.com/tinelinen/status/1490701889758920707
Don't get me started on the death of A&R though.