How many financially self-sustaining musicians should there be? Streaming has caused the number to fall, but recorded music before that likely made it fall as well.
Should we stop thinking about music as a job and start thinking about it as a hobbyist art form? Nobody is out there lamenting that you can’t make a living off of landscape painting. It’s a fun form of self expression that people will do regardless of the economics, so maybe the problem was ever thinking you could make a profession out of it?
imo, it's better to have a million bands dicking around and having fun playing terrible shows for crowds of ten people than a hundred polished superstar groups playing sold out arenas.
Those are not the only two choices. There are so many great bands playing shows to hundreds or a few thousand people.
Maybe you don't value music or live music, but there are a lot of people out there that do. You not caring much for it doesn't change the fact or make it ok that they're getting stiffed by those with the upper hand in the relationship.
At least for metal, there are still tons of tiny musicians. Underground labels do cassette runs for the smallest of them, medium-tiny ones might get vinyls.
Bandcamp is chock full of bands, from home produced stuff, to bands spending saved money on a cheap studio. It's enough that even in the sub-niches I like, I can listen to 10-20 newly released albums every week.
I doubt more than a small single digit percentage of them make money that way, but they very often really enjoy what they are doing.
We will start thinking about jobs when the tech feudal lords find out there's no more growth, because consumers to their products are being replaced by AI.
"How many jobs there should be for X" is not a question that can be answered by people whose main intent in the last few years has been to put others out of a job while claiming they're making the world a better place. Aka, us in tech.
> We will start thinking about jobs when the tech feudal lords find out there's no more growth, because consumers to their products are being replaced by AI.
The future feudal lords will just sell to each other and ignore the jobless, moneyless masses. We don’t like to hear this, but normal people will likely become less and less economically relevant, to the point where their total economic activity will one day be a rounding error next to the economic activity of the top 0.0N%.
I worked with a founder who dealt with only a small number of very rich customers. He would say “We only sell to the rich because they have the money.” The future looks like a more extreme version of this.
Rich people selling stuff to other rich people is just moving wealth around, it does not generate wealth.
I sell you stuff worth 5 billion, you give me 5 billion. Nothing happened. Maybe you even consume the product so there is less wealth.
Only labor can generate value. Work is what transforms a thing into another thing that has more value than before. Machines and AI do not create value.
You might wonder what would happen if they had an general AI, maybe actual autonomous robots? Would those create value? Well, at first whoever got the first AGI would get incredibly rich but if everyone had access to that tech, the prices for everything that can produced with it would plummet down until they are the cost of running the AI.
Rich people get richer by employing poor people. So they can extract the value they produce. If they don't employ anyone, they are not making any profit. (Well for actual free markets, you can of course make profit being a monopolist and stuff or just do crime.)
So yes, rich people are screwed. That is why they buy bunkers in New Zealand. That is why we see the rise of fascism, because they will have to tighten the screws to keep the ship running a little while longer.
Why keep any ships running other than their own? kill off 90% of the humans, starting with the poor, using robots, after robots can make new robots and fix themselves and do all the other jobs?
If we're looking at extremes, I don't think the ultra rich are in as bad a position as you want them to be.
a lot of ifs there, most of which aren't really in the cards: aka laborless robotic self reproduction? seriously?
if we have learned one thing in the last decades it is that complex systems need to be rebooted sometimes because <state>
silicone valley is grifting its own rich people with paper bomb shelters.
If there’s a constant in history about rich people is that they can’t even wipe their own asses without a slave/servant, so they still need the person responsible for pressing the reset button on the robot.
That doesn't work for all industries though. iPhones and other mass luxury/ "masstige" goods are essentially high-end commodities. Apple can't stay rich just selling to richies, they need poor sods to line up to buy millions upon millions of Apple devices. And that can't happen if aforementioned sods have no income. Same with most electronics, with most travel, with autos, with apparel, most restaurants, videogames, furnishings and appliances, etc. Income inequality can only go so far without dire economic consequences. If the non-wealthy become a mere rounding error in terms of aggregate purchasing power, then we simply won't be able to buy enough to keep these lifestyle manufacturers flush.
>I worked with a founder who dealt with only a small number of very rich customers. He would say “We only sell to the rich because they have the money.”
So you worked with someone who you claim to be a direct -knowing even- participant in this trend. You presumably benefited from this work too. No?
It's impressive how many people bemoan the dangers they see in a thing, while continuing to contribute to its growth, again and again and again, as long as the personal benefit keeps working their way.
I don't necessarily disagree with working for a founder who has that as a philosophy, because I also don't think some of the arguments here about the elite of the world appropriating ever more wealth while crushing the masses into misery are realistic at all (They smell more like mid-20th century communist fantasies of capitalist decline than anything to me)
But, if your central moral argument about the subject does revolve around thinking such a scenario is likely and being disgusted by it, then being paid by the people supposedly promoting this kind of economic inequality and working with them while they do it is pretty goddam hypocritical.
I hear music all the time, when I commute, when I drive kids to various clubs, friends, and events, when they put music on at home, when I watch a TV show or a movie - all that music was produced by somebody.
I like art but I cannot remember the last time I went to an exhibition. Certainly not since my wife and I became parents.
"I like music but cannot remember the last time I went to a concert"
That seems like a weird angle to take it, no? I know it's just an example but there is more than one type of artist, just as there's more than one type of musician. As simple as it is, someone needed to design the YCombinator logo. Art is everywhere as well, even on a site like this that doesn't host much visual media.
(P.S. I do remember the last time I went to a concert. October).
I was mostly just saying that your comparisons seem uneven. You were comparing one specific part of art (landscape painting) to the entire music industry. There more ways to art.
Yesterday a butterfly got stuck in my pool, I usually try to save them. This one was trying it's hardest to fly but the water on it's wings was just slightly too heavy or something, but it was flapping really hard and making the most amazing ripple in the pool, I froze and couldn't stop looking at the ripple it was making, the ripple frequency and modulation was was slow and totally perfect, even tho it was flapping incredibly hard...but I also thought it's stuck and going to die, but I was totally fixated on the frequency and amplitudes. I managed to break my gaze and got it out. That was the most beautiful thing that made me think recently, I'm still thinking about it.
Now you’ve got me thinking about the beauty in the mundane. The real butterfly effect is the friends we make along the way. You saved the butterfly one time, and in the telling, you’ve helped save my hope in humanity. To me, these moments are as genuinely human as any achievement. To be human is to behold, and to be captivated thus.
Everyone knows that music is the objectively superior art form. Perhaps excluding film, which, putting aside scant creative geniuses, requires music and scoring.
Anyone who could live on this planet without music is a psycopath.
People can be so go-go-go they don’t have time to think and reflect. Music is similar, it’s a source of constant distraction for the mind. It’s even more prominent in contemporary music. When listening to pieces more than a thousand years old and you’ll sometimes find works that build meaning into the silence as masterfully as artists compose paintings with negative space. But now it seems any gap must be filled with a beat. Y’all can stay wrapped up in your noise-noise-noise. But do excuse me for being comfortable in the silence of my own thoughts.
yes!
i still have the songs i listened to last week echoing around in my head. i foind out i have some kind of memory based perfect pitch, as when i put thr recording on again it's in the same key i was playing it in my head in.
i can literally hum every note of it, despite having heard it twice about a week ago, because it was poignant and stuck with me.
silence is golden and allows for reflection upon what we heard
The question we should be asking, as consumers of music, is how many musical options do we want?
If musicians can't make a living, then both the quantity and quality of our musical options go down. Yes, hobbyists will always make music for themselves, but hobbyists won't necessarily record music for us or tour around the country for us to see in live venues. The issue is not that musicians inherently deserve to make a living; the issue is, what kind of musical market is available for consumers?
That's not contrary to what I said, which was "hobbyists won't necessarily [emphasis added] record music for us". And of course you didn't respond to my point about touring.
In any case, the music and recordings of hobbyists are likely to be inferior to the music and recordings of professionals, because in general, professionals are better than hobbyists at almost everything, music being only one example.
> A lot of the music I listen to is from youtubers with a handful of views.
If that's the future you want, then I guess you're in luck.
Generally if a comment makes multiple points, I don't feel I have to refrain from replying if I only have a response to one of them. I'm not here to prove you wrong, just to make whatever point I have.
There's plenty of music available even if only some hobbyists record. In terms of musical options, I'd say we're in a golden age. Used to be, we could only listen to whatever some record label was willing to fund. Before that, just local musicians. Now we can pull up all sorts of obscure musicians all over the world. Recently I went down a rabbit hole of famous rock songs played in medieval style on period instruments; that's not something I'd be likely to find at a record store.
Recording isn't the barrier it used to be, and it'll keep getting easier to make good mixes as the software improves.
Meanwhile, it's likely that the power law will continue to apply, and plenty of especially talented musicians will hit the big time and do live touring. In fact, as more music is generated by AI, I expect people seeking authenticity will develop more interest in live music.
There are tons of rappers and EDM DJs on Soundcloud (not YouTube) that have legitimately good music. They might not be good 5 years from now or even 1 year from now, but they are good now if you put the work into finding them. Seems like atleast in the DJ scene someone might be on top of the world fairly quickly even if they disappear soon after.
I'm not sure if they're more popular on other media platforms, but I've really enjoyed quite a few songs by the Japanese band Ribettowns and their YouTube account has less than 1K subscribers
I find this very interesting. None of those artists were bad by any means. But the sound quality is really bad, and none of then are even close to something like Goat Rodeo [1] which has over a million views precisely because of the exceptional performances and the high quality video and audio. Why not just listen to that? I'm genuinely curious. I'm sure there could be a good reason. Maybe you know then personally or saw them at a memorable moment.I'd love to know what it is that draws you to those artists.
Sure, here's a sampling with a favorite from each. I'm a synth fan, some of these guys are good keyboard players and others are just really good with synths, as far as I know. Some of the handfuls are bigger than others.
Everyone should become an engineer. Then we can spend our whole lives working to build stuff. That way, we can prevent anyone from pursuing anything creative, beautiful, or transcendental.
Like, I see where you're going with this but music is one of those things that's actually the whole point of being alive. If all we ever do is do "useful" things ($$$) we lose our chance to actually live our lives.
i think you're reading something into my post that i didnt intend. i hate the "just learn to code"/"only STEM degrees are worthwhile" crowd.
we absolutely should be pursing things that are creative, beautiful, and transcendental. but.. should we expect the pursuit of the creative, beautiful, and transcendental to be a career? we should encourage everybody to do because it is inherently valuable instead of pursuing it because its a job.
We should not encourage everybody to pursue the arts. But a society that disregards the importance of the arts (one symptom of which is that the pursuit of the arts as a career/way of life is inviable) then the society as a whole will -- 100% absolutely guaranteed -- suffer as a result. The arts are the means by which the unconscious comes to consciousness. Music is a means by which the sublime, and of course even various mundane psycho-spiritual-emotional states -- become accessible for the vast majority of people who can not access said states without aid.
In the absence of that, neurosis is certain to flourish.
So, it is not an economic matter but a matter of the psychodynamics of society. For the sake of the health of the whole, some members of the whole must be able to bring in certain vibes, patterns, states of mind, ideas, etc. And without the ability to pursue that and only that skillset, they won't be able to succeed at that. And it is required for the functioning of the whole.
It's a bit akin to the way the entire body depends on the cells that process ATP. If you eliminate all cells that serve that role, the entire body dies, even though they are a miniscule aspect of the entire operation. That is where the animating spirit comes from.
Well sure, but he asked "should we expect the pursuit of the creative, beautiful, and transcendental to be a career?"
My answer is no not necessarily. One can pursue it in their free time. Whether it should be a career or not is honestly an invisible hand question (aka capitalism). I'm normally not pro invisible hand such as in the case of healthcare, but when it comes to stuff like this, I totally am.
It might be beneficial to have dedicated people to do this, but a lot can be accomplished by free time.
I direct you to The Society of the Spectacle, a postmodern marxist critique of capital and its infinite growth, which, due to man's limited resources (free time, life span, etc), inevitably encroaches upon man's ability to pursue such things.
If we do not explicitly carve out a space for the arts and other transcendental pursuits, capitalism eats them. And then the cancer grows.
So it is a moral imperative to make it possible for SOME of us (obviously, not everyone is called to such things) to pursue these things exclusively.
The US constitution says congress will pay for useful arts and sciences. It says this before paying for national defense fwiw. If career soldiers and scientists can exist with federal dollars, so should useful artists. Now to define useful art...
The "useful arts" mentioned in the US constitution refers to the works of artisans and craftsmen, such as textile manufacturers, instrument* makers, and people working in construction.
*Realizing this might be confusing in context. I meant e.g. navigational instruments
"whole point of being alive" is maybe exaggerating for something that most people are demonstrably uninterested in paying more than a very small fraction of their income to consume?
>Nobody is out there lamenting that you can’t make a living off of landscape painting
Plenty are. But your experience in landscape painting transfers to other professional crafts, so the loss is mitigated. What does a skilled musician have to tranfer to if the industry falls apart? Teaching music?
I also really don't like reinforcing the idea that "the arts aren't meant to be a career". One of the biggest turnabouts in the 20th century is that you don't need to already be set for life in order to spend your days training your passions. The arts are (or were) no longer this "high class" means to distinguish yourself from the working class.
Meanwhile so much of society is built upon and weathered against destruction over such artisans. Are you really going to have a healthy society if all kids see growing up are pencil pushers, hard physical labor, managing retail, or hyper-specializing after 20+ years of schooling? What's all that work building up to? To serve billionaires?
okay, well what if i had picked a different example:
nobody is out there lamenting that we're not supporting a 'middle class' of baseball players.
the top 0.001% get to the big leagues and make bank. the top 0.01% scrape by in the minors. nobody else makes a dime. yet... plenty of people are still passionate about the game and play it for free. the guys playing in an adult rec leauge aren't thinking "there's a career in this I can put together a good highlight reel this season". they're playing because they find it fun and fulfilling.
so maybe musicians should view music like professional sports? do it because you love it. start a band with your friends. play gigs at your local bar every friday. but don't kid yourself that it's a career.
>nobody is out there lamenting that we're not supporting a 'middle class' of baseball players.
I will cheekily argue that the "transferable skill" of failed athletes is charisma. It's pretty clear that being able to talk about sports is a cheat code for upwards mobility (no matter the industry) and the mentality it builds is of high social value (you'll never find trouble finding a local court or field to make a pickup game with. An artists Meetup, a bit harder to arrange). Certainly more than 99% of artists.
But to properly answer your point, I don't have the full answer of how to balance "necessary careers" with "dream careers". If you want to maintain a satisfied populace (aka, prevent a violent coup by people who feel they have nothing to lose), they need to feel their dreams are reachable. Emphasis on "feel".
You don't even need to make money off your dreams per se. But you need time for it, and basics safeties taken care of. the current atmosphere offers neither.
Why do you think nobody is lamenting that you can't make a living off of landscape painting? Lot's of people want to be professional artists. Some percentage of them actually are able to make a living off of it.
I think most artists would tell you that if people couldn't make a living as visual artists, the quality of new art in the world would decrease tremendously. Painting is a craft - it takes a lot of training to develop the skills. It also takes a ton of work to develop one's own style. Then there's the whole business part of marketing the work.
Very few great artists would have been able to reach their level of quality just doing it as a hobby.
Streaming is only the next step of the ladder, the reality is that ever since recording was possible (then broadcasting, then the internet), music (and most of the arts for that matter) has increasing winner-take all effects, where a minuscule amount of artists reap huge gains, while the rest just scrape by.
Now, with AI, all signs seem to indicate that the industry will finally reset to what was the norm for hundreds of years : Artists would be supported on their craft by patrons and benefactors. Most didn't make it to be wealthy, but at least, they got to enjoy time in their craft.
> How many financially self-sustaining musicians should there be?
That depends, how much do you value culture (and, my extension: cultural power)? If it's a take-it-or-leave-it kind of thing, then whatever the market will bear.
I intuitively agree with this perspective, even if I'm unsure about the consequences, and would probably need to think more deeply about them.
Once, when criticising the toxic effects of advertising, I got a response to the effect of 'but how will streamers be able to support themselves?!'. Which I was really struck by, because it presumes that streamers should be able to support themselves by streaming. Should they? Is this actually a desirable outcome? Yes, the financial viability probably leads to more streaming, but what about the quality of the overall streaming? And what about the opportunity cost when someone gives up their job and puts their labours into the business of streaming?
There will always be some level of cultural output, since there will always be passionate people. But has making the arts an industry (through an ever expanding artifice of 'intellectual property', and the ever expanding criminalisation of its subversion) actually led to better arts? Would this be a better or worse world if people built bridges in their day job and played rock gigs at night, solely for the love of it?
I'm not trying to do a Socratic dialogue here, I genuinely don't know. But I suspect the answer is much more nuanced than 'more money = better art', and I am sceptical of certain legal or economic distortions based on that assumption (e.g. life + 70 copyright terms, surveillance advertising, surveillance DRM software, billion-dollar industries that subsist solely on 'IP', fines and prison terms for unauthorised sharing, or the reversing or bypassing of DRM, etc).
Many musicians teach others. Without them how will we learn one of the most beautiful / coolest things to ever exist?
I’ve tried learning from an app and it’s not the same as spending an hour with my guitar teacher. It’s not even close. I wish he were paid more given how talented he is and how hard he works.
I’m talking about the gigs where he gets paid in beer and the streaming where he makes pennies. But sure boss I’ll throw him some extra cash when he’s back from tour.
It’s already happened to DJing. Used to require very expensive gear, crates full of expensive records, and a ton of talent.
Now someone with a $400 controller, pirated music, and some free time can do it. Loads of people willing to play at venues for free just for the fun of it have crushed the viability of doing it as an actual job.
With the advent of streaming services like Spotify, it’s definitely getting worse, but the market has always been difficult from a strictly performative/sales perspective. I never made any real money from my compositions, but I pulled a decent side income teaching piano back in university.
It reminds me of ex-Soviet chess players. The emigration of so many good grandmaster-level players diluted the market, and unless you were in the absolute upper echelons (like Kramnik, Karpov, or Kasparov), you pretty much had to supplement your income by teaching on the side.
Oddly enough this also caused similar issues in classical orchestras - in the 90s a bunch of top flight Eastern European and Russian musicians raised the bar of orchestras in places like NZ, with the side effect of having fewer seats for younger musicians to move into.
The vitality of music (and probably the rest of the arts), has always depended on a symbiosis between professional and amateur musicians. Some things still need professionals, such as fielding a top level symphony orchestra. And high caliber teaching.
Among other things, I play large-ensemble jazz. Over the years, I've played in a number of bands, and the level of quality and variety achieved by players with professional training is a noticeable step above amateur players. The material that my current band plays is unplayable without training. About half of the band members have music degrees (many teach music in the public schools) and the other half are dedicated amateurs with past training like myself.
Other styles, like folk music, are essentially sustained by amateurs.
Some things can only be done by amateurs, or professionals who also have a musical hobby, such as playing experimental, obscure, or historical music. Amateur musicians also support the professional scene by attending performances, taking lessons, buying instruments (resulting in economies of scale), etc.
How many financially self-sustaining software developers should there be? AI code generation has caused the number to fall, but FOSS before that likely made it fall as well.
I can keep playing this game, as can others. Why do we need all that money invested in data collection and disseminating cat videos, political unrest, etc.
I would rather musicians get paid in genres that I can’t stand than see the legion of programmers employed in “social media” and “on line marketing” and other things that keep people isolated and usually angry. Hell of a lot better things re personal and social interaction than having my phone glued to my wallet or my amygdala.
Almost certainly false. Imagine a world where the concept of open source never happened, so if you want a website you have to pay thousands of dollars for web servers, compilers, databases, etc. Would the demand for software developers be higher or lower than in our world?
That world existed and we all lived through it. Hobbyists really hated paying for software, as did academics. Fair number of people being paid to write code as there was nothing commercial that didn’t require customization. Or, smaller sites did it with a few programmers rather than renting software. No web though, nor phones so it’s not a fair comparison to today. But there were really skilled hackers doing open software in the 60’s.
What is it with so many people saying art should be a hobby? except for the really great.
But how are you going to get good if you don't get any practice and feedback?
I remember someone lamenting people videoing comedians in small venues and posting the fails, that follow you forever. How are you going to get good at stand up if you can't fail and learn?
Not everyone can be Steven King and get an advance worth 3 years salary for their first book.
Well, you know, it is kinda like how companies are replacing all the juniors with AI. It's cheap, for now. But then comes the question of what do you do in 5-10 years when you need some seniors with actual experience?
Anyone who has something they've done out of love but can't figure out how to monetize knows the problem with this: you are limited in the amount of time you can put into doing it, both into the actual doing and the pre-doing practice and study. That means less of your best work gets done. Maybe you never actually reach the point where any of your best work gets done.
There's lots of value in amateur engineering. What if we deprofessionalized engineering via making it difficult for anyone to make a living doing it? Some people would no doubt still continue to do it, to scratch their itches and exercise their minds. But they would spend less time doing it, less time sudying how to do it, more time doing whatever it takes to pay the bills and claw out some semblance of security. We certainly wouldn't fall into technical poverty immediately, and maybe we wouldn't miss what we don't quite invent / develop, but both the people who actually love it enough to pay attention and the professionals would know the difference between what isn't getting done.
(And in fact, the US is standing on the precipice of a FAFO event with research here, having just made it more difficult to make a living focusing on it.)
What happens to a field that can only be engaged as a dilettante, never as a committed investor?
This has happened to many past professions, and will continue to happen. Can one really make a career out of woodworking craftsmanship? Making custom furniture? Maybe a small number of people in the world can, but the rest just do woodworking as a hobby because it doesn’t pay the bills.
Software development will go this way, too, as we are all starting to learn.
The problem is people are ok with corporate, mass-produced slop—whether it be music, furniture, or (soon) software. Fewer and fewer people are willing to pay for human craftsman-produced product.
the difference is this: music is always changing, and this change is what defines the active cutting edge of the arts, vs the retro/copycat/tribute/covers schlock the masses are ok with. the schlock itself requires constant creativity vampirism and sublimation or I would say sublation of soul spirit and new ideas merely to keep afloat.
those responsible for advancement of musical boundaries rarely are recognized or rewarded in kind, at least since the dawn of the recorded music mafia.
"The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side."
Hunter S. Thompson
Woodworers make 70% - 200% of dev wages in Slovenia, especially if you're decent at it.
It's of course quite dull, kitchens, cabinets, ... Mostly tailored to living spaces of upper middle class and rich people of varying taste, so you'll be doing a bunch of tacky stuff no doubt.
I think now that AI is here, tech CEOs will do their best to make it happen. That is, if AI won't be a force multiplier in the end but simply replacing tech people.
clearly that isn't the case. the fetishism of amateur/hobby practice here is ridiculous. if people found value in these activities, they would pay for them. UBI advocates basically want someone to fund them drinking beer while they tinker in their garage.
This is more or less my actual point — people clearly find value in the amateur doing, and yet that value is limited, and if we do not figure out how to value and reward a class of dedicated educated invested professionals, we won’t receive the rewards from it.
5. There should be 5 people in whole of Canada to make money from their music. Or 15. Kazzillion razmadillion. How are you supposed to calculate that?
Well you don’t need to. The answer is ”as many as the market will support”, as it is with any other product. However, your rhetorical question misses the point completely. The question is not should a person just make thing x as a hobby, but that this global multi-billion dollar industry shares very little of it’s revenue to the people who make thump thump and bum bum that get’s asses on the floor and people to move. All of the examples in this article are clearly quite successful acts that people are willing to pay to listen to and are quite integral part of the economy as a whole (not to mention softer values such as cultural enrichment of all human life), but are struggling to make the ends meet. Why.
Because some else literally takes the money people pay to listen to them. If I want to listen rapper Yakkedi Yap’s new single Xingabow and give him money, I would be better off to sending them money in an envelope than listening them from any streaming app (maybe Bandcamp is an exception), or even going to their concert or buying their merch. Because someone literally steals the money.
At least if you buy a landscape painting from a gallery the gallery takes just 20-40% and artist gets the rest minus materials and taxes. They don’t take 60%, then minus every possible cost from the artist, then take what is left and give it to Drake.
In a world where some large fraction of the working-age population is employed in factories (most of those in automotive), maybe not so many should be musicians. In a world where we've shipped all those other blue collar jobs to Asia, every industry sub-sector that becomes unviable is a disaster. So asking "how many x should there be" sort of marks you as clueless or even callous. The answer is as many as there can possibly be, plus a few extra.
Most musicians who can make it now are only middle class, with a handful of superstars and a huge legion of poor artists.
I’ve played many gigs for $20-100, which is once a month or week and tough work relative to typing some code from home. I played for 25 mins in front of 1000 people and spent 8+ hours total all-in to make 200 bucks. Way harder money than coding.
Really, think back through history. Musicians were needed for dance, parties, all occasions. Now hit play on your phone connected to a speaker, GG musicians.
Comparable, though very much not equal. Unless you came specifically to listen to music (e.g. many concerts), the music plays a technical role: dance music, movie soundtrack, restaurant / bar background music. For that, a good recording is adequate or even superior.
Yeah, I love going to a bar or nice restaurant and listening to the same recording of Take Five or Kind of Blue, over and over and over and over and over again with zero variation throughout my life. It's amazing.
This reminds me of the guy that told me he didn’t need to travel anywhere because the internet exists and people already write about it and leave pictures. This was in the 90s. Not the same obviously. And I agree that crowds can be super annoying sometimes. And it obviously depends on the context of the type of music created, etc. But in your nicely controlled environment you can miss out on spontaneity or energy that can’t be replaced.
On the other hand busking in a street (which I regard as open source music, donations accepted) makes way more money than releasing an open source project and having tens of thousands use it daily.
> I played for 25 mins in front of 1000 people and spent 8+ hours total all-in to make 200 bucks.
Perhaps a bit cynical, but my thinking has long been that if I see a band that's playing in a venue that takes like 100-200 people or so[1], they're doing it out of passion. And that immediately makes it more interesting for me to go.
I've had lots of great experiences that way, including for bands that's normally way outside my comfort zone. And as the price of admission is fairly low, if it somehow is a miss it's not a big deal.
Now, as I know they're making little or no money on the gig itself, I usually end up buying some merch.
[1]: I'm in Norway, we don't have a ton of large venues.
> Really, think back through history. Musicians were needed for dance, parties, all occasions. Now hit play on your phone connected to a speaker, GG musicians.
John Philip Sousa had the right opinion on recorded music.
Streaming is the biggest scam to have perpetuated the entertainment industry. The way the money is divided among the content creators is absurd and the prices are both too high and too low at the same time.
It's not great. But the economics of selling recordings never worked out for artists; it's possible that most of what streaming does is to kill advances for artists, and royally fuck labels, the perennial antagonists in the stories we tell about the music industry.
Recording worked only as merch to sell at live shows.
recording also works to give a 'real job' to those who insist on making music for a living.
Only a few have ever made a job of performing. The midevil bard was often a second son of a nobel supported as a way to ensure they kill the older brother for the throne. Everyone else music was a hobby they did after farming was done.
Music doesn't the buyer money, at the same time millions are qualified to make it and to boot millions enjoy making it. There is little barrier to entry and there is more than enough of it. Even if another song is never made. It's in the sweet spot for being a low paid shithole.
I'd look at NFTs for similar market dynamics. Some big winners but mostly people not making a dime.
It's even more of a scam because none of these companies were making such services with a way to actually profit in mind. It got customers spoiled on unrealistically cheap media; cheap media that was a result of skilled labor that only got more expensive over time. The bubble was going to burst one day.
In some regards, the ZIRP era ending was needed; companies can't just make money by relying on hype for years, even decades before the piper needs to be paid. But of course it couldn't have ended in a worst time.
> In some regards, the ZIRP era ending was needed; companies can't just make money by relying on hype for years, even decades before the piper needs to be paid. But of course it couldn't have ended in a worst time.
Maybe that is why lots of people are struggling more now while the economy numbers say things are better than ever.
For now. I believe the gdp started to slightly contract last quarter. The government never wants to admit times are bad, but eventually even their massaging of the data can't hide the true situation.
It’s cheap because I can carry a terabyte in my pocket not because of anything else. If somehow we went back to selling 700 MB CDs of uncompressed music I would still fill my pocket with a terabyte of every song to not pay $30 a CD.
I assumed the article would be about orchestral musicians (for whom there is a high, and increasing skill threshold) or session musicians (whose work is increasingly being replaced by computer synthesis). Instead, we get a very long narrative about a rapper who is still struggling to "make it" as a recording artist. In the era of sound recordings (which began well over a century ago) there is little incentive for the consumer to choose one with middling appeal over the most popular options. This makes the task of becoming a star, but on a small scale, a difficult one. Instead, a prospective "middle-class musician" must find a niche of some kind, perhaps by focusing on the local market. For example, a busker could potentially make more (than his cited $250k in recording revenue) over a period of 9 years with sufficient dedication.
~15-20 years ago, the popular wisdom was that we were entering the age of the long tail, where the open distribution opportunities of the internet combined with discovery technology would mean that it'd be easier for many artists to "make it" to a point where they had 10k fans. What happened?
We decimated recordings as a revenue stream (and literal decimation might be wildly generous, given that stream payouts frequently never add up to a single sale for many artists). We let people peddle the lie that artists can just find some other revenue source like merchandising or another job or anything else rather than paying for the thing people ostensibly value.
Minor league success was never an easy proposition but we had a chance to give it better margins. And we let Spotify and others eat those, and let too many people tell comforting lies to consumers along the way.
And without a major cultural shift, we will do the same thing for everyone eventually.
Who is this "we" you speak of? There is no society. There is only individuals making decisions on how to spend their money, time, and comfort.
If hundreds of millions of people decide to use Spotify and Youtube to obtain their music, and if that means most artists are shafted in the process, no secret organization enacted some conspiracy to achieve that. Instead, technology enabled a new form of consumption, and producers faced a new level of competition.
I think "what happened" was that Anderson's long tail theory was
a) just a theory not a proven thing and
b) based on flawed assumptions that were quickly disproven. See the 2008 paper "Should You Invest in the Long Tail?" finding that consumers don't like niche products and the bottom 80% sold $0, contrary to the theory's prediction.
The lede of this article, about Rollie Pemberton, is about a "360" deal where the label gets a cut of all revenue related to the act (Pemberton's "Cadence Weapon"). Unusually, in Pemberton's case, it appears that most of his revenue came in from prizes and grants, not from recording sales or touring. The structure of his deal thus made Upper Class Records an outsized return. The deal seems pretty exploitative.
The problem with this as a framing device is that it doesn't describe very many working musical acts. 360 deals are probably generally gross? But Pemberton's situation is weird. In most cases, labels are in fact going to lose money from midlist acts.
The more you look at these kinds of businesses the more striking the pattern is. It's true of most media, it's true of startups, it's true for pharmaceuticals. The winners pay for the losers; in fact, the winners are usually the only thing that matter, the high-order bit of returns.
What's challenging about this is that you can't squeeze blood from a stone. The package offered to a midlist act might in fact be a loss leader; incentive to improve dealflow and optionality for the label, to get a better shot at the tiny number of acts whose returns will keep the label afloat. There may not be much more to offer to acts that aren't going to generate revenue.
David Lowery (a mathematician and the founder/lead vocalist of Camper Van Beethoven and Cracker) had an article about this years ago:
It's worth a read (though things have probably changed in a number of ways since then). It's an interesting counterpoint to the automatic cite to Albini's piece that comes up in these discussions. Not that you should have sympathy for labels, just it's useful to have a clearer idea of what the deal was. The classic label deal with a mid-sized advance that never recouped (and which the labels never came back looking for when it didn't) was basically the driver for "middle-class" rock lifestyles; it's dead now.
> In most cases, labels are in fact going to lose money from midlist acts.
This is almost certainly the case. The music business is the economics of superstars. see: Rosen, Sherwin. “The Economics of Superstars.” The American Economic Review 71, no. 5 (1981): 845–58.
Small personal difference translate into enormous differences in earnings. The income curve has only small area for middle incomes. Either you are below middle, or you quickly get into upper middle class or higher incomes. It's not a market failure but a predictable dynamics of this particular field.
Artists low pay is driven by two things:
First, an oversupply of talent willing to work below a living wage keeps incomes low.
Second, promotion and marketing are the primary drivers of an artist's financial outome, leading to uneven deals where labels handle the heavy lifting and deserve larger piece of the cake. Once an artist's career reaches a certain scale, their earnings can grow to outweigh their direct creative input.
This is a very sensible analysis of the problems.
On the one hand, people tend to ignore how many bands fail, and how much money and effort is spent on the process.
On the other hand, labels have a deathgrip on the industry, using payola and other practices that they can afford thanks to their financial (and accounting) abilities.
One thing that could help is transparency, but in a way the lack of transparency is a good part of what keeps the system going.
Most people would not agree if they knew how little they would keep if they were successful; "what do you mean I have to pay for the losers?".
They would just want to pay for what was necessary for their success, ignoring every expense that didn't work as a "stupid label decision".
The thing is that nobody has a true recipe for success, you can just get reasonable estimates on your bets, but each bet will always be a biased coin flip.
What has been developing for awhile is that musicians are coming from richer backgrounds on average. They can dally around trying their hand as a working musician and can fail and not be destitute. The age of a working class or lower class musician is waining.
That has been the case for a very, very long time. Classical music is basically one big orgy of wealthy people. Musicians born into families of musicians that were well off. Same goes for other artistic pursuits such as painters etc.
I found very little actual insight in this article. I think musicians have been struggling for decades and the parents have known for at least as long to tell their kids to get a degree regardless of their talents. Schools like Berklee are… questionable at best. Lots off nepo babies just taking a few years to fuck about, basically.
I've played with Berklee-trained musicians. It's a mixed bag. They won't turn you into a great musician against your will. This is true of any education. And you have to already be **** good when you apply in order to make full use of the opportunities that they offer.
Oddly enough Berklee is considered to be a jazz school, but the players from there who I consider to be real stand-outs (performing at an international level, or well on their way to doing so) have chosen to earn their livings outside of mainstream jazz.
Mainstream jazz really doesn't make money. Also, Berklee is also really strong in the broader field of "Commercial Music" which includes things like film scoring and pop-oriented genres.
The odds are long but some musicians make it work. Several of the Imagine Dragons band members attended Berklee, and then grinded for years playing cover songs and touring small clubs until they got a recording deal. Would they have succeeded at the same level without that Berklee education? Hard to say.
Conservatory music culture is peculiar. Yes, lots of upper class parents want their children to take part in it, but it is not a good career economically speaking. (Unless you want to be a double-showoff and study medicine alongside classical piano, like one guy in my hometown did.) Especially classical musicians take a step down economical class-wise if they succeed. And this has been the case for most entertainer professions for a long time.
Successful musicians have way more in common with actors than any other profession. It’s about connections, wealth, and nepotism over anything else.
Let’s say your child wants to be an actor. One way to make this happen is to be a successful actor yourself - require your children to be cast in the film in return for you starring. This is how famous acting families pushed their kids forwards, including Nicholas Cage (Coppola) and Jeff Bridges.
More relevant for HN is rich people. So you are tech rich and your kid wants to act. Fund the movie on the condition your child acts in it. That is the way since movies began.
> Fund the movie on the condition your child acts in it.
The customer of such a movie isn’t the audience but the wealthy patron sponsoring the movie. I suspect this self-promotion motivation is a large reason why so many movies are so bad.
As a film maker who studied film, the reason why so many movies are so bad are manyfold:
- making movies is hard. A lot of things that require years to master need to go right. A *ton* of tech is involved.
- making movies is expensive. Money alone won't make you a good movie, but many productions are so on the edge that some choice they had to make for monetary reason will cause the bad.
- making movies is complex, that means making a masterful one requires multiple botched attempts and experiences by all people involved. These botched attempts are also what you see.
I can't stress enough how hard making a movie is, even in comparison to complicated tech problems, programming etc.
So many movies are bad because their customer is, intellectually, the minimum common denominator. It's a miracle that movie plots don't consist entirely of grunts, chest pumping and farts, but we are getting closer and closer every year. Most block-busters have an awful lot of primal violence in them, but I bet you can't remember when was the last time any of them had any accurate, actual science.
Yes and the fact that you grew up with e.g. actor parents means you know a lot about acting and the world it takes place in and the language used within it already, just like the kid of a farmer will know more than the average person about farm animals, tractors and crop.
On top of that come the contacts and being rich. But the contacts are not a thing other people couldn't make as well, especially if they are good. One of the somewhat hidden benefits of higher education are the contacts you will make. Maybe you're not rich and your parents are roofers while you want to become an actor, but if you're good and well connected you might benefit from other peoples connections. This is how I started to make my living in a foreign country with two parents without any shared background: There were people who had those contacts and I benefitted of them simply by being the one they chose because I am accurate, reliable, on time, knowledgeable, patient and good at what I do.
I suspect it is more likely that rich people will fund their actor-aspirant children more convention ways:
When they are younger they could pay for acting classes, acting camps and help them get into local productions.
Out of school they pay for livings costs, education and any additional classes. Living in New York or LA and being able to concentrate on getting parts of training rather than having to make money would be a huge boast.
Maybe at the next stage getting their kid an agent or manager who has contacts and experience to get their kid the roles.
Perhaps you mean throwing a few thousand dollars at student-level films to ensure their kid gets an important part. I guess maybe some will write 6 (7?) figure cheques to get their kid a part, but that probably doesn't happen often.
To go back in time before university endowments for intellectual work you'd find yourself in a monestary, with endowments from the nobility for intellectual work (copying texts and making those great illuminated manuscripts). As far as I know the model you're describing did apply to ancient Greece.
Want to work for the most prestigious fashion brands? You start with unpaid (or very low pay) internships in some of the most expensive cities in the world. Same goes for record labels. Art. Literature publishing.
And these days, some of the above will filter out applicants that don't have big enough social media accounts.
> What has been developing for awhile is that musicians are coming from richer backgrounds on average.
Same sh it is happening with basketball. More nepo babies that got to go through expensive camp than ballers from the streets rising up the ranks homie. And no person embodies dis shit more than Bronny James.
Sad cause sports was supposed to be the ultimate meritocracy yo!
I left a career in music production five years ago and moved into programming (data science). there's no turning back.
I was very aware that I was lucky. You can be the best, you can have a great network, but (in my experience), luck is the main factor. and the "luck" window in the music space is more and more narrow currently.
I'm currently a data analyst, used to be a software engineer. Weirdly enough I feel that data analysis (programming, visualizing, consulting and presenting) feels a lot related to making music. I think I just see the art of being a data analyst.
I want to "move up" in my career, but I simply don't see the (performative) art of data science and data engineering. It feels too narrow. Music and data analysis feels broad. I could take a higher paycheck but it'd cost of a lot of fun.
It probably helps that I on top of that get to integrate LLMs and create LLM flows, basically n8n but then programming it using the APIs of an LLM. So I'm still actually programming as well.
I totally agree, because I work with data analysis as well.
Both feel similar because in the end you have to tell a story and (presumably) please the audience :)
Writers have been experimenting with paywalls (substacks etc) - musicians aren't? Indies keep complaining about streaming and platforms killing their livelihood but I wonder if this is just because the target for "justice" seems clearer (eg. Spotify cut, etc)
Seems to me that music has an additional challenge which is most revenue channels requires middlemen: streaming infrastructure, merch factories, venues owners, technicians, etc which artist can't/won't replace.
At some point musicians - as product creators - need to have a clear biz model for their enterprise and passion to try it. Not just passion to create, passion to sell.
The death of the middle class everything. I have no idea how median wage statistics are possible. There is not a single neighborhood in my city where median income in that neighborhood can afford rent or a mortgage in that neighborhood. It’s all non-wage sources of wealth and no traditional middle class lifestyle is possible
"onetheless, the state has a role to play. The government has long forced commercial and campus radio stations to play at least 35 percent CanCon—that is, music that meets two of the four criteria of MAPL (music, artist, performance, lyrics): that the music was composed by a Canadian, performed by a Canadian, and recorded in Canada, with lyrics written by a Canadian. But imposing such requirements on internationally owned streamers has proven challenging."
When the state dictates artistic content, that is socialism.
I played in a cover band with some well-paid engineers. We enjoyed music enough to consider going full time, but even with four-figure bookings were were barely taking home minimum wage. We looked into getting a manager to find us more high-paying gigs, but management fees and travel costs eat up the gains.
For a band, it's virtually impossible to find work outside the weekend. If a region had a few restaurants that were known for year round "live music Mondays", "live music lunches", etc, it would increase the number of hours that a musician could work during the week, and make full time performance viable for more musicians. Of course, people would also need to support these performances by patronizing the venues that host them.
But until a working musician can fill their weekday calendar with paying gigs without excessive travel/lodging costs, you'll continue to see talented musicians drop out and do something else.
I've noticed post-covid there are a lot more weeknight gigs. I think it was accepted during the recovery period as everyone tried to make up for lost time, but so far it hasn't faded out. I hope it continues.
I've come to the perhaps grim conclusion that the world doesn't value music enough. It seems to me that most artists are making music because they love to do it themselves. It's essentially a form of play. Wanting a career out of it implies sacrifice in the way we currently have our world setup.
The current world we live in doesn't care enough about creativity. I find it a bleak thought, but here I am. Feel free to try to talk me out of it, because it does feel kind of depressing. Or feel free to validate it. I want to see the world for what it is, not what I like it to be.
> I've come to the perhaps grim conclusion that the world doesn't value music enough.
What do you mean by not valuing music? Should we allocate more of our paycheck to music? Or should we talk more about how great music is?
> It seems to me that most artists are making music because they love to do it themselves.
I mean, art is ultimately an expression of emotions. If you don't love creating the art you create, unless you have another deep emotional reason to create it, it's going to affect the result quite significantly.
> The current world we live in doesn't care enough about creativity.
This is just human nature though I think. Most people want the fuzzy feeling of something familiar. And then you have those who go to large events for the shared experience of going, rather than what's actually performed.
Personally I love going to smaller venues (<300 people) where the cost of admission is such that I feel I can take the risk of something unknown and outside my comfort zone. But I also realize I'm weird that way.
The music industry is a multi-billion dollar market and growing, so it's not really fair to say that the world doesn't value it.
The problem is that it's a bit of a winner takes all market. It's comparable to professional sports.
Everyone loves soccer, but 99.9% of people won't get paid to play it. That doesn't mean it isn't valued - some of the highest paid people in the world are soccer players!
They sort of do (or as much as they ever have), but I think that the modern world gives access to national and global stars via prerecorded entertainment and the little guys can't make a living like they used to.
That's a drag in many ways because local circuits and regional music are where a lot of new styles and bands came from, and the wealth is more concentrated now into fewer people.
People do care whether they realize it or not. They will always care. They have to if they consume any creative media at all. Our government and economic system on the other hand might not care to offer any encouragement other than “good luck, you’ll need it. I hope you’re good at marketing.” The article states there are more people making music than ever. I agree. I became overwhelmed by the sheer amount of output coming out by bedroom musicians. The list of bands playing near me weekly is huge. Whether it’s more quality on top of quantity is another discussion.
Think of it: a lot of people listen to music as a background of some kind. That means they don't want to keep going "Ugh, this one sucks, next, next, next..."
But, there's thousands of absolutely excellent songs that are time tested. You can play top 100 from the 80s and not be annoyed most of the time.
But ever time somebody plays Prince or Duran Duran is a time they're not playing the song you just released.
Even if you play gigs 7 days a week on Broadway (Nashville), all year round, you'd make a pitiful salary - compared to the work put in.
And you'd be locked to only playing certain types of music (country, classic rock, singer songwriter), doing multiple gigs a day.
Truth be told, most musicians would be better off by picking a job, any job really, and treating music as a side hustle. And that really pains me, as I started out as a musician.
If you're going to make a living off music, it's going to be a never-ending marathon of hustles and uncertainty. Cover bands, church bands, wedding bands, session work, lessons, roadie work, instrument tech, and half (of not two thirds) of that work is based on sheer luck, depending on what people you cross paths with.
What's the deal with always wanting to turn art into a day job, anyway? These things are almost antithetical, as exemplifies by thousands of YouTube channel that turned into soulless content-producers in an effort to keep a schedule.
Damn, people somehow made art in 10000BC, when everyone was a hunter-gatherer by necessity.
What if you want to maximize your talent? I'm sure you're good at something; isn't it satisfying to get better at it? At some point you'll maximize the improvement you can make in your free time; if you get there before you reach the ceiling of your ability or your drive, then what else are you going to (want to) do?
This comment makes the same point, better than I did:
quite right. i happen to be an amazing musical genius with the keys to the future of the art, and i will not share my hobby work with you or the world because you just pulled the rug out from under my lifes mission by reducing everything to shopping mall McDonald's aesthetics. enjoy your oldies and cover bands.
"as exemplifies by thousands of YouTube channel that turned into soulless content-producers in an effort to keep a schedule."
This means that a former musical artist became a Youtube content producer in order to earn a living.
This does not illustrate the negative effects of paying musicians to make music.
Interestingly, and that may be a personal opinion - I have bought more music from more obscure musicians in the last few years, mostly thanks to Bandcamp.
Before that, I mostly gravitated to 'blockbuster musicians', old classics, 1970s psychedelic rock. Today I buy some unknown musician's album every few days (and I pay what I'd pay for a 'proper' album, even if it is pay what you want).
Part of that is simply availability. The old record stores of old were often just "what's popular" with a side dish of "what the owner likes". Today? I found some Touareg rock band the other day. In the 1990s, that was virtually impossible even for music lovers.
Part of it is that today, I pay for what I like. Radio sucks, the classics are oversaturated, and often enough new releases are just qualitatively worse - both in composition as well as remasters which tend to sacrifice nuance for loudness. But indy bands? I don't expect perfection, but often enough find it.
Now, I understand I am a rare breed. In a Spotify world, the one buying FLACs is exotic. I do understand that the mid-range musician is not going to become a millionaire - but who ever did?
The example in the article sounds a lot like the artist has been bent over a barrel by the record company - a pattern even "successful" musicians have experienced. Maybe instead of chasing fame, the solution is to do your own marketing.
The musical middle class wasn’t thinned out by the audience, but by labels and streaming models. If you’re not topping the charts, you vanish between promotion costs and algorithmic obscurity - unless you go directly to the listener.
I'm a software engineer by trade, but have played bluesy / rock guitar since I heard Jimi Hendrix as a teenager. I try to run a band, to fuel my mid-life crisis but I've come to the conclusion that it's essentially a hobby, not a device for making money.
When people use terms like "neofeudalism", this is the sort of thing we're talking about. It's capitalism working as intended. There are an increasing number of jobs that are only available to the children of the wealthy. There are several reasons for this:
1. Any of the creative professions have way more applicants than positions so nepotism dominates. It's almost shocking how many nepo babies there are in Hollywood. It infects every level. It could be that some rich person will fund your indie movie as long as you give a major role to their child. It can be family connections to studio decision-makers,. It can be currying favor with Hollywood heavyweights. Whatever. Either way, getting in as a nobody is increasingly difficult;
2. Education. First, you have legacies. Roughly a third of Harvard's undergrad class are legacies ie the children of wealthy donors. That's the real DEI. But also it's the cost. The wealthy can absorb the cost of an elite education.
This is a real issue with medical school. Someone can often graduate with $300-600k in student loan debt. By the time they finish residency they may owe $500k-1M. The wealthy can absorb this. There are a few medical schools now that offer free tuition thanks to some large endowments. Many medical schools try and have people from more diverse economic backgrounds but it's difficult. Not having to worry about money means you caa afford to spend a year doing unpaid research to pad your resume. The free tuition schools seem to have skewed more to students from wealthier backgrounds because they're simply better connected and better able to game getting into such schools;
3. Housing costs specifically and the cost of living generally. 30 years ago if you were trying to make it as a musician in LA you could rent an apartment for $300-400/month. You could live cheaply. You could chase that dream. Now? The average apartment seems to be near or over $2000/month.;
4. The disappearance of third spaces. Higher housing costs mean the higher cost of businesses. If a bar or a coffee shop needs now absorb rent of $200,000/year where once it was $10-20k, that affects what busineses are viable and for those that are, it's an input to the cost of everything. Well, those were performance spaces for up and coming acts. You see this in the UK, for example, where the number of pubs just keeps going down as they sold and converted into apartments. Community spaces just cannot survive with the high cost of property; and
5. The freedom to fail. I saw a clip of Allison Williams recently who acknowledge this. For those that don't know, she was one of the main cast of HBO's Girls. She's the daughter of Brian Williams, a long-time news anchor. Fun fact: the entire main cast of this show were all nepo babies. It cannot be overstated what relieving the fear of becoming homeless can do to your opportunities.
Now some, particularly here, have long pointed to tech as their key to social mobility. That's been true for a long time but I suspect many here are in for a rude shock. We're already seeing it with the layoffs and how many people apply for any given job. AI will make this worse.
And who do you think will get positions in this shirnking pool of opportunities? It'll be the same children of wealthy people. It'll be connections, access to funding and other factors that give you opportunities.
* Is the amount of music listened to in a day down?
* Is the rate of music creation down?
* Given some metric of diversity is music diversity down?
* Given some metric of quality is music quality down?
* Are there fewer artists per capita / in total?
* Has the Gini coefficient really shifted?
I assume that for almost all of these, the answer is actually no. Presumably, technology has made making more higher quality music easier and cheaper than ever, and people are listening to more than ever.
This feel like it's related to the problem of no more mid-budget movies. Now that physical media (CD/VHS/DVD) isn't a thing, there is no long tail of fans to sustain mid-market efforts. Movies that cost a few tens of millions usually didn't make their budget back in the theater -- it was VHS and DVD sales that made up the difference. But now that doesn't happen, so those movies either don't get made, or they're made by the streamers.
Same thing with music. Streaming pays so little compared to physical media now that artists never make up the difference.
Not sure what the problem is, the streams will pay the budget of the movie, just like the old movie studios did. So where is the difference? Do they pay much less and no royalties?
It's really hard to become a cult classic when it's only on Netflix. But also yes, until recently (and even now), it pays a lot less to the people involved in the movie. There weren't really any residuals, the streamers make a one time payment.
all this was obvious the moment napster became popular. and for more than a decade anyone who explained what was happening was ridiculed, especially in tech circles.
spotify in particular cemented a payment structure that disadvantages any “serious” music versus endless repeat pop songs, while also being completely corrupted by conflict of interest from record labels with an ownership stake. now they manufacture their own muzak and steer your playlist to it, draining the last bits of revenue possibility away from these “middle class musicians.”
youtube streamed music for free for years, paying no artists, and it was one of its core growth engines. completely asymmetrical outcome.
the whole thing denigrated musicians, and music itself. hordes of early online young tech professionals making great money at their office jobs poo pooing the concerns of an entire industry which previously enabled some of the most sophisticated artistic endeavors our culture ever attempted.
just dumb. a complete victory of lowbrow values.
baffling someone is writing this article in 2025. at every fork in the road, the path was taken that would give less revenue to the musicians. and ~no one in tech felt it was a problem.
talking about it like there is a revelation or an emerging phenomenon here mystifies, while rubbing salt in the wound.
Few people should make a living with music, or indeed any other form of art. Art is a hobby.
Literally everyone is an artist, even if their art consists of bad doodles and singing in the shower. Sure, some people are more talented than that, but expecting to make a living with art? Nah...
is all art equal? is there no structure or history to art? is copying someone elses ideas the same as bringing new ideas to life?
i contend that music is a discourse space where great minds show great structural concepts, and where minds with nothing to say merely regurgitate others ideas ad nauseum
> I heard one answer more than any other: the government should introduce universal basic income. This would indeed afford artists the security to create art, but it’s also extremely fanciful.
Until we start viewing "fanciful" ideas as realistic, our problems will persist. This article is another in the long series of observations of seemingly distinct problems which are actually facets of a larger problem, namely that overall economic inequality is way too high. It's not just that musicians, or actors, or grocery store baggers, or taxi drivers, or whatever, can't make a living, it's that the set of things you can do to make a living is narrowing more and more. Broad-based solutions like basic income, wealth taxes, breaking up large market players, etc., will do far more for us than attempting piecemeal tweaks to this or that industry.
Arts have another problem. Although I’m not even sure if it is a problem.
Lots and lots of people can create arts. In old era when people would just gather together and sing. Nobody would make a living off that. Very very few people were making a living by performing to nobility.
Modern recording industry with specialized instruments distorted this by allowing more talented people make a living. Yet it destroyed a lot of community singing by not-highly-talented people. On one hand more people could make a living, on the other hand much much less people were creating arts.
Nowadays it feels like we’re returning back to the natural flow. More people are creating arts since modern instruments are widely accessible. But fewer people can make a living.
Overall, I’d say more people creating arts is preferable outcome. And best art is created for the sake of it as a hobby.
Only problem is that it requires totalitarian world government to do it. There is that thing called competition. Societies where people aren't pushed to work by fear of hunger, homelessness, and social exclusion, will very quickly lose out and fall apart. Perhaps this is why universal basic income doesn't exist. I mean, Soviet Union was very close to having it: there was no unemployment and if you were fine living on the base salary you could do nothing on your job and as long as you didn't come there drunk or disseminated anti-Soviet jokes, you'd be fine. See where it ended up.
> [...] a larger problem, namely that overall economic inequality is way too high.
What economic inequality would you deem small enough?
And why do you care about inequality, and not eg the absolute livings standards of the least well off? We can 'solve' inequality by just destroying everything the rich have, but that won't make anyone better off.
Btw, the absolute living standards of all members of society, including the least well off, have never been better. And that's true for almost any society you care to look at on our globe. (Removing eg those currently at war, that weren't at war earlier.)
> it's that the set of things you can do to make a living is narrowing more and more.
Or, instead of handing out more and more money from the state, try to introduce dynamism again. Try to reduce the amount of times that YouTube takes videos or accounts down for example.
100% this. I don’t know how long we have to go on pushing at the “wealth will trickle down” door to discover it’s utter bullshit and always has been. The answer isn’t private companies, because they’re continuing to take the piss and make a small number of people incredibly wealthy at the expense of the majority.
It’s never a popular thing to say on HN but the country the typifies inequality most starkly is the US - and it’s also the one with the biggest set of problems: huge issues with drug use, obesity, widespread unhappiness, simmering resentment, a divided nation. The countries that are getting this right (and by right I mean GDP, happiness, heath, pretty much any meaningful index of “a good life”) are the ones that fund public services, healthcare, education, etc through higher taxes.
UBI was first piloted by Richard Nixon. These ideas are not fanciful. America has moved so hard to the right that anything slightly left of center seems radical and communist.
...in America. There are countries that actually fight the oligarchs and tax them until the wealth inequality becomes lesser.
Of course there's no silver bullet and high progressive taxes for the mega-wealthy do have other negative effects. Like people being less motivated to strive. Less capital to invest and less competitive companies born.
But billionaires paying less taxes than the guy sweeping floors at the local mall is absurd. Once you reach a certain threshold of wealth, your taxes actually start going down.
> actors, or grocery store baggers, or taxi drivers, or whatever, can't make a living
Until they are dying on the streets, they are actually make a living.
If they cannot make a decent living with their low income - UBI wouldn't help. UBI is a safety net, a minimal salary payment. You are never going to have a decent life on minimal salary.
I totally agree.
There's the inequality side of things were many working people are still in a precarious position. Then there's also the burnout / job conditions side of things where people can't persist in their roles without slowly losing their mental health.
Think about nurses, police officers, teachers etc. It can be solvable by making their work weeks shorter and/or by increasing the numbers of staff per student and many other things we can do - that are deemed too expensive now but can become realistic if we distribute the wealth in a more equal way.
This isn't about any one industry failing, it's about a system designed to funnel value upwards while pretending the rest of us are just not hustling hard enough
Universal basic income is a bit impractical just now - give everyone free money and who will do the jobs that need doing? - but shortly will be very practical when robots/AI will do the jobs that need doing.
You're conflating three very different types of jobs here.
Minimum wage hourly jobs like grocery baggers need to be able to survive off a 40-hour week, and it's a societal problem if they can't.
Taxi drivers are essentially sole proprietors who set their own hours and accept higher risk for a higher payoff. Demand and supply will calibrate themselves unless the government distorts the market (eg. taxi medallions).
Musicians and actors are and have always been in a brutal power law market where all the wealth accrues to the 0.1% at the top of the heap. This drives exploitation since people will do anything to get to the top, but at the end of the day society does not need them the way it needs taxi drivers or grocery baggers and there is no economic rationale for subsidizing them.
If you want to talk about the root of problems, it comes down to preferences. Income inequality in musicians? People prefer some musicians and songs over others. UBI and taxation isn't going to meaningfully change the income inequality between the median and top earners in entertainment fields due to social dynamics. Guess what the primary driver of the housing shortage is? Preference for larger homes and "better" locations. There are enough housing units nationally, but their distribution and charateristics don't match the preferences. You might be thinking about NIMBY, but guess what that is? The preferences of the people already there. Solutions like UBI or just building more skip a logical step of evaluating the true underlying causes and presume them instead. To solve a problem we must first understand it.
And yet they just voted to do the opposite. It’s not universal income that’s the solution, it’s breaking apart the monopolistic legislation that allows certain companies strangleholds on the markets. M&A shouldn’t be allowed if 65% of the majority of the market is owned by those two companies. Individuals with wealth should be capped and any excess should be used for low-income development programs.
We built a world for higher level thinking but ever since 2010, we’ve been failing to meet that standard.
Usually when people in western countries think about UBI, they are assuming that money from people richer than themselves will trickle down to them. What they don't realize is, globally, money will trickle out of their pockets to the rest of the world. Basically they are looking for a constrained hypothetical situation in which free money flows to them.
The root of the problem is that the rules of the economy are unfair.
By analogy, try playing a game of monopoly but enter the game after a few rounds have already been played. Exorbitant housing prices are an example.
Another problem is that while it is fine if hardworking people make more money, these people can use that money __against__ people who made different life choices, in various ways, consciously and unconsciously.
We have to acknowledge that the system is broken, and it is starting to show.
I do a lot of things as an amateur but at pretty high level: athletics, music, art and more.
I also pay a huge portion of my income as a software developer in direct and indirect taxation. Convince me I should fund people to focus full-time on things where they can't make a living, the same things I love to do but realize can't be your sole pursuit.
You've conflated people busting ass who can't keep up with those following their passion in the arts voluntarily. Those don't feel anything like the same thing to me. I don't think I'm alone in a perspective that if you keep taking more from me I'll stop contributing all together, and we'll all fail. The ultra-rich and others with means to avoid picking up the tab have already done so.
First because generally in order to be a good person you have to care what happens to other people.
Second because the second order effects of reverting American society to Victorian slums would be incredibly bad for the economy and your tax burden.
Because somehow a plurality of Americans seem to have been convinced by the guy stealing all their money that it's someone else's fault and you should stone them to death instead.
Because letting large portions of the population starve to death slowly is just a bad thing in general?
Because it would be good for everyone including you.
Because you'd wish that someone else wasn't a smug asshole with an "I got mine" attitude and gave you help when you need it.
UBI seems inevitable with the progress of AI and automation -- but transitioning to it will need a catalyst to break through the wall of resistance to make that happen. Covid was such a catalyst, and at least in the US it was so poorly managed on the distribution of funds it did not help shift the mindset to support UBI.
That's a pity, because it could have done so brilliantly. The catch is that we need a government that is not corrupt and incompetent to administer that process and that's exactly what was in charge at the time.
So while it can't happen now it would be worth exploring what that tipping point might be and how to make sure it serves the people its supposed to.
> Until we start viewing "fanciful" ideas as realistic, our problems will persist. This article is another in the long series of observations of seemingly distinct problems which are actually facets of a larger problem, namely that overall economic inequality is way too high.
I actually read the article before going into the comment section, and your comment was surprising and baffling by how detached from the content of the post it was.
There are plenty of exploitation arguments made in it, but if you read the article is income inequality one of them? Well, no.
> It's not just that musicians, or actors, or grocery store baggers, or taxi drivers, or whatever, can't make a living, it's that the set of things you can do to make a living is narrowing more and more.
I think that this conclusion is far-fetched if your starting point is the actual article. The music business is notorious for being virtually impossible to make a living, even if you are an international act. There were plenty of examples from decades ago up until now of musicians from popular international bands with packed international tours not being able to afford to quit their day job to make ends meet. If your income comes from selling tickets to the public, sometimes directly, and you still cannot generate a livable income, the problem is not income inequality. The problem is that there is not enough demand for what you're selling to make it a viable business.
I mean, if your primary source of income is playing shows and not enough people want to spend money to attend them, why do you think the fact that some people earn way more than you is even relevant?
> Broad-based solutions like basic income, wealth taxes, breaking up large market players, etc., will do far more for us than attempting piecemeal tweaks to this or that industry.
Here is a though experiment: does your assertion hold valid if you replace "store baggers" and "taxi drivers" with "contortionists" or "jugglers"? Because while "store baggers" and "taxi drivers" aren't exactly activities associated with upper middle class income levels, they are activities that most people are coerced to have because they have no alternative to make a living. Musicians are another story altogether, and associated with people pursuing their dreams. In fact, there is that age old cliche about third generation wealth being artists and academics because their exceptional wealth allowed them to pursue their dreams.
> Broad-based solutions like basic income, wealth taxes, breaking up large market players, etc., will do far more for us than attempting piecemeal tweaks to this or that industry.
Basic income has been tested very thoroughly many different times and all results show it basically doesn't do anything good or bad. So it won't create any new musicians. The main effect is it's simpler to administrate than other kinds of welfare, which is a good thing because it saves money.
Wealth taxes are inflationary (because they force you to sell assets) and so would probably cause fewer musicians. Especially if you assume musicians are nepo babies, in which case you actually need rich/upper-middle-class people to create them.
Anyway, the solution here is to copy other countries where it works. They don't do any of these made-up future policy ideas. Japan/Korea produces a lot of culture because it has a low cost of living, a mature industry that trains a lot of people, and most importantly (but negatively) wages are low so there's nothing more productive for the musicians to be doing. Doubly so for women, who might as well become Z-grade idols when they can't get a career job at all.
In the West IIRC a surprising amount of songwriting talent comes from Sweden, but don't know much about that.
Perhaps instead of UBI we should be doing UBE (Universal Basic Expense). Most governments run deficits today so maybe we start with ending those. Here is how it could work:
At the end of ever taxation year, the government calculates its deficit for the year. Divide this by all income earners at their marginal tax rate. Then, at tax time, the tax payer can choose to either pay this or allow it to accumulate at the same rate that the government charges itself. Maybe once we can cover deficits we can start thinking about UBI.
>Broad-based solutions like basic income, wealth taxes, breaking up large market players, etc., will do far more for us than attempting piecemeal tweaks to this or that industry.
The cost of living is correlated to the high cost of housing, competitive job market and high cost of labor in basic services such as infrastructure development. How exactly does "reducing inequality" address all of this? Taxing a bunch of billionaires isn't going to magically increase the number of well-paid jobs, and the guys quoting $5,000 for your AC installation aren't anywhere near the 1% either. Even with stuff like crime and homelessness, just look at Bloomberg's tenure of NYC or Hong Kong when the businesses have a say, they do manage cleaning up cities quite well! If anything, it's the billionares providing the cheap goods you do like to consume so much like Amazon or new Iphones each year.
The funny thing is that back in March we already had this conversation with the whole tariff and manufacturing debacle, no matter how stupid Trump's execution was in reality, this board or really progressives are essentially shooting themselves in the foot in adamantally claiming that "manufacturing will never return" and wanting to continue the status quo of cheap exports but expensive domestic labour. Yeah well, that's what exactly leads to the situation you're in today. You might point to nominally higher salaries, but truth be told, do you feel particularly more civilized in the Bay Area than in Shenzhen or Tokyo?
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[ 0.21 ms ] story [ 134 ms ] threadIt's weird to call it dead because I'm not sure it was ever truly alive.
Should we stop thinking about music as a job and start thinking about it as a hobbyist art form? Nobody is out there lamenting that you can’t make a living off of landscape painting. It’s a fun form of self expression that people will do regardless of the economics, so maybe the problem was ever thinking you could make a profession out of it?
At one point there were several million "MySpace Bands". That's music as a hobbyist art form. Some of them might even have been good.
Maybe you don't value music or live music, but there are a lot of people out there that do. You not caring much for it doesn't change the fact or make it ok that they're getting stiffed by those with the upper hand in the relationship.
Bandcamp is chock full of bands, from home produced stuff, to bands spending saved money on a cheap studio. It's enough that even in the sub-niches I like, I can listen to 10-20 newly released albums every week.
I doubt more than a small single digit percentage of them make money that way, but they very often really enjoy what they are doing.
Some are already worried: https://fortune.com/europe/2025/06/09/bnpl-loans-klarna-ceo-...
"How many jobs there should be for X" is not a question that can be answered by people whose main intent in the last few years has been to put others out of a job while claiming they're making the world a better place. Aka, us in tech.
The future feudal lords will just sell to each other and ignore the jobless, moneyless masses. We don’t like to hear this, but normal people will likely become less and less economically relevant, to the point where their total economic activity will one day be a rounding error next to the economic activity of the top 0.0N%.
I worked with a founder who dealt with only a small number of very rich customers. He would say “We only sell to the rich because they have the money.” The future looks like a more extreme version of this.
I sell you stuff worth 5 billion, you give me 5 billion. Nothing happened. Maybe you even consume the product so there is less wealth.
Only labor can generate value. Work is what transforms a thing into another thing that has more value than before. Machines and AI do not create value.
You might wonder what would happen if they had an general AI, maybe actual autonomous robots? Would those create value? Well, at first whoever got the first AGI would get incredibly rich but if everyone had access to that tech, the prices for everything that can produced with it would plummet down until they are the cost of running the AI.
Rich people get richer by employing poor people. So they can extract the value they produce. If they don't employ anyone, they are not making any profit. (Well for actual free markets, you can of course make profit being a monopolist and stuff or just do crime.)
So yes, rich people are screwed. That is why they buy bunkers in New Zealand. That is why we see the rise of fascism, because they will have to tighten the screws to keep the ship running a little while longer.
If we're looking at extremes, I don't think the ultra rich are in as bad a position as you want them to be.
silicone valley is grifting its own rich people with paper bomb shelters.
So you worked with someone who you claim to be a direct -knowing even- participant in this trend. You presumably benefited from this work too. No?
It's impressive how many people bemoan the dangers they see in a thing, while continuing to contribute to its growth, again and again and again, as long as the personal benefit keeps working their way.
But, if your central moral argument about the subject does revolve around thinking such a scenario is likely and being disgusted by it, then being paid by the people supposedly promoting this kind of economic inequality and working with them while they do it is pretty goddam hypocritical.
Completely different markets, though: how much time per day do you spend looking at landscape paintings vs. listening to music?
Meanwhile, outside of museums most landscape art is also advertising. But I’ll spend two or three hours at an art museum when I get the chance.
I like art but I cannot remember the last time I went to an exhibition. Certainly not since my wife and I became parents.
That seems like a weird angle to take it, no? I know it's just an example but there is more than one type of artist, just as there's more than one type of musician. As simple as it is, someone needed to design the YCombinator logo. Art is everywhere as well, even on a site like this that doesn't host much visual media.
(P.S. I do remember the last time I went to a concert. October).
Anyone who could live on this planet without music is a psycopath.
silence is golden and allows for reflection upon what we heard
It’s not really The Sims. You don’t usually go stand in front of one of your paintings and emote a bunch. It’s just there breathing life into a space.
We do spend a lot of time looking at photos!
If musicians can't make a living, then both the quantity and quality of our musical options go down. Yes, hobbyists will always make music for themselves, but hobbyists won't necessarily record music for us or tour around the country for us to see in live venues. The issue is not that musicians inherently deserve to make a living; the issue is, what kind of musical market is available for consumers?
That's not contrary to what I said, which was "hobbyists won't necessarily [emphasis added] record music for us". And of course you didn't respond to my point about touring.
In any case, the music and recordings of hobbyists are likely to be inferior to the music and recordings of professionals, because in general, professionals are better than hobbyists at almost everything, music being only one example.
> A lot of the music I listen to is from youtubers with a handful of views.
If that's the future you want, then I guess you're in luck.
There's plenty of music available even if only some hobbyists record. In terms of musical options, I'd say we're in a golden age. Used to be, we could only listen to whatever some record label was willing to fund. Before that, just local musicians. Now we can pull up all sorts of obscure musicians all over the world. Recently I went down a rabbit hole of famous rock songs played in medieval style on period instruments; that's not something I'd be likely to find at a record store.
Recording isn't the barrier it used to be, and it'll keep getting easier to make good mixes as the software improves.
Meanwhile, it's likely that the power law will continue to apply, and plenty of especially talented musicians will hit the big time and do live touring. In fact, as more music is generated by AI, I expect people seeking authenticity will develop more interest in live music.
[1] https://m.youtube.com/watch?v=O7EcT5YzKhQ&pp=ygUeUXVhcnRlciB...
Gabe Churray: https://www.youtube.com/watch?v=JGufuxRFqAM
Pete Calandra: https://www.youtube.com/watch?v=qUxNw2MEg0Q
LtN Jones: https://www.youtube.com/watch?v=Qke-hC7RnXQ
Johannes Winkler: https://www.youtube.com/watch?v=G1tySFkXUUA
Caught In Joy: https://www.youtube.com/watch?v=qhxM9MNau3U
Jay Hosking: https://www.youtube.com/watch?v=mCLqevwWE1g
Gattobus: https://www.youtube.com/watch?v=BGeAMOwW01k
Dexba: https://www.youtube.com/watch?v=t3PB05qVI38
Tefty & Meems: https://www.youtube.com/watch?v=ILVIzsoc6_0
Vox Mnemonic: https://www.youtube.com/watch?v=lnQi3dnWrKE
Oxix52: https://www.youtube.com/watch?v=aDNZPzSaYKo
JP Blasco: https://www.youtube.com/watch?v=mKiB04JlQqY
Kris Lennox: https://www.youtube.com/watch?v=IC3GNZYcXUU
Singing Circuitry: https://www.youtube.com/watch?v=lwdxTuFosdo
Winterdagen: https://www.youtube.com/watch?v=RhNfUDs6TGY
Noah Lifschey: https://www.youtube.com/watch?v=ZVFg-ZxNns0
Like, I see where you're going with this but music is one of those things that's actually the whole point of being alive. If all we ever do is do "useful" things ($$$) we lose our chance to actually live our lives.
we absolutely should be pursing things that are creative, beautiful, and transcendental. but.. should we expect the pursuit of the creative, beautiful, and transcendental to be a career? we should encourage everybody to do because it is inherently valuable instead of pursuing it because its a job.
In the absence of that, neurosis is certain to flourish.
So, it is not an economic matter but a matter of the psychodynamics of society. For the sake of the health of the whole, some members of the whole must be able to bring in certain vibes, patterns, states of mind, ideas, etc. And without the ability to pursue that and only that skillset, they won't be able to succeed at that. And it is required for the functioning of the whole.
It's a bit akin to the way the entire body depends on the cells that process ATP. If you eliminate all cells that serve that role, the entire body dies, even though they are a miniscule aspect of the entire operation. That is where the animating spirit comes from.
My answer is no not necessarily. One can pursue it in their free time. Whether it should be a career or not is honestly an invisible hand question (aka capitalism). I'm normally not pro invisible hand such as in the case of healthcare, but when it comes to stuff like this, I totally am.
It might be beneficial to have dedicated people to do this, but a lot can be accomplished by free time.
If we do not explicitly carve out a space for the arts and other transcendental pursuits, capitalism eats them. And then the cancer grows.
So it is a moral imperative to make it possible for SOME of us (obviously, not everyone is called to such things) to pursue these things exclusively.
*Realizing this might be confusing in context. I meant e.g. navigational instruments
Plenty are. But your experience in landscape painting transfers to other professional crafts, so the loss is mitigated. What does a skilled musician have to tranfer to if the industry falls apart? Teaching music?
I also really don't like reinforcing the idea that "the arts aren't meant to be a career". One of the biggest turnabouts in the 20th century is that you don't need to already be set for life in order to spend your days training your passions. The arts are (or were) no longer this "high class" means to distinguish yourself from the working class.
Meanwhile so much of society is built upon and weathered against destruction over such artisans. Are you really going to have a healthy society if all kids see growing up are pencil pushers, hard physical labor, managing retail, or hyper-specializing after 20+ years of schooling? What's all that work building up to? To serve billionaires?
nobody is out there lamenting that we're not supporting a 'middle class' of baseball players.
the top 0.001% get to the big leagues and make bank. the top 0.01% scrape by in the minors. nobody else makes a dime. yet... plenty of people are still passionate about the game and play it for free. the guys playing in an adult rec leauge aren't thinking "there's a career in this I can put together a good highlight reel this season". they're playing because they find it fun and fulfilling.
so maybe musicians should view music like professional sports? do it because you love it. start a band with your friends. play gigs at your local bar every friday. but don't kid yourself that it's a career.
I will cheekily argue that the "transferable skill" of failed athletes is charisma. It's pretty clear that being able to talk about sports is a cheat code for upwards mobility (no matter the industry) and the mentality it builds is of high social value (you'll never find trouble finding a local court or field to make a pickup game with. An artists Meetup, a bit harder to arrange). Certainly more than 99% of artists.
But to properly answer your point, I don't have the full answer of how to balance "necessary careers" with "dream careers". If you want to maintain a satisfied populace (aka, prevent a violent coup by people who feel they have nothing to lose), they need to feel their dreams are reachable. Emphasis on "feel".
You don't even need to make money off your dreams per se. But you need time for it, and basics safeties taken care of. the current atmosphere offers neither.
I think most artists would tell you that if people couldn't make a living as visual artists, the quality of new art in the world would decrease tremendously. Painting is a craft - it takes a lot of training to develop the skills. It also takes a ton of work to develop one's own style. Then there's the whole business part of marketing the work.
Very few great artists would have been able to reach their level of quality just doing it as a hobby.
Now, with AI, all signs seem to indicate that the industry will finally reset to what was the norm for hundreds of years : Artists would be supported on their craft by patrons and benefactors. Most didn't make it to be wealthy, but at least, they got to enjoy time in their craft.
That depends, how much do you value culture (and, my extension: cultural power)? If it's a take-it-or-leave-it kind of thing, then whatever the market will bear.
Once, when criticising the toxic effects of advertising, I got a response to the effect of 'but how will streamers be able to support themselves?!'. Which I was really struck by, because it presumes that streamers should be able to support themselves by streaming. Should they? Is this actually a desirable outcome? Yes, the financial viability probably leads to more streaming, but what about the quality of the overall streaming? And what about the opportunity cost when someone gives up their job and puts their labours into the business of streaming?
There will always be some level of cultural output, since there will always be passionate people. But has making the arts an industry (through an ever expanding artifice of 'intellectual property', and the ever expanding criminalisation of its subversion) actually led to better arts? Would this be a better or worse world if people built bridges in their day job and played rock gigs at night, solely for the love of it?
I'm not trying to do a Socratic dialogue here, I genuinely don't know. But I suspect the answer is much more nuanced than 'more money = better art', and I am sceptical of certain legal or economic distortions based on that assumption (e.g. life + 70 copyright terms, surveillance advertising, surveillance DRM software, billion-dollar industries that subsist solely on 'IP', fines and prison terms for unauthorised sharing, or the reversing or bypassing of DRM, etc).
Many musicians teach others. Without them how will we learn one of the most beautiful / coolest things to ever exist?
I’ve tried learning from an app and it’s not the same as spending an hour with my guitar teacher. It’s not even close. I wish he were paid more given how talented he is and how hard he works.
He's your guitar teacher. It would be difficult for you to state a wish that was more completely under your own control.
Now someone with a $400 controller, pirated music, and some free time can do it. Loads of people willing to play at venues for free just for the fun of it have crushed the viability of doing it as an actual job.
It reminds me of ex-Soviet chess players. The emigration of so many good grandmaster-level players diluted the market, and unless you were in the absolute upper echelons (like Kramnik, Karpov, or Kasparov), you pretty much had to supplement your income by teaching on the side.
Among other things, I play large-ensemble jazz. Over the years, I've played in a number of bands, and the level of quality and variety achieved by players with professional training is a noticeable step above amateur players. The material that my current band plays is unplayable without training. About half of the band members have music degrees (many teach music in the public schools) and the other half are dedicated amateurs with past training like myself.
Other styles, like folk music, are essentially sustained by amateurs.
Some things can only be done by amateurs, or professionals who also have a musical hobby, such as playing experimental, obscure, or historical music. Amateur musicians also support the professional scene by attending performances, taking lessons, buying instruments (resulting in economies of scale), etc.
I can keep playing this game, as can others. Why do we need all that money invested in data collection and disseminating cat videos, political unrest, etc.
We can only speculate about the future having more AI-code or the repercussions thereof (as many do).
And for me with musicians the number is zero.
Not at all clear.
FOSS before that likely made it fall as well
Almost certainly false. Imagine a world where the concept of open source never happened, so if you want a website you have to pay thousands of dollars for web servers, compilers, databases, etc. Would the demand for software developers be higher or lower than in our world?
But how are you going to get good if you don't get any practice and feedback?
I remember someone lamenting people videoing comedians in small venues and posting the fails, that follow you forever. How are you going to get good at stand up if you can't fail and learn?
Not everyone can be Steven King and get an advance worth 3 years salary for their first book.
Well, you know, it is kinda like how companies are replacing all the juniors with AI. It's cheap, for now. But then comes the question of what do you do in 5-10 years when you need some seniors with actual experience?
When you do a hobby you can get practice and feedback in. It depends on their situation.
Someone is a kid? A lot
Someone is single? 4 hours per evening and 6 hours per weekend day. That's still a lot.
Someone has kids? Don't know but doesn't seem like a lot
There's lots of value in amateur engineering. What if we deprofessionalized engineering via making it difficult for anyone to make a living doing it? Some people would no doubt still continue to do it, to scratch their itches and exercise their minds. But they would spend less time doing it, less time sudying how to do it, more time doing whatever it takes to pay the bills and claw out some semblance of security. We certainly wouldn't fall into technical poverty immediately, and maybe we wouldn't miss what we don't quite invent / develop, but both the people who actually love it enough to pay attention and the professionals would know the difference between what isn't getting done.
(And in fact, the US is standing on the precipice of a FAFO event with research here, having just made it more difficult to make a living focusing on it.)
What happens to a field that can only be engaged as a dilettante, never as a committed investor?
Software development will go this way, too, as we are all starting to learn.
The problem is people are ok with corporate, mass-produced slop—whether it be music, furniture, or (soon) software. Fewer and fewer people are willing to pay for human craftsman-produced product.
those responsible for advancement of musical boundaries rarely are recognized or rewarded in kind, at least since the dawn of the recorded music mafia.
"The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side." Hunter S. Thompson
It's of course quite dull, kitchens, cabinets, ... Mostly tailored to living spaces of upper middle class and rich people of varying taste, so you'll be doing a bunch of tacky stuff no doubt.
That and carports.
clearly that isn't the case. the fetishism of amateur/hobby practice here is ridiculous. if people found value in these activities, they would pay for them. UBI advocates basically want someone to fund them drinking beer while they tinker in their garage.
Well you don’t need to. The answer is ”as many as the market will support”, as it is with any other product. However, your rhetorical question misses the point completely. The question is not should a person just make thing x as a hobby, but that this global multi-billion dollar industry shares very little of it’s revenue to the people who make thump thump and bum bum that get’s asses on the floor and people to move. All of the examples in this article are clearly quite successful acts that people are willing to pay to listen to and are quite integral part of the economy as a whole (not to mention softer values such as cultural enrichment of all human life), but are struggling to make the ends meet. Why.
Because some else literally takes the money people pay to listen to them. If I want to listen rapper Yakkedi Yap’s new single Xingabow and give him money, I would be better off to sending them money in an envelope than listening them from any streaming app (maybe Bandcamp is an exception), or even going to their concert or buying their merch. Because someone literally steals the money.
At least if you buy a landscape painting from a gallery the gallery takes just 20-40% and artist gets the rest minus materials and taxes. They don’t take 60%, then minus every possible cost from the artist, then take what is left and give it to Drake.
The right question is likely how much time we should dedicate to subsistence - roof, clothes, food.
And that number ought to go down.
From that you can derive that we should have a freaking lot of people who can devote their time to music.
I’ve played many gigs for $20-100, which is once a month or week and tough work relative to typing some code from home. I played for 25 mins in front of 1000 people and spent 8+ hours total all-in to make 200 bucks. Way harder money than coding.
Really, think back through history. Musicians were needed for dance, parties, all occasions. Now hit play on your phone connected to a speaker, GG musicians.
Not really comparable experience though.
More reliable, no divas, no drunk musicians, always on time, the repertoire is literally unlimited.
Perhaps a bit cynical, but my thinking has long been that if I see a band that's playing in a venue that takes like 100-200 people or so[1], they're doing it out of passion. And that immediately makes it more interesting for me to go.
I've had lots of great experiences that way, including for bands that's normally way outside my comfort zone. And as the price of admission is fairly low, if it somehow is a miss it's not a big deal.
Now, as I know they're making little or no money on the gig itself, I usually end up buying some merch.
[1]: I'm in Norway, we don't have a ton of large venues.
John Philip Sousa had the right opinion on recorded music.
recording also works to give a 'real job' to those who insist on making music for a living.
Only a few have ever made a job of performing. The midevil bard was often a second son of a nobel supported as a way to ensure they kill the older brother for the throne. Everyone else music was a hobby they did after farming was done.
I'd look at NFTs for similar market dynamics. Some big winners but mostly people not making a dime.
In some regards, the ZIRP era ending was needed; companies can't just make money by relying on hype for years, even decades before the piper needs to be paid. But of course it couldn't have ended in a worst time.
Maybe that is why lots of people are struggling more now while the economy numbers say things are better than ever.
We decimated recordings as a revenue stream (and literal decimation might be wildly generous, given that stream payouts frequently never add up to a single sale for many artists). We let people peddle the lie that artists can just find some other revenue source like merchandising or another job or anything else rather than paying for the thing people ostensibly value.
Minor league success was never an easy proposition but we had a chance to give it better margins. And we let Spotify and others eat those, and let too many people tell comforting lies to consumers along the way.
And without a major cultural shift, we will do the same thing for everyone eventually.
If hundreds of millions of people decide to use Spotify and Youtube to obtain their music, and if that means most artists are shafted in the process, no secret organization enacted some conspiracy to achieve that. Instead, technology enabled a new form of consumption, and producers faced a new level of competition.
a) just a theory not a proven thing and
b) based on flawed assumptions that were quickly disproven. See the 2008 paper "Should You Invest in the Long Tail?" finding that consumers don't like niche products and the bottom 80% sold $0, contrary to the theory's prediction.
https://www.hbs.edu/faculty/Pages/item.aspx?num=32337
Had nothing to do with merchandising or whatever. The Long Tail was never correct.
The problem with this as a framing device is that it doesn't describe very many working musical acts. 360 deals are probably generally gross? But Pemberton's situation is weird. In most cases, labels are in fact going to lose money from midlist acts.
The more you look at these kinds of businesses the more striking the pattern is. It's true of most media, it's true of startups, it's true for pharmaceuticals. The winners pay for the losers; in fact, the winners are usually the only thing that matter, the high-order bit of returns.
What's challenging about this is that you can't squeeze blood from a stone. The package offered to a midlist act might in fact be a loss leader; incentive to improve dealflow and optionality for the label, to get a better shot at the tiny number of acts whose returns will keep the label afloat. There may not be much more to offer to acts that aren't going to generate revenue.
David Lowery (a mathematician and the founder/lead vocalist of Camper Van Beethoven and Cracker) had an article about this years ago:
https://news.ycombinator.com/item?id=3850935
It's worth a read (though things have probably changed in a number of ways since then). It's an interesting counterpoint to the automatic cite to Albini's piece that comes up in these discussions. Not that you should have sympathy for labels, just it's useful to have a clearer idea of what the deal was. The classic label deal with a mid-sized advance that never recouped (and which the labels never came back looking for when it didn't) was basically the driver for "middle-class" rock lifestyles; it's dead now.
This is almost certainly the case. The music business is the economics of superstars. see: Rosen, Sherwin. “The Economics of Superstars.” The American Economic Review 71, no. 5 (1981): 845–58.
Small personal difference translate into enormous differences in earnings. The income curve has only small area for middle incomes. Either you are below middle, or you quickly get into upper middle class or higher incomes. It's not a market failure but a predictable dynamics of this particular field.
Artists low pay is driven by two things:
First, an oversupply of talent willing to work below a living wage keeps incomes low.
Second, promotion and marketing are the primary drivers of an artist's financial outome, leading to uneven deals where labels handle the heavy lifting and deserve larger piece of the cake. Once an artist's career reaches a certain scale, their earnings can grow to outweigh their direct creative input.
One thing that could help is transparency, but in a way the lack of transparency is a good part of what keeps the system going. Most people would not agree if they knew how little they would keep if they were successful; "what do you mean I have to pay for the losers?". They would just want to pay for what was necessary for their success, ignoring every expense that didn't work as a "stupid label decision". The thing is that nobody has a true recipe for success, you can just get reasonable estimates on your bets, but each bet will always be a biased coin flip.
I found very little actual insight in this article. I think musicians have been struggling for decades and the parents have known for at least as long to tell their kids to get a degree regardless of their talents. Schools like Berklee are… questionable at best. Lots off nepo babies just taking a few years to fuck about, basically.
when you think about it
Oddly enough Berklee is considered to be a jazz school, but the players from there who I consider to be real stand-outs (performing at an international level, or well on their way to doing so) have chosen to earn their livings outside of mainstream jazz.
The "live from Emmet's place" series that you can find on youtube has some of the best jazz players today playing mainstream jazz.
The Beatles and Van Halen did the same.
Let’s say your child wants to be an actor. One way to make this happen is to be a successful actor yourself - require your children to be cast in the film in return for you starring. This is how famous acting families pushed their kids forwards, including Nicholas Cage (Coppola) and Jeff Bridges.
More relevant for HN is rich people. So you are tech rich and your kid wants to act. Fund the movie on the condition your child acts in it. That is the way since movies began.
The customer of such a movie isn’t the audience but the wealthy patron sponsoring the movie. I suspect this self-promotion motivation is a large reason why so many movies are so bad.
On top of that come the contacts and being rich. But the contacts are not a thing other people couldn't make as well, especially if they are good. One of the somewhat hidden benefits of higher education are the contacts you will make. Maybe you're not rich and your parents are roofers while you want to become an actor, but if you're good and well connected you might benefit from other peoples connections. This is how I started to make my living in a foreign country with two parents without any shared background: There were people who had those contacts and I benefitted of them simply by being the one they chose because I am accurate, reliable, on time, knowledgeable, patient and good at what I do.
But
When they are younger they could pay for acting classes, acting camps and help them get into local productions.
Out of school they pay for livings costs, education and any additional classes. Living in New York or LA and being able to concentrate on getting parts of training rather than having to make money would be a huge boast.
Maybe at the next stage getting their kid an agent or manager who has contacts and experience to get their kid the roles.
Perhaps you mean throwing a few thousand dollars at student-level films to ensure their kid gets an important part. I guess maybe some will write 6 (7?) figure cheques to get their kid a part, but that probably doesn't happen often.
https://www.theguardian.com/books/2015/aug/01/writers-recall...
Want to work for the most prestigious fashion brands? You start with unpaid (or very low pay) internships in some of the most expensive cities in the world. Same goes for record labels. Art. Literature publishing.
And these days, some of the above will filter out applicants that don't have big enough social media accounts.
Same sh it is happening with basketball. More nepo babies that got to go through expensive camp than ballers from the streets rising up the ranks homie. And no person embodies dis shit more than Bronny James.
Sad cause sports was supposed to be the ultimate meritocracy yo!
I was very aware that I was lucky. You can be the best, you can have a great network, but (in my experience), luck is the main factor. and the "luck" window in the music space is more and more narrow currently.
I want to "move up" in my career, but I simply don't see the (performative) art of data science and data engineering. It feels too narrow. Music and data analysis feels broad. I could take a higher paycheck but it'd cost of a lot of fun.
It probably helps that I on top of that get to integrate LLMs and create LLM flows, basically n8n but then programming it using the APIs of an LLM. So I'm still actually programming as well.
It's fun being a generalist.
Seems to me that music has an additional challenge which is most revenue channels requires middlemen: streaming infrastructure, merch factories, venues owners, technicians, etc which artist can't/won't replace.
At some point musicians - as product creators - need to have a clear biz model for their enterprise and passion to try it. Not just passion to create, passion to sell.
80s entry level coder
90s team lead
00s manager
10s cto
20s cto with help from parents
Wage stagnation and inflation and asset inflation.
I venture that live music has suffered because of it.
When the state dictates artistic content, that is socialism.
For a band, it's virtually impossible to find work outside the weekend. If a region had a few restaurants that were known for year round "live music Mondays", "live music lunches", etc, it would increase the number of hours that a musician could work during the week, and make full time performance viable for more musicians. Of course, people would also need to support these performances by patronizing the venues that host them.
But until a working musician can fill their weekday calendar with paying gigs without excessive travel/lodging costs, you'll continue to see talented musicians drop out and do something else.
The current world we live in doesn't care enough about creativity. I find it a bleak thought, but here I am. Feel free to try to talk me out of it, because it does feel kind of depressing. Or feel free to validate it. I want to see the world for what it is, not what I like it to be.
What do you mean by not valuing music? Should we allocate more of our paycheck to music? Or should we talk more about how great music is?
> It seems to me that most artists are making music because they love to do it themselves.
I mean, art is ultimately an expression of emotions. If you don't love creating the art you create, unless you have another deep emotional reason to create it, it's going to affect the result quite significantly.
> The current world we live in doesn't care enough about creativity.
This is just human nature though I think. Most people want the fuzzy feeling of something familiar. And then you have those who go to large events for the shared experience of going, rather than what's actually performed.
Personally I love going to smaller venues (<300 people) where the cost of admission is such that I feel I can take the risk of something unknown and outside my comfort zone. But I also realize I'm weird that way.
The problem is that it's a bit of a winner takes all market. It's comparable to professional sports.
Everyone loves soccer, but 99.9% of people won't get paid to play it. That doesn't mean it isn't valued - some of the highest paid people in the world are soccer players!
That's a drag in many ways because local circuits and regional music are where a lot of new styles and bands came from, and the wealth is more concentrated now into fewer people.
Think of it: a lot of people listen to music as a background of some kind. That means they don't want to keep going "Ugh, this one sucks, next, next, next..."
But, there's thousands of absolutely excellent songs that are time tested. You can play top 100 from the 80s and not be annoyed most of the time.
But ever time somebody plays Prince or Duran Duran is a time they're not playing the song you just released.
There has never been as many ways to make money off being creative as individual as right now.
This board just loves to romanticize the past to an absurd degree and then conclude free money fixes everything.
It is basically every non-software discussion on here. The present sucks, the past was better, free money.
And you'd be locked to only playing certain types of music (country, classic rock, singer songwriter), doing multiple gigs a day.
Truth be told, most musicians would be better off by picking a job, any job really, and treating music as a side hustle. And that really pains me, as I started out as a musician.
If you're going to make a living off music, it's going to be a never-ending marathon of hustles and uncertainty. Cover bands, church bands, wedding bands, session work, lessons, roadie work, instrument tech, and half (of not two thirds) of that work is based on sheer luck, depending on what people you cross paths with.
Damn, people somehow made art in 10000BC, when everyone was a hunter-gatherer by necessity.
This comment makes the same point, better than I did:
https://news.ycombinator.com/item?id=44410292
This means that a former musical artist became a Youtube content producer in order to earn a living. This does not illustrate the negative effects of paying musicians to make music.
Before that, I mostly gravitated to 'blockbuster musicians', old classics, 1970s psychedelic rock. Today I buy some unknown musician's album every few days (and I pay what I'd pay for a 'proper' album, even if it is pay what you want).
Part of that is simply availability. The old record stores of old were often just "what's popular" with a side dish of "what the owner likes". Today? I found some Touareg rock band the other day. In the 1990s, that was virtually impossible even for music lovers.
Part of it is that today, I pay for what I like. Radio sucks, the classics are oversaturated, and often enough new releases are just qualitatively worse - both in composition as well as remasters which tend to sacrifice nuance for loudness. But indy bands? I don't expect perfection, but often enough find it.
Now, I understand I am a rare breed. In a Spotify world, the one buying FLACs is exotic. I do understand that the mid-range musician is not going to become a millionaire - but who ever did?
The example in the article sounds a lot like the artist has been bent over a barrel by the record company - a pattern even "successful" musicians have experienced. Maybe instead of chasing fame, the solution is to do your own marketing.
The musical middle class wasn’t thinned out by the audience, but by labels and streaming models. If you’re not topping the charts, you vanish between promotion costs and algorithmic obscurity - unless you go directly to the listener.
1. Any of the creative professions have way more applicants than positions so nepotism dominates. It's almost shocking how many nepo babies there are in Hollywood. It infects every level. It could be that some rich person will fund your indie movie as long as you give a major role to their child. It can be family connections to studio decision-makers,. It can be currying favor with Hollywood heavyweights. Whatever. Either way, getting in as a nobody is increasingly difficult;
2. Education. First, you have legacies. Roughly a third of Harvard's undergrad class are legacies ie the children of wealthy donors. That's the real DEI. But also it's the cost. The wealthy can absorb the cost of an elite education.
This is a real issue with medical school. Someone can often graduate with $300-600k in student loan debt. By the time they finish residency they may owe $500k-1M. The wealthy can absorb this. There are a few medical schools now that offer free tuition thanks to some large endowments. Many medical schools try and have people from more diverse economic backgrounds but it's difficult. Not having to worry about money means you caa afford to spend a year doing unpaid research to pad your resume. The free tuition schools seem to have skewed more to students from wealthier backgrounds because they're simply better connected and better able to game getting into such schools;
3. Housing costs specifically and the cost of living generally. 30 years ago if you were trying to make it as a musician in LA you could rent an apartment for $300-400/month. You could live cheaply. You could chase that dream. Now? The average apartment seems to be near or over $2000/month.;
4. The disappearance of third spaces. Higher housing costs mean the higher cost of businesses. If a bar or a coffee shop needs now absorb rent of $200,000/year where once it was $10-20k, that affects what busineses are viable and for those that are, it's an input to the cost of everything. Well, those were performance spaces for up and coming acts. You see this in the UK, for example, where the number of pubs just keeps going down as they sold and converted into apartments. Community spaces just cannot survive with the high cost of property; and
5. The freedom to fail. I saw a clip of Allison Williams recently who acknowledge this. For those that don't know, she was one of the main cast of HBO's Girls. She's the daughter of Brian Williams, a long-time news anchor. Fun fact: the entire main cast of this show were all nepo babies. It cannot be overstated what relieving the fear of becoming homeless can do to your opportunities.
Now some, particularly here, have long pointed to tech as their key to social mobility. That's been true for a long time but I suspect many here are in for a rude shock. We're already seeing it with the layoffs and how many people apply for any given job. AI will make this worse.
And who do you think will get positions in this shirnking pool of opportunities? It'll be the same children of wealthy people. It'll be connections, access to funding and other factors that give you opportunities.
This is a huge problem, and it's due almost entirely to bad government policies rather than "capitalism working as intended".
* Is the amount of music listened to in a day down? * Is the rate of music creation down? * Given some metric of diversity is music diversity down? * Given some metric of quality is music quality down? * Are there fewer artists per capita / in total? * Has the Gini coefficient really shifted?
I assume that for almost all of these, the answer is actually no. Presumably, technology has made making more higher quality music easier and cheaper than ever, and people are listening to more than ever.
Same thing with music. Streaming pays so little compared to physical media now that artists never make up the difference.
Not sure what the problem is, the streams will pay the budget of the movie, just like the old movie studios did. So where is the difference? Do they pay much less and no royalties?
spotify in particular cemented a payment structure that disadvantages any “serious” music versus endless repeat pop songs, while also being completely corrupted by conflict of interest from record labels with an ownership stake. now they manufacture their own muzak and steer your playlist to it, draining the last bits of revenue possibility away from these “middle class musicians.”
youtube streamed music for free for years, paying no artists, and it was one of its core growth engines. completely asymmetrical outcome.
the whole thing denigrated musicians, and music itself. hordes of early online young tech professionals making great money at their office jobs poo pooing the concerns of an entire industry which previously enabled some of the most sophisticated artistic endeavors our culture ever attempted.
just dumb. a complete victory of lowbrow values.
baffling someone is writing this article in 2025. at every fork in the road, the path was taken that would give less revenue to the musicians. and ~no one in tech felt it was a problem.
talking about it like there is a revelation or an emerging phenomenon here mystifies, while rubbing salt in the wound.
Literally everyone is an artist, even if their art consists of bad doodles and singing in the shower. Sure, some people are more talented than that, but expecting to make a living with art? Nah...
Until we start viewing "fanciful" ideas as realistic, our problems will persist. This article is another in the long series of observations of seemingly distinct problems which are actually facets of a larger problem, namely that overall economic inequality is way too high. It's not just that musicians, or actors, or grocery store baggers, or taxi drivers, or whatever, can't make a living, it's that the set of things you can do to make a living is narrowing more and more. Broad-based solutions like basic income, wealth taxes, breaking up large market players, etc., will do far more for us than attempting piecemeal tweaks to this or that industry.
Universal basic income is impossible to justify morally.
Lots and lots of people can create arts. In old era when people would just gather together and sing. Nobody would make a living off that. Very very few people were making a living by performing to nobility.
Modern recording industry with specialized instruments distorted this by allowing more talented people make a living. Yet it destroyed a lot of community singing by not-highly-talented people. On one hand more people could make a living, on the other hand much much less people were creating arts.
Nowadays it feels like we’re returning back to the natural flow. More people are creating arts since modern instruments are widely accessible. But fewer people can make a living.
Overall, I’d say more people creating arts is preferable outcome. And best art is created for the sake of it as a hobby.
What economic inequality would you deem small enough?
And why do you care about inequality, and not eg the absolute livings standards of the least well off? We can 'solve' inequality by just destroying everything the rich have, but that won't make anyone better off.
Btw, the absolute living standards of all members of society, including the least well off, have never been better. And that's true for almost any society you care to look at on our globe. (Removing eg those currently at war, that weren't at war earlier.)
Or, instead of handing out more and more money from the state, try to introduce dynamism again. Try to reduce the amount of times that YouTube takes videos or accounts down for example.
It’s never a popular thing to say on HN but the country the typifies inequality most starkly is the US - and it’s also the one with the biggest set of problems: huge issues with drug use, obesity, widespread unhappiness, simmering resentment, a divided nation. The countries that are getting this right (and by right I mean GDP, happiness, heath, pretty much any meaningful index of “a good life”) are the ones that fund public services, healthcare, education, etc through higher taxes.
~ braces for downvotes ~
Of course there's no silver bullet and high progressive taxes for the mega-wealthy do have other negative effects. Like people being less motivated to strive. Less capital to invest and less competitive companies born.
But billionaires paying less taxes than the guy sweeping floors at the local mall is absurd. Once you reach a certain threshold of wealth, your taxes actually start going down.
Until they are dying on the streets, they are actually make a living.
If they cannot make a decent living with their low income - UBI wouldn't help. UBI is a safety net, a minimal salary payment. You are never going to have a decent life on minimal salary.
Getting this and that cert. is costly, but even things like hands-om experience in new domains is inaccessible if you don't have the cash flow.
Minimum wage hourly jobs like grocery baggers need to be able to survive off a 40-hour week, and it's a societal problem if they can't.
Taxi drivers are essentially sole proprietors who set their own hours and accept higher risk for a higher payoff. Demand and supply will calibrate themselves unless the government distorts the market (eg. taxi medallions).
Musicians and actors are and have always been in a brutal power law market where all the wealth accrues to the 0.1% at the top of the heap. This drives exploitation since people will do anything to get to the top, but at the end of the day society does not need them the way it needs taxi drivers or grocery baggers and there is no economic rationale for subsidizing them.
We built a world for higher level thinking but ever since 2010, we’ve been failing to meet that standard.
By analogy, try playing a game of monopoly but enter the game after a few rounds have already been played. Exorbitant housing prices are an example.
Another problem is that while it is fine if hardworking people make more money, these people can use that money __against__ people who made different life choices, in various ways, consciously and unconsciously.
We have to acknowledge that the system is broken, and it is starting to show.
You've conflated people busting ass who can't keep up with those following their passion in the arts voluntarily. Those don't feel anything like the same thing to me. I don't think I'm alone in a perspective that if you keep taking more from me I'll stop contributing all together, and we'll all fail. The ultra-rich and others with means to avoid picking up the tab have already done so.
Second because the second order effects of reverting American society to Victorian slums would be incredibly bad for the economy and your tax burden.
Because somehow a plurality of Americans seem to have been convinced by the guy stealing all their money that it's someone else's fault and you should stone them to death instead.
Because letting large portions of the population starve to death slowly is just a bad thing in general?
Because it would be good for everyone including you.
Because you'd wish that someone else wasn't a smug asshole with an "I got mine" attitude and gave you help when you need it.
That's a pity, because it could have done so brilliantly. The catch is that we need a government that is not corrupt and incompetent to administer that process and that's exactly what was in charge at the time.
So while it can't happen now it would be worth exploring what that tipping point might be and how to make sure it serves the people its supposed to.
I actually read the article before going into the comment section, and your comment was surprising and baffling by how detached from the content of the post it was.
There are plenty of exploitation arguments made in it, but if you read the article is income inequality one of them? Well, no.
> It's not just that musicians, or actors, or grocery store baggers, or taxi drivers, or whatever, can't make a living, it's that the set of things you can do to make a living is narrowing more and more.
I think that this conclusion is far-fetched if your starting point is the actual article. The music business is notorious for being virtually impossible to make a living, even if you are an international act. There were plenty of examples from decades ago up until now of musicians from popular international bands with packed international tours not being able to afford to quit their day job to make ends meet. If your income comes from selling tickets to the public, sometimes directly, and you still cannot generate a livable income, the problem is not income inequality. The problem is that there is not enough demand for what you're selling to make it a viable business.
I mean, if your primary source of income is playing shows and not enough people want to spend money to attend them, why do you think the fact that some people earn way more than you is even relevant?
> Broad-based solutions like basic income, wealth taxes, breaking up large market players, etc., will do far more for us than attempting piecemeal tweaks to this or that industry.
Here is a though experiment: does your assertion hold valid if you replace "store baggers" and "taxi drivers" with "contortionists" or "jugglers"? Because while "store baggers" and "taxi drivers" aren't exactly activities associated with upper middle class income levels, they are activities that most people are coerced to have because they have no alternative to make a living. Musicians are another story altogether, and associated with people pursuing their dreams. In fact, there is that age old cliche about third generation wealth being artists and academics because their exceptional wealth allowed them to pursue their dreams.
Basic income has been tested very thoroughly many different times and all results show it basically doesn't do anything good or bad. So it won't create any new musicians. The main effect is it's simpler to administrate than other kinds of welfare, which is a good thing because it saves money.
Wealth taxes are inflationary (because they force you to sell assets) and so would probably cause fewer musicians. Especially if you assume musicians are nepo babies, in which case you actually need rich/upper-middle-class people to create them.
Anyway, the solution here is to copy other countries where it works. They don't do any of these made-up future policy ideas. Japan/Korea produces a lot of culture because it has a low cost of living, a mature industry that trains a lot of people, and most importantly (but negatively) wages are low so there's nothing more productive for the musicians to be doing. Doubly so for women, who might as well become Z-grade idols when they can't get a career job at all.
In the West IIRC a surprising amount of songwriting talent comes from Sweden, but don't know much about that.
At the end of ever taxation year, the government calculates its deficit for the year. Divide this by all income earners at their marginal tax rate. Then, at tax time, the tax payer can choose to either pay this or allow it to accumulate at the same rate that the government charges itself. Maybe once we can cover deficits we can start thinking about UBI.
The cost of living is correlated to the high cost of housing, competitive job market and high cost of labor in basic services such as infrastructure development. How exactly does "reducing inequality" address all of this? Taxing a bunch of billionaires isn't going to magically increase the number of well-paid jobs, and the guys quoting $5,000 for your AC installation aren't anywhere near the 1% either. Even with stuff like crime and homelessness, just look at Bloomberg's tenure of NYC or Hong Kong when the businesses have a say, they do manage cleaning up cities quite well! If anything, it's the billionares providing the cheap goods you do like to consume so much like Amazon or new Iphones each year.
The funny thing is that back in March we already had this conversation with the whole tariff and manufacturing debacle, no matter how stupid Trump's execution was in reality, this board or really progressives are essentially shooting themselves in the foot in adamantally claiming that "manufacturing will never return" and wanting to continue the status quo of cheap exports but expensive domestic labour. Yeah well, that's what exactly leads to the situation you're in today. You might point to nominally higher salaries, but truth be told, do you feel particularly more civilized in the Bay Area than in Shenzhen or Tokyo?