Sure, but I can also go and buy the track directly from the artist to support them. Do I need to go and photograph the actual CDs I have from these artists to prove that the model works? I don't know what you're trying to argue, here. You claim that no other model works.
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Replying to @phyphor @lawnerdbarak and
I claim that this model works less well for most artists than the model we had before, and the takes you can find arguing that the Internet and the sharing economy was going to be a brave new world of freely spread wealth are from the mid-2000s before this turned out not to work
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Replying to @arthur_affect @phyphor and
What I claim is, I think, fairly easily observable -- traditional publishing has been slowly caving in and leaving a ton of creative people out of work And the Internet revolution we were promised would replace it makes it really, really hard to make money
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Replying to @arthur_affect @phyphor and
Like I hate to break it to you but most "Internet people" are really fucking poor You don't realize -- even *famous* Internet people are just making what in the pre-Internet era was a middle-class living for someone with their analogous job
1 reply 0 retweets 24 likes -
Replying to @arthur_affect @lawnerdbarak and
I'm aware. It's why, when I'm working, I support those artists and creators who make content I like. But I'm also not sure what point you're trying to make. Most people are doing badly right now, but that's a whole other problem.
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Replying to @phyphor @arthur_affect and
But, again, people are able to make a living doing their passion, making art, and getting paid for it. How is that a broken system? How is the fact that people can find a niche and fill out a bad thing?
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Replying to @phyphor @lawnerdbarak and
The presence of *somebody somewhere* making money isn't an argument that a system is just fine Like if it were then everything would be just fine -- tipped waitstaff would be fine, Uber drivers would be fine
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Replying to @arthur_affect @lawnerdbarak and
I'm arguing that *you* are the one holding up a system that works for the rare few, whilst in arguing for a system that we can see works for very many.
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Replying to @phyphor @lawnerdbarak and
I am arguing the system objectively worked for more people in the 1990s than it did in the 2010s and that the perception the reverse is true is an illusion (based solely on how much content is available to you and not how well-off authors as a class are financially)
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Replying to @arthur_affect @phyphor and
I am fairly confident in this belief based both on looking at numbers and on anecdotal evidence from people who've been in the field a long time and can actually make the comparison between then and now
2 replies 1 retweet 10 likes
I could be wrong, but I do not look at the life of a "content creator" online in the 21st century and feel much optimism Quite the reverse If you follow any of these individual scenes closely the drama over payment is constant and neverending (the YouTube "adpocalypse" etc)
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Replying to @arthur_affect @lawnerdbarak and
Which is why creators stopped caring about adverts and focused on communities and Patreons. A point I thought I'd made some time ago.
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Replying to @phyphor @arthur_affect and
And communities and Patreons only reward artists who a) are super good at salesmanship and/or b) had a pre-existing huge community.
1 reply 1 retweet 10 likes - Show replies
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