Nah.
https://support.spotify.com/us/using...isten-offline/

Initially, I was excited about Vinyl because I know a lot of old timers from that era and their stories were amazing. So much sex, drugs and rock and roll and with Mick Jagger as an EP, I expected there to be many depictions of actual events or at least allusions.

While I thought the series started strong (and I LOVED the Bowie episode!), the series devolved into a typical Scorsese tail of the Mafia, drug use and lives spiraling out of control. By episode seven, I'd lost all interest.

The show runner was fired before the end of the season so hopefully, next season will deal more with the actual music business (and music creation) than the Mob and drugs.

I have high hopes for Cameron Crowe's series, Roadies, which debuts later this month. Almost Famous (and especially the Director's cut, Untitlted) was amazing and honest and true. I've had friends tell me that the dialog was literally lifted from actual conversation, mainly those with Peter Frampton, which made it all the more sweet for me.

Oh, wow! I had no idea. Thanks!

That's where being an insider might be a negative. You know to call bullshit. I really enjoyed it for an in your face series with cool story lines.
You think Roadies will be worth watching? Previews don't strike me as gritty enough but the majority of roadies I've seen came when my brother was starting his tour coach business and I'd ride on tour segments with his B list bands. Guys that were driving their own uhaul or van before they got signed to open shows.

My emotions are being thrown about like a midget wrestler.

:D Sorry Rain, just trying to provide research data for you.

I *hope* Roadies will be good. There's no better music writer than Cameron Crowe. As a teenager, he toured with all the great bands from the 70's and had amazing stories and interviews with everyone from Zep to Sabbath to Purple, Frampton, the Eagles, Allmans and so on.

I'll be bummed if it's not good to great.

Cool. DVR it is.

So musicians don't make as much as I thought? I guess Lars really did have to wait an extra week for his new pool.

Terrestrial radio pays out 97% of money collected?

I'd guess over a hundred million, but i have no idea.

The Performing Rights Organizations collect money of behalf of composers in the United States. BMI, ASCAP and SESAC are all non-profit organizations. They collect money from radio airplay, restaurant, nightclub and gym airplay along with television airplay. They pay out 97% of all revenues collected.

Spotify is a completely different beast. They're For Profit and due to loopholes in our laws, are granted a Compulsory License in which they can choose to pay whatever they want to pay composers and artists. The same goes for iHeartRadio, Pandora, etc.

When Spotify, a company that owns nothing, is valued at more than the entire music business, something is wrong.

:facepalm:

Yeah, because every musician in this world has sold more than 100 million records and grosses $250 million per year touring.

:eek: Wut?

http://consequenceofsound.net/2015/0...usic-industry/

A month ago, news came that revenue from streaming services had surpassed CD sales for the first time in history. Now, The Wall Street Journal is reporting that after securing $400 million in fresh funding, Spotify is now worth more than the entire US recorded music industry.

The deal pushed the streaming service up to a net value of $8.4 billion, more than double that of its nearest competitor Pandora, which sits at around $3.5 billion. According to the Recording Industry Association of America, the revenue of the entire industry as of 2014 was $6.97 billion, which accounts for physical sales, digital purchases, and yes, streaming.

Streaming income, which includes paid subscriptions and ad earnings, accounted for 27% of the recorded music industry’s $6.97 billion earnings. Yet Spotify, just one company that makes up that percentage, is actually worth more than every single US retail music revenue source combined. Given, Spotify is an international company, but either way the math is fascinating.

Of course, the data is actually comparing two different things, in that one is value (Spotify’s 8.4 billion) and the other is revenue (RIAA’s $6.97 billion). The thing is, valuation is determined by an estimate of future profits, but Spotify has never actually turned a profit. Essentially, the report is suggesting that with the way things are trending, the US music industry’s valuation could eventually equal its revenue, with Spotify being more valuable overall.

In the good news column, the 25% increase in streaming revenue more than offset the 8.7% drop in permanent digital download sales. So while the industry as a whole has remained pretty stagnant for the last five years (there was a 0.5% drop from 2013 to 2014), at least it’s not getting much worse.