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FYI

Chris Castle's Unusual Spotify Prediction

Streaming services like Spotify are faced with a squeeze–how can they be more like Facebook?

Chris Castle's Unusual Spotify Prediction

By External Source

Streaming services like Spotify are faced with a squeeze–how can they be more like Facebook?  That means how can they really get into that Web 2.0 game by deceiving more people to work for them for free while retaining 100% of the revenue for selling their work product?  Or better yet, get people to pay them real money in return for promo bucks?  (Or in the Lefsetz world, Bitbob.)


Some people think that Spotify will or should “start a label”, like that’s as easy as buying razorblades.  Remember–Spotify’s top executives are richer than Croesus and got that way while stiffing songwriters in the millions and even managed to change the law to create a new safe harbor so that they could continue to do so.  Talk about gaslighting!

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Why would such people want to get their hands dirty and “start a label”?  More likely they would adopt the “No Records” model.

No Records was an imaginary label I dreamed up on the handful of exceptionally frustrating days at A&M.  The No Records business model was to sign major artists to record the next record they released after they got dropped.  No Records signed Bruce Springsteen, the Rolling Stones, Drake and so on and promoted itself as having all those artists signed, but never released any records as long as those artists were signed to another label.  Which means, of course, if you were a No Records executive you did no work because you had…no records.  And if by fate you found yourself with an actual record delivered to you, then you would get laid off and paid as a consultant for a few years to not work any record that was delivered.

Now this is a perfect business model for Spotify.  Kind of a small batch AI-driven artisanal curation.  No one would ever have to find out that Spotify executives know nothing about developing or breaking artists, but they could promote the artists they signed to No Records by playlists for the current records of their future artists.

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Because that’s the key, you see.  To have no records.  Ever.  But Spotify could tell Wall Street they were starting a label to compete with real record companies and journalists would dutifully write stories about how Spotify was a threat to the record company ecosystem.  With no records.  While they continue to sell stock to the greater fool.

-- Chris Castle,Music Technology Policy

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Beyoncé

Beyoncé

FYI

The Billboard Canada FYI Bulletin: Beyoncé Country Hit A Win For Canadian Songwriters

Also in this week's roundup of industry news: Kayla Diamond launches her own boutique imprint, SOCAN names an ombudsman, and time's running out for noms for this year's Rosalie Award honouring trailblazing women in broadcasting.

Beyoncé becomes the first Black woman to top Billboard’s Country Songs chart with “Texas Hold ‘Em” and it has gone to No. 1 on iTunes in 14 different countries and counting. There are some surprising connections. The song is co-written and co-produced by Ontario-born writer/producer Nathan Ferraro, whose previous collaborations include working with Lady Gaga, Carly Rae Jepsen, Bear Mountain, RALPH, Shawn Hook, Alyssa Reid, Jessie Reyez, Lowell and Tyler Shaw.

In fact, the song has deep Canadian origins. Two other Canadian songwriters participated in this runaway hit: Megan Bülow (who records and performs as bülow) as and Elizabeth "Lowell" Boland (a.k.a. Lowell), with Ferraro co-producing the track with Killah B and Beyoncé.

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