Podcast: Talking with Helienne Lindvall Because Streaming is Still Broken

Neil Young pulls his music from Spotify to protest the content on Joe Rogan’s podcast, and Joni Mitchell and Crosby, Stills, and Nash follow suit. It’s a big story for a week, and some noise about “cancel culture” and Rogan himself lingers, but we’ve mostly moved on. Meanwhile, the economic model for music streaming is still broken. Songwriters make pennies for millions of streams, and the dynamics of the data-driven market are not quite conducive to the kind of experimentation and risk-taking that dominated the period when artists like Young and his contemporaries rose to fame. So, why don’t legacy artists who can command so much attention use that power to advocate for fair compensation for the next generation of artists?  I don’t know the answer, but the question prompted me to invite songwriter/columnist Helienne Lindvall to join me for this episode.

Helienne hosts “Sounds” on BBC, talking about the ways in which streaming has changed the craft of songwriting. 

Music Piracy More Common Among the Wealthy

When my wife and I were first starting out in Seattle, we both got retail jobs, and she worked in the Eddie Bauer basement where everything was discounted due to overstocks, minor flaws, or seasonal obsolescence.  Still, she had customers who approached her daily insisting that they were entitled to some further reduction from the marked price because, “See, this seam isn’t straight.” And my wife spent half her day saying things like, “Yes, Ma’am, that’s why it’s been marked down sixty percent and you’re finding it here in bargain basement.”  I theorized then that there are few things more likely to ignite latent greed than a person of means who is already getting a deal.  Charge an egomaniac a thousand dollars for something that’s really worth a few hundred, and he’ll think he’s getting something special; charge him fifty bucks, and he’ll see if he can’t also get your shoes and your watch.

So, it comes as no surprise to me to read Helienne Lindvall’s report on Digital Music News about a study which reveals music piracy to be more prevalent among the wealthy. The theory behind the numbers is that the wealthier segment of society can afford the technologies used to steal and consume media, thus giving lie to the “piracy makes culture available to the underprivileged” claims one hears all the time.  It ought to be obvious to everyone that the “underprivileged” don’t have computers, iPods, and high-speed connections to the internet. And even though music is now readily accessible to people of means at bargain basement prices, they still want musicians’ shoes and watches.