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<blockquote style="position: relative; padding-left: 55px;"><section><a href="https://mastodon.social/users/KydiaMusic/statuses/113692483442396665">Cat Lady Kydia Music (kydiamusic@mastodon.social)'s status on Monday, 23-Dec-2024 04:24:32 JST</a><a href="https://mastodon.social/@KydiaMusic" title="kydiamusic@mastodon.social"><img src="https://gnusocial.jp/avatar/100792-48-20241010014434.webp" width="48" height="48" alt="Cat Lady Kydia Music" style="position: absolute; left: 0; top: 0;">Cat Lady Kydia Music</a></section><article><p>As suspected, Spotify is using generic stock Muzak bought from production libraries so they don’t have to pay royalties to artists. </p><p>Not surprised, since CEO Daniel Ek refers to music as “content” and thinks it takes little effort to create. 🙄 </p><p>This is one of the ways “content” hurts the arts and severs the relationship between artists &amp; their audience. </p><p><a href="https://harpers.org/archive/2025/01/the-ghosts-in-the-machine-liz-pelly-spotify-musicians/" rel="nofollow">https://harpers.org/archive/2025/01/the-ghosts-in-the-machine-liz-pelly-spotify-musicians/</a></p><p><a href="https://mastodon.social/tags/Spotify" rel="tag">#Spotify</a> <a href="https://mastodon.social/tags/IndieMusic" rel="tag">#IndieMusic</a> <a href="https://mastodon.social/tags/MusicBusiness" rel="tag">#MusicBusiness</a> <a href="https://mastodon.social/tags/MusicStreaming" rel="tag">#MusicStreaming</a> <a href="https://mastodon.social/tags/SpotifyWrapped" rel="tag">#SpotifyWrapped</a> <a href="https://mastodon.social/tags/AmazonMusic" rel="tag">#AmazonMusic</a> <a href="https://mastodon.social/tags/AppleMusic" rel="tag">#AppleMusic</a></p></article><footer><a rel="bookmark" href="https://gnusocial.jp/conversation/4237517#notice-8281679">In conversation</a><time datetime="2024-12-23T04:24:32+09:00" title="Monday, 23-Dec-2024 04:24:32 JST">about a month ago</time> <span>from <span><a href="https://mastodon.social/@KydiaMusic/113692483442396665" rel="external" title="Sent from mastodon.social via ActivityPub">mastodon.social</a></span></span><a href="https://mastodon.social/@KydiaMusic/113692483442396665">permalink</a><h4>Attachments</h4><ol><li><label><a rel="external" href="https://gnusocial.jp/attachment/3755528">In a Slack channel dedicated to discussing the ethics of streaming, Spotify’s own employees debated the fairness of the PFC program. “I wonder how much these plays ‘steal’ from actual ’normal’ artists,” one employee asked. And yet as far as the public was concerned, the company had gone to great lengths to keep the initiative under wraps. Perhaps Spotify understood the stakes—that when it removed real classical, jazz, and ambient artists from popular playlists and replaced them with low-budget stock muzak, it was steamrolling real music cultures, actual traditions within which artists were trying to make a living. Or perhaps the company was aware that this project to cheapen music contradicted so many of the ideals upon which its brand had been built. Spotify had long marketed itself as the ultimate platform for discovery—and who was going to get excited about “discovering” a bunch of stock music?</a></label><br><a href="https://files.mastodon.social/media_attachments/files/113/692/442/506/990/561/original/ec6db45d75390dea.png" rel="external">https://files.mastodon.social/media_attachments/files/113/692/442/506/990/561/original/ec6db45d75390dea.png</a></li><li><label><a rel="external" href="https://gnusocial.jp/attachment/3755529">Artists had been sold the idea that streaming was the ultimate meritocracy—that the best would rise to the top because users voted by listening. But the PFC program undermined all this. PFC was not the only way in which Spotify deliberately and covertly manipulated programming to favor content that improved its margins, but it was the most immediately galling. Nor was the problem simply a matter of “authenticity” in music. It was a matter of survival for actual artists, of musicians having the ability to earn a living on one of the largest platforms for music. PFC was irrefutable proof that Spotify rigged its system against musicians who knew their worth.In 2023, on a summer afternoon in Brooklyn, I met up with a jazz musician in a park. We talked about the recent shows we had seen, our favorite and least favorite venues, the respective pockets of the New York music scene we moved through. He spoke passionately about his friends’ music and his most cherished performance spaces</a></label><br><a href="https://files.mastodon.social/media_attachments/files/113/692/454/011/681/517/original/3ed6546ae261e63c.jpeg" rel="external">https://files.mastodon.social/media_attachments/files/113/692/454/011/681/517/original/3ed6546ae261e63c.jpeg</a></li><li><article><header><div>Domain not in remote thumbnail source whitelist: harpers.org</div><h5><a href="https://harpers.org/archive/2025/01/the-ghosts-in-the-machine-liz-pelly-spotify-musicians/#Spotify">The Ghosts in the Machine,</a></h5><div> from <span>Liz Pelly</span></div></header><div>Spotify’s plot against musicians</div><footer></footer></article></li></ol></footer></blockquote>

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Cat Lady Kydia Music (kydiamusic@mastodon.social)'s status on Monday, 23-Dec-2024 04:24:32 JST Cat Lady Kydia Music
As suspected, Spotify is using generic stock Muzak bought from production libraries so they don’t have to pay royalties to artists.
Not surprised, since CEO Daniel Ek refers to music as “content” and thinks it takes little effort to create. 🙄
This is one of the ways “content” hurts the arts and severs the relationship between artists & their audience.
https://harpers.org/archive/2025/01/the-ghosts-in-the-machine-liz-pelly-spotify-musicians/
#Spotify #IndieMusic #MusicBusiness #MusicStreaming #SpotifyWrapped #AmazonMusic #AppleMusic
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