e83b66a8ed2d -- 23d I think there are several factors here: For Artists: "People change when the pain of staying the same becomes greater than the pain of changing. " "Network affect" You go where your audience are, not where you'd like them to be. For the audience: Free > Cost Free + adverts > Cost, for most, but not all. Attention is a currency most are used to paying, if you charge money on top of that, then the benefits have to be clear. In the case of YouTube or Spotify, this becomes the removal of adverts. Semi serious, but perhaps artists could do deals with advertisers and write songs about private health insurance or EasyJet and integrate the adverts into the songs 😂 reply [1 reply]I think there are several factors here: For Artists: "People change when the pain of staying the same becomes greater than the pain of changing. " "Network affect" You go where your audience are, not where you'd like them to be. For the audience: Free > Cost Free + adverts > Cost, for most, but not all. Attention is a currency most are used to paying, if you charge money on top of that, then the benefits have to be clear. In the case of YouTube or Spotify, this becomes the removal of adverts. Semi serious, but perhaps artists could do deals with advertisers and write songs about private health insurance or EasyJet and integrate the adverts into the songs 😂
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@Joe Martin and I have a candid conversation about the state of music around here. I think Joe has some greatideas to go along with his new album, Alone In Valentine!https://fountain.fm/episode/bzFf9Zl6DLaQLeBt4TOs
Really enjoyed this conversion with @9fce3aea32b3 .I wanted to be honest about how I see the #V4V scene vs where I imagined things would be by now when I firststepped into this over 3 years ago.Why are people so resistant to giving this idea a try? And why do most people who do, leave after a short periodof time?Is it about improving the tech/ onboaring for artists and listeners, or is it about more education?Does bitcoin and nostr have a branding problem that needs to be abstracted away for most nontechnical users tofinally start adopting it?Are the quirky terms like 'valueforvalue' and 'boosting' leaving people with more questions than answers?I don't have the answers, but it's hard to look around and say 'we're winning' when users are down, zaps aredown and people that come into the ecosystem disappear within a short space of time.I'm still here because I believe in the underlying tech and principles of the idea but it's hard to see how thisstarts to get mass adoption without things being radically simplified. Maybe folks don't want mass adoptioneither and are happy for the valueverse to stay as a niche community which is fine, but we should be honestabout that.Trust me when I say, I'm never going back to just releasing music on all the old platforms. But we need some newblood around here, and artists ARE looking for this, they just don't know it yet. How do we get people fired upabout this?Hope this podcast gets the discussion movingLeave some thoughts in the comments ✌️note:0c10f5b0…ff60
I think there are several factors here:For Artists:"People change when the pain of staying the same becomes greater than the pain of changing. ""Network affect" You go where your audience are, not where you'd like them to be.For the audience:Free > CostFree + adverts > Cost, for most, but not all.Attention is a currency most are used to paying, if you charge money on top of that, then the benefits have tobe clear. In the case of YouTube or Spotify, this becomes the removal of adverts.Semi serious, but perhaps artists could do deals with advertisers and write songs about private health insuranceor EasyJet and integrate the adverts into the songs 😂
Really enjoyed this conversion with @9fce3aea32b3 .
I wanted to be honest about how I see the #V4V scene vs where I imagined things would be by now when I first stepped into this over 3 years ago.
Why are people so resistant to giving this idea a try? And why do most people who do, leave after a short period of time?
Is it about improving the tech/ onboaring for artists and listeners, or is it about more education?
Does bitcoin and nostr have a branding problem that needs to be abstracted away for most nontechnical users to finally start adopting it?
Are the quirky terms like 'valueforvalue' and 'boosting' leaving people with more questions than answers?
I don't have the answers, but it's hard to look around and say 'we're winning' when users are down, zaps are down and people that come into the ecosystem disappear within a short space of time.
I'm still here because I believe in the underlying tech and principles of the idea but it's hard to see how this starts to get mass adoption without things being radically simplified. Maybe folks don't want mass adoption either and are happy for the valueverse to stay as a niche community which is fine, but we should be honest about that.
Trust me when I say, I'm never going back to just releasing music on all the old platforms. But we need some new blood around here, and artists ARE looking for this, they just don't know it yet. How do we get people fired up about this?
Hope this podcast gets the discussion moving
Leave some thoughts in the comments ✌️
note:0c10f5b0…ff60
I'm going to travel on a hypothetical journey which will include exploring the world of altcoins and NFTs. If this offends you look away 😂
Graphic artists have NFTs on altchains to enable them to monetise digital art. It doesn't lock it behind a paywall, but it does allow supporters to pay for unique digital copies. I know this went crazy with the whole bored ape thing, but the principle is valid.
It would technically be possible to create an audio encoding system that embedded a wallet address which, through a smart contract, would force the transfer of funds in order to execute (play) the contract (music track).
Thus, you could place audio tracks behind a decentralised, artist owned, paywall. That contract could be modified by the artist so that they can change the monetary exchange depending on demand, fame etc... So an artist just starting out may wish to allow free play of their tracks, whereas Taylor Swift may up the cost to play a song to $1 (for example).
Historically, despite the bad wrap and the potential for abuse, recording labels and managers have been highly incentivised financial guardians of their artists ensuring not only the artist earned money from their work, but the studio and manager earned its share too.
Placing that monetary management onto artists in the V4V space may be too much of an ask, encoding it into the music tracks itself may be a way to abstract the artist from the financial management they are now burdened with.
