Spotify Produsage or Prosumtion

Is Spotify collaborative? Is it continuously building? Does it pursue further improvement?

Lara O’Reilly’s Marketing Weekly article titled “Spotify launches biggest UK marketing push”. Spotify’s ploy to improve their existing style, theme and over all presentation.

Spotify’s recent move to work with many more partnerships  has allowed them to promote themselves as well as form bonds between other social media company have similar goals. Spotify’s new partnerships all aim to entertain their users through different forms, these channels have allowed users access to all these technologies through Spotify.

Spotify’s recent marketing strategy to form a connection between these social medias has encouraged over one million users to join the Spotify community whilst still staying active in their already existing social media accounts. This new way of experiencing Spotify is depicted in their new promotion videos;

 

Brun’s 2007 work “Produsage: Towards a Broader Framework for User-Led Content Creation” discusses the permissive regimes of engagement  an one of the key characteristics of produsage.  Brun discusses how permissive regimes are based on merit rather than owner ship, he also states that they frequently employ copyright systems which acknowledge ownership, prohibiting unauthorised commercial use and yet still allowing collaboration on further content improvement. In relation to Spotify I can see some similarities; copyright systems to protect the rights of the artists are in place and further content improvement is evident, however in terms of produsages basis on merit more than ownership, Spotify is definitely without. Spotify claims ownership of the artists songs, the copyright laws protect the artists from users stealing from the artists, however the theft has already taken place. For each song played an artist gets minimal royalties, the rest going to Spotify. Spotify owns the media once it’s in their database and although Spotify claims the artists keeping their company alive are receiving their share, it is clear that their claims are far from the truth. The 2012 blog “Spotify Royalties” commissioned by Top 100 Ebook Ranking states that the artists receive $0.0055 per stream in 2012, according to the 2008, 2009, 2010 and 2011 comprehensive income statement. According to chief content officer Ken Parks, Itunes pays out 70% revenue to rights holders, where Spotify pays out 65% to 70% of revenue in content costs, (interview SXSW editorial director Bill Werde)

The issue is clear Spotify claims to protect their artists, and yet they take advantage of the people supporting them.
References

Top100EbookRanking, 2012 “Spotify Royalties” BlogSpot, May 22, 2012

http://spotifyroyalties.blogspot.com.au/

O’Reilly, L. 2014. “Spotify launches biggest UK marketing push”, April 2014, Marketing Week magazine online, accessed 17/04/14 http://www.marketingweek.co.uk/sectors/technology-and-telecoms/news/spotify-launches-biggest-uk-marketing-push/4010297.article

Spotify. 2014 “Say More With A Playlist” Spotify LTD, Youtube, accessed 17/04/14 https://www.youtube.com/watch?v=X-lcv718QbM

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