As “novas” editoras
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Na The Economist um artigo sobre como sobrevivem, nos dias de hoje e da Internet, as editoras. Nos últimos dez anos a venda de CD’s caíram abruptamente; no entanto as editoras conseguem sobreviver e apresentam lucros. Segundo a The Economist, esta indústria sobrevive a vender tudo, menos CD’s. A publicidade e os concertos ao vivo, cada vez mais caros, são dois dos responsáveis:
[…] For the past ten years sales of recorded music have declined so steeply as to become a cautionary tale about the disruptive power of the internet. The rise of illegal file-sharing and the end of the digital “replacement cycle”, in which people bought CDs to replace tapes and records, caused spending to collapse. […]
The rise in digital music-sales is scant compensation. People tend to buy tracks, not albums, from sites like Apple’s iTunes. They can obtain their favourite music much more cheaply than they could in the CD era. […]
Yet the music business is surprisingly healthy, and becoming more so. Will Page of PRS for Music, which collects royalties on behalf of writers and publishers, has added up the entire British music business. He reckons it turned over £3.9 billion ($6.1 billion) in 2009, 5% more than in 2008. It was the second consecutive year of growth. Much of the money bypassed the record companies. But even they managed to pull in £1.1 billion last year, up 2% from 2008. A surprising number of things are making money for artists and music firms, and others show great promise. The music business is not dying. But it is changing profoundly.
The longest, loudest boom is in live music. Between 1999 and 2009 concert-ticket sales in America tripled in value, from $1.5 billion to $4.6 billion (see chart 1). Ticket sales wobbled in America during the summer of 2010, but that was partly because some big-selling acts took a break. One of the most reliable earners, Bono, U2’s singer, was put out of action when he injured his back in May. Next year many of the big acts will be on the road again, and a bumper year is expected.
It is not that more people are going to concerts. Rather, they are paying more to get in. […]