That taking has consequences, human and creative. [Some of the consequences are good, some are bad. Separating them, however, is a pain and may not be possible.] My companies make money almost exclusively from the sale of our creative product. [And they still can, they will have to make some adjustments to their business model.] We don't have a performance right on radio and therefore derive no income from radio play. [Welcome to the wonderful world of "when Congress tries to dictate business models." And so, the RIAA proposes a sequel.] We don't make money from artist tours or merchandise. [And why is that? Is there a law against it? If so, I would recommend it be repealed.] We don't make money from endorsements of other products. [Is someone stopping them from doing that?] We just sell recorded music. [You're free to structure business however you like.]Link (Thanks, Ernest!)
We take profits from sales – when we're good and lucky enough to get them - and plow money back into the search for that next great talent who will thrill music fans around the globe. [I guess the industry must have been bad these last few years.] When we think we have found that talent, we invest huge amounts to sign, nurture, promote and distribute their creative product. [And the RIAA is the only way talent can be found and promoted, because?] Our economic vitality is based on generating hits – finding special talents that enjoy strong commercial appeal. [And we should care about the hit-maker mentality, because?]
I write books. My latest is a YA science fiction novel called Homeland (it's the sequel to Little Brother). More books: Rapture of the Nerds (a novel, with Charlie Stross); With a Little Help (short stories); and The Great Big Beautiful Tomorrow (novella and nonfic). I speak all over the place and I tweet and tumble, too.