And then we have artists like DJ Kariu (http://www.youtube.com/user/Kariu) who have been producing content for years, have ~30k views on their big songs, produce consistently, and are still surviving with a separate shift job because they didn't get picked up. Even if you're noticed, it's still these labels that are creating a majority of the jobs.
Enough with the ad homenim attacks. I never once claimed that all good artists will be huge stars. I simply stated it's easier to gain recognition, not guaranteed recognition. I also never said the middle man shouldn't exist, most just aren't willing to adapt to modern distribution channels. How many years did it take to get the Beatles on iTunes? AC/DC's stuff was held off for a long time too.
>Even if you're noticed, it's still these labels that are creating a majority of the jobs.
Really? It's the record labels? You don't think it's concert venue's employees or employees of the companies that create the software to distribute the music and videos?
I think you're looking for "straw man" as I didn't attack you personally but you think that I'm attacking a point you didn't make. I brought up one counter-example, but I have seen many more out there.
I'll go back to the top again.
>Justin Bieber was a nobody until he put his videos on Youtube. Kendrick Lamar was discovered this way too. It's easier to gain recognition now than ever. If the world enjoys what you produce you don't have to worry as much about a distribution channel like you did 10+ years ago.
Yes, they get more recognition, but for what? They can convert this Youtube recognition into a small portion of money through Youtube ad monetization (a brand and a distribution channel, though I guess not a label). These examples ended up with a major distribution channel (a major record label) that will bring in enough revenue to survive on or to become a star (something Youtube ad monetization can only do for a very small few). Youtube was just the equivalent of that buddy you have in the industry that can pass on your sample tape with a kind word to get them to look at you. That one buddy probably means more to people in the labels than 100k views.
To continue with your direct response, music labels were promoting artists before iTunes. "[E]mployees of the companies that create the software to distribute the music and videos" most likely include employees of the label itself or contracted companies to write the software. Promoters have been around since the town crier, and their value has kept the job existing (and now unfortunately they take the lion's share of the revenue).
I make no comment on the middle man's ability to adapt to modern distribution channels. I don't think it's relevant to them picking up artists.
Concert venues and software contractors do create jobs, but they very rarely spawn into the giant companies we see represented by the RIAA. If they did, why would this power imbalance exist?
