Apple Will Pay Rights Holders During Free Trial of Apple Music

Following yesterday’s blog post by Taylor Swift on the free trial of Apple Music, Apple has announced they’ll pay rights holders on a per-stream basis during the three months of free trial of the service.

Peter Kafka spoke with Eddy Cue on the phone, who told him this is a decision he reached with CEO Tim Cook earlier today after Swift’s Tumblr post. Apple will be paying artists during the free trial at a different rate:

Cue says Apple will pay rights holders for the entire three months of the trial period. It can’t be at the same rate that Apple is paying them after free users become subscribers, since Apple is paying out a percentage of revenues once subscribers start paying. Instead, he says, Apple will pay rights holders on a per-stream basis, which he won’t disclose.

As I argued yesterday:

Apple’s terms for the free trial are controversial and I wonder if they could handle this differently. It’s not like Apple doesn’t have the resources to offer a free trial for users and make it up to artists on their own. I think Swift makes a solid argument here.

Good on Apple for reaching a compromise, even if it took the blog post from an influential artist to make this change. Due to the way the music industry is structured, Apple won’t be paying artists directly – but it’s still something and it doesn’t mean free music will be given away by Apple for three months just to promote usage of their service.

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Taylor Swift Criticizes Apple Music for Lack of Artist Compensation in Free Trial Period

Taylor Swift, writing on her personal blog, criticizes Apple for lacking any sort of artist compensation during the three-month free trial period of Apple Music:

These are not the complaints of a spoiled, petulant child. These are the echoed sentiments of every artist, writer and producer in my social circles who are afraid to speak up publicly because we admire and respect Apple so much. We simply do not respect this particular call.

I realize that Apple is working towards a goal of paid streaming. I think that is beautiful progress. We know how astronomically successful Apple has been and we know that this incredible company has the money to pay artists, writers and producers for the 3 month trial period… even if it is free for the fans trying it out.

This is not the first time Swift has criticized music streaming services with free trials that can’t pay artists enough (or at all). Notably, her latest album, 1989, is only available for digital purchase and has been withdrawn from streaming services – the same will be the case with Apple Music.

Here’s what Swift wrote in an article for the Wall Street Journal last year:

There are many (many) people who predict the downfall of music sales and the irrelevancy of the album as an economic entity. I am not one of them. In my opinion, the value of an album is, and will continue to be, based on the amount of heart and soul an artist has bled into a body of work, and the financial value that artists (and their labels) place on their music when it goes out into the marketplace. Piracy, file sharing and streaming have shrunk the numbers of paid album sales drastically, and every artist has handled this blow differently.

In a media industry increasingly driven towards free downloads and monetization through other channels, I find Swift’s overall position both sensible and a little too optimistic.

Apple’s terms for the free trial are controversial and I wonder if they could handle this differently. It’s not like Apple doesn’t have the resources to offer a free trial for users and make it up to artists on their own. I think Swift makes a solid argument here.

But I want to touch on the bigger theme as well. Swift is also hoping that an entire generation now accustomed to free YouTube videos and ad-supported streaming will somehow rediscover the lost value of the digital album. Nostalgia can be a powerful selling factor, but, in this case, I’d tend to believe that convenience of free services (or very cheap ones) is a stronger motivation for millions of people.

It sounds sad, but, for many, music has become an easily accessible good with no exclusive value – the money is in concerts and merchandising (basically, emotions and memories that are personal, not online). Ask Nickelback (seriously, read their story). The over 8 million global copies sold by 1989 are sadly an exception these days, and most artists are now rethinking what it means to monetize music at scale. Often, this includes using streaming services and social media to find and nurture future concert-goers.

When even Apple is willing to cannibalize traditional album sales with a cheap streaming service that has a feature to connect artists with fan, you have to wonder if the money really is elsewhere at this point.

If only there could be live shows for app developers too.

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Accessibility at WWDC 2015

Fantastic coverage from Steven Aquino on Accessibility at WWDC 2015:

To me, the labs were one of the most exciting part of my visit. It seemed to me that the labs are where the action is at WWDC. Developers want to visit the labs because they’ve gone to sessions and want to implement accessibility (among other things) the right way.

The room was full of enthusiasm, which warmed my heart to see. As a person with disabilities, it’s thrilling for me to see others make concerted efforts to ensure that their apps are usable by all.

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Accessibility Helps App Store Sales

Craig Hockenberry, writing on The Iconfactory blog:

We’re not in this business just to make money: all of us at the Iconfactory hope that our products will make people’s lives better. We’ve worked hard to make Twitterrific work well with the accessibility features in iOS. Hearing that these efforts make things easier for customers with disabilities is rewarding beyond words. (Listen to the podcast file in that last link to get a great idea of what life is like for a VoiceOver user.)

But now there’s another incentive for thinking about accessibility: helping others also helps your downloads […]

Implementing features that make an impact is also a good business. Twitterrific and Workflow are great examples.

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Apple No Longer Selling Original iPad mini

Jeremy Horwitz, writing for 9to5Mac:

The original iPad mini has quietly disappeared from Apple’s web site, and is no longer available to purchase new from the Apple Store.

And:

Apple’s discontinuation of the iPad mini leaves the remaining iPads as a completely 64-bit family, all using either A7 and A8X processors rather than the iPad mini’s aging A5.

The oldest iPad you can buy has a Retina display.

Considering the massive change that multitasking is going to be for 10-inch iPad users, I wonder how quickly Apple will phase out the iPad Air in favor of the split view-enabled iPad Air 2.

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Connected: Ignorance by Design

This week the Europeans are going it alone to talk about the new iOS Notes app, iOS 9 on the iPad, Editorial 1.2, and whether WatchKit should have existed.

On this week’s Connected, Myke and I talk some more the iPad on iOS 9, Apple’s improved Notes app compared to Evernote, and the merits of watchOS 2. Spoiler: Myke has bought another iPad. You can listen here.

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Twitter’s Project Lightning

Mat Honan, writing for BuzzFeed, has shared some details on Project Lightning, a Twitter feature that will let users follow events across all Twitter apps with a simple swipeable interface for full-screen content (tweets, photos, videos, Periscope, Vine, etc.).

Following an event won’t require to follow people whose tweets are featured in the event.

What’s more, you can also opt to follow an event and have curated tweets blended into your timeline. And that doesn’t mean you follow accounts where those tweets originate. So, for example, while you might see Ellen DeGeneres’ tweets from the Grammys in a curated Grammys event, you would not actually begin following her if you were not already. When the Grammys end, so do the tweets. In other words, you automatically unfollow an event at its conclusion. And you can still experience curated events without following anything just by going to that center tab.

Interestingly, Twitter has assembled a team of editors to curate the best tweets as they happen around events in real-time.

Launch one of these events and you’ll see a visually driven, curated collection of tweets. A team of editors, working under Katie Jacobs Stanton, who runs Twitter’s global media operations, will select what it thinks are the best and most relevant tweets and package them into a collection.

This sentence by Stanton sums up why Twitter is doing this:

But the challenge we’ve had over the years is, although we have the world’s greatest content, it’s like having a television without a channel guide or even a remote control.

This is another example of Twitter moving beyond Legacy Twitter and the belief that Twitter is still only a timeline of tweets in chronological order. The company has been enhancing the service with media improvements and design changes aimed at making Twitter less static – the opposite of a traditional timeline. If anything, they’ve been moving too slowly in this area.

As I wrote last year, the writing was on the wall for the traditional timeline in Legacy Twitter:

The Twitter timeline was built to be a reflection of a Following list people could build meticulously over time. But as it approches its ninth anniversary, Twitter has realized that curating a list of accounts isn’t most people’s forte, and they want to make sure that the timeline stays interesting even without investing time into finding accounts to follow. And that meant breaking the original concept of the timeline to include content and account suggestions. It meant to make the Twitter timeline a little more like Facebook.

And:

Once you accept the idea that Twitter timelines may expand beyond your following list and tweets’ timestamps, it’s easy to imagine how they could be remixed to offer more topic suggestions, summaries, or recommendations. But Twitter needs to go easy with that. The idea of a timeline still is a powerful one: Twitter wants to show you what’s happening, and events – no matter the algorithm you use – always happen in succession. Being able to stop and watch events as they unfold is what makes Twitter great and essential and unique – whether it’s #Ferguson, the elections, an Apple keynote, or just a regular news day.

Project Lightning sounds exactly like what Twitter needs to keep users engaged and respect the inherent chronological nature of the service as events unfold.

Mat Honan’s story for BuzzFeed includes more details and a mockup of how this could work.

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