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In the backlash to the allegations that Lorde did not pay artists for her 2008 debut studio album Pure Heroine (“it’s free?!”), headlines in vindication media have been heavy on claims that the figures she paid to secure the release of the LP were either “false” or “inflated”. While the claims are hard to verify without access to the original documentations (Lorde is understandably not sharing – or not making), what’s happening is that a “new definition” of distribution is taking hold. As we follow the Hundred Year Story of the record industry in The Thousand Year Struggle, it’s worth looking at how the modern recording industry has evolved to fill the role of a self-regulated market – self-regulation being the logic by which the public fairs with the major labels. What this concept is not is free capitalism, a free market or a perfect way to redistribute wealth. In a competitive market, many of these digital distributors of music are gaining a comprehensive network of contracts with the majors which allows them to keep the best talents without having to relinquish any control of their work. What this means, essentially, is that artists no longer need to jump through the hoops of financial success for an independent distribution contract to be offered, with the most successful record labels being able to put together the deal for a new release – the payment is being made for free by the labels, with any profits for the major (internally) shared more or less equally by the artists. This new model has been discussed a lot, but within terms which imply that the bands, labels, and artists are agreeing in advance to what this new model will be. As a concept, it is not that new, after all there were pay-to-play schemes in the days of the 78s and LPs, the only real novelty being that the pay-to-play models were based directly on the number of sales an album would generate – which didn’t work particularly well. d2c66b5586