If musicians had nearly as much stake in their distributed product, from a percent standpoint, as a startup founder has in his/her business, or if the music industry were remotely as equitable, all things considered, as the software industry, then the essay's apparent allegory might ring a little more true to me. But the practical reality is musicians don't have a similar stake, or a similar chance at making a sustainable living, as software founders.

If I were to reverse The essay's tactic, by way of, for instance, rewriting a paragraph of another certain famous essay about the music industry (which is admittedly dated but still mostly relevant even in the age of iTunes), you could see the contrast pretty quickly. I doubt that anybody would agree that the software industry is this bad. Let's call this hypothetical essay "The Problem with Software" and see if you agree (with apologies to Steve Albini):

"Whenever I talk founders who are about to sign with a major startup incubator, I always end up thinking of them in a particular context. I imagine a trench, about four feet wide and five feet deep, maybe sixty yards long, filled with runny, decaying shit. I imagine these people, some of them good friends, some of them barely acquaintances, at one end of this trench. I also imagine a faceless Angel Investor at demo day holding a fountain pen and a contract waiting to be signed."

Let's say my hypothetical essay goes on to itemize point-by-point in a detailed and authoritative way how startup incubators and VCs virtually always end up screwing over founders and developers every time...well it couldn't because there are no such numbers, no similar data, because in general software startups don't operate that way. The dynamics in the two industries are entirely different and the analogy doesn't work, for various reasons not the least of which is that the average founder has a far higher chance of making money, according to the known risks, than the average musician relying on sales and downloads. VCs, in general are far more equitable (big assumption there but I'll stand by it anecdotely) than the average label, which operates on long-standing numbers-manipulation that rarely if ever compensate artists fairly or transparently. This doesn't make piracy right, it just makes attacking it relatively inconsequential to the artist.

The essay is right, albeit ironically so, about one thing. The music industry has indeed moved on. The future is much more than live events, though, it's innovative business models (like, say, for instance Earbits', which I'm intrigued by and really hope works) and creative manipulation of new media, as bands like Pomplamoose and OK Go have done. The music industry is a dinosaur, and piracy is only a small part of the problem. The main issue is that the music buying public is jaded, fragmented and far less easily manipulated into buying than in the past. The available music is vast in number and the average music fan can listen and partake in countless genres and acts, only a few of which might be shared by friends.

The essay's principles are in the right place -- defending the incomes of musicians, but the allegory ignores a chasm of differences between the two industries, the massive inequity of the music industry towards artists, and the simple truth that there's nothing anyone can do about it, certainly not through the old RIAA/ASCAP/etc. model.