In Ribot’s field this means the more uncertain part of the business—the actual writing, recording, and promoting of music—is increasingly “outsourced” to individuals while big companies dominate arenas that are more likely to be profitable, like concert sales and distribution (Ticketmaster, Amazon, iTunes, and Google Play, none of which invests in music but reaps rewards from its release). “That technological change is upon us is undeniable and irreversible,” Ribot wrote about the challenges musicians face as a consequence of digitization. “It will probably not spell the end of music as a commodity, although it may change drastically who is profiting off whose music. Whether these changes will create a positive future for producers or consumers of music depends on whether musicians can organize the legal and collective struggle necessary to ensure that those who profit off music in any form pay the people who make it.”