Yep, Pandora is pretty cool, and the genome projects is really cool, I'm looking forward to finding out what it says about my own songs, and I'm hopeful that my songs will be recommended to people who will have a real affinity to the songs. I personally like Pandora (as a concept) much more than Spotify, because in Pandora if they want to hear my music again, they have to actually go find the cd and buy it. In Spotify, I'm basically screwed.
Onward... to paraphrase, "We don't want to cut royalties by 85%, we want to GROW total payments to artists!" is a bunch of doublespeak. Growing total payments is not the opposite of cutting royalties. He could have every intention of "growing the pie" to make up for the smaller pie slice, but if his starry-eyed intentions to grow the pie don't pan out, it still means a cut for the artists. Guess what, a really great way to "grow total payments" is increase the pie while keeping the pie slices the same, or increasing them.
Purely as an aside, performance royalties confuse me. I paid between $50 and $300 to my session musicians on my EP and considered it work-for-hire. I'm assuming that means I don't have register them as session musicians at soundscan, but I really have no freaking clue. I don't even know how to get hold of half those musicians now.
Anyway, organizations like pandora like to confuse discussions by bringing in performance royalties - for instance, an artist might have a complaint that is specifically limited to the inequity of the songwriter royalties. Responding with "you are forgetting about the performance royalties!" is completely irrelevant. The law is that digital radio pays performance royalties (through soundscan) in addition to songwriter royalties, and (US) radio only pays songwriter royalties. That's not the artists' fault! If an artist has a beef about songwriter royalties, hitting them over the head about how unfair it is that they also have to pay performance royalties is intellectually dishonest.