David Byrne's recent editorial for the Guardian seems to be an update of the 'Busines and Finance' chapter of his book, How Music Works. I recommend the latter. It presents a lot of statistics, especially in comparing the recording and promotional processes of two of his albums, Grown Backwards  and Everything That Happens Will Happen Today [2008; w/ Brian Eno]. His assessment of the potential benefits of internet-centric self-distribution model is more positive than the editorial would suggest, but--first--he notes in the editorial that an established artist with a long history of record-label and promotional-company support has an advantageous position relative to younger artists with no such career and--second--his opinion, of course, might have changed in the meantime. Perhaps he has been influenced by the writings in the last year from David Lowry (at The Trichordist) and Damon Krukowski ('Making Cents', 'Free Music', both at Pitchfork).