The thing about telling people to ignore streaming, or free demos, or pay-what-you-think-it's-worth or all those other models is that the freedom to do that requires the backing of a label.
If you're someone who a record label thinks has the prospect of being a multi-million seller/the vocalist on the single for the new Bond film (for example), you can get them to back you and push you through the traditional retail model and chances are it will work out well for you.
If you're a proficient guitarist who made a name for himself with guitar-based covers of classic videogame soundtracks (for example), that's not so likely to work well. However, the variety of other options now open to independent musicians are, in a very real sense, the difference between being able treat music as something approaching a job and being forced to treat it as an expensive hobby.
It's a bit of a shame that the old bollocks of "chasing pirates has had a huge effect" on the bottom line, because a far more realistic explanation is that making it easily available with a reasonable price is easier and less hassle than cocking about with whatever source of NaughtyWare you care to name. When I think about what it was like trying to find (and buy) music I liked 12-15 years ago compared to now, the paradigm shift is obvious. I'm not really interested in streaming music, personally, but the analogy to TV services seems simple; more importantly, the big thing about streaming is that it's effectively a new version of radio and likely to be the common source of music for the time-rich/cash-poor like kids/teenagers/students. And, well, moving those groups onto legit services from the default "All the legal services are crap, I'll go pirate it" stance is still a win, even if it doesn't generate huge revenues - because if nothing else it predisposes them to use the legit services once they have money.