|
|
| Author |
Message |
| 25 new of 165 responses total. |
krj
|
|
response 138 of 165:
| 
Jun 5 13:37 UTC 2002 |
USA Today has an overview article on the struggles between the
music business and music fans. File sharing only gets a small
piece of the story.
http://www.usatoday.com/life/music/2002/2002-06-05-cover-music-industry.htm
|
jaklumen
|
|
response 139 of 165:
|
Jun 6 09:48 UTC 2002 |
Based on previous discussion, it sounds like the 1980s all over again,
with a contemporary twist. We're getting heavy into one-hit wonders
again.
|
krj
|
|
response 140 of 165:
|
Jun 8 16:54 UTC 2002 |
Via Slashdot:
http://www.newyorkmag.com/page.cfm?page_id=6099
The essay by Michael Wolff argues that the music business of the future
is going to look a lot more like the book business -- much less
significant to the mass culture, and much, much less profitable.
He suggests that rock and roll, which powered the growth of the
music biz in the 1960s and 1970s, is spent as a cultural force,
with nothing of equal impact to replace it.
He also sees two ways that the Internet has sandbagged the industry:
besides the file sharing and copying issue, there is the problem that
the Internet has encouraged tastes to splinter into thousands of
musical subcategories. This makes it much harder for the major music
corporations to come up with the megahits which power their profits;
it also means industry costs are way out line with the sales that
can be expected for most discs, and they need to be drastically pruned.
Translation: lots and lots of layoffs in the music business.
In talking to music business people, Wolff reports that a grim fatalism
is setting in.
Recommended essay.
|
jmsaul
|
|
response 141 of 165:
|
Jun 8 18:05 UTC 2002 |
Good riddance to them, as fas as I'm concerned.
|
krj
|
|
response 142 of 165:
|
Jun 9 05:28 UTC 2002 |
found it! The New York Magazine article referred to a Wall Street Journal
item; usually the WSJ stuff is not freely available, but this story
was made available as a cautionary tale for children... :)
http://www.wsjclassroomedition.com/0502_mdia.htm
MCA Records spent about two
years preparing Carly
Hennessy for pop stardom,
and about $2.2 million to
make and market the
18-year-old singer's first pop
album, "Ultimate High."
But since "Ultimate High" was
released in stores nationwide
a few months ago, it has sold
only 378 copies-amounting to
about $4,900 at its suggested
retail price. ...
Wonderful story!
|
jp2
|
|
response 143 of 165:
|
Jun 9 05:31 UTC 2002 |
This response has been erased.
|
jmsaul
|
|
response 144 of 165:
|
Jun 9 14:23 UTC 2002 |
#142 brings a tear to my eye. I'm proud of the American public.
|
aruba
|
|
response 145 of 165:
|
Jun 9 14:50 UTC 2002 |
I think musical tastes were well on the way to slintersville before the net
became something a lot of people used.
|
scott
|
|
response 146 of 165:
|
Jun 9 17:14 UTC 2002 |
Great interview/article about David Bowie in today's NYT:
"The absolute transformation of everything that we ever thought about music
will take place within 10 years, and nothing is going to be able to stop it.
I see absolutely no point in pretending that it's not going to happen. I'm
fully confident that copyright, for instance, will no longer exist in 10
years, and authorship and intellectual property is in for such a bashing."
"Music itself is going to become like running water or electricity," he
added. "So it's like, just take advantage of these last few years because none
of this is ever going to happen again. You'd better be prepared for doing a
lot of touring because that's really the only unique situation that's going
to be left. It's terribly exciting. But on the other hand it doesn't matter
if you think it's exciting or not; it's what's going to happen."
http://www.nytimes.com/2002/06/09/arts/music/09PARE.html?todaysheadlines
Sounds like (as usual) Bowie has been thinking a few years ahead of most
people in the music business.
|
bru
|
|
response 147 of 165:
|
Jun 9 21:13 UTC 2002 |
who is carly hennessy?
|
scott
|
|
response 148 of 165:
|
Jun 9 22:04 UTC 2002 |
Carly Hennessy was given as an example in one of the articles Ken posted
yesterday.
|
oval
|
|
response 149 of 165:
|
Jun 10 03:18 UTC 2002 |
it's great to see people so optimistic. i can't wait, if they're right.
|
russ
|
|
response 150 of 165:
|
Jun 10 11:48 UTC 2002 |
Re #147: That's *exactly* what I'd like everyone to ask about all
the acts which the RIAA tries to manufacture via their hype machine.
If I hadn't seen N'Sync plugged on T-shirts and sniped at by Foxtrot,
I might still be ignorant of them. The nice thing about such creations
of hype machines is that if everyone stops paying attention to them
they soon cease to exist.
|
dbratman
|
|
response 151 of 165:
|
Jun 10 18:14 UTC 2002 |
And a good thing, too, that musical tastes are splintering. Whenever I
see a movie set, say, in the 1950s, it's always filled with the pop
music of that era, and I think, "If I'd lived back then, I would have
had to hear that crap all the time _whether I wanted to or not_." (I'm
thinking to myself, I'm entitled to call it crap.)
Of course, nowadays I have to hear hip-hop whether I want to or not,
usually while I'm waiting at red lights in traffic, but at least I
don't have to hear too much of it.
|
oval
|
|
response 152 of 165:
|
Jun 10 21:42 UTC 2002 |
i'll happily take hip-hop over shit-pop.
|
flem
|
|
response 153 of 165:
|
Jun 11 14:20 UTC 2002 |
Dunno if this is the right item, but I read yesterday that some ReplayTV
users are suing Turner for saying that skipping the commercials is theft.
I could probably find the URL if I tried.
|
jazz
|
|
response 154 of 165:
|
Jun 11 20:01 UTC 2002 |
It's not theft; you're not taking something that Turner's not giving
away for free. At worst, it's a breach of an unspoken contract.
|
tpryan
|
|
response 155 of 165:
|
Jun 14 23:51 UTC 2002 |
It's the defamation of character the Turner is doing, to call
it's veiwers "Theives".
|
scott
|
|
response 156 of 165:
|
Jun 15 03:26 UTC 2002 |
"In a continuing effort to maintain their image as evil incarnate" is how a
slashdot item on record company consideration of attempting to charge
royalties on sales of used CDs. The referenced article can be found at:
http://www.sduniontribune.com/news/business/20020614-9999_1b14usedcds.html
|
gull
|
|
response 157 of 165:
|
Jun 15 20:09 UTC 2002 |
Re #146: France tried eliminating copyright, after the French revolution.
It resulted in a major reduction in the amount of creative works
produced there. I'd hope we won't make the same mistake.
|
other
|
|
response 158 of 165:
|
Jun 16 05:30 UTC 2002 |
might lead to an overall improvement in the quality of the works actually
produced...
|
gull
|
|
response 159 of 165:
|
Jun 17 13:27 UTC 2002 |
I'd expect a decrease in quality, personally. It's the people who are good
at what they do who have the most to lose.
|
mcnally
|
|
response 160 of 165:
|
Jun 17 23:21 UTC 2002 |
re #157: I've never heard that before. Do you know whether other factors
(such as the loss of aristocratic patronage) were accounted for?
|
gull
|
|
response 161 of 165:
|
Jun 18 12:33 UTC 2002 |
I don't know. I did find this reference with a web search, though it
appears to be a college student's paper:
http://216.239.35.100/search?q=cache:UnEL9Hlq8KwC:skipper.gseis.ucla.edu/st
udents/dwalker/html/projects/documents/IS-200_Heirs_of_the_Enlightenment.rtf+fr
ench+revolution+intellectual+property&hl=en&ie=UTF8
Sorry for the long URL, it's a Google-converted HTML version of a Rich Text
document.
"In freeing the presses, it appears that the National Assembly intended to
break the monopolistic hold of the book guilds, allowing the great literary
works of the Enlightenment to be printed and circulated freely, as well as
allowing new works to be published without censorship. The result, however,
was far different. Having essentially dissolved all copyright, pirating of
new and older works became widespread. Although slanderous and libelous
pamphlets circulated widely, the publication of books came to a virtual halt
as both authors and publishers found that rampant pirating made the
publishing of books economically unfeasible. Rather than foster creativity,
the freedom of the presses stifled creativity."
|
dbratman
|
|
response 162 of 165:
|
Jun 19 21:36 UTC 2002 |
Not that it proves anything, but French music had been in kind of the
doldrums anyway through the later 18th century, and produced few
masterpieces after Rameau's death in 1764 until Hector Berlioz came
roaring in after the Restoration, in the late 1820s.
|
