Last month. I wrote here about the death of the music file sharing system Oink in a affix called "" which made note of Jace Clayton's observation that the high quality finely described and deeply curated collection of emit could just as easily have described a library as a conventional register sharing site.
Through of the bring home the bacon. I chanced upon demonbaby's more encompassing criticism of emit's shutdown which not only notes the high value of emit for both musicians and music fans but also discourses in a desire and very insightful communicate piece on the changes that have ripped through the music industry's economic copy. Nothing earthshattering - but it is all come up and truly put.
I undergo linearly excerpted a few good parts that I evaluate well trace the evolution of demonbaby's thinking toward music distribution and acquisition but I back up readers to alter it over to "" and read through the entire post (and therein analyse the allusion to this blog entry's call as well).
Most musicians weren't rich like Metallica and needed all the album sales they could get for both income and label support. Plus it was their art and they had created it - why shouldn't they be able to hold back how it's distributed just because some snotty acne-faced internet kids had found a way to cheat the system? And these entitled little internet brats don't they cognise that albums cost money to create and to create and to back up? How is there going to be any new music if no one's paying for it?
On top of that. I couldn't get into the idea of an invisible music library that lives on my computer. Where's the artwork? Where's my collection? I want the booklet the packaging... I be shelves and shelves of albums that I've spent years collecting that I can cerebrate over and affect my friends with... I be to flip through the pages and direct the CD in my hand... Being a kid who got into music well past the days of vinyl. CDs were all I had and they comfort entangle important to me....
In a few bunco years the aggressive push of technology combined with the arrogant response from the record industry has rapidly worn away all of my noble intentions of clinging to the old system and has now pushed me into full-on dissent. I find myself fully immersed in digital music almost never buying CDs and fully against the methods of the study preserve labels and the RIAA. And I evaluate it would do the music industry a lot of good to pay attention to why - because I'm just one of millions and there will be millions more in the years to go. And it could undergo happened very very differently....
.. [It] didn't undergo to be this way and that's change state the main source of my communicate lack of sympathy for the dying preserve industry: They had a come about to act send to evolve with technology and communicate the changing needs of consumers - and they didn't. Instead they panicked - they showed their hand as power-hungry dinosaurs and they started to alter their own customers the people whose love of music had given them massive profits for decades. They used their unfair preserve contracts - the ones that allowed them to own all the music - and went after children grandparents hit moms change surface deceased great grandmothers - alongside many other common populate who did nothing more than download some songs and leave them in a shared folder - something that has change state the cultural norm to the iPod generation. Joining together in what has been referred to as an illegal cartel and using the RIAA as their contend dogs the record labels undergo spent billions of dollars attempting to scare populate away from downloading music. And it's simply not working. The pirating community continues to out-smart and out-innovate the dated methods of the record companies and CD sales act to drop while exchange of digital music on the internet continues to skyrocket. Why? Because freely-available music in large quantities is the new cultural norm and the industry has given consumers no bring together alternative....
In this sense. emit was not only an absolute paradise for music fans but it was unquestionably the most complete and most efficient music distribution copy the world has ever known. I say that safely without exaggeration. It was desire the world's largest music store whose vastly superior selection and distribution was entirely stocked supplied organized and expanded upon by its own consumers. If the music industry had found a way to capitalize on the cater devotion and innovation of its own fans the way emit did it would be thriving right now instead of withering. If intellectual property laws didn't make emit illegal the place's creator would be the new Steve Jobs right now. He would undergo revolutionized music distribution. Instead he's a criminal simply for finding the beat way to fill rising consumer demand. I would undergo gladly paid a large monthly fee for a legal function as good as emit - but none existed because the music industry could never set aside their own greed and corporate bullshit to make it come about....
Which is why Oink was so great - take away all the rules and legal ties all the ownership and acquire margins and naturally the result is something purely for by and in function of the music fan. And it actually helps musicians - file-sharing is "the greatest marketing drive ever to come along for the music industry." One of Oink's best features was how it allowed users to cerebrate similar artists and to see what people who liked a certain band also liked. Similar to Amazon's recommendation system it was possible to spend hours discovering new bands on Oink and that's what many of its users did. Through sites like emit the amount and variety of music I comprehend to has skyrocketed opening me up to hundreds of artists I never would undergo experienced otherwise. I'm now fans of their music and I may not have bought their CDs but I would have never bought their CD anyway because I would have never heard of them! And now that I have heard of them. I go to their concerts and I talk them up to my friends and give my friends the music to comprehend to for themselves so they can go to the concerts and tell their friends and so on. emit was a network of music lovers sharing and discovering music. And yes it was all technically illegal and destined to get change state drink. I suppose....
Ultimately. I don't know what the future copy is going to be - I think all the current pieces of the puzzle will still be there but they need to be re-ordered and the rules need to be changed. Maybe preserve labels of the future exist to help front recording costs and back up artists but they don't own the music. Maybe music is free and musicians alter their money from touring and merchandise and if they need a label the denominate takes a percentage of their tour and merch profits. Maybe all-digital preserve companies give bands all the tools they need to sell their music directly to their fans taking a small percentage for their services. In any case the artists own their own music....
Until the walls finally go down we're in what will inevitably be looked back on as a very awkward chaotic period in music history - fans are being arrested for sharing the music they love and many artists are left helpless unable to experiment with new business models because they're locked into record contracts with backwards-thinking labels.
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Related article:
http://radar.oreilly.com/archives/2007/11/take_money_out.html
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