I think that its probably not too good for overall record sales (although I have seen
statistics that "prove" me wrong). I also think its probably not to good
for Britney Spears, NSync, or other made up "superstars". I dont believe in copyright
infringement, and I believe an artist should have the right to license
out his work like we do with software, same-same. But there is another issue here as
well. It is about the little guys versus the big guys.
The current system works like this, more or less: 1000s of small time, starving
artists, try to get noticed by record company headhunters who sign up the ones
*they* think have potential, and that are willing sign their life away. Some of these
bands may succeed to become superstars and actually become very rich.
Meanwhile the record company makes even bigger bucks just by picking who they want us
to listen to. They are really the master of puppets.
The new system thats in the process of becoming, works a bit different. Exactly how
it will work is yet to be established, but I think it will work much like
the software shareware/freeware system. 1000's of small time, starving artists, try
to get noticed by distributing thier songs on the internet as freeware or
shareware. If people like thier stuff, they might pay for it--anything more than a
few cents is more than what they are making right now. The band can also
sell promotional items and other songs or albums, appearances, etc.
Some big differences...
- The band makes all the money, not the record company.
- The little guys have a better chance of getting noticed.
- Public gets to pick who they like, not the record company.
- We removed a big leech out of the economy, the record companies!
I am all for helping expose smalltime bands to the marketplace. However, I do think
its important not to distribute unauthorized material.
--Ryan
Jamie wrote:
> The performance model only works for some artists. It does not work
> for:
>
> -Artists who write music that can't be performed live.
> -Artists with health problems which preclude touring.
> -Artists with family obligations that preclude being away all the
> time.
> -Artists who would rather be recording than living out of a
> suitcase.
> -Etc.
>
> The fact is writing and recording music is itself worthy of support.
> Who are we to tell legitimate, creative artists to go get another
> job, to become nomads?
>
> You may as well offer this model:
>
> a) Artist gives away the results of hard work.
>
> b) Artist works at McDonalds so everyone else can exploit his art
> for free.
>
> Sure storage as ones and zeros make it easy to steal someone else's
> work. But just because we can do something doesn't mean we should.
>
> Thoughts?
>
> Best Regards,
> -Jamie Krutz
>
> Ken Anthony wrote:
> > How about this as a model for not cutting the artist out completely...
> >
> > a) Artist distributes music for free...
> >
> > b) Music becomes very popular...
> >
> > c) Artist performs live concerts in packed stadiums and rakes in the money.
> >
> > d) Former gatekeepers find something upbuilding to do with there lives.
> >
> > e) Lawyers figure out that suing ones and zeros becomes a dead end career
> > path.
> >
> > f) Encryption is used to protect personal privacy rather than desperate
> > monopolies.
> >
> > g) People actually become creative.
> >
> > ----- Original Message -----
> > From: "Jamie" <[EMAIL PROTECTED]>
> > To: <[EMAIL PROTECTED]>
> > Sent: Wednesday, May 09, 2001 4:20 PM
> > Subject: [REBOL] Re: REBster
> >
> > >
> > > Napster, eh?
> > >
> > > The reason most often given for stealing creative works of artists
> > > is that the record companies are corrupt and charge unreasonable
> > > amounts for CDs while giving very little of the money to the actual
> > > artists.
> > >
> > > Unfortunately, stealing music cuts out the artists completely.
> >
> > --
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