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I bought a vinyl copy of Percy Dovetonsils as well.  It's a good
example of an archival project where the money isn't just going
towards the artist (or artist's family), but to people that are
helping to preserve and promote an artist's legacy.

I think the NPR piece begs a deeper question.  In a world where media
- moving images, sounds, text - are so ubiquitous and at your
fingertips, how do we value art and letters as a society?

Just thirty or forty years ago, you watched three tv networks,
listened to local radio and read your local newspaper or subscribed to
magazines.  If you wanted to hear something again, you bought the
record or put it on tape.  If you wanted to read an article again, you
clipped it and saved it.

With an Internet connection, you can have what you want, when you want it.

In a society like that, where I can download thousands of old radio
shows or hop on YouTube to watch a music video for a song I just
remembered, how do you put a value on any written or recorded work?

The folks on this list grew up in a different age.  I think all of you
are willing to pay for a high resolution download, a well mastered cd,
or a hard to find film.  You understand the costs involved in
preserving and distributing these works and most of you make your
living from it.

For someone like this young lady, how do you convince them that what
you do has both a cultural value?  How do you get them to understand
the cost involved?

When young people look at reissues, I think it's tough to overcome the
perception that the artist, or artist's family, isn't getting very
much money and that the big faceless record company made a fortune off
the recording many years ago, especially with classic rock and pop
that's all over radio, tv and sites like YouTube.

If you want to see the worst case scenario for audio preservation,
consider old time radio.  The mp3 has pretty much killed any
commercial value that otr had and there's only a couple of companies -
Radio Spirits and Radio Archives - that are still trying to preserve
and sell programs.  Even Radio Archives is drifting more towards
publishing reprints of pulp fiction, finding it difficult to sell
enough copies of otr releases to justify the costs of purchasing and
restoring original discs.

Bing and Frankie may not be around to collect royalties, but there are
people that make their living on preserving and restoring their audio
legacy.  How do sound archivists make sure there's an awareness of the
expense involved to keep that work going?

rand


On Tue, Jun 19, 2012 at 5:44 AM, Tom Fine <[log in to unmask]> wrote:
> Hi Richard:
>
> Noble, for sure, so pat yourself on the back.
>
> You and your tribe swim upstream. That's not a bad thing, but most tribes
> aren't willing to expend the money and effort to do the right thing. Again,
> human nature -- free stuff is irresistible and "ethics" get blurry when the
> choice is free and easy and stealing vs. paying for something and maybe
> waiting for a physical copy to show up in the mail.
>
> -- Tom Fine
>
> ----- Original Message ----- From: "Richard L. Hess"
> <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Monday, June 18, 2012 10:37 PM
> Subject: Re: [ARSCLIST] Conflict Over File Sharing
>
>
>
>> Tom,
>>
>> My kids buy the bulk of what they have on their iPod/iPhone.
>>
>> The material comes from iTunes, artist websites (some legit free), ripped
>> CDs one of us owns, or even my LPs and a few live recordings I've done.
>>
>> This summer we will FLAC the MLP, Living Stereo and London sets so Robert
>> can take them to university. I trust him not to do wholesale sharing, and
>> his dorm room NAS and both laptops are password protected and behind a
>> SPI/NAT firewall, with the university's concurrence.
>>
>> I consider this a parenting victory, and an expense I partially underwrite
>> (I bought the three box sets).
>>
>> We bought the latest ManOwaR digital downolad so Robert could have it the
>> day of release. He found my credit as part of the ManOwaR family which was
>> super generous of Joey.
>>
>> Cheers,
>>
>> Richard
>>
>> On 2012-06-18 9:30 PM, Tom Fine wrote:
>>>
>>> I tend to sympathize with this blogger, but it's a futile position --
>>> asking kids to pay for something they easily obtain at no cost. Would this
>>> blogger turn his back if 20 dollar bills started raining down out of an
>>> office window, while everyone around him scrambles to collect "theirs"? I
>>> doubt it, but if he did he'd be more noble and less cash-flush. Bottom line,
>>> human nature being what it is, with regards to stealing music, the horse is
>>> long out of the barn.
>>>
>>> -- Tom Fine
>>>
>>> ----- Original Message ----- From: "David Lewis" <[log in to unmask]>
>>> To: <[log in to unmask]>
>>> Sent: Monday, June 18, 2012 2:06 PM
>>> Subject: [ARSCLIST] Conflict Over File Sharing
>>>
>>>
>>>>
>>>> http://thetrichordist.wordpress.com/2012/06/18/letter-to-emily-white-at-npr-all-songs-considered/
>>>>
>>>> I'm not crazy about the term "Free Culture Movement" and David's
>>>> arguments
>>>> do not make me love the major music companies again. But this comes from
>>>> a
>>>> different side of the tracks
>>>> from what we are used to seeing, and for that reason, is quite
>>>> interesting.
>>>>
>>>> Uncle Dave Lewis
>>>> [log in to unmask]
>>>> Lebanon, OH
>>>>
>>>
>>
>>
>>
>> --
>> Richard L. Hess                   email: [log in to unmask]
>> Aurora, Ontario, Canada           (905) 713 6733     1-877-TAPE-FIX
>> http://www.richardhess.com/tape/contact.htm
>> Quality tape transfers -- even from hard-to-play tapes.
>>
>