Discussion of all things related to Public Domain

[tom poe <tompoe AT amihost.com>]

I'll try not to offend anyone, but there's something wrong with the
logic Don offers.

He sincerely believes the fight for independent artists lies within the
legislature and the court system.  Why?  He doesn't give a reason, just
circles around with the old cow in the pasture, therefore all cows . .
.  well, you know.

The Grateful Dead, what might have happened, had they also had the
Internet?  They gave away their music, encouraged the sharing of their
music, and made huge revenues off concerts, tours, merchandising.  Has
anyone explored the possibilities for recording merchandise these days? 
Absolutely mind-boggling, the possibilities.

How much does an artist expect to make off music on the Internet?  Do
they really expect to make vast fortunes?  Does anyone believe a single
artist can make even a decent living off charging for every listener
every time that listener wants to hear the music?  The major record
labels do, but they also agree that viewers of tv shows are obligated to
watch the commercials.  Literally, or the viewers are violating the Big
Media's contract.  How on earth can any independent artist think that
mind-set is going to hold for the music business, let alone Big Media?

Put songs for sharing on the Internet.  Offer CD's for sale.  Start Fan
Clubs, and empower them to monitor for abuse of your performance rights,
and do your thing.  Use Internet stations, web sites like SONG STORM,
gnomoradio, archive.org, commoncontent.org.  Why wait for Don to futz
around with corrupt legislators and corrupt, inept judges.  Get up and
move, put on those marketing caps, get help with ideas by discussing
this topic, and provide Don some ammunition when he does go into
Washington.

Peter, Paul & Mary, well-known, right?  Placed the "Wedding Song" in the
Public Domain.  Recently, they report over $2 million in donations. 
Phish, or whatever their name is, reports over $1 million in CD sales,
even though they're a regionally reputed band.

Independent artists that recognize the value of good quality music, the
performing arts, and the love of fans, will be successful, and they
don't need to wait for someone to show them the way.  Just do it!
Tom


On Tue, 2004-02-17 at 19:23, tom poe wrote:
> -----Forwarded Message-----
> 
> > From: New Orleans Blues Project <bluesprjct AT yahoo.com>
> > To: BLUES-L AT LISTS.NETSPACE.ORG
> > Subject: Killing the Music - Washington Post Op Ed by Don Henley
> > Date: 17 Feb 2004 18:14:10 -0800
> > 
> > Killing the Music
> > 
> > By Don Henley
> > Tuesday, February 17, 2004; Page A19
> > 
> > When I started in the music business, music was important and vital to our
> > culture. Artists connected with their fans. Record labels signed 
> > cutting-edge
> > artists, and FM radio offered an incredible variety of music. Music 
> > touched
> > fans in a unique and personal way. Our culture was enriched and the music
> > business was healthy and strong.
> > 
> > That's all changed.
> > 
> > Today the music business is in crisis. Sales have decreased between 20 
> > and 30
> > percent over the past three years. Record labels are suing children for 
> > using
> > unauthorized peer-to-peer (P2P) file-sharing systems. Only a few artists 
> > ever
> > hear their music on the radio, yet radio networks are battling Congress 
> > over
> > ownership restrictions. Independent music stores are closing at an
> > unprecedented pace. And the artists seem to be at odds with just about 
> > everyone
> > -- even the fans.
> > 
> > Contrary to conventional wisdom, the root problem is not the artists, the 
> > fans
> > or even new Internet technology. The problem is the music industry 
> > itself. It's
> > systemic. The industry, which was once composed of hundreds of big and 
> > small
> > record labels, is now controlled by just a handful of unregulated,
> > multinational corporations determined to continue their mad rush toward 
> > further
> > consolidation and merger. Sony and BMG announced their agreement to merge 
> > in
> > November, and EMI and Time Warner may not be far behind. The industry may 
> > soon
> > be dominated by only three multinational corporations.
> > 
> > The executives who run these corporations believe that music is solely a
> > commodity. Unlike their predecessors, they fail to recognize that music 
> > is as
> > much a vital art form and social barometer as it is a way to make a 
> > profit. At
> > one time artists actually developed meaningful, even if strained, 
> > relationships
> > with their record labels. This was possible because labels were relatively
> > small and accessible, and they had an incentive to join with the artists 
> > in
> > marketing their music. Today such a relationship is practically 
> > impossible for
> > most artists.
> > 
> > Labels no longer take risks by signing unique and important new artists, 
> > nor do
> > they become partners with artists in the creation and promotion of the 
> > music.
> > After the music is created, the artist's connection with it is minimized 
> > and in
> > some instances is nonexistent. In their world, music is generic. A major 
> > record
> > label president confirmed this recently when he referred to artists as 
> > "content
> > providers." Would a major label sign Johnny Cash today? I doubt it.
> > 
> > Radio stations used to be local and diverse. Deejays programmed their own 
> > shows
> > and developed close relationships with artists. Today radio stations are
> > centrally programmed by their corporate owners, and airplay is essentially
> > bought rather than earned. The floodgates have opened for corporations to 
> > buy
> > an almost unlimited number of radio stations, as well as concert venues 
> > and
> > agencies. The delicate balance between artists and radio networks has been
> > dramatically altered; networks can now, and often do, exert unprecedented
> > pressure on artists. Whatever connection the artists had with their music 
> > on
> > the airwaves is almost totally gone.
> > 
> > Music stores used to be magical places offering wide variety. Today the 
> > three
> > largest music retailers are Best Buy, Wal-Mart and Target. In those stores
> > shelf space is limited, making it harder for new artists to emerge. Even
> > established artists are troubled by stores using music as a loss leader.
> > Smaller, more personalized record stores are closing all over the country 
> > --
> > some because of rampant P2P piracy but many others because of competition 
> > from
> > department stores that traditionally have no connection whatsoever with
> > artists.
> > 
> > Piracy is perhaps the most emotionally gut-wrenching problem facing 
> > artists.
> > Artists like the idea of a new and better business model for the 
> > industry, but
> > they cannot accept a business model that uses their music without 
> > authority or
> > compensation. Suing kids is not what artists want, but many of them feel
> > betrayed by fans who claim to love artists but still want their music 
> > free.
> > 
> > The music industry must also take a large amount of blame for this 
> > piracy. Not
> > only did the industry not address the issue sooner, it provided the P2P 
> > users
> > with a convenient scapegoat. Many kids rationalize their P2P habit by 
> > pointing
> > out that only record labels are hurt -- that the labels don't pay the 
> > artists
> > anyway. This is clearly wrong, because artists are at the bottom of the 
> > food
> > chain. They are the ones hit hardest when sales take a nosedive and when 
> > the
> > labels cut back on promotion, on signing new artists and on keeping 
> > artists
> > with potential. Artists are clearly affected, yet because many perceive 
> > the
> > music business as being dominated by rich multinational corporations, the 
> > pain
> > felt by the artist has no public face.
> > 
> > Artists are finally realizing their predicament is no different from that 
> > of
> > any other group with common economic and political interests. They can no
> > longer just hope for change; they must fight for it. Washington is where
> > artists must go to plead their case and find answers.
> > 
> > So whether they are fighting against media and radio consolidation, 
> > fighting
> > for fair recording contracts and corporate responsibility, or demanding 
> > that
> > labels treat artists as partners and not as employees, the core message 
> > is the
> > same: The artist must be allowed to join with the labels and must be 
> > treated in
> > a fair and respectful manner. If the labels are not willing to voluntarily
> > implement these changes, then the artists have no choice but to seek
> > legislative and judicial solutions. Simply put, artists must regain 
> > control, as
> > much as possible, over their music.
> > 
> > The writer is a singer and drummer with the Eagles and a founding member 
> > of the
> > Recording Artists' Coalition.
> > 
> > © 2004 The Washington Post Company
> > 
> > 
> > =====
> > Sally Stevens, Director
> > NEW ORLEANS BLUES PROJECT ~ (504) 895-0739
> > Music * Culture * Economic Development * Education * Advocacy
> > The BLUES HIGHWAY Millennium Trail
> > "Community Development Through Music"
> > an integrated music & creative industries workforce development initiative
> > www.BluesProject.com
> > 
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