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| From | "Ron Katcher" <ronkatcher@hotmail.com> |
| Subject | Re: eMusic |
| Date | Fri, 11 May 2007 15:49:42 -0400 |
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Hey, Adam-- thanks for the clarification. It seems like you advocating
activism among fans in ways other than merely spending. Somewhat of
different point from Jamie, but I see the overall "big picture." In this
context, do you think less costly services such as eMusic are detrimental to
the artists and labels? If so, are you suggesting that this detrimental
effect can be offset by the types support you suggest?
I think one of the harder things to understand about the calculus of this
debate is the notion that despite the labels and artists agreeing to make
their products available on eMusic, we as fans should not purchase from said
service.
Ron
----- Original Message -----
From: <adamghost@aol.com>
To: <audities@smoe.org>; <audities@smoe.org>
Sent: Friday, May 11, 2007 3:26 PM
Subject: Re: eMusic
> <<Adam, I don't follow you. This discussion began by weighing the merits
> (and
> relative fairness) of eMusic versus iTunes and other distribution channels
> for music from an artists and/or small label's perspective. Now, you are
> saying it is not about the money at all>>
>
> Hey Ron...OK, good point.
>
> I don't think I said it was not about the money "at all" but that what's
> at issue has a lot to do with consumers' attitudes about the music that
> they buy. I was reacting to the attitude expressed by some here that they
> really didn't care whether the musicians made out or not, because they
> could just go get a job fer Chrissakes. "Fair pricing" does not mean that
> the consumer gets whatever it wants. It means something that's fair for
> everybody.
>
> I wish I could gift wrap the concept for you so that it's easy to
> understand, but it really is a nebulous thing. Like many things in life,
> everyone has to draw the line in a different place. But there needs to be
> an understanding that musicians and indie labels operate on a very thin
> rope, and if you don't support, at least nominally, the things you love,
> they will go away. That's also true, btw, of any other boutique industry.
> The smaller an audience is for something, the greater each consumer
> matters in keeping that industry alive. Like all the other economic
> realities we've discussed, it's not good or bad; it's just the way it is.
>
> The funny thing is most people do not realize how little they have to do
> to keep a band or a label going. When I was touring full time, people
> would go, "I love what you do. What can I do to help?" And they're
> thinking pass out flyers, or whatever. And I would invariably say, "just
> show up, and if you can, bring a few friends." A couple of people at a
> show would make a huge difference to the performing experience, morale,
> and profitability. It works the same for small labels. And yet, you'd be
> amazed at how many of those same people could not bring themselves to get
> out to the show. Again, I'm not trying to point fingers or be bitter or
> whatever; it is what it is; I've flaked on plenty of bands in my life too.
> But "expressing gratitude" -- or I would say support -- can be a very
> small thing. If someone burns three albums and then buys a fourth, well,
> that's support. Or sends a fan letter. Or comes to a show. Or spreads
> the music to someone else. None of these c!
> onstitute breaking much of a sweat or paying full price for an album, ya
> know?
>
> So, again, I'm not advocating that everyone pay $14.99 for a new CD. If
> ain't worth it to you, don't buy it. I was just reacting to the idea that
> there's no connection between peoples' attitudes about the music they
> listen to and its survival. That's clearly false.
>
> Adam Marsland
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