Archive for the 'Music' Category

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Bizarre French Anti-piracy Strategy

This is the most bizarre but imaginative strategy I have heard of yet. And like many other anti-piracy strategies seems like a weak band aid.

For the next two years the French govt will subsidize half – that’s right half – the cost of a 50 euro ($70 USD) card to be used to download music from approved subscription-based online retailers. Consumers will be limited to one card a year.

Somewhere between a social service debit card and a tax break, this strategy appears to be both an admission of powerlessness in the face of piracy and also an assertion of state involvement that on the surface seems to run counter the “hands off” anti-regulatory ethos of neoliberalism and the Sarkozy regime. Additionally, this is a great example of the intensification of state surveillance regimes, surely there must be a way to then gauge the “taste” of the nation, or even to index the number of music files a person possesses against the number they buy with the card – any discrepancy and its the gulag for you! Alas, it may also be another case of the state funneling of public resources toward private interests. And this time, instead of a bailout to the finance industry, this is a way to direct tax payers’ money toward “legitimate subscription-based services.” It’s hard not to see how this doesn’t amount to paying twice. It also doesn’t seem clear if this is about nurturing French cultural production specifically, or just ensuring that for-profit distributors get a slice of the pie. However, in exchange for state aid

website operators will be required to cut the price of music, extend the duration of subscriptions, and contribute to the cost of advertising the card. Their benefit will be capped at 5 million euros each.

That said it also seems a rather ingenious way to promote cultural awareness and listening to music. I can’t imagine a British or North American government so blatantly funding the consumption of artistic work. Here we cut arts funding and gut humanities departments in universities. What else could be next: a tax break for every theatre ticket purchased? A granting system for reading materials? Still, if there’s a mood for state involvement these days, why not a lump sum to the download services and performing rights agencies via a blank media levy like we had on blank tapes and CDs and then let everyone download away? I’ve seen studies that suggest support for this. Or, even better, why not scrap the whole notion of state support for for-profit entities (not very “free market” anyway is it?) and instead support people with a universal living minimum wage that would also account for the purchase of cultural/creative works, which, following food, I’d say are pretty important for a well-nourished soul.

See also here.

Having a Ball

The Economist. What’s Working in Music – Having a Ball: In the supposedly benighted music business, a lot of things are making money

The problem I have with articles like this is that they begin with the now axiomatic premise “The Internet has changed everything” and then largely go on to show how little if anything has really changed at all. Here, the woes of the recorded music industry are put into perspective. Despite a decline in recorded music sales (which were really artificially enhanced by the phenomenon of replacing old LPs and Tapes with CDs in the 90s), other areas of the industry are thriving – touring revenues are up, merchandising is the new profitable thing along with tour sponsorships, while listeners who might be “worth nothing” to the industry as pirates are now “worth a little” if they respond to advertising on free streaming applications like Spotify. So, we have a here a shift of profit from one based around the sale of physical media, to one based on the proliferation of the symbolic: we pay more for concerts – the price of tickets has far outstripped inflation – which are evanescent, immaterial. We buy clothing (the elementary commodity form) and we pay for the privilege to be advertised to by the music’s sponsors. But, don’t worry, in all of this the raison d’être of the music industry as such remains: profit. Change indeed!

The problem in this article is that the change is superficial, and it betrays an ignorance of some of the fundamental alterations that have been made, outside of the narrow mainstream music industry scope. Of course, the Economist can only think in terms of the profit paradigm, because it is so dominant. (That said, the acknowledgment of age and the superstar factor are important, and I think under-recognized in the turmoils of the record industry.)

But, in other areas of music distribution online, i.e. “piracy,” with a shift in perspective we could see that a lot more is working in music than merely its function as a conduit for profit. It travels faster to a wider audience, unencumbered by the barriers and limits that are set in place by the industry infrastructure and the profit motive. It occupies a central position in the development of online musical discourse, and acts as a common ground for many online “communities.” A vibrant and self-regulating community of “pirates” has emerged that privileges obligation, reciprocity, and “sharing” over profit. Indeed, the power of autonomous music distribution online is acknowledged by the IFPI who say that “the pool of pirates is so huge at present (IFPI, an international trade group, reckons that 19 out of every 20 tracks downloaded are illegal) that it ought to be possible to make serious money from persuading people to make the switch.” This is just pure jealousy. People are out there doing things that the industry finds difficult to monetise, nothing gets the ire of a business up more than that – people doing things better without their help. (Of course doing these things helps the computing industry immensely…another topic).

The trick here is that people ought not to be persuaded. Real change that doesn’t just shift the profits from one sector to the other, with music still in the position of commodity, but one that recognises the full import of music and doesn’t diminish this in the commodity form could be hastened by the even further entrenchment and emulation of pirate practices not just in the distribution of music but in the wresting of control over the production and technological infrastructures that undergird it. Let’s look outside the mainstream adaptation of “flexibile specialisation” and “vertical integration” to alternative practices for inspiration here.

Cory Doctorow – The Real Cost of Free

Cory Doctorow, always a great read.

You know who peddles false hope to naive would-be artists? People who go around implying that but for all those internet pirates, there’d be full creative employment for all of us. That the reason artists earn so little is because our audiences can’t be trusted, that once we get this pesky internet thing solved, there’ll be jam tomorrow for everyone. If you want to damn someone for selling a bill of goods to creative people, go after the DRM vendors with their ridiculous claims about copy-proof files; go after the labels who say that wholesale lawsuits against fans on behalf of artists (where labels get to pocket the winnings) are good business; go after the studios who are suing to make it impossible for anyone to put independent video on the internet without a giant corporate legal budget.

At the Guardian.

Music

I’ve just put up free full versions of my two albums. It will be a little while before there’s anything new, and it’s been nine years (!) since the last new stuff! You can find them on the Music page. Enjoy!

O Canada

The Harper government has suggested this week that it might take a look at revising the lyrics of “O Canada” in order to make them more gender neutral. Specifically, they are looking at replacing Robert Stanley Weir’s line “in all thy sons command” (to my recollection, this line is often rendered as “in all our sons command”), with the line from Adolphe-Basile Routhier’s original poem “thou dost in us command.” I think that in an ongoing effort to recognise the centrality of music in social and cultural life, this deserves comment.

This, of course, is a pretty valuable discussion to have, and one with at least a twenty year-old history. Indeed, why should patriotism only be associated with sons and not daughters? While we’re at it though, we ought to take it further and ask important questions about the music that is supposed to represent the people of this country. Let’s look at the French version, and begin the process of eliminating its gender specificity (“nos aieux” = “our forefathers”). Moreover, let’s ask ourselves whether a country whose indigenous population was largely polytheistic, and whose contemporary population is a grand mixture of people of many religious and non-religious backgrounds, needs an anthem that so prominently features the Christian deity, in both languages—they are, after all “His” sons. One step further.  Let’s acknowledge the troubled history of national anthems themselves as emerging out of a violent, colonial, oppressive nationalism, a violence that is reflected in “Car ton bras sait porter l’épée” (“As in thy arm ready to wield the sword”). And finally, we might just take this opportunity to re-examine the term “patriot” itself, and acknowledge its Latin and Greek roots: pater =  father. [1] I’d say that this is one way to harness the debate and hold the Harperites to the letter on this move. Then we can have a proper discussion about the notion of national political and cultural representation.

In a move sure to cause a vivid debate, I certainly don’t take this as a signal that the Harper government has all of sudden put gender issues on the table as part of its message. No. This is the same party and leader who have objected to same sex marriage and benefits for same-sex couples, who advocated disallowing women to appeal for pay equity, oppose national childcare, cut funding to Status of Women Canada, who wage a vicious war on the poor that disproportionately affects women, and who generally espouse conservative “family values”…the list goes on. Changing a word is unlikely to have material effects on the lives of Canadian women or anyone else.

But what is perhaps most subtly disturbing about this is that it comes at the very same time as a federal budget. As politicos are fond of calling it, this is an example of “deflective” or “deflection” politics. DeBord called it spectacle. The idea is to seed a story so perfectly well-suited for “person on the street,” populist “analysis” that members of the mainstream media simply cannot help themselves; they simply HAVE to cover it, it’s news. It’s also much easier to get a reporter out on the street with a microphone to ask people if they think nouns or pronouns [2] ought to be replaced in the national anthem than it is to ask people what they think about, say, a $3.25 a week increase in Child Tax Benefits ($3.25!?), continued promotion of “corporate welfare,” increased efforts in securitisation (which is, interestingly, also included in a chapter about “Supporting Families and Communities”)…and this list goes on. Especially after the Olympics, this is the perfect topic to deflect attention away from the budget; it is downright entertaining to see people speak passionately about “owning the podium” and how much it meant to “us” to have the national anthem played more times than any other host country had theirs played. It’s significantly less entertaining to have dry economists point out the failings (or successes) of a budget.

By nature a deflective tactic is also presumed to be less important than the issue from which it is supposed to divert attention; one wouldn’t deflect with something more crucial, that would draw unwanted attention. There is rarely any intention to move forward on the actual substance of the deflection. In this case, I think it would be fair to say that there will be a 50/50 split amongst those people polled who care about the issue, it will gain no real political traction, and it will thus have served its purpose as an entertaining piece of theatre.

But I don’t mean to suggest that the issue is not actually important, in fact, I argue the opposite. Using gender as a deflection is further evidence of this government’s contempt for progressive social issues. They have cravenly manipulated the intense feeling of pride held by many who live in this country over the great successes of hard-working, talented athletes; they have instrumentalised the supposed sanctity of the national anthem; and they have trivialised gender issues as a means to deflect attention from a budget that appears at first to be business as usual, but which I am sure, upon further inspection, will yield further damages for people, and further gains for corporate Canada. For me, this shows ultimate disrespect for each of these important issues. In addition to playing classic divisive politics (they are ignoring people affected by the many other problematic issues in the anthem’s lyrics), it seems to me a typically chauvinistic approach to suggest that issues affecting women could be addressed by paying attention to “aesthetics” rather than to material concerns.

So, what do people think about this?

Links:

http://www.budget.gc.ca/2010/plan/toc-tdm-eng.html
http://www.policyalternatives.ca/
http://www.rabble.ca/columnists/2008-stephen-harper-vs-feminism
http://www.newstalk650.com/story/20100304/30241
http://www.thespec.com/News/BreakingNews/article/732997
http://www2.macleans.ca/2010/03/04/the-government-delivers-an-empty-almost-flippant-budget/
http://www.stephentaylor.ca/2010/03/stakeholder-reaction-to-the-2010-budget/
http://www.pch.gc.ca/pgm/ceem-cced/symbl/anthem-eng.cfm
http://en.wikipedia.org/wiki/O_Canada#Proposed_changes_to_lyrics


[1] Thanks to Valérie Savard for bringing up this point.

[2] Interestingly, this is probably one of the only times we’ll see debate over grammar occupy a front and centre position in the mainstream media!