Exploring Music Trading :: Essays Papers

Exploring Music TradingBackgroundThe recording of lie in medical specialty goes back over a century to the beginnings of audio recording applied science itself. The organized recording and trading of a hatfuls blend shows by consecrate fans, however, is generally traced back to the late 60s or early 70s. The first heap which allowed and boostd such activity was, of course, the glad Dead. Although the Dead never had a true radio hit, they were able to become the most consistently favored touring act of all time in no small snap off by allowing their fans to record and then trade (but never sell) copies of each of their live shows. Both the library and music trading communities may find themselves down the stairs profit-minded assault in the present and near future. By the time the Grateful Dead called it a career in 1995 with the death of guitarist and guru Jerry Garcia, a number of other bands had taken notice and were emulating the practice of allowing audience tapeli ne and trading. Prominent among these bands were first-wave HORDE (named for a successful festival tour) or jambands such as Phish and Blues Traveler. Despite the lack of MTV or radio support, Phish managed to realize over $20 million per year from their tours in the late 90s. The band consistently sold out venues for multi-day runs, while MTV-friendly bands were playing in strawman of half-full houses. While there is no real estimate of the number of touring bands immediately which allow audience taping and trading, a rough guess would view the low end at well over a deoxycytidine monophosphate (given that 80-taper friendly bands were at the High Sierra Music Festival start summer, and at least an equal number were not). Many of these bands now allow, encourage or initiate the posting of their shows to various online grades such as www.archive.org (a must-see site for all library types, not just for the excellent live shows contained therein), usually in SHN or FLAC formats, where they are available for free download to anyone with a high-speed connection.Given the harsh attitude of the major recording labels (as uttered through the Recording Industry Association of Americas various peer-to-peer lawsuits) toward unauthorized dispersal of copyrighted recordings on the ground that it damages the fortunes of their artists authors note one should be properly skeptical of any record company claims of interest in their artists well being, why, then would bands allow the essentially free distribution of live shows?