Machthungrige Dinosaurier, bei denen noch nicht angekommen ist, dass wir das Jahr 2012 schreiben und es so etwas wie "das Internet" gibt...
Wenn die dahinterstehende Denke und das Geschäftsmodell veraltet ist, äußert sich das eben auch in der Sprache.
Die Kreativen-Vertretung ist ziemlich un-kreativ, denn sie haben verschlafen, dass mit der Erfindung des Internets (und der allgemeinen Verbreitung von günstigen Breitbandanschlüssen sowie niedrigen Ipodpreisen/Festplattenpreisen) ihre Funktion schlicht nicht mehr gefragt ist.
Die Musikindustrie ist ein "Middleman", den kein Künstler mehr braucht, da sie ihre Stücke viel besser selbst über ihre eigene Homepage vermarkten können. Dank des Internets kann endlich 100% des Erlöses tatsächlich bei denen ankommen, die das auch verdient haben anstelle von Zehntelcentbeträgen pro verkaufter CD...
Ich habe hierzu einen äußerst schönen Artikel von
Demonbaby gefunden.
[Demonbaby hat zu Napsterzeiten für ein Majorlabel in der Musikindustrie gearbeitet und beschreibt wunderbar, was sich seit 1998 geändert hat...]
---
When Pigs Fly: The Death of Oink, the Birth of Dissent, and a Brief History of Record Industry Suicide.
[Currently Listening To: Music I Didn't Pay For]
For quite a long time I've been intending to post some sort of commentary on the music industry - piracy, distribution, morality, those types of things. I've thought about it many times, but never gone through with it, because the issue is such a broad, messy one - such a difficult thing to address fairly and compactly. I knew it would result in a rambly, unfocused commentary, and my exact opinion has teetered back and forth quite a bit over the years anyway. But on Monday, when I woke up to the news that Oink, the world famous torrent site and mecca for music-lovers everywhere, had been shut down by international police and various anti-piracy groups, I knew it was finally time to try and organize my thoughts on this huge, sticky, important issue.
For the past eight years, I've worked on and off with major record labels as a designer ("Major" is an important distinction here, because major labels are an entirely different beast than many indie labels - they're the ones with the power, and they are the ones driving the industry-wide push against piracy). It was 1999 when I got my first taste of the inner-workings of a major record label - I was a young college student, and the inside of a New York label office seemed so vast and exciting. Dozens of worker bees hummed away at their desks on phones and computers. Music posters and stacks of CDs littered every surface. Everyone seemed to have an assistant, and the assistants had assistants, and you couldn't help but wonder "what the hell do all these people do?" I tagged along on $1500 artist dinners paid for by the labels. Massive bar tabs were regularly signed away by record label employees with company cards. You got used to people billing as many expenses back to the record company as they could. I met the type of jive, middle-aged, blazer-wearing, coke-snorting, cartoon character label bigwigs who you'd think were too cliche to exist outside the confines of Spinal Tap. It was all strange and exciting, but one thing that always resonated with me was the sheer volume of money that seemed to be spent without any great deal of concern. Whether it was excessive production budgets or "business lunches" that had nothing to do with business, one of my first reactions to it all was, "so this is why CDs cost $18..." An industry of excess. But that's kind of what you expected from the music business, right? It's where rock stars are made. It's where you get stretch limos with hot tubs in the back, where you get private jets and cocaine parties. Growing up in the '80's, with pop royalty and hair metal bands, you were kind of led to think, of course record labels blow money left and right - there's just so much of it to go around! Well, you know what they say: The bigger they are...
[
weiterlesen]
