Doonesbury

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play_on <playonAT@comcast.net> wrote:
>On 25 Feb 2005 18:05:07 -0500, kludge@panix.com (Scott Dorsey) wrote:
>>I'd be surprised if the label breaks even at $17. That's without even
>>thinking of the promotion cost (which in this case is probably limited
>>to a thousand free disks and an ad in Gramophone).
>
>Scott, will all due respect, this is example is very far from a
>typical modern recording.

Yes, and the REASON it's very far from a typical modern recording is
that it's almost completely unprofitable to do now.

It is getting to the point where you very seldom hear actual rock
albums tracked live because the budgets just don't extend to paying real
session musicians any more.

Yes, albums are being made for less and less money today, but that's
not a good thing and that's not helping the musicians in any way.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."
 
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On 25 Feb 2005 21:32:17 -0500, kludge@panix.com (Scott Dorsey) wrote:

>play_on <playonAT@comcast.net> wrote:
>>On 25 Feb 2005 18:05:07 -0500, kludge@panix.com (Scott Dorsey) wrote:
>>>I'd be surprised if the label breaks even at $17. That's without even
>>>thinking of the promotion cost (which in this case is probably limited
>>>to a thousand free disks and an ad in Gramophone).
>>
>>Scott, will all due respect, this is example is very far from a
>>typical modern recording.
>
>Yes, and the REASON it's very far from a typical modern recording is
>that it's almost completely unprofitable to do now.

That is one reason. The other reason is that it's no longer
neccessary to spend very much money to make a pop record.

>It is getting to the point where you very seldom hear actual rock
>albums tracked live because the budgets just don't extend to paying real
>session musicians any more.

But kids mostly don't want to hear that sound anymore anyway. They
like acts like Moby, who just uses midi and sampling to cut and paste
stuff together. Same thing with most R & B and Rap music.

>Yes, albums are being made for less and less money today, but that's
>not a good thing and that's not helping the musicians in any way.

Sure. However the people who are buying most of the recordings today
could care less if there are live musicians on the record... or even
if there are live musicians at the nightclub.

Al
 
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These are actually Doonesbury Flash backs from a few years ago - I think
maybe they were written around the time of the Napster thing...

--
Dave Martin
Java Jive Studio
Nashville, TN
www.javajivestudio.com


"Mike Rivers" <mrivers@d-and-d.com> wrote in message
news:znr1109351826k@trad...
>
> Doesn't anyone have anything to say about the last couple of days'
> Doonesbury strips? Or is there nothing more to say?
>
> Jimmy Thudpucker speaks the truth.
>
> http://www.doonesbury.com/strip/dailydose/index.html
>
> --
> I'm really Mike Rivers (mrivers@d-and-d.com)
> However, until the spam goes away or Hell freezes over,
> lots of IP addresses are blocked from this system. If
> you e-mail me and it bounces, use your secret decoder ring
> and reach me here: double-m-eleven-double-zero at yahoo
 
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In article <z2NTd.6983$Ba3.1183@newsread2.news.atl.earthlink.net> dmainc@earthlink.net writes:

> These are actually Doonesbury Flash backs from a few years ago - I think
> maybe they were written around the time of the Napster thing...

They say "Flashback" but the strips have current dates. But so what?
Maybe a few years later more people understand what it's all about.


--
I'm really Mike Rivers (mrivers@d-and-d.com)
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo
 
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hev wrote:

> The future just means higher bandwidth,
> better more transparent data compression (or bandwidth allowing no
> compression at all) and more users partaking.

The future a little further down the road is not like that. It's much
more like the pre-petroleum past. You want bandwidth, or you want food?
Pick one.

--
ha
 
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"play_on" <playonAT@comcast.net> wrote in message
news:gkvv119h8qunp74nbaabglgds5n6d5gb34@4ax.com...
> On Fri, 25 Feb 2005 20:58:07 -0500, "reddred"
> <opaloka@REMOVECAPSyahoo.com> wrote:
>
> >
> >"play_on" <playonAT@comcast.net> wrote in message
> >news:588v11l80hpk2kmaliauas6oveom1m9hhr@4ax.com...
> >> On 25 Feb 2005 11:29:38 -0800, "will" <wpmusic@sio.midco.net> wrote:
> >>
> >> different business model for the record industry is one thing, but
> >> >don't think all the blame lies with so-called 'greedy' label execs.
> >>
> >> CDs cost about 60 cents to make, and they sell for $17. Are you
> >> saying that the lion's share of that money is going to the artists?
> >>
> >> Al
> >
> >You realize that a record store pays between 5 and 10 bucks for a CD,
don't
> >you?
>
> I thought that was the point of this discussion -- that the middlemen
> are fast becoming obsolete, thanks to the internet. What's your
> point? Why should I support the record labels, distributors, and
> stores over the artist, if I can buy directly from the artist?
>

If you can, by all means. There are direct sales from artists, and several
innovative distribution businesses that might become viable if people like
what they have to offer. But artists aren't exactly signing up with them in
droves.

The bulk of sales revenue for the music arms of the media companies still
comes from CD sales. Actually, almost all of it does. They need the best
buys and the walmarts and the record strores to distribute those products.
If they undercut on pricing with digital sales, the distributors become very
unhappy. So whatever the model, expect to see competitive pricing.

I was merely pointing out that you haven't had to pay 17 bucks for a cd in
quite some time. Bear in mind that Amazon is also part of what you are
talking about.

jb
 
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"play_on" <playonAT@comcast.net> wrote in message
news:8pvv111jv5ojef2ptjcdkd5rbr1kac0s77@4ax.com...
> On Fri, 25 Feb 2005 21:06:09 -0500, "reddred"
> <opaloka@REMOVECAPSyahoo.com> wrote:
>
> >
> >"Trevor de Clercq" <declerct@REMOVETHISnewschool.edu> wrote in message
> >news:1109369904.1a047c680ceb604ebc07b305732591fc@teranews...
> >> Because it's worth spending money on art and music for no other reason
> >> than to create quality art and music. When did people start making
> >> music solely because they wanted to make money?
> >
> >I think it was in ancient Greece. I know for sure it's been since the
12th
> >century or so.
> >
> >jb
>
> I'm not sure where you get your information, but until fairly recently
> trained musicians made money only at the whim of their royal patrons,
> or other supporters. In the case of indigenous people, music was and
> is made as an integrated part of culture, not for profit.
>

Bullshit. There has always been pop music and the musicians have always had
to sing for their supper. Just because you don't read about it in Beethoven
class doesn't mean it wasn't there. Go listen to Bernart de Ventadorn. You
will find many of the same themes and musical structures that are in the top
40 today.

In 'primitive' societies, music was also divided into sacred music ('high
art') and popular music. In west Africa, the popular musicians would travel
from town to town and trade their services for food or goods.

These things will never really change. Only occasionally in a society is
there an upper class wealthy enough to support 'fine art'. But the people's
demand for music is continuous.

jb
 
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"dt king" <pretendaddress@thoughtdog.com> wrote in message
news:U9mdnTziA9MDRoLfRVn-rg@comcast.com...
>
> "reddred" <opaloka@REMOVECAPSyahoo.com> wrote in message
> news:_6-dnQT6t_j4SoLfRVn-2A@adelphia.com...
> >
> > "Trevor de Clercq"
> >
> >> I guess I feel musicians should make their money from teaching,
> >> performing, working as technicians/engineers, or just working regular
> >> jobs. So the "music industry" dying doesn't seem a big deal to me. I
> >> think CDs should cost money to pay for the packaging and distribution
> >> costs, but the royalties are a weird thing.
> >
> > I have never once heard someone who makes a living making music, however
> > meager that living, say they would rather be working a day job.
>
> I've turned hobbies into dayjobs at least three times in my life. It
never
> fails to ruin the hobby for me. I'm pretty sure I'm going to keep music
> just for fun. I am comforted that Vanilla Ice doesn't have to go get a
real
> job, though.
>

I've made similair decisions. I don't want to be so arrogant as to make
those decisions for other people, though.

jb
 
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play_on wrote:
> On 25 Feb 2005 16:38:48 -0800, "will" <wpmusic@sio.midco.net> wrote:
>
> >play_on wrote:

> This is precisely the kind of stuff that the internet is rendering
> obsolete. You no longer need conventional distribution, advertising
> and shipping if people can download your music.

Yes, we know how wonderfully profitable it is to have people download
your music and pay NOTHING for it. That hardly qualifies as a new
paradigm for sales - sales requires someone pays something for a
product. Perhaps you meant that this is a new paradigm for theft, but
then theivery is still the same as it ever was.

> >Otherwise, do it yourself and you pay for everything. But you won't
> >have the benefit of the marketing, distribution, promotion, product
> >availability, etc. that the label provides to the artist.
>
> Yep... but as I said before, this role of the record company becomes
> less and less crucial as the delivery of music via broadband becomes
> ascendant.
>
If you want to talk about iTunes or that type of model then there may
be hope, yet. Otherwise you have random third party people ripping
music off of CD's and posting it on the internet for anybody to steal.
That's a lot like stealing someone's laundry from the clothesline in
their backyard and taking it to the public square and posting a sign
that says 'Free Take Some'. Would that be legal in your 'property
should be free' world?
>
> It's already evolved into that, since many new artists voluntarily
> offer their music online for free.

If an artist wants to post THEIR OWN music and make it available for
free, fine. Just don't tell me that ANYBODY should be allowed to take
what they want from anybody with no consequence.

> I support artists I like too. But being an older guy I buy very few
> CDs by newer artists, and much of what I do buy is older music. I
> *really* resent having to pay high CD prices for old-time music by
> artists who are long dead.

Oh, and I suppose you also object to buying a book by Ernest Hemingway
and having to pay the bookseller full price for that? Since when did
anybody offer discounts because the writers or artist was dead? Or do
you think you're going to get an Andy Warhol work for less money
because he's dead? Grow up.

>
> I often illegally download new music that I hear a buzz about, just
to
> check it out. I'm not into paying $17 just to try something,
> especially when the odds are about 10 to 1 that I won't like it. If
I
> do like the music, then I might spend the money on it, but I'm not
> going to pay those kind of prices just to stay informed about current
> acts. But I'm not the problem. The problem is people like my
> stepdaughter who doesn't have the money to pay $17 for a CD just to
> hear the one song she likes... so she downloads the one song for free
> instead. Paying for music is a foreign concept for her. Kids like
> her are the challenge that the record companies have to face.
>
There are plenty of promotional sites around that allow you to hear
fairly long clips of new artists so that you can make that decision.
There's plenty of ways for people to hear new artists and it's getting
better. But, there's a huge difference between wanting to hear a new
artist before buying a CD and just stealing their music. BTW, I'm an
older guy, too, but I've also been the artist and the producer and the
publisher and the engineer and the record label , sometimes in multiple
capacities at different times in my career. But, from your posts I
suspect that you haven't been in the position of having money taken out
of YOUR pocket by the theiving behavior you support. Otherwise I don't
think you'd be so quick to support stealing.

Your new paradigm seems to be: I can steal from you and as long as I
don't suffer any economic consequences it's perfectly acceptable to me.
Pickpockets, con men and ordinary thieves have used just that paradigm
since time immemorial, Bucko. Go sell your Brooklyn Bridge to someone
else.

By the way, when I was a kid I saved up money until I had enough to buy
that new album. You might have done the same thing, if you're an older
guy. I didn't feel that I had the RIGHT to have things that I couldn't
afford, no matter how much I may have wanted them. A lot of kids today
have this chip on their shoulder - they have this attitude that they're
ENTITLED to have things that they can't afford or can't handle. Yeah,
it's a new day, baby.
 
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"Dave Martin" wrote:

> These are actually Doonesbury Flash backs from a few years ago

Gary Trudeau injured his drawing arm, so the strip's in reruns until he
heals up.

--
Jonathan Roberts * guitar, keyboards, vocals * North River Preservation
----------------------------------------------
To reach me reverse: moc(dot)xobop(at)ggestran
 
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In article <9efv119jsuctn0918kmf7v1ffvid45kd4i@4ax.com> playonAT@comcast.net writes:

> Scott, will all due respect, this is example is very far from a
> typical modern recording.

Yeah. A typical modern recording costs 20 times more. But probably
sells a little better.

--
I'm really Mike Rivers (mrivers@d-and-d.com)
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo
 
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play_on wrote:

> CDs cost about 60 cents to make, and they sell for $17. Are you
> saying that the lion's share of that money is going to the artists?

That's funny. I bought a CD that cost me almost a grand. Had some kind
of software on it. Was I ripped off?

The cost of the plastic is irrelevant, yeah? What's the paper worth in a
Hemingway novel, compared to the words on the paper?

--
ha
 
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play_on wrote:

> Scott, will all due respect, this is example is very far from a
> typical modern recording.

Yeah, for those they spend way more than sixty cents. And lots of them,
IMO, have music on 'em that's worth less than the cost of the raw
materials in the packaging.

But it's silly to think the cost of a record is reflected in the cost of
the plastic disc.

--
ha
 
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play_on wrote:

> The other reason is that it's no longer
> neccessary to spend very much money to make a pop record.

Got any idea what Clearemountain or the Alge's get to mix a track? It
ain't chump change.

--
ha
 
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Hev wrote:

> It isn't stealing.

Bullshit.

> You just can't accept the new vehicle in which music is
> being delivered to the market.

I deliver music in my own local market by playing it live, in person,
repeatedly. That puts me in charge of the delivery medium, not waiting
around for some thief with cheap Internet access to download my body and
axe.

> And because of this thinking people still
> aren't getting paid and still aren't utilizing what may be the best
> connection to their target market they have ever had in their history.

And how much control do they have over that target market if the market
is a bunch of thieves? People aren't getting paid because some folks
think they're not stealing music they listen to without paying for it.
And they come up with all kinds of excuses to justify their behavior.
So much for personal responsibility. How dearly American; it's all
somebody else's fault. Again, bullshit.

On top of that, those channels are controlled ultimately by the same
kind of business avariciousities who run record companies. You just
watch how much money flows to the creators of music once the FlyTunes
Internet Record Company gets its cut.

--
ha
 
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Hev wrote:

> It is a revolution

The cheapest word in marketing, and you just bought it.

--
ha
 
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"hank alrich" <walkinay@thegrid.net> wrote in message
news:1gskamp.5e76t2ca4m2aN%walkinay@thegrid.net...
> Hev wrote:
>
>> It is a revolution
>
> The cheapest word in marketing, and you just bought it.


Hook, line and sinker. It is a digital revolution and I intend to ride it.
Keep trying to find the analog tape...

--

-Hev
remove your opinion to find me here:
www.michaelYOURspringerOPINION.com
http://www.freeiPods.com/?r=14089013
 
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"play_on" <playonAT@comcast.net> wrote in message news:ea8v11tq7i220hk40jrdvbati38lg1ie1j@4ax.com...
> On Fri, 25 Feb 2005 13:14:08 -0500, Trevor de Clercq
> <declerct@REMOVETHISnewschool.edu> wrote:
>
> >Call me crazy, but I'm not even sure I totally believe in copyright
> >laws. I have conceptual problems with people "owning" ideas or
> >intangible things like chord progressions or voicings in a specific song
> >or arrangement. Music is so derivative anyway I feel noone can claim
> >the complete right of ownership to a recording or composition because so
> >much in any recording or composition is stolen from hundreds of other
> >recordings or compositions.
>
> Absolutely correct. Even the great classical composers ripped off
> folk melodies with abandon.
>
> Al

C'mon Al, even Bethoven was paid for his compositions by the Royal court.
 
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Mike Rivers wrote:

> They say "Flashback" but the strips have current dates. But so what?
> Maybe a few years later more people understand what it's all about.


Well, this topic has immediately devolved back into the "stealing"
bicker-fest, showing that there are a lot of Audio Pros that aren't
catching on. Or maybe they didn't bother to read the strip.

There are songs for the taking all over the internet, legal or not.
Whosoever findeth a way to capitalize on that will be the next
billionare. Whoever thinks that the old way must stay in force by
legislation is only espousing handouts for the majors to subsidize an
outdated status quo. Ah, well, we're legislating ourselves to death in
sooo many ways.

Jimmy T is suggesting one optimistic scenario. Perhaps something like
iTunes will evolve into the perfect Indie distribution system and Ashlee
Simpson will get a real job (even if it *is* in music; she could be on
the front of the next Ray Conniff tape box).

My hope is that those of us who record real musicians will stay open
because the loop factories will die off.
 
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"Trevor de Clercq" <declerct@REMOVETHISnewschool.edu> wrote in message
news:1109355256.7b4ddb60f579bb554367d58cc4d74907@teranews...
> Call me crazy, but I'm not even sure I totally believe in copyright laws.

Are you a musician or songwriter (in a professional sense)?
 

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