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For a good thirty years or so, starting in the 1950s, musicians released singles on vinyl discs called “records”. You could also buy a full album of music by one artist, and some were worth it, but you also had the option of buying just that one song that you liked, that you kept hearing on the radio.

(You’d also get a second song on the “B-side” of the record. Mostly people just considered that a bonus.)

Vinyl made way for cassettes, and the cassingle was born. Then cassettes made way for CDs, and while I remember seeing some CD singles, they were never as prevalent as those on vinyl or cassette. I believe that’s because the vinyl and cassette singles were cheaper to make than the full album version, since they used less raw material, but a CD single cost as much to make as a full CD.

Consumers, en masse, didn’t complain about the death of the single. I did, because I won’t pay $18 for two or three songs. And let’s face it: the majority of your average pop/rock album is filler material. But for some reason, I was mostly alone in my anger.

Then everything went digital, and all Heck broke loose, people were making lossless copies, yadda yadda, you know this part. Now we’re finally at a place where you can once again pay for just the music you like, for a completely reasonable 99 cents, and there’s nothing stopping you from sending a copy to, say, your wife. (See also this controversial article: “Is it Ever Okay to Steal Entertainment?“.) In the music scene, DRM is dead, and yet somehow, the recording industry still lives. Who’d've thunk it? (Me. You. Everyone without a vested interest in obscene profits from album sales.)

record-needle

Photo by stevecadman

But record companies, bless their pathetic little hearts, are still trying to find a way to sell full albums. There are at least two options in the works, something called “CMX” and Apple’s version codenamed “Cocktail”, which we’ll almost certainly learn more about at their upcoming press event on September 7th. These new digital album covers are meant to be interactive, and include videos and lyrics, and other mysterious “stuff” that has yet to be identified.

It won’t work. If I had an extra $1,000 (or even $1,000 that wasn’t extra), I would bet it all that this won’t work. These efforts will all die. Technical compatibility issues aside, people are simply done buying things that they don’t like. I’m not in the habit of feeling schadenfreude, but in this case, I am happy to sit back, point and laugh.

That all being said, when a music group proves itself to make consistently good albums of mostly-non-filler (in my opinion, people like Ben Folds, They Might Be Giants and “Weird Al” fit this description), I’ll buy a whole album. They deserve it. Also, good movie soundtracks. Music tastes are incredibly subjective, of course, but until music goes non-digital again, you’ll have very few reasons to buy a whole album.

New digital album format doesn’t have a prayer, Matt Rosof, CNET News, August 11, 2009

Cocktail part of Apple’s September event, Greg Sandoval, CNET News, August 14, 2009

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A week ago I wrote a post called “Is it Ever Okay to Steal Entertainment?”, which produced great comments from our readers, many of whom were clearly incensed that I would ever try to rationalize stealing from content creators. I’ve been thinking about the criticism and understanding that was added to the original article. I wanted to see if I could ever become the person that never even accidentally steals entertainment.

I got the impression from your comments, and correct me if I’m wrong, but a lot of people feel that if I’m enjoying any kind of entertainment, then I should have paid for it first.

The problem, I’ve concluded, is that we all steal. All of us. Not always on purpose, but it happens. Some examples:

The Problem with Having Friends

Your friends want you to enjoy the things they enjoy. I really enjoy the band “Cake”, and I never would’ve been exposed to them if someone hadn’t burned me a copy of “Fashion Nugget” back in 2001. Now, over eight years after that, I still haven’t paid for that album, but I enjoy at least one of those songs at least once a month. I’m willing to admit right here that I “stole” that album. And as a direct result, I paid for three other albums of theirs. So the band “Cake” was down one, then up three. “Cake” profits.

This is true of most of the bands that my friends share with me. Friends know best what you’re likely to enjoy.

The DVR Problem

I don’t think there’s any Cable/Satellite/FiOS TV provider that doesn’t offer a DVR box for their customers. Unless you’re watching a Superbowl-type event, or keeping tabs on a weather event or election, you’re probably skipping commercials. That’s stealing: it breaks the model of “we’ll make shows, you pay us, and we’ll insert ads for your product, and there’s an infinitesimal chance our viewers will buy your product over someone else’s”.

If you have a DVR, and you’re decidedly not skipping commercials out of a noble effort to continue this outdated model, then my hat’s off to you, and also, I don’t believe it.

Not to mention the fact that most of the time, the volume of commercials during the break is set so loud that I feel I’m being screamed at.

The “Album Only” Problem

The list of albums that I can listen to all the way through is about half a page long, double-spaced. Nearly every album contains filler material: stuff that the artists know most people won’t like. For about thirty years, record companies sold single songs, with B-sides, and they did very well. The popularity of the CD somehow brought about a trend for people to buy whole albums.

I bought plenty of albums on CD, and have been disappointed with plenty of songs. That’s not an accident, that’s the record company stealing from me. I’m not saying “two wrongs make a right”. I’m just pointing it out. Apple and the record companies know that people much prefer buying single songs, and not wasting money, so they’re working on a new add-on for people who buy whole albums. We’ll see how that turns out, but at present, I predict it will be a miserable failure.

Entertainment in the 21st Century

I much prefer the Creative Commons approach to releasing entertainment. Since Day One, Jonathan Coulton has made it possible and easy to enjoy his music for free. Just as importantly, he’s made it possible and easy to pay him for the songs you like. His music makes me so happy that I’ve paid for the MP3s, as well as a collector’s set of “Thing a Week” CDs, a DVD, and tickets for three concerts.

I know the system works for him, too, since he recently moved into a bigger house with his wife and children.

A Larger View

I think we’re in between payment models at the moment. I’m seeing a 21st century where people only pay for the things they enjoy. My wife and I are already working on a computer-based system, using content from places like Hulu (which includes ads that you can’t skip, but only a couple minutes’ worth), and I’m looking forward to reporting on it, if I can get the bugs all worked out.

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As a part-time producer of creative works that I think are worth something (though I’m not currently requiring payment for anything), I struggle with the urge to acquire my entertainment media as conveniently, quickly and cheaply as possible. My viewpoints on this have changed over time, especially as my disposable income grew, and I’d like to share with you my current ideas / rationalizations on when it’s okay to steal.

Music you’ve already paid for

Depending on when you were born, you may have bought some of your favorite albums in upwards of five formats: vinyl, 8-track, cassettee, CD, and MP3 (if you lost the CD, or it got too scratchy). I’ve never actually held an 8-track tape, but I’ve owned albums in all the other formats, and I’ve decided I’m not re-buying anything.

When I bought my first CD in 1989, (Faith No More’s “The Real Thing”, which still rocks really hard), the people who produced it had no intention of tracking its sale for more than a couple of years, not to mention that conventional wisdom at the time considered the new Compact Disc format to be practically immortal.

Practical concerns aside, I paid for it once, and music isn’t meant to expire. So, even though the CD itself got lost somewhere along the last twenty years, when I decide I want it back in my music library, I won’t be paying for it. It was already paid for. I’ll just acquire it somewhere.

Shows your location won’t allow you to watch

My wife and I deeply enjoy a few shows that are produced and released by the BBC. We have BBC America, but even the shows that make it over to this country are delayed, usually six months or more, and they’re often edited, censored and shown in standard definition (as opposed to HD).

So I download those shows as soon as they’re available online. This is not the same as downloading, say, “True Blood” without being a subscriber to HBO. I feel a little more justified in yanking “Doctor Who” down to my hard drive because BBC content is produced without regard for sponsors or subscription fees, as we understand them.

Movies and TV from used/rental stores

I’m a little more iffy on this one; sometimes it depends on the quality of the movie, but after a DVD is bought once, the studio got paid as much as they were ever going to. If the DVD then ends up in a used/rental store, I don’t have a moral problem with copying the DVD to my hard drive, and then taking the DVD back to the store.

There’s also the case that I saw the movie when it was new in the theater, and I’ve rented it at least once. In that case, I can’t bring myself to pay for it again, and I’ll just make a digital copy.

Frankly, if it were easier, and a little bit cheaper, to legitimately buy and download (and keep, forever, free of DRM… otherwise it’s leasing, not buying) a movie. I’d probably do that instead of “stealing” it.

The flipside

On the other hand, when a show originates online (e.g. Homestar Runner, Dr. Horrible’s Sing-a-long Blog, Ask a Ninja), I’m more than happy to support the creators by buying DVDs and merchandise. Why? Because they don’t bother me with commercials. They can’t keep making the show without me, and that’s a business model I can get behind.

Your ideas

Do you have similar rules for yourself? I’d love to hear them in the comments.

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During previous economic downturns, publications have often done stories about saving money by borrowing books, music and movies from the library. This is true not only in recessions, but every time you want to save some money. Libraries aren’t just for research; they have plenty of entertaining material as well.

But of course, they suffered from a problem that many bookstores didn’t: if a book was popular, you’d have a hard time finding a copy. It’s the 21st century now, most things have been digitized, so a perfect copy of anything shouldn’t be hard to find.

Well, with actual books printed on paper, you might still have to wait to get a copy of a popular title, but we recently found that our local library system is partnered with a service that enables it to offer digital downloads to anybody with a library card.

What’s more, it looks like this service, called “Overdrive”, has partnered with many many libraries throughout the world. Search their site to see if your library is offering this sort of thing. And if necessary, pick up a library card. They’re not expensive, I promise.

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Throughout the summer, as they have been doing for the past 43 years, the greatest orchestra in the world is offering free concerts to the public. Last night, I saw the first of the “Concerts in the Parks” series in Central Park, Manhattan, New York City, presented by the New York Philharmonic. The weather was perfect for an outdoor concert.

The “Concerts in the Parks” series consists of eight dates throughout the summer, in venues across New York City and New Jersey, in which the New York Philharmonic presents at least two different programs. Last night, the program included Shostakovich’s Festive Overture, Tchaikovsky’s 1812 Overture, three Sousa marches, and a surprise encore of Jimi Hendrix’s Purple Haze. The concert was followed by a fireworks presentation.

If you’re looking for something free to do this summer — my only expenses were the $13 round trip New Jersey Transit train ticket to Manhattan from my office, $4 for the subway, and $10 for food and drink — consider taking a few friends or your family and attending one of these concerts. Bring a blanket to sit on and have a picnic before the concert begins, socialize with your friends and meet new people, enjoy the amazing music, and stay for the fireworks (at some of the venues).

By the way, if you have young children who are not quite ready to sit still for hours, this is a great way to expose them to excellent live music outside of the concert hall.

Here is the Philharmonic’s schedule for remaining free concerts this summer:

July 8: Richmond County Bank Ballpark, Staten Island
July 9: PNC Bank Arts Center, Holmdel, New Jersey (I will be here)
July 10: Cunningham Park, Queens
July 11: Van Cortlandt Park, Bronx
July 12: Heckscher State Park, East Islip, Long Island
July 14: Prospect Park, Brooklyn
July 15: Central Park, Manhattan

If you make it to the free concert on July 9, look for me. As I usually do for the New Jersey summer concert each year, I’ll be volunteering/working for the Philharmonic before the concert begins.

New York Philharmonic Concerts in the Parks

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One of my favorite musical “acts” is Blue Man Group. The Blue Man Group explores, with primitively modern musical instruments, society, detachment, and collectivism. You may remember them from Intel’s old Pentium commercials. You may also remember them from the television show Arrested Development, in which the character Tobias, played by David Cross, auditioned for the show and failed, later declaring, “I blue myself.” Blue Man Group has shows in New York City, Boston, Las Vegas, and a few other cities, as well as a touring rock show, with each show similar but not identical to the others.

I recently picked up the latest Blue Man Group CD and DVD combination package, How to Be a Megastar! and watched the program. It includes fantastic music and visual performances as I expected, but I am equally intrigued by the special features, including a documentary-style interview with the creators of Blue Man Group, Phil Stanton, Chris Wink, and Matt Goldman.

When originally devising the concept of the Blue Man, the creators struggled at first. These three percussionists, who were working day-jobs as caterers in New York City, were ready to abandon their vision. At the right time, they received a sign. While watching television, they came across an interview with an expert on religion and philosophy. In this interview, the expert was asked to summarize the prevailing philosophical thought across the world, to which he answered: “Follow your bliss.”

Stanton, Wink and Goldman then knew that despite their difficulties, they must continue to create their vision through completion, even if success would never come. Thankfully for them, success did come, and Blue Man Group is now a cultural phenomenon. But the interview made me think about this particular philosophical idea.

First of all, what is “bliss?” Wordnet defines the word’s most common sense: a state of extreme happiness. The true path is the path that leads you towards a state of extreme happiness. In fact, in the interview, the creators of Blue Man Group went on to say that the journey is more important than the destination.

Am I following my bliss? I’m not sure. There was a time when I thought I had my life planned out, but year by year, I allowed this path to change. I’m now quite far from what I thought I would be doing with my life by this point, the age of 32. My job is fine, but it’s not intellectually, emotionally, or artistically stimulating. I like writing for Consumerism Commentary, but I’m not a particularly good writer. I enjoy building online communities, and that may be my personal strength for the moment, but is it my “bliss?”

Who should follow this advice, to follow one’s bliss? Perhaps not everyone has the luxury of doing so. The world needs janitors, truck drivers, bus boys, and others who perform thankless jobs — the jobs children often don’t think of when they are asked what they’d like to be when they grow up. But then again, are we sure that these individuals are not following their bliss? Perhaps their “extreme happiness” is satisfied simply by providing for their family in any manner possible.

In the case of the creators of the Blue Man Group, they needed to complete their project before they could be satisfied. With success, it seems their project may never be complete; shows are revised, new tours are initiated, and new audiences are born constantly.

After leaving the arts world, I thought my goal would be to volunteer for causes about which I feel strongly or become a to philanthropist as much as my budget allows. It seems I may be too picky to do so at the level at which I would be making a difference, and in some cases, to do so at all. Even though the organization closest to meeting my requirements is strongly involved in the activity I wish to support, having been close to that organization with intimate knowledge of its administration, I’d prefer not to do business with them. Unfortunately, no other organization is similar.

Do you follow your bliss?

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Existence of music education in one’s curriculum is related to higher incomes and more education later in life, according to a new study by Harris Interactive.

Three-quarters (75%) of American adults were involved in some type of music program while in school. Half (51%) were involved in chorus while 42 percent had some type of formal instrumental lessons. Just over one-third (35%) were in a school instrumental ensemble, such as an orchestra or band while 14 percent were part of an informal group, such as a garage band and 12 percent had formal vocal lessons.

Music education is associated with those who go on to higher education. In looking at what groups may have participated more in music, education shows the largest differences. Two-thirds (65%) of those with a high school education or less participated in music compared to four in five (81%) with some college education and 86 percent of those with a college education. The largest group to participate in music, however, are those with a post graduate education as almost nine in ten (88%) of this group participated while in school.

Music education is also associated with higher incomes. Three-quarters of people (74%) with household incomes of $34,999 or less and 72 percent of those with incomes of $35,000-$49,999 participated in music, compared to 83 percent of those with incomes of $150,000 or more.

The findings are interesting, but it’s important to note that the survey doesn’t prove a cause-and-effect relationship, just correlations between music education and higher education and between music education and higher income.

Music education was obviously a big part of my life, as my original career choice was to become a music teacher. Its funding often sits second chair to “core” subjects however, and I’m disappointed when untapped talent or interest can’t be explored because schools have no money for instruments.

Those with More Education and Higher Household Incomes are More Likely to Have Had Music Education [HarrisInteractive]

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