"Piracy is the new radio" - Neil Young

Are you there, internet? It's me...

I did not start this blog because I expected people to come here for music; I did not start this blog out of expectations of a plethora of readers, either. This blog has been a lot about self-actualization. I have written about music because it has moved me. Every post made thus far has been because there has been something to say that hurt to retain. Here is the truth...

I have found all of this music courtesy of the internet. There has been word of mouth and whatnot, but never has that been on an international scale. We've reached a stage where a song recorded in North America can be spread around the world in an instant. Is this really a problem? Think of what file sharing and the internet has come to replace. Though the radio has never really stopped, it's notoriety in the making of bands has diminished from instant fame to a slight spur in popularity. What was once an essential component in the discovery of new music has diminished. Reveled artists reveal that they used to idolize the greats that would gallivant  across airwaves and into homes across the world. This is what made music accessible...

To exhibit radio's past influence, turn to Sam Beam of Iron and Wine. His fond memories of warmth and honest emotion of seventies radio music inspired his writing and composing of his latest album. Gone were the hushed acoustic tones of the Creek Drank the Cradle and departed was the mellow catharsis of the Shepherd's Dog; instead, Beam wanted to write something true to the days of innocence and youth that delivered him to artistic expression...

I use Beam as an example not just to illustrate the effect the radio had, but to ask a simple question: is that possible now? Let's ignore piracy at this point and simply look to the radio. Would a station that played more popular mainstream music, the kind that promotes promiscuity, be able to have the same effect? More importantly, what of the fact that music hardly takes up half the programming? Which now leads me to the biggest question...

Did radio die because there were alternatives, or did the alternatives become more alluring because radio dwindled in appeal?

One doesn't need an economics degree to understand how supply and demand works. Everything operates in equilibrium, but if something changes, the supply, or, more frequently, the demand curve shifts thus establishing a new equilibrium. One factor that can shift the curves (and the degree of a change) is the introduction, or availability, of substitutes...

As radio introduced commercials and alternative programming, radio went from being a place of discovery to background music; what was once an active engagement became the soundtrack to mundane events or the long drive home. Whereas one once had epiphany-like moments of realization or actualization, radio became more of a testament to our fear of silence than our desire to discover. Could it be that this was when radio began to diminish in influence? As for piracy...

I believe that Neil Young's statement is true. I look at people who have preceded my generation and how radio was their go-to way of listening to the latest single or discovering what band was up-and-coming. This is what piracy has become for us. People who love music want to discover it; they want to find the next soundtrack to their romantic involvement; they want to find the next song to cry to our to burst out in glee. They want what music can provide. Consequently, finding new music has never been easier. I am not an advocate for piracy; I, like most of the 50% of the population who take part in piracy, feel guilt in my actions despite the desensitization. I feel like I'm doing something wrong, but I also put that aside in order to discover more. If it weren't for piracy, I wouldn't be a concert fanatic or a merchandise fiend. It's in this that piracy is doing a service for these bands. Would there be a couple hundred people at some Brooklyn-based band's debut at a local venue if piracy didn't enable their latest album to be shared all the way to Vancouver? Would some British band getting rave reviews and massive plays from the BBC really make it over the Atlantic had their music not been shared up and down the east coast?

Piracy is the new radio.

People have always known how to share music. All that has happened is the medium has changed. As one artist reminisced, they used to personally record songs from the radio and make his own compilations to share with friends. Though this massive scale boost may not be all benefits, it certainly helps bands trying to make it big by providing advertising...

But piracy is still a slippery slope type problem. Where is the line drawn? At what point does it become all detriment and no benefit? Bands do make loyal fans at the click of a button and that is an incredible testament to our technological development, but where it grows to from here can be problematic...

Piracy may be the new radio; moderation might keep it that way.

Copyright, Piracy, and an Infringement of Human Rights

It's happening. Not that we want it to happen, but it's happening. It's not like the industry asked for something this extreme, but it's still happening. It's not like America just went through a similar predicament, but it's happening...

Just as an overview, what the heck, Canadian government? And while we're at it, what the heck governments of major nations? Are we seriously going to go through this? Let me get this straight, we want to stop piracy. Well, that's somewhat amiable, but let's get a couple things straight.

First off, you're taking one of the worst approaches to an anti-piracy law possible. Why not use the pathos of faces of the industries you are hoping to protect? Like SOPA, Bill C-11 is hoping to make media sharing difficult, "unwarranted" image use, and makes digital media almost inaccessible. But, as always with bills like this, the implications spread insurmountably wide. Those people passing the bill NEVER CONSULTED THE ARTISTS OR THOSE CLOSE TO THE SITUATION. Reread that if you must. Like our brethren to the south, Canada has formulated a bill that may actually be of detriment to those they are aiming to protect. This should be the first, and biggest, warning sign. ISP banning and what would be practical penalties for frequent pirates or those deserving of implications are now being put on suspected pirates. In other words, if you are SUSPECTED to have illegally downloaded something, expect to lose your internet for a prolonged period WITHOUT CONVICTION...

Second off, why can't we learn from other nations and their missteps? Hasn't the repercussions of SOPA taught us something? This may have something to do with America's influence on us as a nation, but they have some things we do not; this is where Canada is, in so few words, less lucky. For SOPA, Wikipedia blacked out; protest was widespread and, fortunately, the representatives listened. But those were American sites run by Americans with more than America in mind. We don't have very many people who can take action on the behalf of our nation. Who will speak with the volume we, as people, cannot reach? Yes, our system of operation is slightly more involved, but under the distraction of SOPA, this bill can be passed with practically no opportunity of verbalizing our displeasure...

However, on a side note...

Is piracy really theft? Is media sharing REALLY a problem? For starters, piracy isn't actually stealing. Stealing connotes the removal of something from one person's possession and taking it as your own. File sharing is the exchanging of copies of files. A simple example would be an article in, say, a journal. If your friend recommends an article in a popular newspaper or literary journal, is it wrong to make a photocopy and keep it for yourself? For the most part, nothing seems intuitively wrong; put it on a global scale, then the average being seems irked or off put. This doesn't make piracy stealing, though...

And while we're at it, can't piracy be calmed or maintained as opposed to put down? It's a simple form of advertising if made in moderation. With popular programs like Spotify, couldn't a free service be made so someone can try the album before they buy? Let's not forget the vast expansion of the digital market. Music is at its most accessible point in history now; competent individuals will concede that this, if not maintained, can only grow. So let's draw up a possible situation here...

I, a music fan by my own definition, download anywhere from 2-10 albums a month depending on how exciting or full the month is. Hypothetical situation, set up a site that operates similar to Bandcamp except on a more major scale. I mean, an everybody involved type of scale. The site tracks your downloads and charges you a fee based on what you download. Perhaps one album free, then an incremental increase? Or, even better yet, a system that begins with a free album, then goes with a required amount to pay for each album that decreases with each album so people feel inclined to download more albums? But, alas, it's never that simple...

Simply put, our civil rights are at risk. instead of being sensible and easing anti-piracy laws onto civilians, the government decided to jump to the worst of extremities. Unless we can raise our volume, nothing we can accomplish matters. Write, speak, know. All we can do at the moment is spread word and hope to raise awareness. This is not a bill that attacks piracy, this is a bill that attacks people. Help preserve the sanctity of being a citizen...

This isn't going to be easy; we don't have the loudest speakers on our side. But succumbing and dwelling in defeat will accomplish less.

undun, or, the enigmatic character of a concept album

A concept album is an intimidating task and a perilous project. For the Roots, the audacious project of doing one was met with great voracity. But, first, some background information...

The Roots have a history of bringing a unique twist to rap and hip hop music. Working with indie artists, as well as more mainstream innovative talents, How I Got Over kept adding to their overall progression as artists. Their dynamic has kept them true to their background (something I, as a young and slightly entitled Caucasian can never relate to) while modernizing and adapting to music. Whereas most rap has either been stagnant or dumbing down for a more simplistic appeal, the Roots have been challenging that dynamic...

There was the introduction of Joanna Newsom and Sufjan Stevens to their music (and now Stevens has helped produce this record); there's the idea of creating a sound that has elements of rap and classical for a unique hybrid that has garnered critical praise...

Undun, in itself, is a concept album. Or, to be more precise, it is a reverse-chronological narrative, but that really entails the former (and really, I should abandon such pretentious language). The character the album centers around, Redford Stevens (coincidentally named after a Stevens song), grows in poverty, the setting for his brief, yet tragic, life. Songs like "Lighthouse" and "The OtherSide" show signs of regression and death before the climatic, well, beginning to the album. But what makes the album so special is the natural growth and decline in reverse order. That catharsis that builds in the middle, the hectic conclusions that reflect the unruly birth into an unfit setting, all of this follows a somber and slow beginning in death. The whole process is poetic in itself without overstating the idea. The Roots have done something incredible by taking a common (and quite honestly, overdone) artistic process and brought a new innovative approach...

Just that alone should be enticing enough to garner a listen. How did they approach life in reverse order? The task was daunting and yet they exceeded mere success. In my experience, I find concept albums underwhelming. Stories get lost beneath ominous layers of noise; well orchestrated selections find themselves contained by the morals and concepts of words. The Roots created a world and character drawn from inspirations in both media and life to create a ubiquitous wall of emotions and sound. Sorrowful notes hold but are often countered by high points. What "Redford Stevens" lacked in his life was a clarity, class and wealth. For each of these components, Undun is abundant. It isn't BlackThought's lyrics that carry the story, but the cohesion of dynamic beings molded with guest spots that never cause a misstep or queue. This album, released early December, may get lost in the transition from 2011 to 2012, but you owe it to yourself to give this incredible album a listen.

I have a favorite album from 2011...

I've already stated I hate year end lists... But that doesn't mean I can't have a favorite album...

After much (moderate) deliberation, I came to an undeniable conclusion. But first, I should clarify. This is not the best album of 2011, nor should it be interpreted as such. As was implied in the last post, I believe Bon Iver had the best year of all artists. Both him and his album respectively succeeded beyond expectations this year and will be remembered for doing so. However, since I've, to an extent, already discussed that, here is an album that best exemplified what a dying genre can accomplish...

Explosions in the Sky are, by far, the best post rock band (based, of course, on your definition). Post rock itself, has become stagnant, yet Explosions in the Sky has found their perfect niche. It's been over a decade since they've released their first album and the whole growing process has been more of refinement than change. Take Care, Take Care, Take Care has shown that they are still reaching their pinnacle...

The album itself resembles a trek. Leaving behind "Last Known Surroundings" until asking "Let Me Back In," the album exudes a feeling of a score, but fuller. Whereas a soundtrack may provide complimentary melodies to scenes with explicit visuals, the album is rich enough to emulate the imagery and emotions that can only be expressed via a physical presence. Each and every song adds to a progression while maintaining a monumental progression within itself. Of course, the catharsis of a distorted breakdown is still in every song, but just because it is predictable and borderline formulaic doesn't mean it doesn't succeed. Like with most good things, an upheaval of a consistent, succeeding component would be a major risk, and an unnecessary one at that...

"Postcard from 1952" was my first "favorite" or "highlight" of the album, but it changes with each listen. "Human Qualities" is the perfect follow up to the epitome of an opening with "Last Known Surroundings." The album succeeds in many ways, but it's greatest success was somewhat surprising...

Explosions in the Sky is still one of the most incredible bands to experience. Intricate songs that speak volumes without words or vocals, they outdo themselves once again. This may not be the BEST album of theirs, but here's what it is: an ambiguously structured set of melodies to project a story. What you make of that story is up to you. Just because there are sordid endings and SOME definite emotions, you provide the backstory and the characters. Think of this album as your project. Do not undermine this album or do it a disservice by not giving it what it deserves. Simplistic and hedonistic albums may be the perfect background soundtrack to travel, but this one requires you to think and create to make it incredible, as did past EitS albums. If you do not want to put work in, it may not be the essential album for you, but it still is an incredible collection of songs...

But, hey, I never said this was the best album; this is my favorite and may mean nothing to you.