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Reading books and articles specific to the music business can be helpful, but sometimes it pays to step outside the frame. So this is Applied Science, an attempt to thread my concerns through problems, solutions, and concepts from other thinkers and fields. I\\u2019m trying to unearth the human aspects within the machinery of the music business, and turn some of my experiences as a manager and label co-founder into working philosophies that others can use to understand and solve their problems. I'm not sure I'm going to solve anything here. I hope I'll spark some questions, some debate, and maybe reach some people that can help enact change. It\\u2019s an experiment.
For me, this narrative always begged the question: who\\u2019s really being hurt and what does that hurt look like We were told to be sympathetic to big corporations whose bottom line was being undercut; multi-national companies who goaded star artists to be the faces of legal battles against average people in the crusade against illegal downloading; major labels that cried foul about cratering profits, while scarcely acknowledging that many of the artists who generated those profits reaped decidedly little of the return (and sometimes none, depending on the fine print). Ultimately, the financial damage was undoubtable, if difficult to fully measure. The fog of war obscured piracy\\u2019s possibilities for positively morphing the music business. Most of those beneficial prospects are yet unrealized and may never blossom, but still merit exploration.
Greg Kot\\u2019s 2009 book Ripped gives numerous examples of enterprising artists (The Beastie Boys, Tom Petty, Radiohead, Prince, Wilco) harnessing the power of the internet. In many cases, this meant using free downloads (or inventive pay models, as Radiohead did in pre-figuring Bandcamp) to galvanize fan activity, press conversation, and, perhaps most importantly, economic activity in other verticals relating to an artist's public persona (ticket sales, merch sales, brand deals etc).
In Free, Witt\\u2019s intercontinental story of industrial evolutions eventually lands at Oink\\u2019s Pink Palace (or, more succinctly, OiNK), the utopian, invite-only torrenting site founded by young Brit Alan Ellis. It connected a relatively large, diffuse group of music obsessives, united in their quest to illegally download music in a \\\"safe\\\" manner. I want to hover on the edenic promise of OiNK.
This labor could have served as payment in kind (or eventual payment after a certain point) for tracked songs and bodies of work. Complete enough metadata over enough time, help enforce community standards, you get free downloads. Share that music illegally, you get banned from the community and charged with a commensurate real-world penalty (not slapped with an injurious criminal case\\u2014at least not for small infractions). I\\u2019m spitballing, but the idea of gamified work and self-regulating communities takes loose shape on sites like Wikipedia. From here, you can also imagine how streaming platforms and storefronts like Bandcamp could be built atop this \\u201Cpirate\\u201D foundation. 1e1e36bf2d