We shouldn’t need the managers, but the record industry does everything it can to consolidate everything.

However, I do notice that for more uncommon music, the record industry sort it just looks the other way. For example Eminem has tons of really old music on YouTube that I’m sure his lawyers could figure out how to get taken down. But it just stays up.

I would really like music copyright to change within my lifetime. It should realistically be 30 years from first release, and after that it should go straight to the public domain. By then everyone’s made their money. Even Elvis won’t be public domain until like 2050 or 2060. I don’t really think he needs the money right now.

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tempaccount5050 6 hours ago | parent | next [-]

I agree mostly but take issue with "not needing managers". As someone who went from split shows to big venues to touring, managers (good ones) are a godsend.

Will there be convenient parking?

Do they have adequate power?

Is the stage big enough?

Do we need to book sound?

Is there a weather contingency?

Where can we sleep?

What time is load in?

What time is sound check?

What form of payment?

How will they be advertising?

Who do we give promotional materials to?

Etc etc. Having someone take care of all this stuff allows us to focus on practicing and recording (which has another long list of questions that need to be addressed).

Not to mention networking and venue access. Put all that stuff together and it's a full time job that artists are poorly equipped to handle.

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999900000999 6 hours ago | parent [-]

I assumed managers in this context, meant the record industry machine. Most bands don’t care if you find a bootleg of a live recording, it’s going to be a very different experience versus an actual album anyway.

	▲	tempaccount5050 5 hours ago \| parent [-]
		Well that would be legal/contractual stuff you signed with the label. Doesn't have anything to do with managers, which was why I wasn't really sure what parent was saying.

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volkl48 4 hours ago | parent | prev | next [-]

> However, I do notice that for more uncommon music, the record industry sort it just looks the other way. For example Eminem has tons of really old music on YouTube that I’m sure his lawyers could figure out how to get taken down. But it just stays up.

Or artists that have seen the merit in tolerating it/somewhat encouraging it. I'm a pretty hardcore Nine Inch Nails fan (seen >30 shows).

NINLive.com is a fantastic (unofficial) archive for our community. Close to 2k individual recordings, about 3/4 of all shows they've ever played have at least one recording.

NIN's camp is fully aware, the guy who runs the site has gotten invited to meet the band before. (And NIN has tossed unedited pro-shot tour footage to the fans before to play with, as well as things like directly linking to a fan-compiled concert film for another tour on their own home page).

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leviathant 4 hours ago | parent [-]

NIN had a messy breakup with their original manager about 15 years into things. Once Trent Reznor emerged as more or less a free agent, he embraced radical approaches to distributing music and other media.

The instrumental album "Ghosts I-IV" was released under a Creative Commons BY-NC-SA license, and the music went everywhere - and you can draw a line directly from that choice to the Oscar for the score for The Social Network.

Concert photos, wallpapers, and other photos are still up on Flickr: https://www.flickr.com/photos/nineinchnails/albums

And the NIN camp utilized Vimeo alongside YouTube: https://vimeo.com/ninofficial

Rumor has it that Trent Reznor himself uploaded material to The Pirate Bay, because he didn't like the audio quality of the rips that were already floating around. There are three compilations that appeared, with custom artwork, including at least one exclusive version of a track that hasn't appeared anywhere else.

(p.s. wot up volk)

	▲	progmetaldev 2 hours ago \| parent \| next [-]
		I can't remember which album it was, perhaps "With Teeth," or the mentioned "Ghosts I-IV," when Trent Reznor offered the GarageBand files for the album. I thought it was amazing for an artist to offer their work up for people to remix and view, as long as they weren't profiting off of it. I've done the same with my artwork over the years, hoping that someone would come along and collab or "remix" my art into something new and interesting. I don't do promotion, so it hasn't occurred, but the idea was inspired by NIN and I think it's an amazing idea that can really build a community. As an early teen when Broken came out, and I happened to be connected to some people into the 90's emerging industrial scene (not to take away from earlier scenes), NIN has always been a huge inspiration and got me into the grittier side of metal music.
	▲	volkl48 3 hours ago \| parent \| prev \| next [-]
		Oh hey, I certainly know that username! And you're not going to plug yourself I certainly will: Appreciate your work on the NIN Hotline all these years and everything else you've done/added to the community. > Rumor has it that Trent Reznor himself uploaded material to The Pirate Bay, You'd certainly know better than I would but I feel like I recall Rob Sheridan confirming that in one of his interviews years later (not that there was really any doubt).
	▲	pimlottc 3 hours ago \| parent \| prev [-]
		Trent also famously mourned the closing of Oink.fm, at one time the world largest largest music torrent tracker https://www.wired.com/2007/10/trent-reznor-on/

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euroderf 6 hours ago | parent | prev [-]

> the record industry does everything it can to consolidate everything.

Financialization ? Productize, promote, push ?