Dad3353

Chippendale closed down, too, but people still buy chairs. Yes, I know about streaming, but I don't see it as being 'free' as you seem to. It's not 'free', just paid for indirectly. Musicians (or rather 'declared musicians' get a tiny sum for each play of whatever they've signed up to. Back in the olden days, a deal was struck and the declared musicians got a tiny cut of sales. Nothing has changed but the size of the cut and the volume of 'sales'. There's no-one to blame for any of that but those who sign the contracts. I could go much, much further, as I don't agree with the present idea of 'worth' and 'salaries' in any case, but that's a separate issue. If anyone is offered a bad deal on their music, it's simple enough : don't sign such a deal.

Now you tell me..!

No more than the craftsmen or women that made the tables and chairs need continual remboursement; without those, all would sit on the floor. No, the music should have a fixed price which, once paid, ends the matter, the same as buying chairs to sit on.

Recordings, when made, were 'live' performances; 'live' in a studio with no audience is all. Session musicians get paid for such work; others get paid when they sell the product (it used to be a vinyl record, then a cassette, then a CD...). They should get paid when they 'sell' it for radio play, or streaming, just the same as if selling a physical product, and that's the case, albeit a small amount per play. Those listening are not listening 'for free'; their listening is paid for by the advertising and spin-off stuff, otherwise the 'streaming' companies would have no revenue at all. It's paid for, but indirectly. For the record, I think it's a daft set-up from end to end, but it's not 'free music' at all.

How much do you pay 'per sitting' for the chair you're sitting on..? The musicians got paid when they played their music. Why do they need paying again every time it's played at home..? This 'gravy train' line of thought is the reason we're in this quandary.

Indeed; whilst they were playing music. Not much went to musicians sitting on their warm settee, at home, and why should it..?

It's a DeLorean..!

Typo fixed. ...

No, and no need to exaggerate to such extremes. I understand that if one is largely playing open low 'E', it could be a factor; it's not my style (at all...), and I'm not so fussy about overtones and the like; to me, bass is bass is bass. My main bass is a four-string (Hofner Verithin...), but I also have a six-string fretless, used every day by Our Youngest, and muting has never been an issue (varied repertoire of pop-rock, Radiohead, Bowie, SOAD, Noir Désir, Bashung and much more...). Disclaimer : I'm a drummer, anyway, so what would I know..?

Not strictly true; if playing the 5th string ('B'...) systematically instead of the 4th ('E'...), there's no more muting involved. One is simply playing a bit further up the neck, s'all, no..? It would be true if one's repertoire involved extensive use of the open low 'E'. Is that a 'thing', though..?

... titled 'Happy Big Red Xmas, Everybody'

'Most people' is a lot of people, but there's not much dross on 'Surrealistic Pillow', or 'De Capo'. Magma produced some splendid stuff at the time (and since...), too.

And the winner is ... @lurksalot..! Here, then, is your Winner's Certificates (download and save as pdf file, then proudly print and frame...) ... BC_Chal_Cert_2022_11.pdf ... which look like this (but bigger, of course..!)…

As was mechanisation for working horses. A sad fact of Life, maybe, but the wheel turns. Up until very recent times (early 20th century..?), recording sound was pretty nigh impossible; all music was 'live' or not at all. The sales of printed scores was doubtless more than today, but hardly a main revenue stream for the composers, and nothing at all for the musicians who played these scores. It's all been a very recent bubble; things are moving on, like it or not. Farriers had to become something else when horses were no longer mainstream.

If the ivory came from an antique piano (so pre-'75, and less than 20% of said piano...), could that not be justification, on the understanding that Alembic can provide proof of that..? It might be worth asking them. On the other hand, I have MOP-inlaid guitars, and there's no way whilst I'm alive anyone is going to be taking it out. It took me fifteen years to get it done on the Comittee, so... I'd rejoice in that splendid workmanship and let it be.

Cues.

See here ...

Welcome to the 21st Century ...

That wasn't really the point. First, third, fifth... Whatever. They made it 'normal' for groups or artists to get world-wide recognition and sales for songs and albums they'd largely composed and played themselves. They had already 'done the rounds' in the German and UK clubs, doing covers for hours on end, with a solid reputation, but that wasn't the 'click' that made them stand out. The writing itself ('Love Me Do', Twist And Shout' etc...) was on a par with other stuff around at the time, but they knew how to perform it well, and their management lit the fuse when it went to the US. Elvis had a certain following back then, as did others, but there was a tidal wave sweeping The Beatles into history that changed the face of the popular side of the music industry for ever. It's difficult to imagine the effect at the time; sliced bread was a novelty, too, and 'Wimpy' joints were starting up. Yes, you had to be there to have felt the wind of these changes whistling past one's ears. None of these takes anything away from later 'ground-breakers', and the 'real' scope of pop music in absolute terms is debatable (Was vaccination more important a revolution, or the abandon of the wearing of hats..? The jury is still out...).

One of the effects that the Beatles had on the music industry of the time (very early '60s...) was their writing the material that they performed. They were not alone in this (skiffle groups and others had self-penned successes, too...), but the first LP records sold an massive quantities, world-wide, with stuff they had composed and played, without much input from Tin Pan Alley. This was radically new; most top-of-the-bill artists at the time relied on professional song writers to generate the hits for them. This methodology (and its popular success...) quite certainly paved the way for others (Dylan, Hendrix, Reed and so many more...); the doors were now wide open, where before there had been only the merest chink. Just sayin'.

OK, OK, I got the title spelling wrong. Mea culpa; now corrected, and thanks for the info. Now, on with the fun...