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Independent Music Property

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Tina Piper

on 29 September 2010

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Transcript of Independent Music Property

canonical reward (control and money)
protects heretical partial (export, professional) (Gervais, 2004)
contextual (IPMG, 2008)
market, strangers (von Hippel and Fauchart 2006)
incentive and reward? (Ku, 2009; Landes and Posner, 2007)
dissemination? (Nadel, 2004)
enforced? (BMG Canada Inc. v. John Doe, 2004 FC) threat expletive (foreign) language dream gossip challenge fantasy
promise currency grants doing most of the work introduction flattery empty promise postering impermanence or Why despite the internet we still have zines translation reciprocal
patronage Institutions To be making music in the service of the State just seems horrible to me. And the fact that governments can screw things up and so can private companies, but it’s so much easier to just get mad at and boycott a private company than it is to be mad at the government. So grants, getting the government involved in the arts, I don’t know, something about it really rubs me the wrong way. 'FACTOR was great to us. I also like to think that we were good to them, in that they were able to plant their flag in [our] product, records, and success story and claim it as proof that ... funding works' It’s certainly now taking up a big chunk of time, doing the administration for it; preparing these applications is huge, because of the way they want data presented, which nobody, I can’t imagine any record label, actually has. So you have to build this massive database from scratch, pulling from a million sources, and it all has to make sense with your audited financial statements. You can make stuff up, if you want, to make it fit, but you know you’re going to be audited. So it has to be pretty solid. It’s a hugely time-consuming process, not just in the application, but in the follow-up -- what they ask for in terms of compliance and reporting and whatnot, and stuff we clearly would rather not be doing, but at this point it’s not as though we have a lot of choice. Change and consequences vinyl permanence 'I think it started out for us in a Warhol kind of sense of wanting to see a whole lot of the same thing that we had in fact made... I’ve actually found that the emphasis on the physical [has] been sort of detrimental to my goals, which is thinking about that and thinking less about producing the music properly... I think of it as an Egyptian urn or something, where it’s created and it’s decorative and it’s a work of art in itself, but it’s also meant to contain something else.' 'I can’t see us ever, ever accepting a world where we’re making nothing physical, that we’re just selling digital music... There’s no preciousness around the original - the whole point is that [record making is] an incredibly democratic art form.' “. . . I would say in defense of the establishments, they shouldn’t be paying . . . . [A] bar would be paying for Céline Dion, Nickelback to get money, whereas out of principle, they know the people who we would support are not seeing a dime of it. So it’s a tax.” encoding and representing no internet mediation, physical community copyright catalogue 'Then I moved the label here also (laughter), basically my computer and my printer, my spray paint devices.' 'We were ready to release it somehow, or make it a CD. At the same time, a couple of friends’ bands had also just finished CDs. So it just kind of happened that there were three bands that were finishing recording projects all at the same time, and we just got together' hobby youth Constellation started in 1996 as an idea and a response to local conditions almost entirely. We put out our first releases in 1997. The impetus for the label was very much about supporting music-making in the city and wanting first of all to get an artist friendly performance venue off the ground. We realized that the stuff that we were interested in putting on was mostly likely not going to get anyone’s attention officially. “We’re doing a pile of stuff for free.” free “[i]n order to bring someone into what we’re doing, we need to become friends with them and build a certain amount of trust, or professional trust, with them. We can’t really work with someone who’s like a stranger. Or they very quickly become not a stranger when we’re working with them.”
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