The death knell of internet radio may have struck a dull note last week, when SoundExchange offered smaller and non-commercial internet stations fee caps and possible individual, fair negotiations with broadcasters. However, the Radio and Internet Newsletter reports that the Digital Media Association (DiMA) rejected the offer, after SoundExchange offered a last-minute reveal that part of its offer involved the forced implementation of DRM technologies on their online streams. This comes after their recent effort to hype a little-used form of music piracy called “stream ripping,” which entails people recording streamed tracks into hard copies on their computer.
I was reminded to check on this when a teen approached my desk and asked if I had heard about “a new site called Pandora” (those of you who saw or heard about our presentation at ALA Annual might get a chuckle out of that one). Our ensuing conversation reminded me that teens are actually using these technologies to discover music along the long tail, and that the demise of such services would be an unfortunate setback for teens looking to connect to new bands and artists through the ones they know and love. I have a feeling, though, that teens are hardly batting an eye as the music industry continues to sag under the weight of its own misguided profiteering.
Random thoughts tangentially related to the above:
- Services like Pandora make me think: are there any reading resources that allow links based on the writing style instead of content? For example, where could I go to be linked between–for example–the tersely poetic prose of Joyce Carol Oates’s After the Wreck, I Picked Myself Up, Spread My Wings, and Flew Away, Laura Kasischke’s Boy Heaven, and Matt de la Peña’s Ball Don’t Lie?
- How many of you use these sort of services to listen to bands and artists related to what your teens are listening to? Or for collection development purposes? It’s not just the music itself that would be lost but the massive amount of listener-generated metadata.
- For that matter, why do CDs cost as much as they do?