Last Saturday was national Record Store Day. I'm only moderately ashamed to admit that I didn't patronize any of the local record stores. Although I am in love with some romantic ideal of what record stores are like (probably due to repeated viewings of ""High Fidelity""), I couldn't tell you the last time I bought an album from a record store. It's simple, really. I don't have money to buy music. And while that might stop me from getting music at record stores, it doesn't stop me from getting music.
The problem is, if I paid full retail value for all of the music I acquire, I would be shelling out between $80 and $120 dollars every week. That's a part-time job. Hell, if I didn't pirate music, I would have to sell coke just to support my music habit.
I do feel a little guilty about not paying for music. Anybody who knows a musician who is struggling to make ends meet understands that guilt. I know they pour time and effort and money into making their music, and I think they should be compensated for their efforts. I try to go to concerts and buy stuff from the merchandise table, but I know that isn't enough. That's where record labels come into play. Since record labels are uniquely suited to provide the finances necessary to record, tour and market music, getting signed by a record label is generally a good thing for musicians. In fact, the bigger the label that signs you, the more likely you will have better resources. So I understand the logic of artists who sign with big, corporate labels.
On the other hand, a record label is a business. In business, your goal is to make money. In the music business, you do that by only funding artists who will sell lots of albums and concert tickets. A band that uses crazy instrumentation or only wants to make concept albums based on 14th century Italian epic poetry isn't a good fit for the record label's business model, regardless of what artistic strides the band is making. Those bands simply aren't a good investment for the label. But does that mean bands shouldn't explore new ideas about instrumentation or concept albums?
Personally, I'm very interested in bands with unique styles and bizarre cultural references. But do I have a valid voice in this conversation, since I already admitted that I don't pay for my music?
If I can oversimplify this problem, it seems to me that there are three major players in this dilemma: the musican, the label and the consumer. The musician wants to be able to make music without having to worry about money. The label wants to make money by financing the musician and delivering the music to the consumer. The consumer wants to get the music, but has limited resources. When the consumer pirates music, neither the label nor the musician gets paid. But paying the record label for music and assuming the musician will be better off because of it feels a little bit like Reaganomics.
This explanation obviously doesn't cover alternative distribution models made possible by technology, smaller labels that cater to a specific niche market or the complex factors that influence marketing and distribution. But I think it highlights the basic problem-—there are three different players with three radically different goals. Why should we be surprised when there is conflict?
Although I feel slightly guilty toward musicians, I feel no responsibility toward the record labels. I hope that someday I'll have enough discretionary income to purchase my music, but I'm not going to wait. I understand why the record labels feel well within their rights to prosecute downloaders, and I sympathize with the constant struggle of musicians trying to profit from their art.
How does this affect local record stores? I don't know. I think they are vital as a source of local and independent music. I see them as an important resource for any music collector. I believe they form an important link in the local music community. Most of all, I hope they are still around when I have the money to pay for the music I love so much.
Want to lend Dale some money to support his music habit? Wire him some at dpmundt@wisc.edu.
