The Creative Apocalypse That Never Happened
Come with me back to 2000 when it was said that Napster was not only going to destroy the music industry, it was going to discourage people from making music. That didn’t happen, did it? This weekend’s New York Times Magazine looks at the creative apocalypse that never happened.
On July 11, 2000, in one of the more unlikely moments in the history of the Senate Judiciary Committee, Senator Orrin Hatch handed the microphone to Metallica’s drummer, Lars Ulrich, to hear his thoughts on art in the age of digital reproduction. Ulrich’s primary concern was a new online service called Napster, which had debuted a little more than a year before. As Ulrich explained in his statement, the band began investigating Napster after unreleased versions of one of their songs began playing on radio stations around the country. They discovered that their entire catalog of music was available there for free,
Ulrich’s trip to Washington coincided with a lawsuit that Metallica had just filed against Napster — a suit that would ultimately play a role in the company’s bankruptcy filing. But in retrospect, we can also see Ulrich’s appearance as an intellectual milestone of sorts, in that he articulated a critique of the Internet-era creative economy that became increasingly commonplace over time. ‘‘We typically employ a record producer, recording engineers, programmers, assistants and, occasionally, other musicians,’’ Ulrich told the Senate committee. ‘‘We rent time for months at recording studios, which are owned by small-business men who have risked their own capital to buy, maintain and constantly upgrade very expensive equipment and facilities. Our record releases are supported by hundreds of record companies’ employees and provide programming for numerous radio and television stations. … It’s clear, then, that if music is free for downloading, the music industry is not viable. All the jobs I just talked about will be lost, and the diverse voices of the artists will disappear.’’
Yeah, well, no. Keep reading.
One thought on “The Creative Apocalypse That Never Happened”
Ah, but lack of a creative apocalypse doesn’t mean ‘no effect’. What would concert attendance, new/refurbed venues, live tours of ‘digital-marginalized bands’ have been like if digital had been clamped down and we were still forced to consume albums? We might have 10x as many SXSW-type live-music ‘neighborhoods’ with more small/med/large venues.
Not a perfect match for my point, but:
(and you linked to a non-free digital article 😉