DGM HQ Rising at A
08.25
DGM HQ.
Rising at 06.50. A bright, crisp spring morning.
A call from the Minx in London, where she is filming, and contingency plans if the volcanic ash continues to disrupt flights. Today the Solar Voyager is being collected in Salisbury, but how & when it gets to Madrid is another question.
09.54 Kitchen discussion with David on DGM & its goodies moving out into the world; the changing face of online, eg with iPhone apps, Search is less relevant – it comes to us, rather than we go looking for it; and Facebook.
Dear old Mr. Stormy is archiving in DGM SoundWorld II…
The street I…
II...
III...
10.43 Sid newzed
this yesterday...
Sell 1m records today and you'll earn a half-sucked gobstopper covered in fluff Sam Leith
there's an ambient thuggishness in the way the market for creative work is being distorted by theft... The traditional narrative of Bad Cop, as far as teenagers are concerned, is this: record companies are big, complacent, greedy, corporate and hidebound; filesharers are spunky, innovative, buccaneering, libertarian. Therefore the record companies deserve to be ripped off. The fault lies with them for failing to realise that their "business model is broken". This is generally said with a palpable tone of satisfaction.
But what of the artists and song-writers? Do they deserve to be ripped off, too? Even those on major labels will be on a meagre enough royalty. Apparently, it serves them right for signing with a record company, rather than self-publishing. Don't they know that that business model is broken?
Well, it's broken because people are breaking it. The fact that you consider something too expensive is not a justification for stealing it. It's a justification for not buying it. But in none of the arguments have I come across anyone who has properly explained why illegal filesharing is OK. And if it's not OK, why should its effect on the market be welcomed with a wink?
15.27 A kitchen discussion, over chocolates…
… given to the office by Nicky Bookkeeper, celebrating the end of Lent, with David & Mr. Stormy. Various future-possibilities for DGM Live considered; the effect of music in popular culture & how it has effect in the world - before & after Elvis, before & after The Beatles, before & after (probably not progressive) Zep / Hard Rock / Metal, before & after punk – and then? The power of music in popular culture to define its generations – what happened after 1984? In the world of guitar, there is before & after shred. Also, the status of the Double Trio, ProjeKcts & the Double Duo.
Now, David & Robert are in DGM SoundWorld I with Orchestral Soundscapes…
Wowalamus est!
16.54 An observation, from Sassoferrato, has e-arrived. From the response…
this is an important observation.
traditionally, what you experienced is called a taste. your centre of gravity, your experiencing, moved to a different place in yourself: a place that is real.
now you know this without doubt. as you comment, it does not go away. and you have a yardstick to apply to how you (and all of us) commonly experience our living - indirectly through sensory information, memory & interpretation.
it is remarkable how The Guitar Circle & The OCG provide opportunities & conditions to experience our experiencing directly.
many thanks for this.
17.19 Incremental noise reduction: a live orchestra comes with noise that ears accustomed to digital recording find, well, noisy. Ears that have handed over their hard-earned pay tend to be critical & demanding.
18.56 David has left the building…
… summoned to the Singleton family dinner.
E-flurrying ahead.
19.41 EuroScapes from Murcia, with The LCG on April 25th. 2007, are werning away to my left.
22.40 An evening’s e-attack on the inbox, filing, listening to Euroscapes & JFC.
It waits…
