MUZIKË PËR NESËR

Sonte më ra rruga afër kryqëzimit, në Upper West Side, ku ka pasë qenë tregtorja e madhe muzikore Tower Records, një nga tempujt e mi privatë në Manhattan, derisa i erdhi radha të mbyllej para disa vjetësh, për t’u zëvendësuar nga një dyqan mobiljesh.
Për katastrofën e tregut tradicional të muzikës në New York kam shkruar [...]

1 Komente

Xhaxha, c'koincidence.  Sic thashe edhe tek nje teme tjeter, jam duke bere nje "research" per planned obsolescence, e nder materiale/aspekte te nderlidhura, jane ato te muzikes.  

Nje artikull ne lidhje me problemin ne fjale:

Urge to upgrade keeps consumerism healthy

Me specifikisht per muziken:

... But the urge to upgrade extends beyond phones and televisions. Consider its infiltration of the music industry. LP (vinyl) records gave some ground to the new technology of the cassette in about 1972.

More than 20 years later, the cassette and vinyl gave way to the CD. This shift immediately prompted an orgy of technology upgrading: out with the turn-table, amp and tape deck; in with the CD sound system.

And what to do with a 20-year collection of music trapped in a technology that was made redundant within the space of two to three years? Simple, replace the lot in CDs. After all, if you have several hundred vinyl records, then you have projected yourself to your friends as a music aficionado. You can't really stick with old technology: it makes you look dated. You are forced -- forced I tell you -- to replace the lot in CDs.

Over the second half of the 1990s, these music devotees allocated a disproportionate share of their wallet to transferring their music collection to the new technology. Finally, by the year 2000, they could rest assured that they would have 20 years -- as they had with vinyl -- before their collection would be rendered redundant by yet another technology shift. I feel sorry for these people. I really do. The reason is that, no sooner had they replaced their LPs with CDs than music went downloadable! Is this a communist plot to usurp music aficionados everywhere?

Not only did the form of recorded music change in the early 2000s, but so too did the method of play: out with CD "sound systems"; in with MP3 players and then iPods.

And, even more irritating, young Gen Ys were downloading all manner of material that was previously only accessible to old-fart aficionados who had been collecting, and investing, for years. Music was being democratised. By young people! Hrrummmp!

In one fell swoop, a lifetime's investment in music technology had been undermined and, worse, the role of "music guru" bestowed by virtue of that investment was being rendered useless. And worse still was the fact that these old music gurus looked silly for having invested so much in such a fleeting technology.

Consumerism is an extraordinary life-form. No matter how much we try to kill it off with comments about it being wasteful and unsustainable, the mass market finds a way to rationalise its vigorous pursuit.

The role of technological innovation, combined with the market's innate urge to upgrade, means "consumerism" as a belief system is unlikely to abate in modern society.

 

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