Sarah Clemence recently wrote an interesting article for Condé Nast about what is probably the true status of the mainstream music industry. In it, she makes the case that in fact the music industry is not doing that bad, because while individual consumers aren’t buying CDs in droves, there is still revenue to be made from alternative outlets, like music publishing and rights for putting it in movies and on TV and in cell phone ring tones. All of this along with the now-growing legitimate online music business, slowly but surely overtaking the free underground market that Napster and Pirate Bay inspired. Whether you want to believe it or not, iTunes makes money. Wal-Mart’s online music store makes money, and with the growth of DRM-less music for sale online, it’s fast-growing market.

For years, we’ve been hearing about the “death” of the music industry. “Oh, online music sales will kill the independent record store. The cost of making CD’s is keeping small indie labels from competing. People downloading music these days, often illegally, is stealing from artists who work hard for their art. It’ll never be the same again!”

No, it won’t, to be honest.

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“I guess it was just the kids that were too cool for school. They were geeky and they found their niche and then all the sudden, they became the assholes.” – George Rebelo on Hot Water Music’s first experience at 924 Gilman Street

Something I’ve wondered about ever since I started going to punk and hardcore shows is where a sense of elitism comes from. Yes, I know humans are humans, but one of the main draws of punk and hardcore is the sense of finding a crowd when you don’t think you fully belong anywhere else.

Thinking about George’s quote, it’s always struck me as odd when people who don’t fit in with the regular crowd find their own crowd, but then start acting like the people they hate from the regular crowd. Think of it as the bullied becoming the bullies. What’s up with that?

There was a time in 1998 when I thought I was straight edge. (Key words: “thought I was.”) I had no interest in smoking cigarettes, drinking alcohol, taking drugs, or screwing around. Yet when I encountered ardent straight edge followers, I distanced myself from the label. Extremist followers can turn anybody off from whatever they believe in, and this was definitely the case here. I didn’t want to dress up like members of Earth Crisis, rip people apart for eating meat, or start fights at shows with people who drank and smoke. Years later, I met much more grounded people who were straight edge but weren’t extremist. Still, I can’t forget the extremists that put up roadblocks rather than present an open door.

Read more after the jump.

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Editorial note: I’d like to welcome Eric Grubbs onto the LNWF crew. Be sure to check out his website Theme Park Experience and his excellent new book Post.

As somebody who likes to read Internet message boards and comment sections, I can’t help but wonder why people think there is safety in being anonymous. Moreover, being anonymous and rude. People use the excuse of being honest, but it’s not that simple. People forget about tact; plenty don’t know what it is in the first place.

If there’s one place not to try your hand at humor, it’s in a forum where no one can really tell the tone of your voice or even know who you are. I’ve decided that the only true form of good, honest feedback is the kind that is discussed in person, between people. If you can’t own your words in person, then why say them?

Read more after the jump.

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Wired.com has an interesting story listing some of the most elaborate and infamous attempts by the major labels at preventing music piracy over the years.  Some of the tactics are quite inventive but ultimately pretty laughable.  If I had to do some of that shit for a CD to review, I’d probably pirate it just out of spite.  Although, I feel bad that some poor intern probably had to sit there and superglue a dozen or more Discmans closed after putting a copy in and then ship them out.  

On June 12th, the Canadian Minister on Industry Jim Prentice introduced the passing of Bill C-61, a law that makes it illegal in Canada to break “digital locks” (DRM, aka Digital Rights Management, technology) on copywritten material.  C-61 is being compared to the American DMCA (the Digital Millennium Copyright Act), a law passed in 1998 that allows for legal action to be taken at the discretion of copyright holders against those who’d use copywritten material without consent.

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