>>(Art said:)
>>We can use this insignificant blowup over a pop record to
>>delve into much deeper issues of exploitation on all sides,
>>and to point out who the real enemies are.
i'm really glad you brought all this up, Art. thank you. you
present a lot of great points.
So, who are the real enemies?
on Sat, 2 Nov 2002 Jon Leidecker told me:
>it'll make more people want to buy her records. Ultimately this is the
>only important thing. You can cry about those ethnological thieves,
>commercially releasing their documents of third world vocalists and
>musicians from the 1930's to present day without proper payback, but
>ultimately the recordings speak with their own voices, and thank god they
>were made and distributed.
Hmm, interesting point, but does that really provide enough
justification for the exploitation? Can we really say that the
increased exposure makes it all worth while? In almost all cases
of this sort of thing, the exploiting western artist is going to
sell way more units and make way more money than the original
"third world" one. I wonder what the statistics are? How many
people really go on to investigate the source culture when they
hear the mainstream repurposing of it? How many Ladysmith Black
Mambazo albums were sold as a result of the millions of copies of
Paul Simon's "Graceland" sold? I suspect that most Americans
don't bother. but i don't know.
Speaking of Americans: everybody who hasn't seen Michael Moore's
"Bowling for Columbine", go see it, ASAP.
smh
Steev Hise, Technical Thug
steevATdetritus.net http://detritus.net/steev
*Recycled Culture: detritus.net *Recordings: phonophilia.com
*Want Peace? Stop Paying for War: warresisters.org/wtr_menu.htm
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