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The Day the Music Burned

nytimes.com

11–20 of 95 posts

Re: The Day the Music Burned

#11

I'd actually say the biggest disaster in history of music is what.cd being shut down. They had the largest collection of hard to find music, meticulously curated and in lossless formats. I doubt there will ever be such a complete collection and it was devastating to see it get killed like that.

Is there anything like it left today?

Re: The Day the Music Burned

#12

Reading the list of jazz, soul, and rock artists whose material was lost just made me shudder. If an example of cultural devastation is ever needed, this is it. Jazz greats from the 40s and 50s. Popular music from the birth of rock and roll to the modern day. This is truly a tragedy. Why wasn't this material protected in, at least, a fireproof area, or, better, in some salt cave in the Utah desert?

> Why wasn't this material protected in, at least, a fireproof area, or, better, in some salt cave in the Utah desert?

...because the music business is far more interested in attempting to prevent the unauthorised copying of their material, than in preserving material for the long term?

Re: The Day the Music Burned

#13

I'd actually say the biggest disaster in history of music is what.cd being shut down. They had the largest collection of hard to find music, meticulously curated and in lossless formats. I doubt there will ever be such a complete collection and it was devastating to see it get killed like that.

Most of the music on WCD originated from physical media which still exists in the world. I would say mp3.com being wiped was much more significant in terms of truly lost music.

Re: The Day the Music Burned

#14

Reading the list of jazz, soul, and rock artists whose material was lost just made me shudder. If an example of cultural devastation is ever needed, this is it. Jazz greats from the 40s and 50s. Popular music from the birth of rock and roll to the modern day. This is truly a tragedy. Why wasn't this material protected in, at least, a fireproof area, or, better, in some salt cave in the Utah desert?

> Why wasn't this material protected in, at least, a fireproof area, or, better, in some salt cave in the Utah desert? ...because the music business is far more interested in attempting to prevent the unauthorised copying of their material, than in preserving material for the long term?

> because the music business is far more interested in attempting to prevent the unauthorised copying of their material, than in preserving material for the long term?

I guess burning it is the ultimate form of copy protection.

Re: The Day the Music Burned

#15

I'd actually say the biggest disaster in history of music is what.cd being shut down. They had the largest collection of hard to find music, meticulously curated and in lossless formats. I doubt there will ever be such a complete collection and it was devastating to see it get killed like that.

There have been some replacement Gazelle trackers that have popped up in its place, but they're definitely fractured bits of the whole that was what. Not only was it an incredible place just to find the music that you were looking for, but it was a community dedicated to the preservation and restoration of music. It taught me loads about audio codecs and compression, and was my introduction to the world of programming and automation. I miss it deeply.

Re: The Day the Music Burned

#16
post #6

Similar losses, though less dramatic and less all at once, have plagued the software industry too and in particular video games. An enormous amount of source code and assets for stuff made in the 80s and 90s in particular has been lost for good, which makes it far more difficult to preserve and update them. If there is some tiny silver lining possible out of these modern Library of Alexandria permanent destruction of…

>Back when copyright was purely a product of the written word the ultimate master information was also by definition included in every copy.

Not strictly true. There is a difference between a copy of a Bach concerto and the original score in Bach's own handwriting, even if the copy captures all the notes perfectly. Original manuscripts can contain scratched-out parts which are nevertheless of great interest to scholars (for example, Kafka experts are deeply interested in every scratched-out word from Kafka's originals). Handwriting can convey information about whether the author was writing in a hurry, or had the luxury of taking her time. One could even fantasize about discovering hidden messages encoded somehow in the original handwriting, which would be totally lost in a naive word-for-word copy.

"See what large letters I am using to write to you with my own hand!" (Galatians 6:11)

Re: The Day the Music Burned

#17
Very impressive investigative reporting. Just a minor note. Whilst performance this might be the greatest, a few phrase seems out of place. culture wise the Alexandria suffer a bigger lost to humanity.

Re: The Day the Music Burned

#18

I'd actually say the biggest disaster in history of music is what.cd being shut down. They had the largest collection of hard to find music, meticulously curated and in lossless formats. I doubt there will ever be such a complete collection and it was devastating to see it get killed like that.

I normally don't bother posting replies to comments on here, but I have to point out that this is an unbelievably bizarre and wrongheaded interpretation of the scale and depth of this disaster. Curated collections of lossless streaming music are possible to recreate. Master tapes can NEVER BE RECREATED. Comparing the loss of a collection of reproducible fungible audio files with analog magnetic tape is misinformed at best and disingenuous at worst.

Re: The Day the Music Burned

#19
post #17

Very impressive investigative reporting. Just a minor note. Whilst performance this might be the greatest, a few phrase seems out of place. culture wise the Alexandria suffer a bigger lost to humanity.

The scale is different, but the permanence is the same, and that's very profound because we tend to take it for granted that great works will no longer be lost like they were in the past. It's interesting to think about what will survive and what won't over a period of thousands of years. It seems almost unthinkable that any of the main Beatles catalog could ever get lost, library-of-Alexandria style. But on a scale of thousands of years, governments and nations will change, nothing is certain, maybe the whole Beatles catalog could indeed become permanently lost if the world gets taken over by dystopian censors. On a long enough timescale, anything's possible.

Re: The Day the Music Burned

#20

That is a heroically long article of which all I don't really have time to read, unfortunately. But it seems to me that these companies have an ethical responsibility to ensure that this important art is not lost forever, even if they technically own it and could ensure it never sees the light of day. What a loss.

Just out of curiosity, would you have preferred reading it on paper? Long reads on screens are not so fun imo.
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