Data In, Chaos Out Song Free Download

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Although there were already networks that facilitated the distribution of files across the Internet, such as IRC, Hotline, and Usenet, Napster specialized in MP3 files of music and a user-friendly interface. At its peak, the Napster service had about 80 million registered users.[6] Napster made it relatively easy for music enthusiasts to download copies of songs that were otherwise difficult to obtain, such as older songs, unreleased recordings, studio recordings, and songs from concert bootleg recordings. Napster paved the way for streaming media services and transformed music into a public good for a brief time.

Along with the accusations that Napster was hurting the sales of the record industry, some felt just the opposite, that file trading on Napster stimulated, rather than hurt, sales. Some evidence may have come in July 2000 when tracks from English rock band Radiohead's album Kid A found their way to Napster three months before the album's release. Unlike Madonna, Dr. Dre, or Metallica, Radiohead had never hit the top 20 in the US. Furthermore, Kid A was an album without any singles released, and received relatively little radio airplay. By the time of the album's release, the album was estimated to have been downloaded for free by millions of people worldwide, and in October 2000 Kid A captured the number one spot on the Billboard 200 sales chart in its debut week. According to Richard Menta of MP3 Newswire,[17] the effect of Napster in this instance was isolated from other elements that could be credited for driving sales, and the album's unexpected success suggested that Napster was a good promotional tool for music.

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The industry's approach to piracy swiftly alienated and criminalized a nascent, decentralized archivist workforce. Return to the example of OiNK. An international community self-regulated with simple rules as a backbone. One particular goal underscored the user experience: The correct, complete entry of musical metadata. OiNK gamified strict cataloging of the requisite details accompanying each release, promising constant reward to virtuous uploaders (new music for free, drawn from a seemingly endless historical library). To be sure, some uploaders were more meticulous than others, but the setting and constant satisfaction of a basic standard showed that a disjoint community could unite around common principles and work towards an informational good.

This money floats in the ether because compositions and master recording data aren't properly paired; that essentially means songs are generating royalties, but digital streaming providers and collection societies can't always determine where to route those royalties. So the money sits, uncollected and often lost forever to those with rightful claim to it. The development of a true central archive (something the industry has attempted and failed for years because of various squabbles) upheld through decentralized effort could have solved attribution issues before songs generated considerable revenue, helping corporations and creators alike in reducing the amount of money held in the black box.

Greg Kot\u2019s 2009 book Ripped gives numerous examples of enterprising artists (The Beastie Boys, Tom Petty, Radiohead, Prince, Wilco) harnessing the power of the internet. In many cases, this meant using free downloads (or inventive pay models, as Radiohead did in pre-figuring Bandcamp) to galvanize fan activity, press conversation, and, perhaps most importantly, economic activity in other verticals relating to an artist's public persona (ticket sales, merch sales, brand deals etc).

OiNK commanded users to maintain a certain ratio of uploads to downloads. For every megabyte of data you downloaded, you were expected to upload an equal or greater number. A ratio below 1.00 meant you were parasitic; ratios above 1.00 signaled virtuosic users, fully committed to community standards, uploading as much or more than they downloaded. Those who maintained ratios above 1.00 for sustained periods or cultivated ratios far exceeding 1.00 unlocked privileges, starting with invites for new members, extending to enhanced download speeds, exclusive forums, and content, etc. Those who remained below 1.00 for too long risked suspension and expulsion. Hosted on a series of servers in Ellis\u2019 home in the British countryside, OiNK\u2019s model relied not only on the self-policing of a dispersed community, but also on the understanding that these ratio rules benefited all OiNK users. On a microcosmic scale with relatively low stakes, it is a socialized concept that also allows for a dose of exceptionalism: Do a great job and you\u2019re rewarded in kind, do the expected work of simply maintaining a healthy ratio and continue to reap the rewards of the wider community\u2019s work (and, furthermore, maintain the fabric of the community).

This labor could have served as payment in kind (or eventual payment after a certain point) for tracked songs and bodies of work. Complete enough metadata over enough time, help enforce community standards, you get free downloads. Share that music illegally, you get banned from the community and charged with a commensurate real-world penalty (not slapped with an injurious criminal case\u2014at least not for small infractions). I\u2019m spitballing, but the idea of gamified work and self-regulating communities takes loose shape on sites like Wikipedia. From here, you can also imagine how streaming platforms and storefronts like Bandcamp could be built atop this \u201Cpirate\u201D foundation.

There is, undoubtedly, a level of implicit fealty to the recorded music business in Chatterley\u2019s vision that seems to ignore the full scope of piracy\u2019s capacity to help drive attention and profit elsewhere. It\u2019s not so difficult to imagine a gqom producer using WhatsApp or any artist starting a Discord channel, for example, to plant a musical seed that draws considerable press or social engagement. Some might remember The XX\u2019s campaign for their sophomore album Coexist. The band gave one fan a free copy of the album eight days before its release with the instruction to share the album with whomever they pleased. The spread of the album from one hard drive to the next was tracked on The XX\u2019s website, where fans could also eventually stream songs from the album and pre-order it while they watched it spread across the globe on a mesmerizing map (pictured below). Coexist spawned one of the band\u2019s biggest songs (\u201CAngels\u201D) while helping to push them towards prime festival billing and sold out arena shows. 2b1af7f3a8