In the early 1990s, I explored thousands of compact discs at Tower Records in the Foggy Bottom area of D.C. The assortment of music was amazing, and I could find just about any disc I was looking for, albeit for a fat $18.95. I’d bring home my discs, store them in a big CD storage rack, and play them on a large, multi-component stereo rig.

The late 90s brought the internet revolution and things began to change. I began to buy my CDs from online sources like Amazon.com. And college students began to use the budding internet for what the music industry considered nefarious reasons—as a catalyst to “share” commercial music, in the form of digitally compressed files called MP3s. The music business had begun a rapid cascade of change.

Today my trips to the music store seem like ancient history. Tower Records is gone; we sold most of the stereo components at a yard sale, and we upgraded to a broadband internet connection. I do buy the occasional CD. But for the most part I now get digital music files, either through iTunes for the commercial stuff or from a variety of sources on the internet that offer live music from “share friendly” artists. I have digitized most of my physical CD collection into iTunes as well.

When I play that music, I select an iTunes playlist on my Macintosh, and it sends the high fidelity digital music out to the surround-sound speakers in my living room. The sound is excellent. If I want mobile music, I transfer that playlist to an iPod or simply burn my own CD for the car.

All of these changes represent a revolution in music technology. While the physical CD stores are almost gone, the availability of music has grown significantly. Today you can find most any style of music in the form of streaming audio, pay per-file songs, and files distributed by peer-to-peer technology. Sounds amazing, yes?

But not all is well in the new music revolution. The question of who owns the music and how we can use the music we have legally purchased is evolving, at least in the eyes of the industry that produces commercial music. The Recording Industry Association of America has spent a lot of money trying to keep people from sharing its members’ music, and have even said that ripping, or copying a CD onto iTunes or your iPod, represents a copyright infringement that violates the doctrine of fair use. In simple terms, fair use has meant that you are allowed to make copies of music you have purchased for your own use, but giving that disc to a friend can get you in trouble. So what’s right and what’s wrong?

We’ll explore this meaty topic in coming months. We’ll learn about the technology, and find some good (and legal) places to find new and old music online—much of it free. We’ll also check out some good new local music. Believe me, there’s more out there today than two ears could ever listen to.

Start by checking out one of the best sites on the web for free music: www.archive.org. Click on “live music archive” and take a look around at the selection of artists and the more than 47,000 concerts available. All are by share friendly artists who want you to download their music for free. My favorite on Archive right now is the jam band Umphrey’s Mcgee, who have more than 940 shows available.

Remember Duke Ellington’s words: “If it sounds good, it is good.”

 

Arts Brief:

Film Benefit Features Two By Cumbo

In 1985 the piercing green eyes of a young Afghan girl, featured on the cover of National Geographic magazine, captured the imagination of America. Twenty years later Shepherdstown filmmaker Lawrence Cumbo, on assignment for National Geographic, chronicled the search by journalists to find her. Search for the Afghan Girl is both her story and that of the journey—a trek that nearly cost Cumbo and others their lives. Abducted and held at gunpoint, the group was saved by luck and happenstance, and went on to complete their quest.

At a special screening of the film April 19 to benefit the Shepherdstown-based American Conservation Film Festival, Cumbo will introduce and discuss Search for the Afghan Girl and one of his early films, Annie & Eddie: Call in the Wild. The evening also is a kind of send-off for Cumbo, who with his family is heading to New Zealand for a two-year stint with a television production company there.

Films begin at 7:00 pm in the cozy theater at the Erma Ora Byrd Center on the Shepherd University campus (at the end of the King St. entrance).  Following the screenings, film goers are invited to a reception at James Cooper Gallery on German Street in Shepherdstown—with music by the Shepherd University Jazz Combo. Tickets to the films and reception are $20.  Proceeds benefit the 2008 American Conservation Film Festival.  Tickets will be sold at the event or at (304) 876-7373; online at www.conservationfilm.org.

First Saturdays Features Shepherd Artists

Eleven Shepherd University art students will exhibit their work at The Arts Centre Saturday, April 5.  The special exhibit is part of downtown Martinsburg’s “First Saturdays” event, which kicks off its second year April 5. This exhibit of student artwork will be followed by a solo exhibit of sculpture by Shepherd Universtiy art professor Dow Benedict.  The exhibit, titled “Dream House Revisited,” will be on view at The Arts Centre April 11–May 23.  As part of First Saturdays, The Arts Centre also will offer art classes on the first Saturday of each month.  The classes will be open to drop-ins, and age-appropriate classes are planned. Classes may include beading, experimental watercolor techniques, and decorative acrylic painting. 

For information, www.theartcentre.org or (304) 263-0224. The Arts Centre is at King Street and Maple Avenue in Martinsburg. Open Tuesday–Saturday, 9 am to 5 pm.