Report this album or account. If you like Bob Ostertag, you may also like:. Imperial Horizon by kevin drumm. To me, this album sounds like a dying planet that was once full of life, but is now mostly desert with a few pockets of water. This music creates such specific pictures like that, and that's why I enjoy it so much. Perennial by Isolating. Orchestral uncertainity with the soundtrack of future days.
William Stryjewski. Bandcamp Daily your guide to the world of Bandcamp. No matching results. Explore music. Get fresh music recommendations delivered to your inbox every Friday. Motormouth by Bob Ostertag. Lu Liu. Diana Arens. Louis Rausch. Jeffrey Schmidt. In the real world, I have no resources with which to enforce those conditions. And as we shall see, the problems I have encountered in this endeavor have been entirely in another direction. This was no big surprise, as the record business never worked for most musicians.
What is surprising is how many musicians seem either to not know this or to have forgotten it. The whole structure of the industry put corporate interests first, musician interests a distant second. Actually, this is not quite true. The biggest stars get taken care of pretty well. Lady Gaga should have no complaints.
But many people would be shocked to know how many bands whose names they know and CDs they bought never saw any money from those sales.
My income comes from concerts, not recordings I have performed internationally since For most of my audience, before the Internet came along just finding my recordings was a major undertaking. Concerts in various parts of the world were often attended by people who travelled long distances to get to the show, hoping to find some recording for sale which they had heard about but were never able to find. Enter the Internet. What was a difficult, tentative, and ultimately impossible decision for big name groups like Radiohead was a no-brainer for me.
I was invited on to the board of a non-profit called Question Copyright, which is all about trying to create a real digital commons. And the total downloads of all my recordings has gone well over , Since numerous sites now offer my music for downloading I do not have an accurate total.
Free downloading has created a kind of collector or hoarder who is unique to the digital age. In my university classes, I query my students about their downloading habits, and everyone who is deeply into music has figured out how to download music for free, despite the best efforts of the record business to stop them, and have far, far more music downloaded to their laptops and iPods than they will ever have time to listen to in their entire lives.
Gigabytes and gigabytes of meaningless data. These same students invariably report that they have actually listened to all the music they paid for. If a virtual tree falls in a virtual forest and no one opens the file, does it still make a sound? This is a real conundrum. Have I cheapened my music by not monetizing its recorded artifact? For most people for whom new music is an important part of their lives, however, the most relevant commons has become iTunes, Spotify, Pandora and so on — Web sites that allow the user to begin from their favorite music and then link outwards to music that has been somehow identified as similar.
College kids and fanatical collectors might work late into the night figuring out how to get their files for free, but for most people, the sites listed above are the main way they discover new music.
And these sites do not accept music that is free. They are all about making money. Jacques Sirot is an independent French artist and film-maker. He used my music as the soundtrack for one of his recent films, as I have made clear he and everyone else is free to do. Making sure to dot every i and cross every t, when he posted his film on YouTube he noted:.
I believe in good faith that the claims described above are not valid, and that I hold the necessary rights to the contents of my video, for reasons cited. I have not knowingly made a false declaration and am not voluntarily using this contestation procedure in an abusive manner to undermine third party rights. I understand that the forwarding of fraudulent contestations can lead to the closure of my YouTube account. For more information, please visit your Copyright Notice page.
Yours sincerely,. Working with scholar Sally-Jane Norman, Jaques spent considerable time researching the matter, and eventually contacted me, and I spent hours more looking into it. Finally I figured out what had happened. Years back, I released some CDs on Seeland, a label run by the notorious media guerrilla group Negativland.
Negativland was famously sued for a parody of a song by U2, which made them into icons of free expression and resistance to absurd claims about the reach of copyright. I had left their label years ago when I put my music under the free Creative Commons license. As is often the case with tiny, underfunded labels, there had been a disagreement about accounting, with the Negativland people arguing I owed them money for unsold CDs that were returned by stores.
Just the sort of thing that led me to give up on small labels and give away my music. Well, it turned out that, without informing me, Seeland had continued to collect royalties on that music in an effort to recoup what they claimed to be their losses. But even these are problematic. My friend Etienne Noreau-Hebert recently uploaded a new work to SoundCloud, to share with others for free, and received back the following reply:.
As a result, its publication on your profile has been blocked. Kanye West, of course, is a major figure in the world of corporate hip hop, with megahit records, movies, a fashion line, and more than 30 million paid digital downloads of his songs. Etienne is an unknown musician making abstract electronic music he would like to share with others for free. There is nothing in his music that sounds even remotely like Kanye West.
Perhaps there is someone at SoundCloud to whom Etienne could appeal, if he dug through their web site, sent the emails, waited through various levels of phone robots, etc. Perhaps not. But Etienne is giving away his music for free. Where is he going to get all that time? Or rather, he is trying unsuccessfully to give away his music for free. Little guys like Etienne are not the only victims of netbot police.
If you want to know who rules the roost on the Internet, that list would be a good place to start. To learn more about Bob Ostertag, just put his name into Google. You will find his own web site, the Wikipedia entry on him, and, well, more links and information than you could possibly absorb. But that's life in the digital age Contact Bob Ostertag. Streaming and Download help. Report this album or account.
If you like Bob Ostertag, you may also like:. The Mirror by People Like Us. I love a mash up and I love the selections taken from BBC archives on this album. Everywhere, an empty bliss by The Caretaker. A journey everyone should listen to. Teeter by Kevin Drumm. Producer Yoyogi Koen takes inspiration from five demons from Japanese folklore, creating spooky, surreal soundscapes for them to inhabit.
Minimal Surface by Thee Reps. The long-running NYC group's full-length debut explores the various guises of minimalism in music, from Krautrock to post-rock. Rheumatic by Kai Meara. In the real world, I have no resources with which to enforce those conditions. And as we shall see, the problems I have encountered in this endeavor have been entirely in another direction. This was no big surprise, as the record business never worked for most musicians.
What is surprising is how many musicians seem either to not know this or to have forgotten it. The whole structure of the industry put corporate interests first, musician interests a distant second.
Actually, this is not quite true. The biggest stars get taken care of pretty well. Lady Gaga should have no complaints. But many people would be shocked to know how many bands whose names they know and CDs they bought never saw any money from those sales. My income comes from concerts, not recordings I have performed internationally since For most of my audience, before the Internet came along just finding my recordings was a major undertaking.
Concerts in various parts of the world were often attended by people who travelled long distances to get to the show, hoping to find some recording for sale which they had heard about but were never able to find. Enter the Internet. What was a difficult, tentative, and ultimately impossible decision for big name groups like Radiohead was a no-brainer for me.
I wrote an essay called The Professional Suicide of a Recording Musician that was widely read and commented upon. I was invited on to the board of a non-profit called Question Copyright, which is all about trying to create a real digital commons. My first release to bypass the CD stage and go directly to the Internet for free download, w00t , was downloaded about 40, times. And the total downloads of all my recordings has gone well over , Since numerous sites now offer my music for downloading I do not have an accurate total.
Free downloading has created a kind of collector or hoarder who is unique to the digital age. In my university classes, I query my students about their downloading habits, and everyone who is deeply into music has figured out how to download music for free, despite the best efforts of the record business to stop them, and have far, far more music downloaded to their laptops and iPods than they will ever have time to listen to in their entire lives.
Gigabytes and gigabytes of meaningless data. These same students invariably report that they have actually listened to all the music they paid for. If a virtual tree falls in a virtual forest and no one opens the file, does it still make a sound? This is a real conundrum. Have I cheapened my music by not monetizing its recorded artifact?
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