Twenty-eight percent of music downloaders say captured music that they already own in another form (CD or tape) and 63% downloaded new music. This is a marked change from our June 2000 report, in which 13% of music downloaders said they captured music they already owned and 81% downloaded new music. Since the demographics of music downloaders have not shifted significantly in the last few months, it is possible that their behavior has changed. Music downloaders may be using services like Napster to expand their music collections and replace the music they own on old cassette tapes with new digital versions of the same material. Or, there is another possibility for this increase in the number of people reporting they have downloaded music they already owned in another form. More respondents may be giving what they perceive to be a legally safer answer to a question about the type of songs they download.
Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Reds for a Blue Planet, Who's Calling, Driftwoods, Elijah McLaughlin Ensemble II, Searching in Grenoble : The 1978 Solo Piano Concert, Luke Schneider Presents Imaginational Anthem vol. XI : Chrome Universal - A Survey of Modern Pedal Steel, Daughter of Experience, Who's Calling, and 97 more. , and , . Purchasable with gift card Buy Digital Discography $278.95 USD or more (65% OFF) Send as Gift Share / Embed 1. Harakiri, Kali Style 15:54 2. If I Had Possession 04:19 3. Bengali Prayer 01:18 4. Brahman's Blues 07:18 5. Tatanka 02:41 6. Medieval Nocturne 07:36 7. Autumn Child 03:31 8. Priest Spring Jazz 05:12 9. Hippie Song 03:56 10. Swamp Song 04:17 11. Rosey Bush 10:08 12. Gypsy Rosary 13:06 13. Himalayan Highlands 11:56 14. Rising Sun Song 03:26 15. Song of the Avatars 07:03 16. Mehera My Love 12:15 17. Mehera's Lament 03:38 18. Hymn for the Warriors of the Rainbow 03:45 19. White Buffalo 04:24 20. Walla Walla 01:54 21. Crazy Horse Soliloquy 03:49 22. Come to Me 03:57 23. Symphonic Quisada for the Prophet 04:40 24. Cry of the Nightingale 05:22 25. Song of God 03:58 26. Le Jardin (Ballet) 10:06 27. Libation 08:21 28. House of God 08:38 29. Breeze in the Palace 03:47 30. Queen's Ride 14:04 31. Bhupali 12:06 32. Golden Palomino 06:25 33. Memorial 03:53 34. Great Depression Blues 02:12 35. American Sunday 03:17 36. Bride of Thunder 04:59 37. Ride the Buffalo 06:13 38. Majnun's Lament 06:07 39. Omar Khayyam Country 07:27 40. Four Ladies Across the Water 02:50 41. Tears of Teresa 07:31 42. Blues from Lebanon 02:17 43. The Song of Leila 06:48 44. Califia 04:55 45. Tree of Love 04:21 46. Lady Fair 04:00 47. Wonder Song 02:00 48. The Fortunes of War 12:02 49. Hindu Christmas Carol 04:57 50. Shepherd of the Stars 07:42 51. Baba Boy 05:06 52. Murshida's Wally 04:22 53. Sea of Light (Baba's Ship Song) 05:36 54. Lord of Roses 15:53 about Robbie Basho (1940-1986) is widely regarded as one of the progenitors of what's commonly known today as American Primitive guitar. Growing up in Maryland alongside neo-traditional guitar explorers John Fahey and Max Ochs, Basho's path would take a decidedly different turn, bringing Hindi, Indian, Japanese and Native American musical traditions into his work. His albums for Takoma and Vanguard have left an indelible trail of influence across generations of musicians, from William Ackerman and Pete Townshend to Ben Chasny and William Tyler.Liam Barker first became aware of Basho having purchased Tompkins Square's reissue of Venus in Cancer, released in 2006. This led him on an incredible fact-finding expedition, unraveling the many layers of mystery surrounding Basho's life and death, all deftly compiled and depicted in his documentary film, Voice of the Eagle : The Enigma of Robbie Basho.During the research process, Barker came across a large cache of unheard Basho tapes recorded throughout his career, ranging roughly from 1965-1985. By arrangement with Basho's Estate and the original custodians of the tapes, Tompkins Square is set to release Song of the Avatars : The Lost Master Tapes, a 5CD set of previously unreleased material. The label will release a single disc vinyl LP as well. The set includes notes by Barker, Henry Kaiser, Steffen Basho-Junghans, Glenn Jones and Richard Osborn, as well as many unseen photographs. $(".tralbum-about").last().bcTruncate(TruncateProfile.get("tralbum_about"), "more", "less"); credits released March 5, 2021 license all rights reserved tags Tags folk acoustic guitar american primitive guitar indie folk singer-songwriter San Francisco Shopping cart total USD Check out about Tompkins Square San Francisco, California
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In an e-mail written in 2011, George Friedman discusses the tape: "I received word that your column had had some inquiry about the lost tape of the Doors concert at the Warehouse, Jim Morrison's very last performance. The tape isn't lost. I've had it in a safety deposit box for several years. I was a stage manager at the Warehouse during that and most of the shows at that classic venue. The tape is in two-channel stereo, having been recorded by 'Stagehand Bob' on the same machine he used for just about every early show at the Warehouse.My recollection is that I came upon the tape when Beaver Productions moved its offices out of the Warehouse, Uptown into a building at the Riverbend. The Doors tape, along with a stack of other Warehouse show tapes, were cast off and left behind as debris during the move. The rest of the tapes may have been destroyed. I regret leaving behind the Jimi Hendrix tape.At sometime along the way, I spoke with a gentleman named Sugarman, who represented himself to be a manager of the Doors. Mr. Sugarman said that the keyboard player had only a curiosity interest in that night's rendition of 'Riders on the Storm,' if I have that song's name right, but had no real interest in acquiring the tape, Jim Morrison's last performance notwithstanding.The Doors shows back then were chaotic, but the Warehouse performance was more music than theater. An exception to that would be at the very end of the show, when Morrison, who was wacked near a stupor that night, suddenly jumped up, grabbed the microphone and then smashed it right through the floor of the stage. What an ending to a great show. Nobody knew it when it happened, but the music indeed was over when they turned out the lights and the Doors left the stage."Copyright George FriedmanTECHNICAL INFO:TAPE SIZE: 7"TAPE SPEED: 3.75IPSTAPE LENGTH: 1800ft At 3.75ips = 96mins (Side A)/96mins (Side B)
The idea that someone who downloads a camcorder-made copy of a theatrical movie is "stealing" it is ludicrous. Yes, it's technically illegal, but let's use some common sense. That's almost as silly as saying I was guilty of theft when I dragged my audio tape recorder into a movie theater and recorded Star Trek II on cassette. I did not "steal" from Paramount to siphon away their revenue but because I loved the movie. I listened to those tapes while sitting in the back seat on long car trips and sometimes while falling asleep at night. My possession of those two 60-minute el-cheapo cassettes (which I distributed for free to two friends) did not reduce the number of times I saw the film. Would I have been upset had someone attempted to prosecute me for this copyright violation? Of course.
There is, of course, a difference between those who pirate movies to sell them at cut-rate prices versus those who download a copy onto their hard drive for personal use. The difference is profit. I agree that it's not only illegal but immoral for someone to make money from someone else's hard work without providing fair remuneration. But I disagree that someone who is downloading a movie because they're curious about it or because they love it and want a copy before it's available on DVD should be subject to punitive action. It's about time the studios recognize this as well.
For someone to argue that downloading and watching a camcorder version of a film is akin to stealing the price of ticket indicates the person making that charge has never watched a camcorder-made video. Even the best are almost unwatchable and sitting through such a copy all but mandates that the viewer has already seen the movie in a theater. In many cases, camcorder copies are not meant to infringe on the studio's copyright. They are meant to give a 13-year old boy the chance to re-live his favorite scene from Iron Man when his mom is too busy to drive him to the theater to see it for the fifteenth time. It's not a substitute; it's an enhancement. (Again, I'm referring to free downloads, not DVDs bought in Times Square. Those selling the latter should be prosecuted.)
Would it impact revenue? Undoubtedly. There are some people who would use the downloads as "review substitutes." Instead of going blindly to see a movie, why not download it and watch part of it to see if it's worth the price of admission? (If it stinks, you can still watch the rest, after a fashion, on your computer.) Studios that see only the lost $ are clinging to the past. And you can't move into the future that way. At some point, they'll be left behind, shaking their heads and wondering where it all went wrong. The genie is out of the bottle. Downloading, both legal and illegal, is a way of life and it has become ingrained into the fabric of a generation's way of looking at things. Those who find a creative way to become part of this new wave will make money. Those who fight it and threaten lawsuits will find their revenue streams drying up.
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