Theory of N

That's not really always the case. I've had people asking my college jazz fusion band to play at their event because they absolutely loved the music we play but didn't feel paying musicians in general was worth it. This has happened more than once and these aren't venues, these are private events where "exposure" isn't worth much if anything. A little background on this band: it has two events a year that it does regularly and is mostly for educational purposes so its intent is not to make money. However, this band is really good and the spring concert consistently has the highest turnout of any campus event through the year. So these cases where people ask us to play for their events are not the band looking for work. These are people that have heard us perform, took the time to seek us out, and genuinely ask us to take time away from what we do to go play for them. For free. Again, if you don't feel it's worth paying for the musicians' time, play recordings over the loudspeaker or something. If it's not worth anything to you, why have it in the first place?

Again, the specific dealings between the NFL/CBS and Bruno Mars aren't necessarily the issue here. I agree that the deal was mutually beneficial and I think both parties understood that but I don't believe for a minute that it was presented that way. There are TONS of artists clamoring for that spot in the halftime show. There is only one Superbowl. It's a privilege to play at it and the initial contact was likely from the NFL/CBS saying something along the lines of "We've selected YOU to play the halftime show!" I'm not even saying that's necessarily a bad thing. Again, it was definitely a mutually beneficial agreement so I'm not too worried about it. You CAN divorce performance from content. Yes, performance is just another manifestation of content. A recording would be another manifestation of that content without live performance. Sure. And you should pay for that. Most of the labor comes from preparation of that "branded content". Of course we are. Hours and hours of practice that you don't see go into preparing a quality performance. The performance itself is the fruition of these hours of work and to have it paid for in "exposure" is an insult. (except in very rare cases such as the superbowl, as we've established)

Why are we framing it as if Bruno Mars was working for the NFL? Because it's the NFL's event. The NFL decides who plays. The NFL approached him about performing at their event (most likely. I'll admit I don't know how this works but it seems more logical than auditions or something of the sort). It's totally different from playing a tour. In the case of a tour, the event IS Bruno Mars' performance. He (or his agent, manager, record label, whatever) organized everything about it and therefore, foots the bill. That being said, he is still getting directly paid from ticket sales to make up for the expense. If there were other performing acts, you can bet they'd get a portion of the earnings too. Compare that to the Super Bowl. The event is the game. The NFL organizes everything about it (including the halftime act) and foots the bill. The NFL is getting directly paid a portion of ticket sales to make up for the expense. The performing acts get nothing. That being said, I am not too upset about this particular situation. It's been said that the exposure more than makes up for the lack of a paycheck in this case and I think I agree. The principle, however, bothers me to no end and is quite common practice, unfortunately. If only it wasn't so difficult to unionize art... You must be talking about getting paid specifically for your music such as album sales and the like. It's a bit different when talking about performance. You're not paying for the music, you're paying for the performance, just like any other performing art: stand up comedians, acrobats, clowns or magicians, you name it. You're not paying for the content itself, it's the performer putting on a show. Otherwise, why not just pop a CD in and play it over the PA? Or in the case of the others, look up youtube videos and play them on a projector or something?

Unfortunately, that's not how it works either. There are always people that jump at the opportunity to play for free because they don't realize it's a shit deal and the venues won't be empty because of these people.

That's not how it works. When business practices are established, people generally don't attribute outside sources to their establishment. If someone tried to get you to play for exposure alone and you ask why, they're not going to tell you "oh, because that's how the Super Bowl does it."

In the specific case of the Super Bowl, you have artists who will still have tons of money without getting paid and the exposure is well worth it so it's not that big of a deal. The problem is the principle here and the potential for setting precedent. It's entirely possibly (and likely) that venue owners will hear about it and think "Oh, that's how professionals run things. Cool, that saves me money AND helps out the artists! Win win!" when obviously, that couldn't be further from the truth.

Unfortunately, I haven't had too much time to dedicate to this project's organization recently but I'll be at a point where I can soon. This project WILL see the light of day but I'm not deluded enough to think we'll meet our original deadline and that's mostly my fault. HOWEVER I have good progress from a lot of you and even completed tracks from some. For the time being, shoot for Feb. 15 for complete tracks. I'll be spending the next few days getting back in touch with everyone and seeing where we stand. We still need more mixers and artists. I'm doing what I can to recruit but any suggestions of people I may not have talked to or heard about are greatly appreciated.

Okay, so I desperately need two people that can help split the cost of a room for three nights with myself and a friend. The other two that were planning on going just bailed on me.

It's planned to be up tomorrow.

Hit me up when you're back. I play a LOT so it'll be easier that way. My name is Kitlana Arco

I'm on Cactuar server. I know Brushfire was at one point. I don't know if he just stopped playing or if he switched servers. But this is where I'm at right now: Bard - 50 (Full DL, two pieces of AF+1, and just got my Relic +1) Dragoon - 39 Conjurer - 25 Pugilist - 22 Marauder - 22 Thaumaturge - 18 Arcanist - 9 Leatherworker - 50 Carpenter - 50 Weaver - 50 Culinarian - 37 Blacksmith - 29 Alchemist - 23 Armorer - 18 Botanist - 34 Fisher - 33 Miner - 17 Alchemy is for 1-handed WHM weapons. Carpentry is for 2-handed. And alchemy for grimoires makes sense to me. You'd get the leather needed to make it from a leatherworker but the magic ink that acts as a conduit for Arcanist spells is the final touch. Seeing as it's the last part in the process, it would make sense that Alchemists take materials from leatherworking and basically enchant it

If my abs were working, I'd show off my abs.

Yeah, I'll jump in here again. It's always interesting

http://mashable.com/2013/11/07/video-games-brain-growth/#:eyJzIjoiZiIsImkiOiJfdzV6ODRpMXloOWZ5Y284aGJqam5mXyJ9 I believe this is relevant. http://www.nature.com/mp/journal/vaop/ncurrent/full/mp2013120a.html And there's the study.

Both, obviously.

It's NOT a problem. This thread is about the MM25 album. You're derailing it into Spotify hate instead of focusing on the positive aspect that OCR even had the opportunity to promote its music in new outlets. While you may not like Spotify, the fact that we're on it is a positive thing.

It's not on there as a way to make cash. It's there to extend our reach to listeners that use Spotify and may not have otherwise heard of OC ReMix or its music. Regardless of revenue, it's doing its job.

I guess I should pop in to tell you guys I'll be there.

Update on the first page. Check it!

Today is the day! Post in the project subforum or pm me your wips! Excited to hear what you guys have

It's up to date. That track WAS claimed by me because I had an almost complete wip from like 5 years ago. I dropped it because I find it really difficult to rivisit such old tracks and I feel like someone else could do something much better. I've had interest in a claim but no wip as of yet.

Haha, no. I don't know what the deal was but we're good now. PMs coming soon!

Oh boy. Good to see another SMRPG fan

Man, I was exactly the opposite. Sightsinging/eartraining was the easy, fun part of my composition degree (that I never got to finish because fuck federal aid. 5 years down the drain). Theory wasn't really difficult, the concepts stuck. I just found it really boring.

I can't stand huge groups like that. I much prefer a smaller tight-knit group.