“However, if I substitute music nerds’ bands X, Y, and Z, for Joe Lunchbox’s A, B, and C, do I really gain that much?”
It depends. There’s certainly another couple levels of fluff that’s all hype and flavor of the month hyping, but by and large, the people staffed at indie stores are well versed and eclectic, even if the idea of a tastemaker doesn’t impress you. There is a social element to exposing creative work, and as we know, relying on the internet has about as many benefits as it does detractors.
“I don’t see as how this has disappeared with the rise of the internet.”
It just has. That’s a fact. Authors mainly write books for other authors, and their friends. Bands burn out their home audiences, and can’t support themselves on touring unless they get licensing deals, or invited to big festivals. Massively popular artists like Jay-Z, U2, REM, and Madonna are signing 360 deals. Someone like Prince doesn’t even have a label right now. There are only about 8 Hollywood actors who can guarantee a film gets financed now. That’s a new reality within the last 5 years, and the market realities trickle down. Barnes and Noble refreshes it’s shelves monthly and return what doesn’t sell for a credit. The mom and pops often keep a product on the shelves until it sells. An internet database is an endless flood of buried content.
“There is a social element to exposing creative work, and as we know”
Yes, I do know. I suppose my main point is that the specialty shop is a soggy compromise between the sort of society one finds in noncommercial life—you know, among family, friends, colleagues, fellow club and organization members, fellow churchgoers, etc.—and the efficiency of the internet. It shortchanges you on both counts.
“Bands burn out their home audiences, and can’t support themselves on touring unless they get licensing deals, or invited to big festivals”
Was this not the case back in the day?