Oc­to­ber 2000

Exclaim! - - SHOTS - JAMES KEAST

CHRON­I­CLE OF THE LIF­ERS

One of the uni­fy­ing threads of the Canadian mu­sic scene are the “lif­ers” — artists whose ded­i­ca­tion to art and mu­sic means they’re still at it, even 17 years later. In this is­sue alone, Sarah Harmer an­swered our Ques­tion­naire (then 20 Ques­tions); At the Drive-In were pro­filed for their new al­bum The Re­la­tion­ship of Com­mand; Ryan Adams struck out from his band Whiskey­town and launched a pro­lific solo ca­reer; we cel­e­brated the ten-year an­niver­sary of pi­o­neer­ing elec­tronic la­bel Ninja Tune; and we re­viewed Peaches’ de­but Teaches of Peaches.

TURNS OUT NO

Af­ter we pub­lished an ex­am­i­na­tion of the rise of file-shar­ing ser­vice Nap­ster, one reader wrote in to say “The record­ing in­dus­try will eas­ily sur­vive this new elec­tronic me­dia. The sim­ple fear of los­ing a few dol­lars is much too nar­row­minded a view to have.” An­other reader weighed in with “Show me one artist who has been made poor by Nap­ster. If free ac­cess will de­stroy the mu­sic in­dus­try, why hasn’t Ran­dom House burned down li­braries?”

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