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record collecting

thanks to all of those who have helped. I must admit, it was the Recording Angel that first inspired me to write about music collecting - particularly the passage about Clarence - i have since interviewed a man almost as interesting as him - possessing 15,000 records, but owning no turntable, playing them only at a friend's...

anyway, further to my last mailing...

just what is it that constitutes a 'collector'? - the amount of items, the genre of music, categorization...?

in an age where portable MP3 Jukeboxes will carry up to 1,200 CD equivalents by 2005 - possibly all downloaded from the Internet (either paid for or poached in some way); where CD burners and mini-disc players/recorders allow those with only the minimal knowledge of music to effectively copy and then possess the 'collection' of someone else; where 'originality' is merely a term for re-appropriating (see bastardizing) records of old in the market place; and where a 'pure' collector finds a much valued track, acquired with much effort, now remixed and released on a compilation album - is the nature of collecting music bound to change?

naturally the market has a major influence on what music enthusiasts [is this different to collectors?] can acquire. is collecting perhaps a way of resisting this? Norman Lebrecht's book 'When the music stops' has been of great interest in the area of classical music and its alleged demise - due also in part to the role that critics play. A music collection without doubt becomes an extension of the self. When items that have been fought over and tears shed for find themselves re-hashed by the latest star, or used as a backing track to the latest cough syrup or car - is the value/aura of those items diminished or heightened?

one last question - does a collection, as an entire entity, provide space for collectors to 'produce'?

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