I don't know, I also feel like 'data hoarding' is something that's been getting more popular in recent years. Maybe because the ephemerality of the internet is starting to show.

Yes, in the old low bandwidth days i participated in some live concert snail-mail CD swap online mailing lists / forums

I think the new model with music is they don't make a very serious attempt to keep a monopoly on the content. They only really care about a monopoly on convenience. If anyone would set up some convenient way to stream these concert recordings they would get sued to oblivion. But the recordings circulating as inconvenient downloads? Not a big target.

These are all almost 10 years old, many are 20 or 30 or even 40 years old. Time makes a big difference.

There's a 2004 article about the taper [0] posted elsewhere in the thread, he definitely did get into a bit of trouble at the time.

> When he got back from England, Shanahan–who’d known Jacobs’s family for years–lectured him, warning him always to get clearance from bands before recording them and to be careful when trading tapes. Soon after this, though, Jacobs snuck his gear into a Bob Mould solo gig at Metro–he’d been unable to get permission, Shanahan says–and was caught by venue staff. Shanahan didn’t let him on the premises again for six years, relenting only after Jacobs got Flaming Lips manager Scott Booker to plead his case.

0: https://chicagoreader.com/music/tapehead/

Everybody still cares, so you should get them while they last. Nobody who cares has noticed and maybe won't notice for a while, or it won't be in the budget to go after IA after just hitting them. The only protection these probably have is that they are recordings of real bands, and the bands that later became corporate darlings are in the minority - and labels like Touch & Go and other Midwest indies not only probably don't exist anymore and are not interested, but also don't control any of the publishing for the people who put out albums on their labels.

But the ones playing the music are all very old people now, and many of them have likely sold their publishing to the our blob overlords for a pittance. If massive multinational media corporations can make it difficult to figure out what they might have a claim to, it will end up easier to take the whole thing down. They attacked IA last time based on wax cylinders.

The reason orgs like the RIAA exist is to take PR hits for the industry; they will eventually demand they be taken down and probably make claims based on the length of time they were hosted. Get what you want while you can, although if you're a Millennial/Gen Z hipster you won't know any of it because it wasn't marketed to you (or anyone, it was just music, we enjoyed it.)

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edit: Looking through the list, I remembered how awful Chicago shows at the big clubs were, how Metro banned punk rock, and how I only ever went to those places to see touring bands that managed to get an opening spot for some A&R industry plant. Most of these are not good, and tons of them have all of their publishing owned by multinationals. It's the kind of selection you'd expect from somebody who thought that Bleach-era Nirvana was just alright and stalked Pavement.

Was happy to see a bunch of Fireside Bowl shows, but it looks like he dodged the good ones. This is almost pure "indy." I bet anybody could still find 100 that they'd like though so I don't want to seem too negative. This is mostly Gen X mainstream suburban hipster music.

Concerts usually have more than one act.

Sounds like they might have been working the gigs? Maybe a sounds engineer