I wasn’t sure whether I should file this under ~movies, ~music, or ~society, so I put it here. Feel free to move it elsewhere.

I had a thought this morning: I’m confused about the attention-seeking behavior of famous and wealthy celebrities in the music or film industries, past their peak.

From my point of view, as someone who is neither famous nor wealthy, I think that if I ever reached that level, then I would be more than happy when people stop paying attention to me, and instead start swooning for newer, younger artists on their way to stardom.

It would signal to me that my time to be in the spotlight is over, that it’s my turn to pass on the torch, and that I can now ride into the sunset, content to potentially have several decades of time left for me to just enjoy a quiet, cozy life, making use of my money to amuse myself as well as to invest it in worthy causes, so that I not only leave behind a legacy of fame and wealth, but also improve the lives of other people.

Every famous and wealthy musician or actor could do this.

But so many of them don’t. They choose to, instead, do everything they can to stay in the limelight. They pull extreme stunts with which they harm themselves, which ironically, in many cases only end up embarrassing in the eyes of the world anyway. And they do all of this to retain the attention of people who have long forgotten about them.

What for? I don’t get it.

Is it really so that fame and wealth just corrupts a person to such an extent that they become addicted to being the center of attention?

This thought, by the way, came about because I’ve become aware of many such “extreme and dangerous attention-seeking stunts” from many celebrities in the last few weeks. It’s not about one celebrity in particular. It’s been a thought that has been brewing in my head for a while.

Inspired by the @culturedleftfoot post.

Try providing links, and, if you feel that your country is too big for this exercise to make sense, feel free to limit your choices to your region, state, city or even neighborhood!

Definition of Homeland (adapted from Wikipedia):

A homeland is the concept of the place where a cultural, national, or racial identity had formed. It can also mean the country of nationality, the place in which somebody grew up or lived for a long enough period that shaped his or her cultural identity, the place in which one's ancestors live for generations, or the place that one regard it as home.

This article from last year provides an alarming look into the woes that media preservation (specifically audio and video) is facing this century due to a content explosion that shows no signs of slowing down. It’s not a new problem, as journalist Bill Holland showed nearly 20 years ago (warning, it’s a long read).

To summarize: In the past, many predecessors to existing media studios did a bad job of archiving their collections of recorded material. In some cases they actively destroyed or threw out parts of their catalogs to make way for new material. This wiped out portions of the available media to be preserved, especially the older stuff. Now that most studios have improved their archival practices though, their remaining catalogs are facing a new foe: Moore’s Law.

The problem with LTO (tapes) is obsolescence. Since the beginning, the technology has been on a Moore’s Law–like march that has resulted in a doubling in tape storage densities every 18 to 24 months. As each new generation of LTO comes to market, an older generation of LTO becomes obsolete… Already there have been seven generations of LTO in the 18 years of the product’s existence… Given the short period of backward compatibility — just two generations — an LTO-5 cartridge, which can still be read on an LTO-7 drive, won’t be readable on an LTO-8 drive. So even if that tape is still free from defects in 30 or 50 years, all those gigabytes or terabytes of data will be worthless if you don’t also have a drive upon which to play it.

If the worst case scenario were to happen, this is apparently what it would look like according to “a top technician at Technicolor”:

“There’s going to be a large dead period,” he told me, “from the late ’90s through 2020, where most media will be lost.”

But not everyone is that worried, the article also includes this counterpoint,

“Most of the archivists I spoke with remain — officially at least — optimistic that a good, sound, post-LTO solution will eventually emerge.”

/u/boredop and I have been discussing the implications of this in the thread they posted a few days ago about a John Coltrane release, and in the course of that discussion they provided that second link to Bill Holland’s multi-part investigation (thanks!).

So my question is this: What direct or indirect measures would you theoretically take to prevent or mitigate the loss of the vast majority of recorded media from 1990 to 2020? Should any measures be taken to preserve these cultural artifacts?

By direct measures I mean innovations to physical archiving or storage methods. By indirect measures I mean public awareness, strategies for choosing what to save, workarounds, etc.