The day Stedeford’s Records opened in Pittsburgh’s North Side in 1963, it brought in $3.84. And… The day Stedeford’s Records opened in Pittsburgh’s North Side in 1963, it brought in $3.84. And that was a good day. Forty-five years later, the shop is a synthesis of old and new ‘mdash; the storefront, with its wavy, retro lettering welcoming people inside, is underscored by posters flashing the newest rap stars. Take a step into Stedeford’s and you’ve entered a veritable rock’n’roll bazaar ‘mdash; vinyls sit in crates along the back walls, the center is taken over by racks loaded with CDs, cassette tapes are stacked in a corner. A side room features classic jazz cuts long forgotten; in one corner, you can even flip through a collection of old ties. Random? Maybe, or maybe owner Doloris Stedeford’s just got an affinity for Elvis Costello. You’ll find a few copies of newer releases, but you won’t discover whole cases devoted to the latest platinum seller. Customers walk slowly down the aisles, poking for unusual finds and forgotten treasures, rarely leaving with what they’d set out to buy. And though time seems to stand still inside this Pittsburgh institution, the tribulations of today are pushing Stedeford and her son, co-owner Ron Stedeford, to face a harsh reality ‘mdash; people just aren’t buying CDs like they used to. Especially not from small, independently run music stores. ‘Through the hard work of my parents, they built the store up into a very successful money making business,’ said Ron Stedeford, his shaggy gray hair pushed away from his eyes. He paused, just for a moment. ‘Until recently.’ While the notion of struggling businesses in today’s market is certainly no surprising topic, few industries have quite so many factors stacked against them than the independent record store. The economy, of course, is struggling like it has rarely before. But beyond that, independent record stores are fighting against the growing sales of music online, the illegal downloading that eliminates the need for music sales altogether and the corporate giants that have nearly monopolized in-store music selling. But Ron Stedeford plans to go down with the ship that he’s put his life’s work into. He speaks frankly, his tone conveys that it’s too late to turn back. ‘Our best days are behind us.’ *** In April of 2008, iTunes nudged past Wal -Mart to become the biggest selling music retailer in the world, accounting for 19 percent of the market, according to business ana- lyst firm The NPD Group. The move wasn’t a surprise, as iTunes’ rise was monumental (as of 2005, when iTunes first cracked the top 10 music sellers, it accounted for only 2.8 percent), but it speaks to a generational shift in the music-selling industry: When music can be obtained from a household computer, or even from a mobile device, independent music stores, which are rarely located in malls or shopping centers, simply can’t match up. Wal Mart follows iTunes with 15 percent of the market and then Best Buy with 13 percent, according to The NPD Group. All independently owned music retailers lumped in with smaller chain stores and online outlets make up for 28 percent of the market share. Numbers for all music sales have subsided in recent years, often attributed to the incalculable impact on the industry of illegal downloading, and larger corporations have recently cornered the market on some releases to boost sales. Wal-Mart, for example, gained exclusive sales rights to AC/DC’s newest album Black Ice, a move that pushed the band to sell 784,000 copies in its first week. The neighborhood record shop simply can’t keep up. And yet despite falling sales, many stores continue to plow ahead in the face of an uncertain future. Jim Semonik, the music manager of Eide’s Entertainment, believes that music fans’ love for not just the physical CD, but also the experience of sifting through music racks, have kept independent record stores alive. ‘We’re a niche market. We market to metal and industrial music fans and punks ‘- we hit the people other stores in town might not cater to,’ Semonik said.’ ‘[People] love the liner notes, the artwork, the sense that you’re actually owning something. It carries a different value than downloading and not having anything to show for it.’ Maybe most important to Semonik, though, is the experience and personability that comes with a neighborhood record shop. ‘I’ve gotten into so many conversations with people about music here,’ he said. ‘You just don’t get that at Wal-Mart. It’s interpersonal. There’s a warmth in going into a real record store.’ Across town at Wal-Mart in Fox Chapel, even many of the customers perusing the CD racks there wouldn’t disagree. ‘Wal-Mart is a little cheaper, but where’s the music I want? It’s all mixed up,’ said Sheila Nelson of Homewood. Just moments later, she called for a manager. ‘Here’s the section for [hip-hop artist] Lloyd. We got LL Cool J. Here’s Linkin Park. Here’s Metallica. Where’s Lloyd?’ she said, frustration in her voice peaking. Her frustration is well founded, too. Flipping through Wal-Mart’s CDs, music is often misplaced or missing altogether. It’s not too far from the state of the racks at Stedeford’s Records, where finding anything really takes some digging, but Nelson didn’t come to peruse. Where patience and an open mind are a must at shops like Stedeford’s, shoppers enter knowing that picking up a CD will be an experience, often complete with surprise purchases and musical discussions. Nelson, on the other hand, came to Wal-Mart for quick and easy shopping. But why come to Wal-Mart, then, or any of the music retailer giants? ‘Listen, it’s very convenient, but when I come here and ask a question …’ she said, trailing off. Similarly, Wal-Mart shopper Andy Pannelle, scanning through the store’s small CD section, recognizes that while independent record stores offer more personal service, the convenience of all-inclusive stores like Wal-Mart is hard to beat. ‘I’m just going shopping for my kids and buying light bulbs. Of course I’m going to stop by CDs and check for some deals,’ said Pannelle. Back at Stedeford’s, many customers simply refuse to give in to convenience. ‘Cheaper music doesn’t give me the satisfaction that this place does. It might be easier to buy online, but for me, it’s just as easy to get in the car and come down here to actually look at music,’ said Jessica Delancey, hunting for a Stevie Wonder record. Still, the record store faithful are small in number, and most store owners believe they simply can’t support the industry for much longer.’ Paul Olszewski, owner of Paul’s Compact Discs in Bloomfield, isn’t too hopeful for the future. ‘Right now I get to listen to music all day and interact with people who love music,’ he said. ‘But in 10 years, there won’t be a record store industry at all.’ Semonik is also hesitant to predict much of a future. ‘If I had to put a date on when it’s all going to end, when there won’t be any independent record stores open, I think five years is accurate,’ he said. ‘To be able to survive, there will have to be a rekindling of the CD the way vinyl came back. But will people get nostalgic for CDs? I don’t hold out a whole lot of hope.’