Remind me again, downloading is bad because....

The Sleepy Jackson (who actually i liked more than MMJ,

are you trying to make me cry?

The artist isn't using show money to record their album with, they're using a label's money. Its not about supporting the artists, its about supporting the guy who spent his money to have said artist record the song you're grabbing.

Not all labels are major conglomerates.

And it's not the indie's that are taking people to court out there, it's the majors crying about their bottom line from all i've read.

i don't mean to be flip, i don't want to be pat
those metallica guys are all getting too fat!
free information, yeah, what's wrong with that?
something for nothing - that's where it's at

and those moguls run labels and you call 'em all crooks
cuz they crunch the numbers and they cook the books
but i signed that contract and i got my hand shook
shaking hands with the devil, it's not as bad as it looks.

you can pull one of my songs right out of thin air
go ahead and download me - see if i care
in love, war, and cyberspace everything's fair
and it's OK to steal cuz it's so nice to share

(so sez Loudon Wainwright III)

I can think of lots of instances where breaking the law ultimately proves beneficial. We've decided to set up our society without taking this into account, for practical reasons. Exceptions are made: the police are likely to let you speed when you're driving a heart attack victim to the hospital. Somehow, the necessity of knowing beyond a shadow of a doubt that The Sleepy Jackson are the bee's knees doesn't seem to rise to that level of urgency.

Finally, it's somewhat amazing that in a country (US) where the cost of a house is often equal to 10-20 years' salary, and rent is often equal to 1/4 to 1/2 month's salary, the greatest consumer revolt we've ever seen revolves around CDs. Glad we've got our priorities straight.

And this is a discussion group on music, didn't know i had to solve world hunger or anything, get YOUR priorites straight!

THE INTERNET DEBACLE - AN ALTERNATIVE VIEW
Originally written for Performing Songwriter Magazine, May 2002

* Shortly after this article was turned in, Michael Greene resigned as president of NARAS.
Read Janis' follow up to this article: FALLOUT - a follow up to The Internet Debacle
"The Internet, and downloading, are here to stay... Anyone who thinks otherwise should prepare themselves to end up on the slagheap of history." (Janis Ian during a live European radio interview, 9-1-98) *Please see author's note at end!
When I research an article, I normally send 30 or so emails to friends and acquaintances asking for opinions and anecdotes. I usually receive 10-20 in reply. But not so on this subject!
I sent 36 emails requesting opinions and facts on free music downloading from the Net. I stated that I planned to adopt the viewpoint of devil's advocate: free Internet downloads are good for the music industry and its artists.
I've received, to date, over 300 replies, every single one from someone legitimately "in the music business."
What's more interesting than the emails are the phone calls. I don't know anyone at NARAS (home of the Grammy Awards), and I know Hilary Rosen (head of rhe Recording Industry Association of America, or RIAA) only vaguely. Yet within 24 hours of sending my original email, I'd received two messages from Rosen and four from NARAS requesting that I call to "discuss the article."
Huh. Didn't know I was that widely read.
Ms. Rosen, to be fair, stressed that she was only interested in presenting RIAA's side of the issue, and was kind enough to send me a fair amount of statistics and documentation, including a number of focus group studies RIAA had run on the matter.
However, the problem with focus groups is the same problem anthropologists have when studying peoples in the field - the moment the anthropologist's presence is known, everything changes. Hundreds of scientific studies have shown that any experimental group wants to please the examiner. For focus groups, this is particularly true. Coffee and donuts are the least of the pay-offs.
The NARAS people were a bit more pushy. They told me downloads were "destroying sales", "ruining the music industry", and "costing you money".
Costing me money? I don't pretend to be an expert on intellectual property law, but I do know one thing. If a music industry executive claims I should agree with their agenda because it will make me more money, I put my hand on my wallet…and check it after they leave, just to make sure nothing's missing.
Am I suspicious of all this hysteria? You bet. Do I think the issue has been badly handled? Absolutely. Am I concerned about losing friends, opportunities, my 10th Grammy nomination by publishing this article? Yeah. I am. But sometimes things are just wrong, and when they're that wrong, they have to be addressed.
The premise of all this ballyhoo is that the industry (and its artists) are being harmed by free downloading.Nonsense. Let's take it from my personal experience. My site (www.janisian.com ) gets an average of 75,000 hits a year. Not bad for someone whose last hit record was in 1975. When Napster was running full-tilt, we received about 100 hits a month from people who'd downloaded Society's Child or At Seventeen for free, then decided they wanted more information. Of those 100 people (and these are only the ones who let us know how they'd found the site), 15 bought CDs. Not huge sales, right? No record company is interested in 180 extra sales a year. But… that translates into $2700, which is a lot of money in my book. And that doesn't include the ones who bought the CDs in stores, or who came to my shows.
Or take author Mercedes Lackey, who occupies entire shelves in stores and libraries. As she said herself: "For the past ten years, my three "Arrows" books, which were published by DAW about 15 years ago, have been generating a nice, steady royalty check per pay-period each. A reasonable amount, for fifteen-year-old books. However... I just got the first half of my DAW royalties...And suddenly, out of nowhere, each Arrows book has paid me three times the normal amount!...And because those books have never been out of print, and have always been promoted along with the rest of the backlist, the only significant change during that pay-period was something that happened over at Baen, one of my other publishers. That was when I had my co-author Eric Flint put the first of my Baen books on the Baen Free Library site. Because I have significantly more books with DAW than with Baen, the increases showed up at DAW first. There's an increase in all of the books on that statement, actually, and what it looks like is what I'd expect to happen if a steady line of people who'd never read my stuff encountered it on the Free Library - a certain percentage of them liked it, and started to work through my backlist, beginning with the earliest books published. The really interesting thing is, of course, that these aren't Baen books, they're DAW---another publisher---so it's 'name loyalty' rather than 'brand loyalty.' I'll tell you what, I'm sold. Free works."
I've found that to be true myself; every time we make a few songs available on my website, sales of all the CDs go up. A lot.
And I don't know about you, but as an artist with an in-print record catalogue that dates back to 1965, I'd be thrilled to see sales on my old catalogue rise.
Now, RIAA and NARAS, as well as most of the entrenched music industry, are arguing that free downloads hurt sales. (More than hurt - they're saying it's destroying the industry.)
Alas, the music industry needs no outside help to destroy itself. We're doing a very adequate job of that on our own, thank you.
Here are a few statements from the RIAA's website:
1. "Analysts report that just one of the many peer-to-peer systems in operation is responsible for over 1.8 billion unauthorized downloads per month". (Hilary B. Rosen letter to the Honorable Rick Boucher, Congressman, February 28, 2002)
2. "Sales of blank CD-R discs have…grown nearly 2 ½ times in the last two years…if just half the blank discs sold in 2001 were used to copy music, the number of burned CDs worldwide is about the same as the number of CDs sold at retail." (Hilary B. Rosen letter to the Honorable Rick Boucher, Congressman, February 28, 2002)
3. "Music sales are already suffering from the impact…in the United States, sales decreased by more than 10% in 2001."(Hilary B. Rosen letter to the Honorable Rick Boucher, Congressman, February 28, 2002)
4. "In a recent survey of music consumers, 23%…said they are not buying more music because they are downloading or copying their music for free."(Hilary B. Rosen letter to the Honorable Rick Boucher, Congressman, February 28, 2002)
Let's take these points one by one, but before that, let me remind you of something: the music industry had exactly the same response to the advent of reel-to-reel home tape recorders, cassettes, DATs, minidiscs, VHS, BETA, music videos ("Why buy the record when you can tape it?"), MTV, and a host of other technological advances designed to make the consumer's life easier and better. I know because I was there.
The only reason they didn't react that way publicly to the advent of CDs was because they believed CD's were uncopyable. I was told this personally by a former head of Sony marketing, when they asked me to license Between the Lines in CD format at a reduced royalty rate. ("Because it's a brand new technology.")
1. Who's to say that any of those people would have bought the CD's if the songs weren't available for free? I can't find a single study on this, one where a reputable surveyor such as Gallup actually asks people that question. I think no one's run one because everyone is afraid of the truth - most of the downloads are people who want to try an artist out, or who can't find the music in print.
And if a percentage of that 1.8 billion is because people are downloading a current hit by Britney or In Sync, who's to say it really hurt their sales? Soft statistics are easily manipulated. How many of those people went out and bought an album that had been over-played at radio for months, just because they downloaded a portion of it?
2. Sales of blank CDs have grown? You bet. I bought a new Vaio in December (ironically enough, made by Sony), and now back up all my files onto CD. I go through 7-15 CD's a week that way, or about 500 a year. Most new PC's come with XP, which makes backing up to CD painless; how many people are doing what I'm doing? Additionally, when I buy a new CD, I make a copy for my car, a copy for upstairs, and a copy for my partner. That's three blank discs per CD. So I alone account for around 750 blank CDs yearly.
3. I'm sure the sales decrease had nothing to do with the economy's decrease, or a steady downward spiral in the music industry, or the garbage being pushed by record companies. Aren't you? There were 32,000 new titles released in this country in 2001, and that's not including re-issues, DIY's , or smaller labels that don't report to SoundScan. Our "Unreleased" series, which we haven't bothered SoundScanning, sold 6,000+ copies last year. A conservative estimate would place the number of "newly available" CD's per year at 100,000. That's an awful lot of releases for an industry that's being destroyed. And to make matters worse, we hear music everywhere, whether we want to or not; stores, amusement parks, highway rest stops. The original concept of Muzak (to be played in elevators so quietly that its soothing effect would be subliminal) has run amok. Why buy records when you can learn the entire Top 40 just by going shopping for groceries?
4. Which music consumers? College kids who can't afford to buy 10 new CDs a month, but want to hear their favorite groups? When I bought my nephews a new Backstreet Boys CD, I asked why they hadn't downloaded it instead. They patiently explained to their senile aunt that the download wouldn't give them the cool artwork, and more important, the video they could see only on the CD.
Realistically, why do most people download music? To hear new music, or records that have been deleted and are no longer available for purchase. Not to avoid paying $5 at the local used CD store, or taping it off the radio, but to hear music they can't find anywhere else. Face it - most people can't afford to spend $15.99 to experiment. That's why listening booths (which labels fought against, too) are such a success.
You can't hear new music on radio these days; I live in Nashville, "Music City USA", and we have exactly one station willing to play a non-top-40 format. On a clear day, I can even tune it in. The situation's not much better in Los Angeles or New York. College stations are sometimes bolder, but their wattage is so low that most of us can't get them.
One other major point: in the hysteria of the moment, everyone is forgetting the main way an artist becomes successful - exposure. Without exposure, no one comes to shows, no one buys CDs, no one enables you to earn a living doing what you love. Again, from personal experience: in 37 years as a recording artist, I've created 25+ albums for major labels, and I've never once received a royalty check that didn't show I owed them money. So I make the bulk of my living from live touring, playing for 80-1500 people a night, doing my own show. I spend hours each week doing press, writing articles, making sure my website tour information is up to date. Why? Because all of that gives me exposure to an audience that might not come otherwise. So when someone writes and tells me they came to my show because they'd downloaded a song and gotten curious, I am thrilled!
Who gets hurt by free downloads? Save a handful of super-successes like Celine Dion, none of us. We only get helped.
But not to hear Congress tell it. Senator Fritz Hollings, chairman of the Senate Commerce Committee studying this, said "When Congress sits idly by in the face of these [file-sharing] activities, we essentially sanction the Internet as a haven for thievery", then went on to charge "over 10 million people" with stealing. [Steven Levy, Newsweek 3/11/02]. That's what we think of consumers - they're thieves, out to get something for nothing.
Baloney. Most consumers have no problem paying for entertainment. One has only to look at the success of Fictionwise.com and the few other websites offering books and music at reasonable prices to understand that. If the music industry had a shred of sense, they'd have addressed this problem seven years ago, when people like Michael Camp were trying to obtain legitimate licenses for music online. Instead, the industry-wide attitude was "It'll go away". That's the same attitude CBS Records had about rock 'n' roll when Mitch Miller was head of A&R. (And you wondered why they passed on The Beatles and The Rolling Stones.)
I don't blame the RIAA for Holling's attitude. They are, after all, the Recording Industry Association of America, formed so the labels would have a lobbying group in Washington. (In other words, they're permitted to make contributions to politicians and their parties.) But given that our industry's success is based on communication, the industry response to the Internet has been abysmal. Statements like the one above do nothing to help the cause.
Of course, communication has always been the artist's job, not the executives. That's why it's so scary when people like current NARAS president Michael Greene begin using shows like the Grammy Awards to drive their point home.
Grammy viewership hit a six-year low in 2002. Personally, I found the program so scintillating that it made me long for Rob Lowe dancing with Snow White, which at least was so bad that it was entertaining. Moves like the ridiculous Elton John-Eminem duet did little to make people want to watch again the next year. And we're not going to go into the Los Angeles Times' Pulitzer Prize-winning series on Greene and NARAS, where they pointed out that MusiCares has spent less than 10% of its revenue on disbursing emergency funds for people in the music industry (its primary purpose), or that Greene recorded his own album, pitched it to record executives while discussing Grammy business, then negotiated a $250,000 contract with Mercury Records for it (later withdrawn after the public flap). Or that NARAS quietly paid out at least $650,000 to settle a sexual harassment suit against him, a portion of which the non-profit Academy paid. Or that he's paid two million dollars a year, along with "perks" like his million-dollar country club membership and Mercedes. (Though it does make one wonder when he last entered a record store and bought something with his own hard-earned money.)
Let's just note that in his speech he told the viewing audience that NARAS and RIAA were, in large part, taking their stance to protect artists. He hired three teenagers to spend a couple of days doing nothing but downloading, and they managed to download "6,000 songs". Come on. For free "front-row seats" at the Grammys and an appearance on national TV, I'd download twice that amount! But…who's got time to download that many songs? Does Greene really think people out there are spending twelve hours a day downloading our music? If they are, they must be starving to death, because they're not making a living or going to school. How many of us can afford a T-1 line?
This sort of thing is indicative of the way statistics and information are being tossed around. It's dreadful to think that consumers are being asked to take responsibility for the industry's problems, which have been around far longer than the Internet. It's even worse to think that the consumer is being told they are charged with protecting us, the artists, when our own industry squanders the dollars we earn on waste and personal vendettas.
Greene went on to say that "Many of the nominees here tonight, especially the new, less-established artists, are in immediate danger of being marginalized out of our business." Right. Any "new" artist who manages to make the Grammys has millions of dollars in record company money behind them. The "real" new artists aren't people you're going to see on national TV, or hear on most radio. They're people you'll hear because someone gave you a disc, or they opened at a show you attended, or were lucky enough to be featured on NPR or another program still open to playing records that aren't already hits.
As to artists being "marginalized out of our business," the only people being marginalized out are the employees of our Enron-minded record companies, who are being fired in droves because the higher-ups are incompetent.
And it's difficult to convince an educated audience that artists and record labels are about to go down the drain because they, the consumer, are downloading music. Particularly when they're paying $50-$125 apiece for concert tickets, and $15.99 for a new CD they know costs less than a couple of dollars to manufacture and distribute.
I suspect Greene thinks of downloaders as the equivalent of an old-style television drug dealer, lurking next to playgrounds, wearing big coats and whipping them open for wide-eyed children who then purchase black market CD's at generous prices.
What's the new industry byword? Encryption. They're going to make sure no one can copy CDs, even for themselves, or download them for free. Brilliant, except that it flouts previous court decisions about blank cassettes, blank videotapes, etc. And it pisses people off.
How many of you know that many car makers are now manufacturing all their CD players to also play DVD's? or that part of the encryption record companies are using doesn't allow your store-bought CD to be played on a DVD player, because that's the same technology as your computer? And if you've had trouble playing your own self-recorded copy of O Brother Where Art Thou in the car, it's because of this lunacy.
The industry's answer is to put on the label: "This audio CD is protected against unauthorized copying. It is designed to play in standard audio CD players and computers running Windows O/S; however, playback problems may be experienced. If you experience such problems, return this disc for a refund."
Now I ask you. After three or four experiences like that, shlepping to the store to buy it, then shlepping back to return it (and you still don't have your music), who's going to bother buying CD's?
The industry has been complaining for years about the stranglehold the middle-man has on their dollars, yet they wish to do nothing to offend those middle-men. (BMG has a strict policy for artists buying their own CDs to sell at concerts - $11 per CD. They know very well that most of us lose money if we have to pay that much; the point is to keep the big record stores happy by ensuring sales go to them. What actually happens is no sales to us or the stores.) NARAS and RIAA are moaning about the little mom & pop stores being shoved out of business; no one worked harder to shove them out than our own industry, which greeted every new Tower or mega-music store with glee, and offered steep discounts to Target and WalMart et al for stocking CDs. The Internet has zero to do with store closings and lowered sales.
And for those of us with major label contracts who want some of our music available for free downloading… well, the record companies own our masters, our outtakes, even our demos, and they won't allow it. Furthermore, they own our voices for the duration of the contract, so we can't even post a live track for downloading!
If you think about it, the music industry should be rejoicing at this new technological advance! Here's a fool-proof way to deliver music to millions who might otherwise never purchase a CD in a store. The cross-marketing opportunities are unbelievable. It's instantaneous, costs are minimal, shipping non-existant…a staggering vehicle for higher earnings and lower costs. Instead, they're running around like chickens with their heads cut off, bleeding on everyone and making no sense. As an alternative to encrypting everything, and tying up money for years (potentially decades) fighting consumer suits demanding their first amendment rights be protected (which have always gone to the consumer, as witness the availability of blank and unencrypted VHS tapes and casettes), why not take a tip from book publishers and writers?
Baen Free Library is one success story. SFWA is another. The SFWA site is one of the best out there for hands-on advice to writers, featuring in depth articles about everything from agent and publisher scams, to a continuously updated series of reports on various intellectual property issues. More important, many of the science fiction writers it represents have been heavily involved in the Internet since its inception. Each year, when the science fiction community votes for the Hugo and Nebula Awards (their equivalent of the Grammys), most of the works nominated are put on the site in their entirety, allowing voters and non-voters the opportunity to peruse them. Free. If you are a member or associate (at a nominal fee), you have access to even more works. The site is also full of links to members' own web pages and on-line stories, even when they aren't nominated for anything. Reading this material, again for free, allows browsers to figure out which writers they want to find more of - and buy their books. Wouldn't it be nice if all the records nominated for awards each year were available for free downloading, even if it were only the winners? People who hadn't bought the albums might actually listen to the singles, then go out and purchase the records.
I have no objection to Greene et al trying to protect the record labels, who are the ones fomenting this hysteria. RIAA is funded by them. NARAS is supported by them. However, I object violently to the pretense that they are in any way doing this for our benefit. If they really wanted to do something for the great majority of artists, who eke out a living against all odds, they could tackle some of the real issues facing us:
· The normal industry contract is for seven albums, with no end date, which would be considered at best indentured servitude (and at worst slavery) in any other business. In fact, it would be illegal.
· A label can shelve your project, then extend your contract by one more album because what you turned in was "commercially or artistically unacceptable". They alone determine that criteria.
· Singer-songwriters have to accept the "Controlled Composition Clause" (which dictates that they'll be paid only 75% of the rates set by Congress in publishing royalties) for any major or subsidiary label recording contract, or lose the contract. Simply put, the clause demanded by the labels provides that a) if you write your own songs, you will only be paid 3/4 of what Congress has told the record companies they must pay you, and b) if you co-write, you will use your "best efforts" to ensure that other songwriters accept the 75% rate as well. If they refuse, you must agree to make up the difference out of your share.
· Congressionally set writer/publisher royalties have risen from their 1960's high (2 cents per side) to a munificent 8 cents.
· Many of us began in the 50's and 60's; our records are still in release, and we're still being paid royalty rates of 2% (if anything) on them.
· If we're not songwriters, and not hugely successful commercially (as in platinum-plus), we don't make a dime off our recordings. Recording industry accounting procedures are right up there with films.
· Worse yet, when records go out-of-print, we don't get them back! We can't even take them to another company. Careers have been deliberately killed in this manner, with the record company refusing to release product or allow the artist to take it somewhere else.
· And because a record label "owns" your voice for the duration of the contract, you can't go somewhere else and re-record those same songs they turned down.
· And because of the re-record provision, even after your contract is over, you can't record those songs for someone else for years, and sometimes decades.
· Last but not least, America is the only country I am aware of that pays no live performance royalties to songwriters. In Europe, Japan, Australia, when you finish a show, you turn your set list in to the promoter, who files it with the appropriate organization, and then pays a small royalty per song to the writer. It costs the singer nothing, the rates are based on venue size, and it ensures that writers whose songs no longer get airplay, but are still performed widely, can continue receiving the benefit from those songs.
Additionally, we should be speaking up, and Congress should be listening. At this point they're only hearing from multi-platinum acts. What about someone like Ani Difranco, one of the most trusted voices in college entertainment today? What about those of us who live most of our lives outside the big corporate system, and who might have very different views on the subject?
There is zero evidence that material available for free online downloading is financially harming anyone. In fact, most of the hard evidence is to the contrary.
Greene and the RIAA are correct in one thing - these are times of great change in our industry. But at a time when there are arguably only four record labels left in America (Sony, AOL/Time/Warner, Universal, BMG - and where is the RICO act when we need it?)… when entire genres are glorifying the gangster mentality and losing their biggest voices to violence…when executives change positions as often as Zsa Zsa Gabor changed clothes, and "A&R" has become a euphemism for "Absent & Redundant"… well, we have other things to worry about.
It's absurd for us, as artists, to sanction - or countenance - the shutting down of something like this. It's sheer stupidity to rejoice at the Napster decision. Short-sighted, and ignorant.
Free exposure is practically a thing of the past for entertainers. Getting your record played at radio costs more money than most of us dream of ever earning. Free downloading gives a chance to every do-it-yourselfer out there. Every act that can't get signed to a major, for whatever reason, can reach literally millions of new listeners, enticing them to buy the CD and come to the concerts. Where else can a new act, or one that doesn't have a label deal, get that kind of exposure?
Please note that I am not advocating indiscriminate downloading without the artist's permission. I am not saying copyrights are meaningless. I am objecting to the RIAA spin that they are doing this to protect "the artists", and make us more money. I am annoyed that so many records I once owned are out of print, and the only place I could find them was Napster. Most of all, I'd like to see an end to the hysteria that causes a group like RIAA to spend over 45 million dollars in 2001 lobbying "on our behalf", when every record company out there is complaining that they have no money.
We'll turn into Microsoft if we're not careful, folks, insisting that any household wanting an extra copy for the car, the kids, or the portable CD player, has to go out and "license" multiple copies.
As artists, we have the ear of the masses. We have the trust of the masses. By speaking out in our concerts and in the press, we can do a great deal to damp this hysteria, and put the blame for the sad state of our industry right back where it belongs - in the laps of record companies, radio programmers, and our own apparent inability to organize ourselves in order to better our own lives - and those of our fans. If we don't take the reins, no one will.
Sources:
Baenbooks.com, BMG Records, Chicago Tribune, CNN.com, Congressional Record, Eonline.com, Grammy.com, LATimes.com, Newsweek, Radiocrow.com, RIAA.org, personal communications
* for more information on the Free Library, go to www.baen.com/library

An endless arguement for sure...i'm just a cranky old man...damn kids!! ;^)

(Oh, and i'd never even heard of TSJ before i saw them last night. Like i said, if i like it, i do buy it.)

It's all you bastards that are setting up your PCs to download whole albums as soon as they come out that screw it up.

Because things like hiring a lawyer are expensive. Which is why big ones can do it, little ones can't. Its cheaper (and easier) to just let it happen. Little labels don't necessarily have the resources to do something like that, especially when they still have to keep operating.

As far as Janis Ian goes, boy, I wish I had that many published songs already on the market so I could sit on my high horse about these issues. For her, its gravy. There's nothing else for her to do with these older songs, its just a check. Its a lot different for a brand new band.

FWIW, dlp, thanks for being honest. You're right on the self-reporting factor - its highly skewed. Of course people are going to say "but I went out and bought it after!" when asked. Observer affects the observed, etc. And a lot of bands and labels do put up mp3s, plus there are sites like epitonic and such. You don't have to download an entire album on Soulseek to not buy blind.

As for guys (and believe me they ARE guys) with 10,000 songs on their hard drive: at least it keeps the creeps off the streets.

and Xii- Janis' whole point was that it's not just gravy to her- even someone with her back catalogue will always owe the record company money and she (and everyone else who signs with a major) is being royally fucked by the companies that they provide the "product" for. She is also legally unable to do much to help herself- can't rerelease old albums or get anyone else to do it, can't rerecord old songs, can't even sell her own cds at gigs without making a loss...

this amuses me - because it's true? any girls out there with a hard drive even big enough for 10,000 songs? if so, get in touch! <./creep>

And she signed her contracts that GAVE THEM THE POWERS TO DO THAT. It was her choice and she made it. She didn't have to.

And, as I say, it is just gravy to her. She can't get money for those songs anyway - why does she care if someone downloads them? But she *does* get concert receipts.

For those of us who go the indie route, well, I still get money for music. In fact, I rely on it to continue to produce music by myself and many other bands. She may not have options for her music, but I do. I'm not defending the heavy handed tactics of the RIAA, but there's a line you really have to draw.

It might be absurd for artists to want to protect their music, but producing recorded product is a business. And that's a whole other story. I doubt bands I work with would take kindly to me suddenly telling them they have to give me a percentage of all their door receipts at shows to make up for "free promotion on the net."

If she or other artists from that period had tried to negotiate with the record labels for better contract terms, would the labels have agreed to negotiate, or called off the deal? I assume the latter, which limits the degree of choice Ian had.

Ever since Albini's "Some of your friends are already this fucked" article, everyone says there's no excuse for signing a contract containing abusive terms. But how willing are most labels to negotiate terms for a band that's not being courted by multiple labels? How much in the way of contract concessions are most labels willing to grant to artists? Do artists have a significant range of choices when dealing with labels?

Yes, they have the option to read the fine print and the bad
conditions, be tough negotiators and rewrite the contract to
their specifications. And if the label bails because it's
without precedent or it deems the band not enough of a bidding
prospect to cater to, they can still choose not to opt in.

Or they can do what the majority do. Get stars in their eyes
and cave.

If you look at the track record of many freshly signed bands
after a year or two, an astonishing number of them show little
benefit and no progress. In many cases, they would have been
better off not signing at all.

What good's a major label-manufactured CD if it's dead on arrival
in the marketplace? However, now you're all tied up with a
major label contract. Maybe you have to cool your heels for a
couple years before the label will deign to release another
record. (Hint: In many cases, they're hoping you break up and
save them the trouble.)

How do you hang onto even a smattering of fans from a paltry
seller when you can't consistently make records because the
major label in unenthusiastic about you? How do you tour
anyplace but spirit-crushing dives if a label that's moved on to
the next flavor has you locked up in a contract and won't spill the legal bribe needed to get you on a big name tour?

the key word is the "if"

nobody's forcing you to support them later on

now, copyright law was put together with government cooperation [often collusion] so that people could make money that way. but the government [ie "the people"] went along with the system because there was a feeling that on balance, the system will help to promote worthy talents

it's clear that if, for example, napster had never been stopped, and the tech allowed to grow given the excitement it generated, that pretty soon no-one with a computer and a better connection would bother to buy cds at all. there was simply far too much choice on napster, and if the industry hadn't started suing napster and others, piracy would've spiralled out of control: better compression of files, more song choices, more features, better ways to form mutual trading groups and make acquaintances/friends, etc. that was a very bad prospect, i think we can all agree: cos the cd sales pay for the recording studio bills [among other worse things such as asshole exec salaries and payola]. and we like studio recordings better than live recordings, most of the time. i mean, it was tempting: and for a while it would be heaven, but eventually, you know, the only people to make money would be the heavy touring acts.

BUT most of us also feel that if piracy is sort of an edge-of-society thing, that's excellent. what we want is for piracy via computers to be marginal, with difficulties to access and slight peril involved and erratic performance and so on. the obvious analogy here is to drug culture. i like knowing a few weirdos who are really into drugs, and every once in a while i hang out with them; but i wouldn't like to live in a part of town where everybody was doing drugs all the time, because you know normal life would just grind to a halt.

so it is with music piracy [copyright infringement via computer trading, cd copying, and bootlegging]. if everyone did it, instead of 20% of us occasionally and only about 5% habitually, then the system would collapse. as it is, the system can sort of weather this storm, adapt, bitching all the while. we will still get lots of great smart talented people spending months in the studios racking up major bills, paid for by the labels, and enough people will buy those records; because it's still slightly difficult to download, the software is tetchy and constantly changing and riddled with hacks and spambots, the lawsuits have generated paranoia, sometimes you can't find the songs you want, etc.

think of it this way. what would happen if the RIAA reversed its tactics, gave downloading its blessing, concentrated instead on developing a 99 cent payment system but let kazaa and soulseek alone?

eventually the next generation versions of free services would become very handy, all sorts of people would begin to take pleasure in downloading hundreds of songs at a sitting and never delete them cos they have tons of bandwidth and huge hard drives, and that would be that.

i really don't think you can deny that would happen, can you?

"
So you've decided to steal cable.
Myth: Cable piracy is wrong.
Fact: Cable companies are big faceless corporations, which makes it okay.

Myth: It's only fair to pay for quality first-run movies.
Fact: Most movies shown on cable get two stars or less and are repeated ad nauseum.

Why? Because I wouldn't like/own more than half the music I do at the moment if I hadn't downloaded the albums! If I like the band I buy the CD (from a record store, not eBay, the 'band' don't get the money if you buy of an eBayer...). I think P2P is (teoretically) worse for the computer gaming industry than the record industry - If you steal a gmae from microsoft, do you not if anything fell good about it?! however, stealing an album from on of the many bands I like maks me sad - It tells me just how little money I have!

If I had the money I would only buy music from my local record store... However, I don't have that kind of money (especially with the rent etc) instead I download the music I'm told I might like, and if I do I buy an album when I have money to spare. In fact at the moment I tend to buy a concert ticket and go see them live, which means for the souvenier addict in me that I buy a T-shirt as well, and maybe a programme... Yet more revenue for the group...

And as at least one person has already mentioned, the people that just download music (one of my mates does this) never have bought music, and never will, they get their music from their friends, copying cds/tapes and so the record companies will never, and never have got their money! (these people [my mate] also seem fairly happy on benefits too... hmmm, pattern anyone?)

http://www.huffingtonpost.com/nathan-harden/the-generation-that-kille_b_444428.html

Can you, even for a moment, imagine Janis Joplin pouring over HTML manuals, or Jimi Hendrix spending hours each day spamming potential fans on MySpace? Not likely.

I can imagine that

because I actually have an imagination

unlike the writer of that article

Recognized as a leading voice for a new generation of young conservatives, Nathan Harden is quickly making his mark as an author and commentator on issues ranging from politics and culture to sexuality and the media. He is a contributor to the forthcoming book, New Conservative Voices Under 30 (HarperPerennial, 2010). And he is currently working on a memoir of his experience as a conservative student navigating the liberal sexual culture of the Ivy League.

And what if internet piracy had existed in the 1960s? No Dylan? No Beatles? Would Bono be working today as a longshoreman?

IF ONLY

Can you, even for a moment, imagine navigating the liberal sexual culture of the Ivy League.

Jimi Hendrix spending hours each day spamming potential fans on MySpace?

Or playing every day in a nearly deserted coffee shop at lunchtime to half a dozen people?

Or playing Cafe World every day in a nearly deserted coffee shop?

Can you imagine Grandmaster Flash with a laptop? Can you imagine Beethoven doing it all in Cubase? Can you imagine the missing link auto-tuning its relatively sophisticated mating call?

Comments box gold:

"Want to sell me an album? Get me a good collection of vintage 50's rock n roll. Get me some Buddy Holly, Little Richard, Chuck Berry, get me 40's and 50's bands that no one's ever heard of, give me some vintage tunes, get me some TALENT, not people that sing through a pitch track because otherwise no one could stand to listen to them because they never really learned how to sing in the first place, and all they're really doing is yapping over a drum track, and they want 20 bucks for the finished product."

Imagine

There's no people

Nathan Harden - Huffpost Blogger

Thanks for the comment Myshk. The last line was great. I hope you enjoyed that James Brown clip. Truly one of a kind. I hadn't ever thought about the legal implications of posting it, although it would be the telecast (whoever that might be) rather than Brown who owns the rights.

Personally, I'm happy when others repost my videos online, or when they excerpt and link to my columns. I do draw the line at downloading, however, unless the artist himself has put the music online as a free promotional tool. (I happen think that's the way of the future.)

When I say "The Death of Rock 'n Roll" I mean, implicitly, the death of global rock brands like the Stones or U2. If all we have twenty years from now are regional indie acts - no one capable of selling out the Rose Bowl two nights in a row - we do lose something. The fact that music will carry on is a given. But will you and I be able to share, from across the country, a common musical culture?

If you watched the Grammys, you saw the worst of the music business (the untalented, plastic, phony stuff that got the most awards), but you also saw the best - Jeff Beck, Dave Matthews, heck even GaGa's bit was enthralling. I hope, in time, we discover a way to preserve a common musical culture across regional and national boundaries. That's one of the magical qualities of music, in

i guess he was too grief stricken by the death of r 'n' roll to finish

I hope, in time, we discover a way to preserve a common musical culture across regional and national boundaries.

FUCK YOU

THIS WOULD BE THE WORST THING IN THE WORLD

"It is my dream to one day homogenize all music into a few genres I approve of."

SHUT THE FUCK UP

Recognized as a leading voice for a new generation of young conservatives, Nathan Harden is quickly making his mark as an author and commentator on issues ranging from politics and culture to sexuality and the media. He is a contributor to the forthcoming book, New Conservative Voices Under 30 (HarperPerennial, 2010). And he is currently working on a memoir of his experience as a conservative student navigating the liberal sexual culture of the Ivy League. He graduated from Yale in 2009. He maintains the Sex & God Blog, where he writes about sex, spirituality, culture, and politics. Nathan’s describes himself as a “post-Bush conservative.” His ideas are helping to define a new brand of pragmatic conservatism after a decade of shock and awe.

When not pontificating, Nathan can be found performing as a Nashville-based singer/songwriter. His music can be found on Amazon, iTunes and at www.nathanharden.com.

But will you and I be able to share, from across the country, a common musical culture?

This guy.

I think this is the epitome of bad form and I feel slightly horrible saying it (although I'm too angry at the moment to regret it as much as I will tomorrow) but I think people like this should be killed.

maybe listening to his music will make you feel better--i bet it will

how can rock n roll be dead if Jet just released a new album?

his music myspace has Grant Lee Buffalo and Audioslave in his Top 8, which pretty much sums up his music

though i agree chuck berry and buddy holly are awesome

okay lol @ Que

(xxxpost) Long live rock, be it dead or alive.

http://twitter.com/NathanHarden

Am I supposed to like it when Beyonce grabs her crotch on national television? 5:35 PM Jan 31st from web

KILL HIM KILL HIM KILL HIM

nothing wrong w/death threats dan, especially in this case

okay that incredibly stupid "he is currently working on a memoir of his experience as a conservative student navigating the liberal sexual culture of the Ivy League" line from his bio blurb just registered

perhaps things have changed since I was in college (like, it was 15 years ago ffs) but I remember that polls of students routinely showed that less than 50% of the undergrads were actually having sex, a stat unsurprising when you consider the level of nerddom and repression rampant among the student body

maybe he's just talking about how the administration won't let you sling gay slurs around...?

you guys talk better than you kill

hahahah excellent outburst of rage dan

i wouldn't kill this guy but i would let members of deicide sucker punch him repeatedly while he is forced to listen to gucci mane mixtapes on maxed out headphones

this guy reminds me of the music of Hunter, Jan's assistant from The Office:

https://www.youtube.com/watch?v=ilBJpvzcIJg

xpost ooooh new thread idea: forms of torture that aren't really torture but still sound horrible

polls of students routinely showed that less than 50% of the undergrads were actually having sex, a stat unsurprising when you consider the level of nerddom and repression rampant among the student body

well Yale girls sure don't like to give head anyway --- (according to my research & compared with the control group)

(like, it was 15 years ago ffs)

right, *didn't* I should say --------