Like the NHL incoversant to Major League
Baseball’s strike and aftermath of long-term consequences, so too the MPAA not
ironically mimicked the RIAA litigation(s) and declined to set an example. There are equally objectionable angles
of dissession from the hardware & software companies’ innovations included
with strings attached via proposed parameters (Induce Act, DRM, watermark,etc). As
consumers remain objects of prey and plunder by the industry middlemen ”AA”
lawsuits which pay for themselves, music studio major labels have
damaged
and disparaged artists & their listeners for at least 20 years since
the inception of the compact
disc? The CD revenue showcases the imbalance towards artist
compensation and hence reinforces the term indentured servitiude. Yet this diagram shamefully is defended
by (r)escinding (i)dealists (a)pparently (a)ged who flirt political prowress
with fiscally legislative persuasion in the best interests of protecting’ their
artists? Absolutely ignoble.
Aside from music industry
hypocrisy, ex-MPAA president Jack Valenti’s
quote illustrates
obvious impasse of unease & mistrust of the movie industry ‘s aversion to compromise with consumers, hardware
and software .com’s, “…in order
to transport movies as agreed to by the consumer on a rent, buy, or pay-per-view
basis with heightened security, computers and video devices must be prepared to
react to instructions embedded in
the film.” As if factory sealed
DVD/CD cases weren’t annoying enough to open, imagine the internal unwrapping of
disc copyright control! Are patrons
supposed to accept future blueprinted devices that constrict mp3/mp4 encoding in
the name of controlling digital preservation itself? I am sure hardware and
software sectors are apprehensive about playback/record limitations with their
own media. However many
precautionary measures the entertainment industries exert, resorting to
legislation to control emerging technologies and employ draconian digital rights
management impede invention(s) and lower expectations. The White Stripes
attemped extravagant copyright lengths for pre-release protection with the vinyl
for sale first. They took
responsibility for content control much like the top secret
Matrix productions which were documented.
“no copy protection-respect the music.
Only to whom respect is given show respect themselves.” Customers microscoped as potential
pirates in other words will not buy your product. Perhaps the “AA” industries erroneously
imagine backup copies burned for another friend or relative paint a picture of
every downloader reselling their collection as street vendors? Alas official prescreener DVD’s
originate from the academy ‘for your consideration.’ This hypothetical situation embodies the
‘AA’ industries’ paranoia.
Filesharers according to the MPAA diminish the theater viewing and
irreplaceable THX experience? Yet people scoff at the Tommy Lee Jones
‘anti-pirate’ disclaimer with laughter as if it were a comedy preview. Reflect for a moment: you’re sitting in
an overpriced matinee seat paying along with others and the paid for MPAA ad has
the audacity to elucidate that transferring files online ultimately discourages
attendence? Somewhere Lewis Black
is having a sudden out of body experience.
Afterall CBS flew the comedian to Los
Angeles to audition for a part to play HIMself.
With apologies to MLK, the
following redone rendition explores the potential outlook(s) of modern
tomorrow:
“…I believe that one day this global Internet nation, will
rise up and live out the true meaning of Xolox.com: we hold these truths to be
self evident that filesharers are ‘dedicated to bringing cultural diversity to
the world through the free expression of ideas,the
emancipation of information, the discovery of the arts and sciences and the
unfettered communications between humankind.’
I have a dream the Supreme Court
will hopefully see and understand the absurdity of the MPAA’s cognitive
dissonance in campaign ads. I have
a dream that one day even the Middle East along with other various nomadic
regions, sweltering conflict(s) of injustices and oppression, will be
transformed with an oasis of internet cafe’s for as far as the bandwidth that
bridges understanding.
Long gone, must the RIAA retire
into irrelevancy when trying to control and contain entire distribution. Long abated a percentaged partner
profiteering from artists as they replenish a record company’s ‘loan’
contract. Rather a powershifted
pendulum swing from the combined major label companies to artists independent
self created labels no longer struggling to stay afloat.”nbsp;
If you want to get technical, a
record or movie enterprise invites artists and says, “I got a first hand COPY of
your demo/movie/etc..how about doing more and we’ll
negotiate for a price…” This is how deals are struck and stars are born from
the underground to the legit mainstream. If you cannot get signed despite
talent, then circulate with circumvention of studio co$t$ and airplayola
barriers! If EVERY artist performed
they’re unique sound only once paid then nothing would ever be noticed. Paul Van
Dyk proved himself at Berlin’s
free Love Parade years ago with or without industry gluttony because music IS in
the air we breathe. How can it be received if it isn’t released? Attendance
skyrocketed over 1 million and it became the ultimate international festival
which transcended the ‘suggested donation’ entry f(r)ee
concept axiom. Uwe Schmidt, an electronic musician, set up his Rather
Interesting label “because I was getting really, really bored with not being
allowed to do different stuff by pressuring record companies.”
(thewire.co.uk/ISSUE 223,02′>pg.26)
Music’s purpose is solely
designed for artists to connect directly to people who really want to hear the
music…fans. Not fiascos like
Apple and other accounts of
contracts vs. stifled and unreleased artistic expression. James Stimson of Drexciya personifies
this neverending pursuit of creativity before commerce, “I’m not in the process
of just making records; I’m in the process of developing my style.” [groovesmag.com#8>pg.35] Expression belongs to the human being
like Einstein’s formula’s or Botticelli’s Venus.
Can the nature or very definition of
copyright continue it’s meaning? Producers use old and new semi unknown
artists for transforming what they take into a freshly mixed archetype. Sampling, according to industry
standards, inadequately dilutes into a form of ‘stealing.’ Music guru and legend Gil Evans despised
the competitive world of showbusiness and found tussles about money versus
songwriting credits distasteful.
Evans introduced to his pupils (Miles Davis,Charlie Parker & Gerry Mulligan to name a few) to the
idea of borrowing scores from public libraries, and they would pore over Bach
and Stravinksky. [thewire.co.uk/ISSUE 221>pg.74] Translated to the modern
modus operandi? This is now the
extension of the Internet. Gee,
what an atrocious global society envisioning broadbanded geeks fascinated with
cross-referencing
different artist and same track names out of contextual
comparison. Music itself is not
thieves’ charter. Music, like
information, is a tradeable commodity.
Music’s educational value is
instilled in cartoon characters such as Animaniacs’ Yakko Warner rhyming the
Nations of the World. Since
audience’s tastes have emerged more omindirectional because of the p2p
explosion, perhaps more premiere artists will be inclined like Shakira to try
various languages and styles. As a
result when sung/conducted/re-mixed to new ears, it inherently becomes the
experience of learning then teaching through performance. Music creates movement within our
imagination and allows us to storybook our diary in which every song timelessly
incapsulates memories of our lives.
Music defines serious meaning in explaining moments of incomprehension in
which words will not suffice.
Sharing musical tastes (much like in relationships) creates a special
bond. Even if there was no face (with the person sharing music
files) with the name from the onset. When sound and images have power to
unify from diversity, therein breaks down borders or boundaries of unknown
differences through these universal languages.
I can’t describe the feeling
communicating with someone from
Germany,
Spain,
Portugal,
Turkey, the
UK, etc. when
I’ve received instant messages (overnight usually when asleep) thanking me for
posting up my playlist for the public viewing. It’s not just about building a bigger
screename list of media contacts overseas.
Dj Shadow summarizes in perfect synthesis: he hopes his albums “inspire
people to check out other types of music and to be really open-minded.” [thewire.co.uk/ISSUE 220,02'>pg.40]
The significance of a true artist is one who credits they’re influences
of inspiration first. Hearing in
awe some new composition simultaneously exposes others’ rhythms with which you
relate. Free software language
translators await endless possible penpal connectivity with the expansion of the
Internet’s plasma
Can the United States afford to
let the rest of the world embrace the info age while we stay lost in stagnation
from our government and entertainment business’ who intellectually imprison US
thus forming an unwanted bubble effect?
Even ex-RIAA member
Rosen witnessed during
the Oxford great
hydra’s head of filesharing cannot be stopped from the show of hand counted
votes.
Enter now a post-Napster ‘thanks
for ensnaring’ update aimed at the A.(rmed &)
D.(angerously) D.(ownloading) generation.
We play catch me if you can based on shared quantity because now the
quality of DVDs is reaching towards a V.H.S. (video & high-caliber sound)
frequency. Additionally fear
forments to networks shadowed by lame BigChampagne helping scan to dissect which
artists available violate the ‘do not share list?’ U.S. DoJ
homes last August in response to the Ninth Circuit Court of Appeals ruling
that decentralized p2p networks are legal.
The Department of Justice might as well emblazon swastika’s around their arm or lapel. This is entering a shade too
reminiscient a bookburning hell I cannot consider. .Although how can you argue
against a mafia of absolute control and has undercover raid names like Operation
Digital Gridlock? How can you not
despise the MPAA who persuaded the Norwegian Economic Crime Unit (ØKOKRIM) to
criminally charge Jon Johansen after he used
steps to view his own bought DVD on his computer? How did I ever think lyric
sites being
ludicrous? Furthermore shameful and
deceptive that the RIAA .Org domain registration
disgraces the name of true meaning ‘non-for profit.’
“In a capitalist society,
businesses are organized to make profits, not promote social ideas.”
(thewire.co.uk/ISSUE 221>pg.75)
This is the foundation of Shery1 Crow’s contradictory awareness. She donates free time and money to the
Vh1 ‘Save the Music’
RIAA suing who she helps with her generosity? Chester of Linkin Park was aggravated
from LoveLine’s Adam Corolla interview question during the Meteora album
release, “How can you allow others to be sued who you advocated helping spread
the word (Japanese anime montages overlayed with band’s music) for you when the
internet was the only outlet for exposure and elevated you to where you
are today…?” At which point
Chester persistently retorted that “it’s not the same,” cut Adam off, and the
next topic abruptly introduced.
Note to self: an artist’s case is less convincing but more confusing when
being a fence sitter.
Where are our libraries in the
midst of this mess? Are they
recovering from lawsuit aftershock of great assaults on our coveted institutions
(colleges especially) of information gathering infrastructures? Thankfully there are solutions such as
Mercora.org and pirate radio broadcasting.
Iain McLeod (author of
industry’s pressure of new rules make it more unaffordable to play music online
in the United
States.
Therefore independent DJ’s are forced into extinction and Clear Channel
continues its unpopularly monopolistic saturation. Another aspiring
webcaster from Harrisburg,
PA.
royalties in which if “they want money, they’ll have to come to my door and get
it.” This concept McLeod designates
as ‘wholeshare closure’ collapses now upon this p2p revolution. The worst scenario is one where our
possibilities are provided and we don’t produce them. Envision the editing setback if unable
to audio extract and encode a riveting and rare live Journey video unreleased to
mp3? Even vinyl release
exclusives allow options only open to p2p avenues! Until the MP/RI-AA adapt the Internet’s
protocol among participants seen as Users not Viewers, then a compromise for a
viable business venue remains
incomplete.
Rare import selection at retail stores are inconsistent and dismal. Not every record store can afford to be
inventory intensive with restricted budgets for storage space and demand. They’re existence is essential
especially, for example, with indie-resale options ala Rasputinmusic.com. The Tower Records & Virgin Mega
stores’ marketplace models stay in decline as Rasputin rescues us from these
typical shops: products that are like brand new at competitive pricing. A place where a free
member card discounts at random and encourages consumer buyback/trade on their
old music & movies. As I
gladly waited out a long line unfound daily versus a Virgin Mega Store,
employees behind the counter acknowledged the p2p revolution with salutation
since opening a cd (not just listening!) to try before you buy is customary in
this sanctum. (though I heard the Italians have been
practicing it for several years!)
Are CD industry losses really incurred from the RIAA’s broken record of
ruined $ale$ from file-sharing?
Rummaging through fact figures
their statisical data unveils various other reasons (crude economy, a steady
decline in new releases, etc). Why
are the numbers refuted confusingly by themselves when questioned by
Businessweek.com?
The online ‘legal’ libraries
(ITunes, Napster, e.g) offer pathetic alternatives to an unabridged collection
because conflicting record studios’ contracts bypass such coalescence under one
roof. “For those living under
political tyrannies, art has frequently been a form of hidden resistance, and
tyrants habitually look for ways to
art..”
Ultimately a celestial jukebox is prevented in a realm where the
Internet’s data supported backbone stems from everyone’s hardrive? Is it the users’ fault or crime
committed for finding options that wouldn’t otherwise be presented?
Overall many late A.M. overseas
conversations provided excellent conclusions:
style="MARGIN-LEFT: 0.5in; TEXT-INDENT: -0.25in; TEXT-ALIGN: justify; tab-stops: list .5in">a) Downloads
will always exist either via artists or their fan sites on U.S. soil or
abroad.
style="MARGIN-LEFT: 0.5in; TEXT-INDENT: -0.25in; TEXT-ALIGN: justify; tab-stops: list .5in">b) everyone outside the U.S. shares unlimited playlist access
with little infringement enforcement
style="MARGIN-LEFT: 0.5in; TEXT-INDENT: -0.25in; TEXT-ALIGN: justify; tab-stops: list .5in">c) everyone inside the U.S. reveals significantly smaller
portions of their entire library of media [with some exceptions]
No wonder people feel fear within
the ‘land of the free.’ We’re
endangered from being cut off communicatively to the Europe and Asia arts. The true meaning of the Internet
gathering, infinite cyberspace, recedes into a cat and mouse atmosphere of
closed corridors reminscient of the game Burn Cycle.
Countermeasures in response to
this bleak foreshadowing involve improved advancements through technological
developments. Decentralization
steadily flourishes with great capabilities and
community. Simultaneously XM Mi-Fi
handheld satellite receivers and
popularity excel while on the horizon the “AA” ’s wince: a rumored NetFlix and
TiVo video on demand partnership, fiberoptic lightspeed and
Discs of one terabyte storage capacity with a one gigabyte per second
transfer rate!
For now the Motion Picture
Association of America sits in stalemate as do several money hungry record
companies. Online or FM radio is
making more of a positive impact to help reshape purpose in its listeners. The
exemplary RadioAlice.com instead feeds the less fortunate with canned meal
donate drives in exchange for various acoustic studio CDs. The enormous turnout illustrates the
cause and return are intertwined. Both are grouped as basic needs giving
us sooth to our soul that we seek
McLeod the Brit
undercover to hide from the RIAA.
If people don’t oppose their paid-for legislation, their democracy is in
serious trouble. Your U.S.
democracy doesn’t look too healthy from here anyway.”
The United States of America may
have
Internet but they don’t own it.
