Already happening:MarcusR wrote:Whats next? The Music Publishers Association will lead a small squad of pub spies taking notes of buskers and live musicians playing anything not in public domain?
http://chiffboard.mati.ca/viewtopic.php?t=23326
Already happening:MarcusR wrote:Whats next? The Music Publishers Association will lead a small squad of pub spies taking notes of buskers and live musicians playing anything not in public domain?
Believe Blackbeer I have thought hard on that question of copyright. Even before the internet, when all libraries in Canada must pay a fine...ah a fee to CanCopy for the photocopying of Canadian author works'. Twelve years ago I broached the question to my colleagues, "what if all authors and publishers who have material in our library wanted a fee for photocopying?" They laughed at me and bascially said that's ridiculous!I wounder what the implications are for our public library system. Seems like a universal book burning to me.
It's already happened, Marcus. Look at Dick Gaughan's web site. He's prepared to share just about everything, the only line being that he might not remember or have the energy and that you may not use his gifts for commercial gain. As in so many respects, Gaughan is decades ahead of the game. Apart from his sensitivity and intelligence, if there is a single reason for this it is that he never stopped being an old-fashioned socialist. But he doesn't just sit around talking about it; he lives it.MarcusR wrote:
I wonder how long it will take before the artists them selves get fed up with this exorbitant behaviour and distribute their work with some sort of GNU license?
/MarcusR
They actually never have understood that, both the musicians unions and the majors.MarkB wrote:
The music recording industry, music publishing industry don't seem to understand that the cat is out of the bag, and the barn door is wide open.
MarkB
rock with peroggies?Wombat wrote:proig rock,
What, you're kiddin right? just look at the american pop music industry, it's no bloody wonder that they think that they can just cram whatever they like down our throats and we'll all buy into it. The reason being is that there really are (sadly) enough dope-ass people out there who will buy and like what they're told to. They'll even believe that something's cool if the're told it is.
OTOH, to be proactive, they would have to be aware of when a whole generation is saying no to the crap they are pushing. If you hired people to monitor changes in taste you could hedge your bets here. Why don't they? Are they just too lazy? Or do they really think that uniformity of taste can be imposed by establishing a near monopoly on media ownership?
Well I wasn't kidding, but, then again, I haven't been following the changes in popular taste for about 20 years, although some of it slips through even to me. Probably what I like of it would be considered alternative rather than popular.Tyler Morris wrote:What, you're kiddin right? just look at the american pop music industry, it's no bloody wonder that they think that they can just cram whatever they like down our throats and we'll all buy into it. The reason being is that there really are (sadly) enough dope-ass people out there who will buy and like what they're told to. They'll even believe that something's cool if the're told it is.Wombat wrote:
OTOH, to be proactive, they would have to be aware of when a whole generation is saying no to the crap they are pushing. If you hired people to monitor changes in taste you could hedge your bets here. Why don't they? Are they just too lazy? Or do they really think that uniformity of taste can be imposed by establishing a near monopoly on media ownership?
In the last few years classical music has almost if not disappeared completely from the airwaves, except for an aging population nobody seems to care. According to articles published in the last two weeks, Rock radio in the U.S. is also going the way of classical, jazz etc., to be replaced with all talk formats.But I think a closer look would reveal that most buyers were in the preteen/early teen stage and that older teens and adults liked a wide variety of musics just as they always did—and since that audience spread their dollars over thousands of artists, none in particular stand out. For older audiences, for every predictable success like the new Andrew Lloyd Webber, there is something that couldn't be anticipated like Riverdance and a hundred things with cult audiences of a few thousand—enough to make issuing a record profitable.
Probably more music is available today than ever before. I've never known an era in which so much is in print and I've been collecting records for decades. Very little of what I buy comes out on the majors, even when it is owned by them. There is a huge market in 60s and 70s rock, presumably because some young people like it but mainly because nostalgic oldies have the disposable income to sustain it.
Sounds like the Supreme Court interpreting The Constitution the last several decades.I.D.10-t wrote: this practice seems to do the opposite than its original intention and does not seem like the intended “right” of the copyright owner.