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CEO of RIAA Speaks at P2P Conference
Sarcasmo writes: "Hillary Rosen, CEO of the RIAA ? , spoke at length (PDF of Speech) yesterday, during the 'O'Reilly Peer to Peer and Web Services conference'. " Update: 11/08 02:15 GMT by H : Yeah, I removed the Rosen text. Sorry.
Call me pedantic but I hate how the RIAA keeps calling the downloading of music files via p2p software piracy. It is copyright infringement. Period. It is closer to piracy what the RIAA does to "its" artists.
I know there are some artists trying to buck RIAA stranglehold but I'm waiting for the day when big artists (remember The Offspring's attempt to make _Conspiracy of One_ available for download?) get out from under the big studios and the RIAA.
There's a bit of a chicken and egg thing, though. Most rock musicians (I am one, so I can say this) just aren't very bright folks.
:)
I remember reading a story about how Lynyrd Skynyrd got screwed out of their royalties. They were all high school dropouts (they were named after the principal of their high school, who threw/pushed them out, Leonard Skinner) and when they were presented with the contract, they could not read. They signed it anyway (without going to a lawyer to interpret it for them) on the side of some interstate in Florida.
So who's worse - the band for being too dumb to know the value of education or to cover their ass, or the record companies for taking advantage of that? In their case, it's about equal, coming from their background. However, there are some artists that have never had a chance for an education, but they have this raw talent, and the record company just rapes them and tosses them out when they get old/fat/non-trendy. It's really a case-by-case thing.
For the record, Lars is an idiot, too
(Please save your flames until you've read the whole post)
She does have some legitimate points. Personally, as a musician, and one who plans to make music a career, I want to be able to have the same opportunity to make money as anyone else. I don't want to be rich, I just want to be able to live comfortably.
However, the foundation of her argument is flawed. Artists get a ridiculously small percentage of CD sales, and this isn't changing even as CD prices close on the twenty dollar mark.
Artists get most of their money from concerts. Albums are basically just advertising. File-sharing programs are more effective advertising (People like free things). If more people are listening to their music because the price barrier isn't there, then more people will go to their concerts, putting more money in the artists' pockets. This is a good thing.
The only artists who are speaking out against file sharing programs are artists that A) don't need any more money, and B) don't understand that this actually helps less mainstream artists.
Basically, what it comes down to for me is this: If I'm dinking around on Limewire, Napster, Morpheus, or any other music-swapping program and I come an mp3 of one of my songs, I'm not disappointed. I'm not feeling the money fly out of my wallet. I'm elated. I'm absolutely ecstatic that someone would take the time to download my music and keep it on their hard drive. They've done this because they like it, not because of money or any other impetus. That's half the reason that I want to be a musician (Incidentally, the other half is that I hate/suck at everything else): to create something that people like - that touches people. It's a wonderful thing when this can occur outside of a corporate environment, outside of the store. If my music was flying all over the 'net and I was living in the street, that would be a different matter, but that's just not how it works.
Anyway, that's just what I think...
(Does anyone else find the Gates-esque overuse of the word innovation and derivations thereof rather disturbing?)
In the music industry, Artists get paid sweet FA, they obviously don't have a union, and they don't go on strike to get a better deal when they are being done over.
Ao what Artists need to do is form a union, and unite against their employers, the recording industry. If they don't do this, then they don't deserve any more money.
The fact is, P2P music copying:
1) Gets music spread around more - increasing the chance of it being purchased legitimately
2) Doesn't mean that without the P2P the music would have been bought
3) or that a sale was lost as a result of the P2P download
4) Sure, some people will download music and not buy CDs as a result. These people are a significant minority who previously recorded their friends' CDs onto tape anyway
The fact is, the RIAA exist for the artists for several reasons - to provide recording facilities, and to advertise the artist. P2P does the advertising, and thus takes away one of the reasons for artists to use a major record label. The other one is less necessary as computer technology improves to the state where a personal music studio is a few thousand dollars, and can match a professional music studio from a few years ago for features.
The RIAA really need DVD Audio, with videos to differentiate their products from P2P. P2P is a competitor, and they want this competition legislated out of existence. For example, the Static X song, Black and White (kicks ass) is available on DVD with the (kick ass) video, and other videos of the band. This is worth buying as a reasonable price.
Agreed.
Correct me if Im wrong, but isnt it illegal in the US to fix prices, collude to rig the market and agree to non-competiton pacts in a given market?
Isnt the very existance of the RIAA (and MPAA for that matter) practically evidence of law-breaking?
Its like gas stations calling one another and pushing the price up...
Basically, during the "negotiating" phase of a recording contract, the artist/band is taken out to a nice dinner complete with refreshing drinks. The label rep then scratches out on a napkin or small scrap of paper a tentative agreement to sign a contract. This agreement works out to "if we give you this, that, and the-other-thing - you, the artist/band, agree to sign the recording contract. The artist/band is then asked to sign the napkin/scrap paper and the rep will have those "evil lawyer types" write up the contract. All through this the rep is playing best buddy - who would never do anything against the artist/band's best interests.
Then the artist/band sobers up and receives the contract. They go to a lawyer (if at least a bit bright) and review it first. They find all sorts of ugly conditions in it, and tell the rep "no, can't do this". The rep "works" with them, changing a word here or there, but the essence of the contract terms remain unchanged (this is what you refer to as standardized among all labels). The artist/band says "sorry, I/we'll look elsewhere". The rep then pulls out that napkin/scrap paper and says "Sorry, you said if we gave you 'this', 'that', and 'the-other-thing', you'd sign with us. You didn't say we couldn't add conditions to them, just that you required them... and you signed a legally binding agreement.
The game goes around until the artist/band does one of two things. 1) Caves in and signs the deal. 2) Breaks up and doesn't pursue a contract with another label (essentially going out of business).
Most artists/bands at this point will opt for #1 and hope for the best. Often times, after the first record is completed and even if it does well, the artist/band will still break up and disappear once they realize how bad it really is. This is what generates all of those One-Hit-Wonders. They do a single record and file bankruptcy never again to record professionally.
So, you might say there's a bit of a gun held to their head. It's called a binding agreement even though it's just scribbling on a napkin.
I AM, therefore I THINK!