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CRIA Falling Apart?
An anonymous reader writes "Apparently, the CRIA (Canadian Recording Industry Association) has been falling apart recently. The biggest blow occurred when 6 major Canadian independent labels quit which was followed by some problems with the Copyright Board. Of course, this is all happening after the whole Sam Bulte incident. The article explains what happened with plenty of links for specific information."
Victory is Ours!
BwahahahahahahahA!!!!!!11
GENERATION 26: The first time you see this, copy it into your sig on any forum and add 1 to the generation.
We are the listeners!
Oh, it's *CRIA*... I thought it was *RIAA* :(
The current situation is just that they want to distance themselves from the bad press of the moment, eh. In a year or so they'll be back and better than ever, the hosers.
Most artists just want to be heard.
Their music should be considered free advertising for their art form, and hope to get enough interest to then go on tour.
It saves them time running around town sticking flyers up on walls.
P2P networks provide the free distribution.
Artists win by selling concert tickets, putting on a great show so people want to come back, and sell t-shirts, posters.
They get 100% of the revenue and greedy corporate bastards have to go find a new job that actually creates products.
Why isn't the old school gone yet?
CRIA me a river.
Just because you're paranoid doesn't mean there isn't an invisible demon about to eat your face
both are merely fronts for the interests of their umbrella group
Progress against any of them is progress against all of them. With any luck, a sufficient defeat in Canada will allow Canada to get a foothold in the world music industry for the near future as the old guard is defeated in a long series of battles.
GENERATION 26: The first time you see this, copy it into your sig on any forum and add 1 to the generation.
Now of course lobbying groups with lots of money get lots of stuff organized for themselves, but here it seems like all legislation concerning music-copyright is more or less directly taken over from the record companies. That's like taking all environmental legislation over from either greenpeace or chemical industry.
I think the biggest mistakes are from the government of giving so much one-sided power to industry instead of being a representative of the people as they were actually chosen to be. Yeah, I know, reality is different, but it just still amazes me, maybe I'll get more desillusionized (reality-numbed) as I grow older.
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The current situation is just that they want to distance themselves from the bad press of the moment, eh. In a year or so they'll be back and better than ever, the hosers.
... and those artists tend to be in *favour* of downloads as it increases their exposure.
Probably not, actually. The labels that left, although they do have a few well-known acts, generally have small, relativly unknown artists in their stables
They're simply doing what's best for their business, not what's best for Sony.
A note:
A summary that says "the article explains it" is not very useful to me, or anyone really.
They want to get rid of the private copying levy. Well, hell.. that's been a long time coming.. especially since they were the ones who pushed for it in the first place.
I agree with this sentiment, although for different reasons. Why the hell should I be paying a private (music) copying levy for a CD-R that I buy which will never contain any music?
If this means that Canadians lose the legal right to download music on P2P sites, I think this is a fair compromise. After all, most of the P2P sites are crap nowadays, anyway.. infected with bogus files by the RIAA surrogates and "traffic shaped" by our ISPs.
I am the maverick of Slashdot
Because what you said it isn't true, at least not for all musicians. See, you have to separate the love of the art we have from our desirve to live a decent quality of life. Us musicians don't just want to make music for everyone's enjoyment, you see. Some of us want to eat as well!
Many musicians, especially big popular artists of course, want to sell music, and make their living from that. They don't consider their music to be advertising - they may rarely play a gig, they may never want to go on tour, but they may still love making music and want to be able to make a living from it.
Sadly, the people who mask their desire to download music for free from P2P networks claim they're doing it to "fight the man", destroy the evil record labels and so on. That's fine, as far as it goes, but it's an excuse and nothing more. It won't help people like me - I'm a solo musician who plays several instruments, but I'm not in a band. I can record stuff I could never play live. I've enjoyed gigging, but I don't think I'd like to tour really. But why shouldn't I make a living selling music?
If I wanted to sell my music, I'd like people to respect my wishes. If they don't, and I'm relying on making money from my music to live, then I'm fucked and I won't make as much more (if any) because I'll need a job to pay the rent. Which is why I've skipped trying to make a living from music, and instead I'm a games programmer who makes music in his spare time.
Game dev and music blog
What needs to occur to cause major U.S. record labels to break away from the RIAA in the same fashion?
I can only see this as a Good Thing(TM), but it seems like the CRIA is a mere shadow of the RIAA in terms of power and influence over legislation and the industry itself.
...and that's the way the cookie crumbles.
I run a synth podcast show and because of legal reasons have had many contacts w/ labels (me contacting them for permission, not them busting me) and I can not emphasize how cool the nettwerk label is :
.... as per Nettwerk copyrights, we have never sued anybody and all our music is open source to encourage fans to share it with others and help us promote our Artists. As per those Artists we manage on other labels (Majors), we take issue with those labels claiming that litigating our fans is in our interest, as it clearly is not.
Check out their about page :
Nettwerk Music Group is Canada's leading privately owned record label and artist management company. Nettwerk is responsible for managing some of Canada's biggest artists like Sarah McLachlan, Avril Lavigne, Barenaked Ladies and many others. Nettwerk has several offices located around the world including offices in New York, Los Angeles and London; with our main office right next to Granville Island in Vancouver, B.C.
Litigation is destructive, it must stop
Even the smaller indie labels have not taken a stand as strong as Nettwerk has. Nettwerk is indie, but they carry Sarah Maclachlan, Delerium, Avril Lavigne and bands of that size, so they aren't exactly small.
Trust me, there really is some good in this world. Nettwerk has been one of the most critical labels of heavy-handed legal tactics. They're funding some RIAA defences, they were one of the first to leave the CIRA, and they aren't just a stable of artists that no one has heard of; Sarah McLachlan, Barenaked Ladies, Avril Lavigne.
And they sell mp3s on their site. Not WMAs, not ACCs -- *mp3s*, no DRM.
I'm a cynical bastard, too, but there's actually a few labels out there that get it. Don't sell them short.
Running Windows^H^H^H^H^H^H^H OSX and Linux in the home. (I don't have time for Solitaire any more.)
Copyright, as the money-making machine it is today, did not exist in Mozart's time (at least not in Europe-- the modern conception of copyright stems from UK law). Copyright may have existed informally, but unless I'm mistaken, it was not a part of law. Despite that Mozart make quite a good living from his music. Additionally, it was quite common-- and acceptable-- to compose "variations" on another composer's work. This practice is briefly mentioned in the quasi-fictional movie, Amadeus. But derivative works, though still technically permissible, are not often undertaken due to a threat of lawsuit and, from what I gather, not smiled upon by courts.
But using Mozart's case to support an argument about modern times is pointless anyhow-- in the 18th century, you're talking about sheet music and a vast underclass that has little interest in copying it. Today, we have a huge population with disposible incomes and high-quality recordings that can be distributed at virtually no cost. The dynamics are quite different.