Real Censorship


YouTube’s Copyright Problem | Plagiarism Today

The Trichordist

Bottom Line

If YouTube is going to be more than a destination for watching content and a key part of where producers and others go to post their content, it needs to solve its copyright problem, meaning that it is both a place original expression can thrive and a place pirated and infringing content is kept at bay.

While ContentID and YouTube’s rules have done a decent job in the majority of cases, it doesn’t really feel as if YouTube is building on stable ground in either direction.

YouTube has to do more to both protect fair use and legitimate commentary/criticism while doing more to prevent illegal material from taking home on the service. Those two ideas are not in opposition to one another, though many would let you believe they are.


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Top 10 Reasons People Use To Justify Pirating Digital Content (And Why They’re Wrong) | Lit Reactor

The Trichordist

Book authors are now learning what it’s been like to be a musician for the past decade.

Pirating digital content is illegal. Full stop.

Yet people continually steal eBooks and movies and television shows and treat it like it’s no big deal. There’s a couple of reasons it happens: Torrenting is easy and the chance of getting caught is low. And saving money is fun, especially when the economy isn’t at its strongest. But the biggest reason was summed up perfectly by Devin Faraci of Badass Digest (who tweeted the following while I was writing this, and I couldn’t possibly say it better myself):

In our culture today people think they deserve their entertainment, not that it’s a perk.

An eBook is a luxury, not a right. If you can’t afford it, too bad, but that’s life.

Still, people excuse the practice of pirating with a plethora of ridiculous reasons…

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New Report: Building the New Business Case for Bundled Music Services

Music Industry Blog

Today MIDiA Consulting is proud to announce the release of a white paper commissioned by Universal Music entitled “Building the New Business Case for Bundled Music Services”.  The report, written by myself and MIDiA Consulting co-founder Keith Jopling, provides an unprecedented analysis of telco music services, taking a critical look at what has and had not worked to date and a series of models and recommendations for the future.  We interviewed a host of telco music executives to get a deep understanding of what telcos need out of music services to make them a success and combined this insight with data from consumer surveys and music service trials as well as case studies and best practices.  We think it is pretty much the definitive piece of work on the topic (!) and we invite you to download it here: Building the New Business Case for Bundled Music Services…

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“Luddite” Artists Point Out That BitTorrent Doesn’t Know Shit About Their Own Technology.

The Trichordist

Like Germans BitTorrent is “mostly unitentionally  funny.”*  The  company has decided that they should attempt to legitimize their artist exploiting torrenting system with a charm offensive by buying billboards in Los Angeles.  Check this one out.

It seems to me that BitTorrent is suggesting that by using their product you are somehow safe from snooping by the NSA.


Nope you aren’t even safe from a so-called luddite musician. Check it out.

Here are the IP addresses, ports  and some sample Cracker and Camper Van Beethoven songs being hosted and illegally torrented by 33 Bit Torrent users.  This is using one of the vast number of tools available to snoop on Bit Torrent traffic–think the NSA doesn’t use this for jihadi communications????

And to the folks illegally sharing my music?   You might want to ask what other naughty stuff I can see on your computer?

Seriously, if I could…

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The End of Quiet Music | The New York Times

The Trichordist

There’s a lot to take away from the recent opinion piece in the New York Times from Alina Simone about the new (but not better) realities for musicians and creators. Here are two paragraphs that have resonated with us, asking the important questions about where we are, and where we are going.

Instead of helping these musicians, we tell them they just have to adapt to the new realities of the music economy. And short of embedding MP3s in toilet paper, they have. Bands have demonstrated remarkable creativity in trying to monetize whatever they can to make up for the inability to, er, monetize their music itself. They will come over and play Xbox 360 with you or personally record your outgoing voice mail message.

We’ve placed the entire onus of changing-with-the-times on musicians, but why can’t the educational, cultural and governmental institutions that support the arts adapt as well…

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@SFmusicTech Take Note – The 13 Most Insidious, Pervasive Lies of the Modern Music Industry… | Digital Music News

The Trichordist

One of the most succinct and accurate assessments of the modern music business. As digital music hopefuls head to Nor Cal for @SFMusicTech the attendees should be aware that this conference has promoted many if not all of these “13 Most Insidious, Pervasive Lies of the Modern Music Industry.”

The list covers everything from “T-shirts & Touring” to “The Long Tail”  and from “Kickstarter” to “Streaming.”

Lie #1: Great music will naturally find its audience.
Lie #2: Artists will thrive off of ‘Long Tail,’ niche content.
Lie #3: The death of the major label will make it easier for artists to succeed.
Lie #4: There will be a death of the major label.
Lie #5: Digital formats will produce far greater revenues than physical.
Lie #6: “The real money’s in touring”
Lie #7: There’s an emerging middle class artist.
Lie #8: Kickstarter can and will build careers.
Lie #9: Spotify…

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