[LAU] ASCAP Assails Free-Culture, Digital-Rights Groups

[Kevin Cosgrove]

On 30 June 2010 at 13:12, Paul Davis <paul at linuxaudiosystems.com> wrote:

> the claim here is that the development of an idea before it is
> expressed is a form of work. if the work is to be rewarded,
> its either going to be done before, at or after the point at
> which an expression of the idea is released into the world.
> because copying the expression is so easy, its not easy to see
> how one can ensure sufficient revenue from the release to make
> it feasible for the artist to *work* as an artist.

I also think that creators need to be compensated in some way,
for what they've created.  They may or not choose to avail
themselves of that compensation.  But, allowing for a revenue
stream in turn allows for more created works, which *can* be good
for society.  I don't think the monetized system works in a way
which is good for this end.

> i'm fine (to some extent) with the conclusion that we, as a
> society, no longer wish to pay artists & creatives to do what
> they do. but if that's really going to be the conclusion, we'd
> better think very carefully about all the side effects. i'm not
> sure its pretty, and it may be even less pretty than the world
> in which disney and sonny bono get everything they ask for.

My view is that the monetizing of these creations is changing.
It used to be that record companies would use tours of music
artists to drive demand for recorded works.  Now artists give
away recordings (like when Prince gave away CDs in 100,000 London
Sunday newspapers) in order to drive ticket sales for musical
tours.  Some artists are choosing to offer "boxed sets" including
promotional materials, autographs, programs, and other stuff and
sell that with the recording for a greater price.  Sting has done
some 1000 seat shows at $1000US/ticket.  Certainly, different
artist have different options for their livelihood.

It used to be that if a song went viral, that someone in the
creative loop (frequently the record company) would get rich from
it.  Now, it might just mean 15 hours of fame with no money, or
lost money, to show for it.  But, there will always be some market
for live music, and "things" to buy from that artist.

All that said, I saw Dream Theater play in a 1000 seat venue 10
days ago, then got to chat with Jordan Rudess and Mike Portnoy as
they signed autographs.  Of course, I own 14 of their CDs, which
are at this point only used in my car or for backup of the FLAC
tracks I ripped off of them.  

Cheers....

--
Kevin