Category Archives: Stupidity

Copyright, Music, My Stories, Stupidity

I Wanna Be Sedated

“Nothin’ to do and nowhere to go I wanna be sedated”

My youngest son had a big spew last Wednesday night. Then from Thursday to Monday he was running a temperature as a chronic barking cough was developing. Children’s Panadol was ineffective and on Sunday we reverted to children’s version of Nurofen. Finally by Monday afternoon we had his temperature under control.

By Sunday my middle son had also developed a cough that was nasty and by yesterday afternoon I too had an uncomfortable cough.

Now add to that mix the fact that my wife has been ill in some form or another for the last eight weeks. Furthermore I also have my wife’s parents living with us while they build their house and they have been ill much in the same way my wife has and it was no wonder that my eldest son said that our house is like a hospital ward.

So at the moment I have antibiotics for my youngest son, my middle son and for myself. My wife called and said that she will be going to the Doctors as well.

“They call us kings, then watch us fall down broken”

I can’t deal with illnesses that go on for this long. It stresses me to death. I already take three lots of tablets for hypertension. I feel broken and depressed. I just laid my youngest one to bed after a twenty minute cough attack. I feel exhausted. What kind of superhero king am I?

“Wine is fine, but whiskey’s quicker”

It’s easy to do but what about the morning after. I have to be there for my children. Actually the “Suicide Solution” lyric is from Bob Daisley but no one will remember that in the future as history is always written by the ones who have power. Sort of like how the current Bon Scott biopic was threatened with copyright infringement as AC/DC and the Bon Scott estate didn’t like the fact that they didn’t have control over it. Much in the same way as the Jimi Hendrix biopic. There is a saying that the ones that control the narrative are the ones that control people’s minds. And that is so true and evident in the times of today.

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A to Z of Making It, Copyright, Music, My Stories, Piracy, Stupidity, Treating Fans Like Shit

Billion Dollar Music Streaming Market

There’s billions of dollars to be made in the music streaming market. Apple, Google, and Amazon’s recent moves into digital music will provide a major “revenue boost” to major labels. And do you know what a crowded marketplace of streaming services means to the record labels?

It means competition and that competition is good for the record companies, who charge the streaming outlets substantial licensing fees to use their songs. So in other words, these tech giants are cash rich and they are willing to offer labels high royalties in exchange for exclusive content. Add to that mix the rivalry between the tech companies and what you have is billions of dollars that are paid to the content owners. Now since the record labels are the content owners of a large amount of songs, how much of those monies are filtering down to the actual artists. Because in the end for the record label to license out their catalog it does not require any additional spending. In addition, the record labels use this “content ownership” bargaining chip to also take a part stake in the ownership of the streaming service.

Why do you think that the record labels are really pushing for Spotify to go public?

Yep, it means more dollars for them as part owners. Hell, even Jared Leto, who has battled music label “greed” with Thirty Seconds to Mars, invests in Spotify. As an actor he gets paid for his work however as a musician he has seen the labels take all the money and not share it with them. Seen the film called “Artifact”. After Thirty Seconds To Mars sold millions of albums, EMI/Virgin sued the band for $30 million because according to the label the band was still millions in debt.

That is what happens when the secret deal involves the label giving some money as an advance and then claiming back 80% of the monies earned, and using the other 20% that is for the band to pay back the original advance plus other costs the band might have occurred.

Meanwhile, you have Apple who thinks that spending $10 per month on a premium music subscription is too much for the average listener. The average music consumer spends only around $60 per year on CDs, vinyl, downloads, and streaming services. That’s why Apple is talking with record labels to revamp its Beats Music service with a lower price.

Let’s look at how the recording industry handles conversations of prices.

According to the record labels, there is none — people either like a song and will pay any price for it, or they don’t and they won’t. So when Apple approached record labels at the start of the 2000’s, the labels were resistant to unbundle the album and sell individual song downloads through the iTunes Store, even though the recording industry was spiraling downward, Apple still had to work hard to convince the labels that digital downloads would be a benefit to them.

It is worth nothing that the price of streaming services is not set by the technological companies. The record labels actually set the minimum price these services are able to charge through their licensing agreements.

What about Thom Yorke?

Is he a leader in business model innovations or an out of touch rock star?

We all know back in 2007 that Radiohead shocked the recording business by releasing an album online with a pay-what-you-want pricing model. Not long after, the website Bandcamp allowed lesser-known artists to put their music into the vast expanse of the Internet, even if it didn’t make much or any money.

I think that is pretty innovative.

And a few weeks ago Yorke found a new way to push the boundaries. He put his latest solo album up on BitTorrent for $6.

Is this a new way for people to get the music they want without interacting with all the bullshit of streaming services, mp3 downloads or physical stores?

Is this another brilliant way for bands to have a direct to fan interaction?

Or is it a step backwards to limit access to an artists work because the enemy is obscurity. As we all know, everything is available, so why is Yorke putting up a pay wall, especially when the younger generation are all about racking up YouTube plays, which pay quite handsomely when they’re in the triple digit millions.

It is the consumer who controls the business models today. And the model is not about who buys it anymore. It’s about who is playing it and who is listening to it. And today there are many more avenues to getting paid than there have ever been before. Create something great and you will be paid forever, as people listen down the ages.

And this is the takeaway. People are compelled to make music and to share their music with people. No one is going to stop doing that just because there is some corruption out in the recording industry.

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Music, My Stories, Stupidity

Metallica

Metallica never fully recovered from the Napster debacle and in the end what their actions did was bring about the “Anakin Skywalker Effect”. In Star Wars, Anakin Skywalker tried to stop Padme from dying and in the process ending up being responsible for her death, the death of many other Jedis, a fall to the dark side and the loss of human limbs.

In Metallica’s case by killing off one outlet (Napster) many more came to replace it, which brought in an era of unchecked piracy, until streaming services started to rein it all in. Seen the stats coming out of the UK recently. When people are given a legitimate and well-priced legal alternative they will always take it up. More people are streaming now in the UK than downloading mp3’s.

And the thing about Metallica is that Lars Ulrich thinks that what U2 did with Apple was a good thing. Is he serious? U2 will never recover from the backlash of their Apple giveaway. Like U2, Lars is more or less showing that he is the poster boy for aging out of touch rock stars.

Watch the documentary called “Global Metal” from Banger Films. There is a section there that focuses on the spread of metal music globally. Based on interviews with musicians and fans of the genre a link is made to piracy and peer-to-peer downloading.

So in a different scene, the interviewer Sam Dunn explains to Lars what he has heard from metal fans around the world that piracy gave them access to music they could never get their hands on. Sam then asks Lars how he feels about it. Lars thinks about his answer for a second and then replies that it is a good thing that fans are getting access to the music. And isn’t it funny how Lar’s said “WE” had some radical views at the point in time in relation to Napster, when the truth is it was Lars (along with some bad advice from management) that had the radical views.

Remember recently that Metallica played some sold out shows in China. I wonder how that came to be especially when Metallica music is not really purchased in the country.

The thing is this; if Metallica gets back to writing some quality and excellent tunes, they will be laughing all the way to retirement. Because back in the day, good used to be good enough. Today good equals awful. We all want what is excellent. Death Magnetic came out in 2008. It was a good comeback album. Now they need a great album to follow-up “Death Magnetic” and they are already late with that release. “Lords Of Summer” as a song is terrible however there are some quality riffs there that need to be developed into great songs.

Because in the end, a great media campaign can bring attention for a little bit however it cannot sustain if the music is terrible. U2 still believe that smoke and mirrors still works. Their team must believe that promotion is everything. Tim Cook believed it, however do you reckon he will work with U2 again in this fashion. Make the mistake once and learn from it. But Lars reckons that what U2 did was an amazing thing. Maybe for their bank accounts it was, but what about their audience.

The very essence of the internet is that only true excellence rises to the top. And that which rises and lasts usually has an innovative twist to it. Volbeat merged rockabilly, country and metal into a commercial pop song. Five Finger Death Punch merged the hard rock movement of the Eighties with Killswitch Engage. Coheed and Cambria introduced a whole new style of storytelling making each album a mass media event that involved novels, comics and music. When Metallica broke out they merged the NWOBHM scene with fast tempos and then with progressive time changes. When Rage Against The Machine broke out they merged rap with classic rock pentatonic riffs aided by Morello’s grasp of effects.

Metallica’s past history will gain them attention, but it won’t make them sustain anymore because it’s all about the product not the revenue. Metallica stayed out on the road for far too long for the sake of revenue. And our time is limited. That is the only thing we cannot buy or download. So everyone is fighting for attention and because there is constantly something new coming out, very little sustains. Can Metallica buck that trend? If they deliver excellence then the answer is yes, however based on Lars views on U2’s corporate deal the pendulum swings to NO. I will have a drink tonight hoping that James Hetfield will veto any stupid marketing plans that Lars has.

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Copyright, Music, Stupidity, Treating Fans Like Shit

Hendrix And The Madness Of Copyright

There is a new Jimi Hendrix Biopic called Jimi: All Is By My Side out and for anyone that has seen it, you will notice that the movie is missing Jimi Hendrix’s original music. So the story goes something like this. The Jimi Hendrix Estate denied all attempts to license the music unless they had control over the story line of the movie. The producers felt that this would not gel well with their vision  so what the public has is a movie where the actor who plays Hendrix is performing cover songs of other bands.

This is ridiculous because in case anyone has been living under a rock, Jimi Hendrix has been dead for 44 years. Based on retroactive copyright terms his music will never even enter the public domain in our lifetime.

It’s worth noting that when Jimi Hendrix created his original works in the Sixties he did it under the agreement that he will have a copyright on those songs for 55 years during his lifetime. However, the corporations have ensured that agreement got retroactively changed to be life plus 70/90 years (depending on which country you reside in). It is also worth noting that a lot of his original compositions were influenced heavily by blues compositions from 20 to 30 years prior to the 60’s who already had their copyrights expire. That is why Hendirx flourished and that is why the British Invasion flourished. They built of works that had entered the public domain. That is how culture thrives, by building on what came before.

Copyright was always meant to be a deal between the creator and the public. “We (the public) will give you (the creator) exclusive rights and related legal rights for a limited time to your works, so that you have an incentive to create more, but in exchange once that limited time has passed the rights to your creations go to the public so that people can build on what you’ve created”. Copyright was never designed to a welfare system for heirs and ‘estates’ like actual property or a product to be monopolised by greedy corporations.

Any copyright term lasting past death is excessive and at that point it’s time for the public to receive their half of the deal.

I have heard the argument that a lot of Hendrix’s fans, family and friends are not happy about the way he is portrayed in the movie. My answer is so what. If you look at the history of biopics based on musical heroes like Jim Morrison or Johnny Cash, I am sure that fans, family and friends of those people would not have been happy about how those artists have been portrayed in movies. But that’s not the point of copyright. It’s not a right to block or censor representations the creator doesn’t like. In this case the Hendrix Estate was trying to use copyright to block a version of events that the family did not approve of.

Of course, the Hendrix estate might be making their own biopic or documentary on Jimi’s life and I am sure that they will portray Jimi in the most favorable light possible. Sort of like re-writing history from a certain point of view. However that is why other stories like “All Is By My Side” should be told and that is why copyright should not be used to censor those stories.

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A to Z of Making It, Alternate Reality, Copyright, Music, My Stories, Piracy, Stupidity

Some Music Business Truths

Music Is Not Free

Look at the complex math that goes on here. The recording and publishing industries get a yearly license fee from the tech companies like Pandora, Spotify, Amazon, iTunes, Google and so on to have their music collections on the products that the tech companies offer.

Then the recording and publishing industries (via the music fan) get paid 70% for a download and 70% in royalty payments from a stream/view.

So with so much money trading between people how can people say that music is free.

How come no one is saying that APPS are free. We are all using a plethora of apps every day, and 99.9% of them are free. If anything we expect them to be free. And has that stopped people from creating new apps.

We Don’t Need Stronger Copyright Regulations To Encourage People To Create

Back in 1999, the RIAA said that Napster and piracy would stop people from creating new music because they would have no incentive to make music anymore. Then by 2005, the same argument shifted to Copyright Reform. The recording industry argued that copyright needed stronger enforcement provisions and no due process because if that didn’t happen no new music would be created.

Well guess what.

Just the opposite has happened.

More people are making more music than ever before. What we do need is for the Public Domain to be replenished again with music.

The CD

Apple has phased out the CD/DVD drive from their computers which means the CD be another niche product in the same way that vinyl is. For collectors only, because it turns out that the majority of music lovers just wanted access to music. It was never about ownership.

The MP3

It was a by-product of the CD. As the tech got better, the quality got better. Now it will become a by-product of streaming.

Streaming plus MP3

Putting my Nostradamus hat on, I predict that the streaming services will begin to offer MP3 downloads as part of a super-premium package. At the moment 45% of people still like to buy mp3’s. 45% of a three hundred million population in the US is a lot of people.

Anyone seen the adoption curve. It’s basically a bell curve that shows that 2.5% of people are innovators, 13.5% are early adopters, 34% are early majority, 34% are late majority and 16% are laggards. So in relation to streaming, it is safe to say that we are in the early majority phase right now. So if you are an artist or a record label or a tech company, how do you get the 50% plus of the late majority and the laggards to commit earlier. Offer them a product that meets their needs.

Record Labels

Still the best way to get your music heard as they have the money and the contacts. But they are still doing it wrong. They believe that a blitzkrieg publicity campaign will ensure success. The more we’re beaten over the head with something, the less likely we are to check it out.

Music Press

Save your money and don’t take the easy way out. Promote yourself personally. Work with people. Talk to people. There are no short cuts. In today’s world, the music press has never broken a band to the masses. The band has broken themselves with their music. If you make it great they will come.

Technology And Music

Fans of music want to listen to old songs however we have no desire to use an old computer like a Commodore 64 or an Amiga 500. However if both industries want to stay relevant they need to innovate and create something new and great on a regular basis. If you don’t you will be like Gene Simmons, slowly fading in the rear-view mirror and screaming to anyone who cares about the old gatekeeping model to return.

Concerts

Streaming concerts will never work as people still want to be there for the experience even though the sound quality might be terrible. As for the price of tickets, the acts are to blame. The prices I have paid range from $50 to $250 a ticket over the last two years. Guess who charged $250 a ticket. Yep it was the big acts from the Seventies and Eighties. Kiss, Motley Crue and Bon Jovi charged that.

Bands like Avenged Sevenfold, Trivium, In Flames, Five Finger Death Punch, Richie Sambora, Coheed and Cambria all charged around the $70 to $80 mark while Protest The Hero charged $50.

Know Your Fans

Great artists have made a living long before the advent of the phonograph and the recording industry. It’s because of patronage. Loyal fans will buy your super deluxe packaging, they will view your YouTube videos, they will stream your music on Spotify and they will spread the word for you. Do you know who they are? If you don’t then you are leaving money on the table.

Success And A Career

The odds of success are really low. So what can you do differently? You need to be determined as the bar is set really high. You have to be committed to the cause and honest. If you want a career you need to always pick up a new generation of people to discover you.

You want to know an upside to music piracy. Just have a look at all of the Classic Rock acts from the Seventies, Eighties and even Nineties doing big business on the live circuit and they are making way more money now than what they made at the peak of the fame when recording sales set the benchmark.

Def Leppard, Motley Crue, Twisted Sister, Slash, Evergrey, Europe, Whitesnake, Stryper, Machine Head, Dream Theater and Tesla have been seeing for the last decade, younger and younger people coming to their shows. They sing along and know all of the words. The audience base needs to be replenishment if you want a career.

And you need to have an opinion, which is hard to have in a society that is focused on being liked. However life is short and you have one voice. Use it.

Teaching

Imagine your favourite artist as your teacher. The personal interaction is what makes a difference. Playing a big show is one thing however teaching has a greater impact. You are giving someone more than just a good time, you’re helping someone grow, hopefully to the point that they will do the same for others.

And I am  not talking about guitar clinics or drum clinics. I am talking about being an actual music teacher on your time off. It could be a six to eight week course in the city you live in. Eight 30 minute lessons per day might seem like a waste of time to you but to someone else it could be a lifetime changing experience. So what are you waiting for, make the connection.

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Copyright, Music, My Stories, Piracy, Stupidity, Treating Fans Like Shit

Attention, Affluence, Dominance and The Artist Is Somewhere There In Between. BUT WHY.

It irks me when a person that you are having an email conversation with CC’s in other people who really don’t need to be CC’d. Instead of coming back to the person they are originally communicating with on the email they reply back and CC a few more extra people in. It is like they are broadcasting something to someone. Maybe they want to CC in a Manager to show how great they are and how terrible I am. Maybe they just want to make me look bad. I do it as well however when I do CC in an extra person I tell the person that I am responding to why I am CC in that extra person in. I also tell the person that I is CC’d in why they are included with a question that seeks their point of view.

Maybe we all just want some attention. It seems we are all fighting for attention these days.

Guess how many people know who Kim Dotcom is?

According to the MPAA and the RIAA, he is the greatest money launderer the world has ever seen. They convinced the police force to send their SWAT teams to break down his door and arrest him in the early hours. And the funny thing is that he is virtually unknown to ordinary people. Even his companies MegaUpload and Mega are not known brands to a large portion of people. So how can this great criminal mastermind remain undetected to most ordinary people. Hell, I was in Eastern Europe and all the people who I spoke to didn’t even know who Kim Dotcom was.

This goes to show how the entertainment industries like the MPAA and the RIAA have used affluence to hijack proper due process in the courts. And that affluence doesn’t stop there. It is used to hijack many debates especially when it comes to legislation around copyright. It is unfortunate that the music industry as a whole seems to be interested in protecting their business models, dominance and control.

The biggest issue today is attention.

The record labels still believe that their affluence and their publicity campaigns will get people’s attention. But that is old school thinking. Real attention grows over time.

And attention is just part of the equation.

How do we compensate the artist themselves or the songwriters that wrote the song once they have received our attention. The Copyrights of the artists are held by the labels. The labels purchase these copyrights for a value that is far less than what they are worth. And that is a big problem between artist and label. Because the record label is using the copyrights that they have amassed over 80 years of dominance as bargaining chips in licensing deals.

Spotify pays the labels a license so that Spotify can have their music on the service. In addition Spotify also pays the labels when songs are streamed. Plus Spotify pays any profits it makes to its part owners. In the case of the US market, Spotify is partly owned by the labels. And all of this was possible because the labels amassed an arsenal of songs from the artists they signed. Did the artists receive any compensation in these corporate deals?

The environment that musicians operate in is changing all the time, and with that comes a requirement to be flexible and forward-thinking in their approach. In addition the expectations of musical fans about how they access music and how they wish to be serviced has changed dramatically over the past fifteen years. And the ones that are investing in innovation are the technological companies. The Record Labels did nothing except litigate. The artists just waited to see what transpired instead of thinking and planning their own innovation.

If you want to grow and prosper as an artist you need to be thinking ahead all the time. Not only do you need to keep pace with your fans’ expectations, but you also need to position yourself to identify and make the most of the opportunities when they arise.

Focus on “WHY” you create music rather than simply focusing on ‘WHAT’ music you deliver. This is an important message. The why is the message that your fans would connect with and follow. It is your vision. Your belief.

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A to Z of Making It, Copyright, Music, My Stories, Piracy, Stupidity, Treating Fans Like Shit, Unsung Heroes

If Game Of Thrones Was A Rock Band

Game Of Thrones is on everyone’s lips these days. In Australia, it is also one of the TV shows that a lot of Australian’s download via peer-to-peer networks. With such a high piracy rate of people obtaining their content for free, you wouldn’t expect people to spend a decent amount of money to travel large distances and queue outside a Game of Thrones exhibition in Sydney.

But that is exactly what happened. Even though the exhibition is for free, the fans of the show spent their hard-earned dollars to get to the venue and then spend their time waiting to get in.

On opening day, people waited for six hours to get in. See what happens when a TV show is available to all even though it is meant to be locked up behind paywalls. You get people queuing up for days on end just to see the Iron Throne. This is the world we live in today, where a TV show based on a cult novel is bigger than a rock star. It used to be that people queued in lines like this for their favourite act.

And in this case the term groupie involves everyone. Teenagers to the elderly and moms and dads and their obsession for the series is all at different levels. And super fans paid above $500 in travel related expenses to be at the exhibition. It’s like when your favourite band comes to town and you fork out your cash for Meet and Greets and VIP passes.

No one could have predicted that George R.R. Martin would have created a cultural phenomenon. However as good as the stories are from Martin, it is the visual aspect from the TV show that is overseen by the show runners that is causing the cultural impact. Plus the casting of Sean Bean in Season 1 as Eddard Stark was a master stroke.

And as much as the Corporations moan and complain about piracy taking away from the artists or the creators, what piracy is showing is that people from all over the world can access and be involved with a cultural phenomenon. Piracy leads to greater opportunities.

If Game Of Thrones was a rock band and the band had those levels of piracy, expect their shows to sell out in minutes.

If Game Of Thrones was a rock band and the band is doing a free show like the GOT exhibition then expect pandemonium to ensure.

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A to Z of Making It, Copyright, Music, My Stories, Piracy, Stupidity, Treating Fans Like Shit, Unsung Heroes

The Money Business

As bad as the RIAA makes out the piracy epidemic sound like the end of the world, is piracy really taking away from sales of recorded music.

I have been looking at some metal sales recently.

All up, from June 18, 2014 to July 2, 2014 in total there have been 289,810 hard rock/metal sales. It total that is a retail gross taking close to 3 million dollars. Not a bad take for two weeks.

Mastodon’s “Once More ‘Round The Sun” makes up 12% of that total. And that is their label “Reprise” only entry. Eleven Seven Music had two entries with “Hellyeah” and “Nothing More” and those sales in total came to 6% of the total.

Warner Bros along with “Linkin Park” take up 50% of those sales. And this fits right in with the “Blockbuster” strategy of Anita Elberse that has proven that a very very small percentage of artists make up the majority of the sales.

Warner Bros also have Avenged Sevenfold and Gemini Syndrome on their roster, with Avenged Sevenfold having moved 490,000 units of “Hail To The King” in the US and Gemini Syndrome having moved 22,000 units of their “Lux” album in the US since their release dates.

Yep, that Avenged Sevenfold release in actual sales has generated close to $5 million for Warner Bros. And of course, let’s not forget the streaming income, radio plays income and so on.

There is a few takeaways from this.

There is still a lot of money in hard rock and heavy metal music.

Aggregate sales of 300,000 over two weeks, equates to 7.8 million sales in the U.S alone for 52 weeks, with a gross retail sales value of $78 million. And of course, let’s not forget the streaming income, radio plays income and so on.

The issue is that the sales are spread over a lot of releases.

And it’s good to see labels like “Artery”, “Fearless”, “Prosthetic” and many other independent ones flooding the market with releases. It’s good to see a lot of bands self releasing and recording sales. And you still have the regulars like “The Pretty Reckless”, “Five Finger Death Punch”, “Chevelle” and “Volbeat” still moving units.

And yes, the recording business still generates a lot of money. It’s just a shame that every band is held captive to the creative accounting of the record labels, especially the larger ones. It’s also a shame that every band is configured with band agreements that take into account payments to managers, accountants, lawyers and the band members themselves. Heaven forbid if a band member leaves. Then the money business starts to get messy.

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Copyright, Music, Piracy, Stupidity, Treating Fans Like Shit

I Want My M.P.3.

The last cinema movie I watched was “The Hobbit” back in December. I decided to give Captain America, and Spiderman a miss because the kids were little pests and I decided that even though I wanted to watch the movies, I wasn’t going to go without my kids.

Anyway, they have been good little boys, so I decided to have a movie weekend with them recently, while my wife stayed home with our two and a half-year old. So over the weekend, I had my son’s birthday party on Friday, had kids football on Saturday morning, watched “X-Men Days Of Future Past” on Saturday night with two of my boys, had more kids football on Sunday morning and then watched “Transformers – Age Of Extinction” on Sunday night with my boys again. Plus I took in the Brazil vs Chile game and the Colombia vs Uruguay game.

As is the norm with any Marvel movie these days, we hang around until the end credits scene appears and once that scene finished, there was a notice that said something like, 15,000 people contributed to the making of the movie. And I thought to myself, this is typical of the Movie Picture Association. Treating the people who legally watch a movie like criminals and hitting them with an anti-piracy statement.

It was like when I purchased a DVD at the start of the piracy epidemic and I was hit with the “You Wouldn’t Steal A Car” advertisement that could not be skipped. Yep, I am sure that the people who pirated the content kept those advertisements in their pirated release of the movie.

Everyone with a decent internet connection has dabbled in getting their music, TV or movie content via peer-to-peer downloading. Even the ones that work for the Copyright Corporations have illegally downloaded.

Because as successful as Spotify is in fighting piracy, or iTunes is at converting digital mp3 pirates into customers, people still get want their mp3’s for free courtesy of a favoured supplier. And it turns out that the pirate versions of the legal commercial offerings far surpass the simplicity and ease of use of what the Entertainment Industries offer up. That is because the pirate versions offer everything, in any format a user prefers and they do not geo block, so there is no way that a person will get the stupid “not available in your country” message.

Basically the amateur sharers of culture and knowledge are miles ahead of the Entertainment industry. The Pirate Bay is over ten years old. Name me one Record Label technological start-up that has reached a decade.

The kids of today just grab stuff from where it’s easiest. That is why YouTube got traction. While the record labels procrastinated about licensing Spotify, YouTube slipped under the radar. The only thing that YouTube is missing is the free mp3 version that fans of music still want.

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Copyright, Music, My Stories, Piracy, Stupidity, Treating Fans Like Shit

Customers And Creators. Fans And Artists. They are the ones that matter.

Village Roadshow is grasping at straws in their fight against piracy. Still failing to understand why it is a phenomenon and how it can be competed against. And the spokesperson for all of the propaganda and misinformation is Village Roadshow senior executive Graham Burke.

He has gone after Google because he believes that Google is deliberately misinforming the public in their arguments on copyright breaches and on-line piracy.

You see Mr Burke reckons that Australia needs stronger anti-piracy legislation in conjunction with expensive legally available products because he has reports that this kind of approach works in other countries. He also believes that a three-strikes policy will stop people from stealing. Yep, the CEO of Village Roadshow still refers to copyright infringement as THEFT. If copyright infringement is theft, then prosecute the thieves under theft laws.

Why go after them under Copyright laws?

Mr Burke points to the music business to debunk the theory that online piracy is primarily an availability and pricing problem.

Yes, Spotify and streaming services are all over the world and music piracy still exists. There is no doubt about that.

That is because people still want to download music for free, so where is the legal service that allows users to download mp3’s for free. Of course there isn’t a proper licensed one, so people turn to illegal downloading.

A free ad-supported service that allows users to download or trade in mp3’s will bring billions of dollars into the recording industry. Hell, the recording industry and the movie industry claim that pirated sites make millions upon millions from advertisements. So why don’t they along with iTunes, Spotify or a new player like Arena offer the same service.

Instead, we get Governments introducing new policies to “CRACKDOWN” on Copyright Infringement. And of course, these laws are all being collaborated in secret between certain interest groups.

As misleading as Graham Burke is, he has found an ally in Attorney-General George Brandis who benefited greatly from Village Roadshow in campaign contributions. In Australia, we pay the second highest honesty tax.

Yep, the powerful Retail Lobby groups pushed for a tax around $290 per household to offset the $AU1.86 billion in losses they incur from customer “deviant behaviour”. Let’s look at the deviant behaviour of Australians;

– Creating a fake US iTunes account to access and pay for content not available in Australia

– Using an IP Address to access content at a fairer price due to GeoBlocking.

– Illegally downloading TV shows, music and books from the internet for free, for personal consumption.

– Online shopping from other parts of the world because it is cheaper.

But the above behaviours are deemed “acceptable” by the people because hey, every news outlet reports that Australia has the highest rate of piracy. However, large organisations with a lot of cash, disagree with this. Instead of focusing on their models they focus on legislation. They need a tailored approach to their problem. If you have movie piracy, then it is your fault. If you have music piracy, then it is your fault.

Make your movie available as soon as it hits the cinema’s to download. Hell, most houses now have a home cinema.

But as long as people like Graham Burke exist and there are many of them, the industries will moan and complain. Once he finished with Google, he moved on to iiNet and accused them of “scaremongering”.

iiNet says that a graduated response is the wrong path to take in the piracy debate.

Village Roadshow wants to be judge, jury and executioner. There is no due process here whatsoever.

As we have seen with all of the takedown requests sent to Google, the Rights Holders are the main entities that are censoring the internet.

George Brandis has also labelled Australia the worst offender in the world when it comes to piracy.

So what we have here is a company called Foxtel (owned by News Corp) who has Game of Thrones locked up behind a paywall, claiming that over 500,000 Australians “legally watched each episode of the fourth and most recent season of Game of Thrones, but as many watched it illegally through online file-sharing.”

Then you have Choice, a consumer rights group that puts the blame at Foxtel’s ‘‘outdated business model’’ for the spike in GoT piracy.

So who is to blame.

500,000 illegally downloaded each episode according to Foxtel.

So why don’t Foxtel monetise those people by offering a service that benefits all. $10 to watch 10 episodes of Game Of Thrones, whenever you want. That is a cool $5 million.

Because in the end, all of these organisations in the middle, make their money from two groups.

CUSTOMERS and CREATORS.

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