Our intention is not to embarrass or shame her. Recently Emily White, an intern at NPR All Songs Considered and GM of what appears to be her college radio station, wrote a post on the NPR blog in which she acknowledged that while she had 11,000 songs in her music library, she’s only paid for 15 CDs in her life. Jocelyn Dimaculangan, Entertainment Guide/Music, 'OPM artists aim to uplift the spirit of typhoon victims', PEP, Novem 'Himala Music Video on Universal Music Philippines official blog' universalmusic.blogspot.com Retrieved Ma 'Official music video for Jay R's 2010 Christmas single Spread the Love'.
Menace Ii Society Soundtrack Tpb Movie In The
Context of the global project Treatnet II: OFID-UNODC Programme to prevent HIV/AIDS. Jamaican Mafia is a gangster-thriller movie in the vein of Goodfellas and Shottas, which follows Zoolian Anderson (Zoo-Zoo), a frustrated Car Salesman who desperately desires riches and respect, and discovers he's the nephew of a powerful crime-boss when he decides to. With David Squeeze Annakie, John Bling Bennett, Robert Braxton, Craig Biskit Brown. Community in to the society rather than to create separate structures.Jamaican Mafia: Directed by Vafomba Donzo. We only ask the opportunity to present a countervailing viewpoint.provide rights and reservations to transgender persons in India, so as to trace. We also believe–for reasons we’ll get into–that she has been been badly misinformed by the Free Culture movement.
You seem to have internalized that ripping 11,000 tracks in your iPod compared to your purchase of 15 CDs in your lifetime feels pretty disproportionate. There is a disconnect between their personal behavior and a greater social injustice that is occurring. Unfortunately for artists, most of them share your attitude about purchasing music. I’d suggest to you that, as a 21-year old adult who wants to work in the music business, it is especially important for you to come to grips with these very personal ethical issues.I’ve been teaching college students about the economics of the music business at the University of Georgia for the last two years. We cannot wait for these entities to act in the myriad little transactions that make up an ethical life.
I’m not trying to set up a “strawman”, but I do have a lot of anecdotal experience with this.“It’s OK not to pay for music because record companies rip off artists and do not pay artists anything.” In the vast majority of cases, this is not true. That may seem like a neat dodge, but I’d suggest to you that from the artist’s point of view, it’s kind of irrelevant.Now, my students typically justify their own disproportionate choices in one of two ways. It doesn’t really matter that you didn’t take these tracks from a file-sharing site.
The artist only has to “repay” (or “recoup”) the advance from record sales. Not a debt, more like a bet. Advances are important to understand–a prepayment of unearned royalties. But most record contracts specify royalties and advances to artists.
The rate is predetermined, and the license is compulsory. This is paid regardless of whether a record is recouped or not. And it should go without saying that the bets will get smaller and fewer the more unrecouped advances are paid by labels.Secondly, by law the record label must pay songwriters (who may also be artists) something called a “mechanical royalty” for sales of CDs or downloads of the song. Most of the time they not only pay artists, but they make bets on artists. So it’s false to say that record companies don’t pay artists.
The idea was the artists would make up the loss through recorded music sales. Until recently, most touring activity was a money losing operation. The vast majority of artists do not make significant money on the road. The average income of a musician that files taxes is something like 35k a year w/o benefits. And record labels also give your college radio stations all those CDs you play.Artists can make money on the road (or its variant “Artists are rich”).
And only the 1% of the 1% makes significant money on the road. Only the very top tier of musicians make ANY money on the road. Otherwise, you pay for making albums out of your own pocket. You now tour to support making albums if you are very, very lucky.
Both of these artists, despite growing global popularity, saw their total incomes fall in the last decade. In particular, two dear friends: Mark Linkous (Sparklehorse) and Vic Chesnutt. Without going into details, 10,000 albums is about the point where independent artists begin to go into the black on professional album production, marketing and promotion.On a personal level, I have witnessed the impoverishment of many critically acclaimed but marginally commercial artists. Only 1,000 sold more than 10,000 copies.
They will also tell you their situation was worsened by their financial situation. Anybody who knew either of these musicians will tell you that the pair suffered depression. On March 6th, 2010, Mark Linkous shot himself in the heart. He was my neighbor, and I was there as they put him in the ambulance.
It is not up to governments or corporations to make us choose to behave ethically. And it is up to us individually to examine the consequences of our actions. I just want to illustrate that “small” personal decisions have very real consequences, particularly when millions of people make the decision not to compensate artists they supposedly “love”. Mark was living in abject squalor in his remote studio in the Smokey Mountains without adequate access to the mental health care he so desperately needed.I present these two stories to you not because I’m pointing fingers or want to shame you.
Although it is the premise of every “machines gone wild” story since Jules Verne or Fritz Lang, this is exactly backwards. Rather than using our morality and principles to guide us through technological change, there are those asking us to change our morality and principles to fit the technological change–if a machine can do something, it ought to be done. You have grown up in a time when technological and commercial interests are attempting to change our principles and morality.
(Since the works that are are almost invariably the subject of these discussions are popular culture of one type or another, the duration of the copyright term is pretty much irrelevant for an ethical discussion.) By allowing the artist to treat his/her work as actual property, the artist can decide how to monetize his or her work. The accepted norm for hudreds of years of western civilization is the artist exclusively has the right to exploit and control his/her work for a period of time. What it is you can’t put your finger on.The fundamental shift in principals and morality is about who gets to control and exploit the work of an artist. Let me try to to show you exactly what is wrong. I also want to enlist you in the fight to correct this outrage. I want to commend you for doing this.
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