[Fmpro] 222 this also might be interested in this

[leshurdle]

 From my lad in the UK



----- Original Message -----
From: Moses Avalon's Mailing List
To: tony.hurdle at btopenworld.com
Sent: Friday, May 11, 2007 7:48 PM
Subject: Experts Discuss Music On The Web


The DRM Manifesto Has Struck a Nerve.


The response to the DRM Manifesto is off the hook. Many are coming  
down on interesting and unexpected sides. Readers who for years would  
argue with me have said they finally agree with something I said.  
Others who always agreed with me are stunned at my viewpoint on this.  
So I pasted a few of your responses below.

But first….

I am moderating a panel in June that I think you should go to. I will  
be grilling some of the most informed attorneys in Los Angeles about  
Copyright issues and the web. This concerns every one of us, so try  
to make it.

Info is below.

==================

California Lawyers for the Arts is pleased to announce...

JUNE 13 - “MUSIC ON THE WEB: COPYRIGHT ISSUES”

The influx of iTunes, MySpace pages and YouTube clips have left bands  
and musicians with many unanswered questions as to the copyright  
status of the work they put online.  This workshop seeks to clear up  
the confusion.

Panelists: Neville L. Johnson, Esq., Josh Binder, Esq, Michael H.  
Golland, Esq. and Brian D. Perley, Esq.

Neville Johnson: www.jrllp.com
Josh Binder: www.joshbinder.com
Michael H. Golland: www.rfgllaw.com
Brian D. Perley: www.perleylaw.com
Moderator: Moses Avalon

WHEN: Wednesday, June 13, 2007
TIME: Check-In: 6:45pm, Workshop: 7:00pm – 8:30pm
WHERE: Ken Edwards Center, 1527 Fourth Street, Santa Monica, CA 90401
TO REGISTER: Call California Lawyers for the Arts at (310) 998-5590,  
or send an email to us (including your contact information) at  
UserCLA at aol.com

Please register at least 24 hours in advance so we can expect you.  
Limited space available!

ADMISSION:
General Admission: $20
Members of C.L.A.: $10
Residents of Santa Monica: $10


And now your counter rants to my rant on DRM. I received many but  
these capsulate all the varieties, from intelligent to naive.


=========================

As a company that considers themselves to be the largest in the world  
in terms of hip hop and R/B music with exclusive licenses to some of  
the biggest names in the world of hop hop ( USA)  i believe that DRM  
is wrong

anyone can get the music for free by going to endless sites
so when someone buys music, he should be thanked for [it].

I was in Israel some time ago, and bought a cd of some promising singer
when i placed the cd in my computer , it made all kinds of noises and
"called up on the net" to get permission so  i can play it

i was so angry,

that was to me the punch line why DRM is not good for the industry  
and as i make my living selling only in the digital space, i believe  
drm is over with, if someone wants to be Kosher, there is no point in  
punishing a customer, the industry should say "Thank you"


Sam Kleinman
Craze Productions
London
================

Dear Moses, I really liked your book confessions. It made me re  
valuate my career path but… to make a very long email response  
short... When was the last time you saw art related to any major  
label "product”? Particularly in pop music. In the last part of your  
story was The majors valuing melody over silicone. The only reason  
they value melody is because it was a "hook" as in hooking the  
listener like they were dumb brainless fish.

I say let it burn! They gave up on art 30 years ago. Thank your music  
biz brethren for letting a huge part of American culture die. Have a  
nice day.

=====================
Wow, Moses, it finally happened, I agree with you.
I have been saying all of this all along.
One thing you did not mention was that Jobs agreed to go DRM free  
(and advocated it) only a few days after certain EU countries ordered  
him to open iTunes to other devices.
==================

Awesome article and enlightening as well.  I have played on both  
sides of the fence on this issue, and you have given more clarity to it.

Thanks

====================

Hi Moses,

I just wanted to thank you for writing this article.  I really  
enjoyed reading it.  I think it's right on and it's refreshing to see  
someone in the music "business" actually understand business.

=======================================

Moses....

This is a very difficult fence to fall down to one side on.  The  
majors aren't even a shadow of their former selves, and are run by  
pencil pushers who have no more a commitment to music than the tech- 
heads you cite.
On the other hand, I also see your point loud and clear....how  
precisely will artists be compensated for their work in a world that  
feels entitled to free music, and views music not as an individuals  
life work, but a mere appliance or adjunct?

My pessimism has led me to a worldview that sees both sides of this  
argument as being artist unfriendly, yet committed to delivering  
artists nothing but empty rhetoric.  You are right as well in  
this....the absence of meaningful filters has put musical output onto  
a stage that is not nearly ready for prime time.  "Artists" who feel  
a divine right to clutter the landscape with work that is hopelessly  
amateur in composition, performance, and production do not understand  
the enormous damage being done by their willful lack of self  
criticism.  The cause of excellence in art is under siege by all  
sides.  I see no heroes today.

Thanks for all you do,

Tony Chamberlist
Brown Bag Music

===================

Right On!
I tell people, "If you don't pay musicians for their music, you will  
very soon have only part-time musicians to listen to.  Is that what  
you want to hear?"

==================

Moses,

Another excellent dissertation.

The duopolistic example of the Techs wanting copyrighted music  
distributed free but insisting that thinking NOT be applied to their  
software intellectual property, is key. Taken to the extreme of their  
own licensing standards, one would need to purchase multiple copies  
of music CDs for each and every player, pod or computer one owned and  
it was used in...

How did we ever let them get away with THAT paradigm shaft?

-cosmic-ray-

==============


I respect your work, but couldn't disagree with you more on the issue  
of major labels.

In my view, the "major label filter" has filtered out real talent in  
favor of boobies and butts and the RIAA has done everything to crush  
independent channels of distribution, i.e., P2P, MP3.com, etc. This,  
to me, is a capital offense.

Lots of problems in the music biz, but I think the tech people have  
helped more than hurt. That's just my opinion. The RIAA labels are  
run more like an oil company than distributers of art.

Peace,
Christian


=====================

END

You are subscribed to the following list: Moses Avalon's Mailing List  
using the following email: tony.hurdle at btopenworld.com You may  
automatically unsubscribe from this list at any time by hitting reply  
and typing "remove" in the subject banner.
Mailing List Powered by Dada Mail