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I'm very much impressed by how passionately you've stood your ground, and how articulate you've been in doing so, and I can't tell you how excited I am that you didn't misspell anything, not once in this entire exchange. (Well, you wrote "you're" when you meant "your" once, but I'll let it go.)
Great idea, but he would have to share the income with Eleanor, so that's that.
Illegal downloads continue to be a cause of Armageddon within the music industry and a source of endless fascination outside. Business leaders still regularly moan that illegal downloads are destroying their livelihood, especially if representatives of government are within hearing range. At the first Music 4.5 conference in London last week, speakers took it as read that "kids are not buying music anymore" and that they must look elsewhere for revenues. Evidence of the demise of purchased music is everywhere to be seen, except for one place: the statistics.
Overall, the music industry grew by an amazing 4.7% in recession-ridden 2008, according to PRS for Music, and will probably be resilient when the full 2009 figures come in. A key fact is that last year income from live music overtook that from recorded music for the first time. Don't think tracks, think music.
Can some please explain to me (I’m being serious) why new technologies should give users carte blanche to simply take the works of others, and why there exists this resounding sense of entitlement that we should enjoy the fruits of someone’s hard work without supporting them? Where does this come from?
1. Many of the people who are trading or even selling sheet music do not know that they are doing anything wrong. It is our job to educate our fans, the people WHO LOVE THE SONGS WE CREATE, about why it is important to purchase the sheet music they sing.
2. We have to make the sheet music that we write more readily available to the people who want to sing it. Just this week at a master class in Texas the students told me that they would be willing to pay $10 for a piece of sheet music written by a favorite composer but they just didn't know where to find it.
And get this - a song or an idea can be owned by a "corporation", which is kind of like a legal contract. Except it's a legal contract that can own stuff.
A song could also be owned by.... HITLER!!!!11
Believe it or not I would be satisfied personally if people would simply admit it's wrong. Even if they still continue to do it.
...intellectual property is an artificial construct.
So is ownership of anything.
The intricacies of real property law are actually similar in terms of the tangibility of various types of property rights. Do people who think that artists should not have enforceable IP rights in their works also think that easements and other intangible rights in real property should not exist?
All of which leads to a caveat: Many of us have formed our opinion of the IP system – and property rules in general – by reference to new digital media and to the aggressive enforcement practices of certain IP owners. But just because we object to certain expansions or uses of IP doesn’t mean the entire concept of allowing creators to own their own work is evil. In fact, open source licenses are based on the idea that authors own their work, and may choose to release it into the public domain subject to restrictions of their choice (including noncommercial use, the type of restriction originally placed on the fabric for sale here). In industries where there is healthy competition, if you don’t like the restrictions placed on one thing, you can always buy another. Or create your own.
Each of these fabric prints may qualify for copyright protection, in the U.S. and pretty much everywhere else. That's how DVF could bring her much-discussed lawsuit against Forever 21. New legislation won't change that in any way. Just like images created with ink on paper or paint on canvas, prints created with dye on fabric are subject to copyright protection -- and have been under U.S. law for over half a century.
The filmmakers left in Hong Kong are no less pessimistic. Sitting in the lobby of the Hyatt Hotel in the Wanchai neighborhood, Gordon Chan, a top Hong Kong director who has made movies with Jet Li ("Fist of Legend") and Jackie Chan ("Thunderbolt"), has all the time in the world, a fact that's very depressing to a director who once cranked out three films a year. Gordon Chan's most recent movie, the police action drama "Beast Cops," is generally acknowledged as one of the best Hong Kong films of 1998. But that apparently isn't going to do him any good. "I just talked to the company that released it, and they said they lost money on it," says Mr. Chan, a skinny man with a thin black goatee. "They told me it wasn't my fault, I did a good film. But still it lost money. So what's happening? It's really alarming."
"We're already cutting staff salary at a very quick rate," he continues. "I cut almost 75 percent of my salary. Remember the scene with the car chase between the Hummer and the bus? We're so poor that we borrowed the Hummer and we borrowed the bus, and there was no budget for any car chase and especially no budget for any car crash. So we had to use special effects to do the scene.
"We finished a film at a little more than 10 million Hong Kong dollars" -- $1.3 million in American dollars -- "and still it lost. It's very disappointing, especially when everybody came to me and said, 'Wow, that was great, I saw it on pirate VCD.' That really hurts."
In 1992, Hong Kong movies took in about $153 million in American dollars at the box office. Though ticket prices have practically doubled here since, annual income has dropped by more than half, to just under $72 million in 1997. As a result, average film budgets have shrunk from several million American dollars to as little as $200,000 or $300,000.
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