Summary: A recent UK government inquiry into the challenges faced by the film and high-end television industry has recently received submissions from major Hollywood studios advocating for KYC (know your customer) rules for hosting providers, similar to banking regulations to identify money laundering. If adopted, this would help them to identify people hosting pirated content.
The submissions are united in identifying the same solution to this problem: the UK must implement a ‘Know Your Business Customer’ regime to compel commercial entities (including online intermediaries) to establish the true identity of their business customers as a precondition for selling, and receiving payment for, digital services.
How many people really discover new music through piracy?
Everyone I’ve ever known. I mostly listen to metal, which undeniably became what it is because of people mailing pirated cassettes in the early 80s. 8 of my 10 favorite bands, I discovered by finding someone with good taste on Soulseek and grabbing the stuff I’d never heard of before. Piracy is key in the spread of underground music.
Artists that sell out stadiums wouldn’t be affected much, but the ones that actually need the concert income absolutely would.
That type I think blurs the line on what actually is piracy versus the guy handing out demo tapes on the corner. It’s a sort of a ‘I absolutely don’t want you to go download my stuff, particularly from this link or this link…’
During the height of the RIAA’s rampage and shortly after some groups started actively promoting the model of give away the music, buy the special package. NIN Ghosts comes to mind as one that from what I gather did pretty well.
The face of music piracy seems to have changed a lot though. It used to be that buying albums was expensive, particularly when it was one good song and a bunch of crap. The $1/song thing was clunky, disorganized, and the early efforts with DRM sucked. Now things like Spotify exist and let someone play as much as they like for the price of roughly an album a month and have taken a big lead in making stuff that never would have been on the old radio known.
Music piracy now seems to have shifted to filll in the role that the weird little record shop in the corner of the mall used to play. Finding and keeping those imports, bootlegs, live tapes, etc that you’ll never find on a standard service. Or when places like Spotify yank something that I liked because of some licence BS and say it’s not available well…
That type I think blurs the line on what actually is piracy versus the guy handing out demo tapes on the corner. It’s a sort of a ‘I absolutely don’t want you to go download my stuff, particularly from this link or this link…’
Not at all. I don’t mean artists distributing their own tapes; this was primarily fans copying the tape they bought, recording off the radio, or recording bootlegs of concerts. (see also) There was even the ad campaign driving home that making your own cassettes in such a manner is illegal and “killing the music industry,” which is obviously didn’t.
As for the rest of what you said, I think it’s important to keep that not everyone obtains music the same way. Plenty of people use ripping software, modified client software, etc. to pirate via streaming services too. It’s not just filling a niche, but a reliable source of mainstream music too (assuming you do it before they pull it down because of the licensing BS). And as a frequent Bandcamp patron, albums can still be expensive and most songs still cost $1 (though, without the shit DRM).
Indeed it was, and there was pushback even then. I was more referencing the tacit approval of piracy rather than active distribution.
The game will always keep evolving. The labels/publishers no longer have much of their previous gatekeeper status but now a new challenge of clearing the signal to noise ratio and having anyone take note amongst the multitudes of options is out there.
The reliability/archivist aspect is a beautiful thing that helps prevent the masking of the past. I keep a number of digital artifacts just to keep them preserved myself. There are a lot of bits of culture only existing today because someone once made a tape off the TV/Radio.
You are not logged in. However you can subscribe from another Fediverse account, for example Lemmy or Mastodon. To do this, paste the following into the search field of your instance: !piracy@lemmy.dbzer0.com
⚓ Dedicated to the discussion of digital piracy, including ethical problems and legal advancements.
Everyone I’ve ever known. I mostly listen to metal, which undeniably became what it is because of people mailing pirated cassettes in the early 80s. 8 of my 10 favorite bands, I discovered by finding someone with good taste on Soulseek and grabbing the stuff I’d never heard of before. Piracy is key in the spread of underground music.
Artists that sell out stadiums wouldn’t be affected much, but the ones that actually need the concert income absolutely would.
That type I think blurs the line on what actually is piracy versus the guy handing out demo tapes on the corner. It’s a sort of a ‘I absolutely don’t want you to go download my stuff, particularly from this link or this link…’
During the height of the RIAA’s rampage and shortly after some groups started actively promoting the model of give away the music, buy the special package. NIN Ghosts comes to mind as one that from what I gather did pretty well.
The face of music piracy seems to have changed a lot though. It used to be that buying albums was expensive, particularly when it was one good song and a bunch of crap. The $1/song thing was clunky, disorganized, and the early efforts with DRM sucked. Now things like Spotify exist and let someone play as much as they like for the price of roughly an album a month and have taken a big lead in making stuff that never would have been on the old radio known.
Music piracy now seems to have shifted to filll in the role that the weird little record shop in the corner of the mall used to play. Finding and keeping those imports, bootlegs, live tapes, etc that you’ll never find on a standard service. Or when places like Spotify yank something that I liked because of some licence BS and say it’s not available well…
Not at all. I don’t mean artists distributing their own tapes; this was primarily fans copying the tape they bought, recording off the radio, or recording bootlegs of concerts. (see also) There was even the ad campaign driving home that making your own cassettes in such a manner is illegal and “killing the music industry,” which is obviously didn’t.
As for the rest of what you said, I think it’s important to keep that not everyone obtains music the same way. Plenty of people use ripping software, modified client software, etc. to pirate via streaming services too. It’s not just filling a niche, but a reliable source of mainstream music too (assuming you do it before they pull it down because of the licensing BS). And as a frequent Bandcamp patron, albums can still be expensive and most songs still cost $1 (though, without the shit DRM).
Indeed it was, and there was pushback even then. I was more referencing the tacit approval of piracy rather than active distribution.
The game will always keep evolving. The labels/publishers no longer have much of their previous gatekeeper status but now a new challenge of clearing the signal to noise ratio and having anyone take note amongst the multitudes of options is out there.
The reliability/archivist aspect is a beautiful thing that helps prevent the masking of the past. I keep a number of digital artifacts just to keep them preserved myself. There are a lot of bits of culture only existing today because someone once made a tape off the TV/Radio.