Roy Schestowitz came up with this when s/he headbutted the keyboard a moment
ago in comp.os.linux.advocacy:
> Red Hot Chili Peppers, QOTSA, T.I. Rock For Zune
>
> ,----[ Quote ]
> | "These devices are just repositories for stolen music, and they all
> | know it," UMG chairman/CEO Doug Morris says. "So it's time to
> | get paid for it."
> `----
>
>
http://billboard.com/bbcom/news/article_display.jsp?vnu_content_id=1003380831
>
>
> Related:
>
> MPAA: Frustrated Consumers Will Pirate
>
> ,----[ Excerpt ]
> | The MPAA's Brad Hunt outlined some of the ways the MPAA is working
> | to standardize content protection controls in the age of digital
> | home networking. But he also acknowledged that piracy is the
> | consumer's answer to the content industry's inability to provide
> | a simple digital-rights-management solution.
> `----
>
> http://news.yahoo.com/s/zd/20061016/tc_zd/191502
>
>
> Piracy figures are inflated say criminologists
>
> ,----[ Quote ]
> | A draft report by the Australian Institute of Criminology says
> | copyright holders are making up piracy figures in order to sway
> | governments to their side.
> `----
>
> http://www.theinquirer.net/default.aspx?article=35580
>
>
> ,----[ Quote ]
> | A US court is forcing the Recording Industry of America to explain why
> | it charges people it catches pirating $750 a single rather than the 70
> | cents they flog them to retailers for.
> |
> | In the case UMG v. Lindor, Judge Trager has allowed Ms Lindor, who the
> | RIAA claim is a pirate, to challenge the $750 a track it wants in
> | damages.
> `----
>
> http://www.theinquirer.net/default.aspx?article=35669
1. I'll pay for quality. There's no Britney, Backstreet Boys, or Best/Worst
Of Pop Idol in my collection for one simple reason: IT'S CRAP!
2. RIAA haven't had any quality since Alan Parsons retired the Project. They
should stop kidding themselves about this, really. Shoving some jailbait
squeak through a digital sound processor does not make a pleasant sound. No
matter how many times they iterate the process.
3. Correction to #2: RIAA never /have/ had any talent. Parsons started his
career at Abbey Road and worked on the Beatles' last two albums. That falls
under the brow of the BPI, who, like the RIAA, own no rights to any works;
they're just "yes" men and muscle for the Big5 and the local big labels
respectively. Saves Sony, Universal, Thorn/EMI/Virgin etc from getting dirt
under their nails and leaves them cash enough to gouge the consumer^H^H^H
pay their artists^H^H^H fill their own pockets.
4. Back to the quality thing. I go see local and unsigned bands in their
natural habitat: pub gigs. If they sound good, I'll bend 'em for an album
and slip them some paper money. Alright, so pubs have absolutely the worst
acoustics of any building you can think of, but where do you think artists
like Buck Owens, Nichelle Nichols, and others too numerous (plus the fact
it's 11pm) to mention, come from? There was no Pop Idol in the sixties.
These people made it on their own merit. What was it Cowell said to what he
thought was a promising young "talent" (read: really, really large tits and
blonde hair) last week? Oh, yes, I think it went something like "A little
run through a sound processor and I'll make you a star." Yeah, great,
Cowell. How about you go round some pubs and find some real fucking talent
for once* instead of going through all that shite just to get a TV show.
By the way, how rich are the previous winners now?
*I was in a pub yesterday for a Linux installfest, there was a live act
downstairs. She wasn't all that consistent, in fact she sounded like she
had a bit of a sore throat. By the end I was all but ready to run
downstairs with a pack of Vocalzone and enquire as to who was torturing the
cat. Some people are just not cut out for a career in singing, some just
need a lozenge. I still haven't decided which she is yet.
--
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