I read American Gods for the first time after downloading it, and then I bought it.
[Coincidentally, I read a downloaded version of this, and have since bought about 10 copies and gifted to people.]
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I read American Gods for the first time after downloading it, and then I bought it.
[Coincidentally, I read a downloaded version of this, and have since bought about 10 copies and gifted to people.]
The documentary "Good Copy, Bad Copy" (a must-watch, by the way) has a segment on the Brazilian phenomenon called "Tecno Brega". You can watch it here: http://www.youtube.com/watch?v=xo2sv3jjJi8 Basically, the musicians give out free CDs of their music, and make money on live concerts. They treat the free music as advertising. This is true, if you look at it: the experience of listening to a live music concert is tot…
I don't like what's happening with IP -- meaning the draconian "enforcement" including especially ever-expanding ownership timeframes. But when I see this argument, I can't help thinking, "Not everyone is an extrovert." I think that goes for both listeners (viewers, etc.) and musicians. I'm not trying to make a big counter-argument. Just this point.
On the whole I'm not convinced that there is much value in retaining the horribly exploitive traditional model of the mega-powerful recording studio.
(Also, we've really come a long, long way from a bunch of inky-fingered hunchbacks in a scriptorium, huh?)
Earlier quoted context omitted.
I don't like what's happening with IP -- meaning the draconian "enforcement" including especially ever-expanding ownership timeframes. But when I see this argument, I can't help thinking, "Not everyone is an extrovert." I think that goes for both listeners (viewers, etc.) and musicians. I'm not trying to make a big counter-argument. Just this point.
I see your argument and think it's important. However, I think it's probably also true that the existing and historical models for rewarding musical talent exclude some people. The question then becomes, which models are better overall and less exclusive. On the whole I'm not convinced that there is much value in retaining the horribly exploitive traditional model of the mega-powerful recording studio.
I just don't want to see such ideas become another form of discrimination against introverts. In many fields, introverts end up being placed at some disadvantage by extroverts who argue that they should simply "suck it up" and "put themselves out there".
Ultimately, I guess it's "survival of the fittest". In my perspective, however, too much of such attitude makes for an unhealthy society. (At which point, we have to get pissed enough to (meet and organize on Facebook, and) rise up and kill all the lawyers, etc., etc. ;-)
It's probably one of the best parts of the book.