61–70 of 201 posts
This simply cannot match e.g. the P2P scale...
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Peertube comes to mind for discoverability. For ensuring content creators revenue, the best way would probably be to host their own website and put videos behind paywall or accept donations, as they see fit.
Seems like a perfect area for patreon to expand into. Support a user/artist on patreon, get access to their vids also hosted on patreon.
Let them subpoena, ultimately RIAA is a US entity pursuing civil suits under US laws, no one outside the US should really be worried. Within the US these sites and tools like YouTube-dl are arguably fair use and RIAA knows this, so they will be cautious when pursuing any litigation. It is like the trick the police use - carrying a knife for utility (cutting food, cutting wire, etc) is often not illegal, carrying a kn…
RIAA does liaise with its counterparts in several other major countries. Ultimately IP owners in all countries want to extract the last drop of profit and more. It is a common human tendency and the US is merely a vanguard of what will eventually be a global reality.
Someone doesn’t like the idea of people being able to save unapproved content before it is scrubbed.
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15 years back you had to buy a $20 CD to get access to 1 song you liked... Today for $9/mo (or nearly free with Amazon) you can listen to almost any song.... The lowering of costs, and easy access is what is driving lower use of p2p not RIAA lawsuits and more restrictions
Although I get your point, there is an important difference between those two though. Once you've bought the CD you can listen to it forever, that is not true for subscriptions - _that_ is why they are cheaper. I kinda use a hybrid - I discover new music on free tier of subscription services, and once I identify songs that I love, I buy them from iTunes DRM-free. I'm just afraid that option won't remain there forever…
Earlier quoted context omitted.
15 years back you had to buy a $20 CD to get access to 1 song you liked... Today for $9/mo (or nearly free with Amazon) you can listen to almost any song.... The lowering of costs, and easy access is what is driving lower use of p2p not RIAA lawsuits and more restrictions
Although I get your point, there is an important difference between those two though. Once you've bought the CD you can listen to it forever, that is not true for subscriptions - _that_ is why they are cheaper. I kinda use a hybrid - I discover new music on free tier of subscription services, and once I identify songs that I love, I buy them from iTunes DRM-free. I'm just afraid that option won't remain there forever…
Here goes all the privacy-friendly ways to watch Youtube. Well, I guess it's a good thing : now we'll have to campaign to let content creators know how terrible their choice of platform is.
Only in the eyes of the law. The RIAA can no more stop people from downloading YouTube videos than the DVD CCA could stop people from cracking CSS. Pirates haven't lost yet, only ever been delayed, and rarely by all that much. This battle has been going on since audio tape recorders and VCRs became a thing, and at some point various industries will have to accept copying as part of reality, and that it is incumbent o…
The pop music industry has seen at least three disruptions to its controlling gatekeepers since the 1950s (1956-60, ~2000 with Napster, and presently with Spotify and YouTube), but each time a dominant hegenomy re-emerges. I doubt this time will be different, though the brief renaissance will doubtless be appreciated. Charles Perrow wrote of this in the mid-1980s:
After the critical period from about 1956 to 1960, when tastes were unfrozen, competition was intense, and demand soared, consolidation appeared. The number of firms stabilized at about forty. New corporate entries appeared, such as MGM and Warner Brothers, sensing, one supposes, the opportunity that vastly expanding sales indicated. Some independents grew large. The eight-firm concentration ratio also stabilized (though not yet the four-firm ratio). The market became sluggish, however, as the early stars died, were forced into retirement because of legal problems, or in the notable case of Elvis Presley, were drafted by an impinging environment. Near the end of this period the majors decided that the new sounds were not a fad and began to buy up the contracts of established artists and successfully picked and promoted new ones, notably The Beach Boys and Bob Dylan. A new generation (e.g., The Beatles) appeared from 1964 to 1969, and sales again soared.
But now the concentration ratios soared also. From 1962 to 1973, the four-firm ratio went from 25 to 51 percent; the eight-firm ratio from 46 to 81 percent, almost back to the pre-1955 levels. The number of different firms having hits declined from forty-six to only sixteen. Six of the eight giants were diversified conglomerates, some of which led in the earlier period; one was a new independent, the other a product of of mergers.
How did they do it? The major companies asserted “increasing central control over the creative process”[352] through deliberate creation and extensive promotion of new groups, long-range contracts for groups, and reduced autonomy for producers. In addition, legal and illegal promotion costs (drug payola to disc jockeys, for example) rose in the competitive race and now exceeded the resources of small independents. Finally, the majors “have also moved to regain a controlling position in record distribution by buying chains of retail stores.”[353] The diversity is still greater than it had been in the past, and may remain high, but it is ominous that the majors have all the segments covered. As an executive said, “Columbia Records will have a major entry into whatever new area is broached by the vagaries of public tastes.” But for a concentrated industry, the “vagaries of public tastes” are not economical; it is preferable to stabilize and consolidate them. This would be possible through further control over the creative process and marketing.
Charles Perrow, Complex organizations : a critical essay, 1972, 1985. pp. 186--187.
The dynamics, actors, and economics remind me strongly of the software / high-tech industry, though with much weaker coupling and different lock-in mechanics.
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No they're winning slowly. Fifteen years back everyone I know could easily download mp3 from various p2p applications. But now the present generation of youngsters seem to think it is Spotify/Amazon or nothing. They haven't even heard of p2p. Similarly Netflix is slowly eating away at torrenting. The platform owners can and will tighten the noose gradually. End users and hackers have much less power than they like to…
But look, this is exactly because Spotify/Amazon/Netflix are responding to reality and providing media at a price point that reflects it. That's a desired outcome.
Archive link (if your workplace has blocked this for piracy): https://web.archive.org/web/20201029112247/https://torrentfr...
Blocking a topical news site because you don't like the topic... that's an interesting workplace. Perhaps they don't want you reading the news during work time, but it sounds like TF is blocked for you for false reasons.
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Only in the eyes of the law. The RIAA can no more stop people from downloading YouTube videos than the DVD CCA could stop people from cracking CSS. Pirates haven't lost yet, only ever been delayed, and rarely by all that much. This battle has been going on since audio tape recorders and VCRs became a thing, and at some point various industries will have to accept copying as part of reality, and that it is incumbent o…
No they're winning slowly. Fifteen years back everyone I know could easily download mp3 from various p2p applications. But now the present generation of youngsters seem to think it is Spotify/Amazon or nothing. They haven't even heard of p2p. Similarly Netflix is slowly eating away at torrenting. The platform owners can and will tighten the noose gradually. End users and hackers have much less power than they like to…
I think that'll be the return of either torrenting, or the casual pooling of subscription services between people.