The idea that it’s ok to steal from certain artists cause they’re “rich” is simply unethical. Stealing intellectual property is just as wrong as stealing physical property, no matter what the financial standing of the victim.

The poor tactics of the RIAA have gotten in the way of the fact that downloaders are just as greedy and selfish as the record companies themselves. It’s the cop arresting a legitimate criminal, then going overboard and beating the snot out of him.

The music business will never be able to create a new model when it’s prime competition offers the exact same product for free.

Now, we can either try to ban everyone who fileshares - of which there’s millions upon millions, of which make up the primary music buying audience as well, of which a lot probably listen to U2, and most of whom will never buy or listen to U2 again once they’ve been fined and had their ISP banned.

What musicians and managers and the industry should be focusing on is ways to make the music WORTH BUYING. Radiohead gave it away for whatever the consumer wanted to pay, and they came out alright, but when the time came to sell it in the stores, they came out with one of the more beautiful album packages I’ve seen in years. The album artwork and conceptual space behind HTDAAB was nothing special at all - the special edition was worth it, but it was also way over priced. Massively overpriced. There’s still plenty of good music coming out, and its not as though the marketplace has any more or less 1 hit wonders than there’s been at any other time. No one outside of a diehard U2 fan is going to be concerned about U2’s financial livelihood, and I am a diehard and I couldn’t care less. U2 is a cash cow already, and as much as I love them and adore their live show, they have to stop saying stupid things that will alienate their fans or potential fans, get back in the studio, stop judging, and start writing some excellent music again. Then when THAT album comes out, McGuiness can complain about the band getting ripped off. And maybe I’ll care, considering that they’ll actually be adding current music to the marketplace.

The clearest indication of this was when Napster was popular among college students such as myself in ‘99-’00, and the recording industry reacted by using the one institution that dictates status quo -the law- as a means to attempt to reassert its control over its market place, market share, and its target demographic. This coupled with, as you mentioned, the preying upon the legal ignorance of college students by sending them letters demanding they pay “X number of dollars or else”, is ludicrous and smacks of the hubris of the recording industry concerning its consumers. This latter point is a prime example of the recording industry more likely than not, skirting around the procedural process of the law.

To my knowledge (and I could be mistaken regaring this), the record companies were sending college students demand letters, as opposed to legally bound complaints filed in a court. The college student sees this and of course freaks out and antes up the cash. Again, just one of many examples of the bullying practices incorporated by conservative institutions, in their attempts to maintain their status quo. Related to this idea of status quo maintanence, people should go to Nine Inch Nails’ website, and go to Trent’s posting (I forgot the exact date, but its January of this year, and anyways there should be an archive somewhere on the site). There is a link to an excellent article summarizing the wholly exploitative nature of record companies towards artists. After reading it, I’m in awe that more artists haven’t at least attempted to legally challenge their relationships with record companies.

As for iTunes, I also agree that it is a double edged sword. In the last few years, I’ve basically stopped buying new artists and only follow (and buy) new albums from artists I currently enjoy (U2, NIN, and others). Some of this is due to my interests shifting, and that these interests have just aged out of the recording industry’s target demographic. I use iTunes to buy one or two songs from artists I don’t have (or guilty pleasure bands) and that’s it. I don’t think the recording industry will be able to get ahead of the 8 ball again, in my opinion too much time has passed, and more importantly too much damage has been done to the trust of the consumer (and the artist), and both groups are waking up to this fact. Hopefully I’m wrong, but time will tell. Again great post and I look forward to hearing more.

Labels are going after an increased profit every year. They are greedy and looking for the artist to take the hit, while they continue to get their goals in profitability.

And Paul McGuinness should shut up and keep managing the best (once rebel) band in the world.