As profits collapsed, labels hoped to protect their main cash cow: CD sales. In the process, they alienated consumers, painting average people as pilfering criminals. Labels\u2014never wholly in the good graces of artists or the public\u2014built on reputations as villainous mega-corporations by levying lawsuits against teenage downloaders. I remember sitting at home, praying my illegally downloaded copy of Jurassic 5\u2019s \u201CQuality Control\u201D wouldn\u2019t land me in court and bankrupt my parents (it did not, though it would definitely lead to relitigation of my pre-teen tastes when I hit adulthood). In spite of their efforts, labels hardly stemmed their own bleeding. iTunes provided a precarious band-aid before the streaming era arrived and restored prosperity.
In Free, Witt\u2019s intercontinental story of industrial evolutions eventually lands at Oink\u2019s Pink Palace (or, more succinctly, OiNK), the utopian, invite-only torrenting site founded by young Brit Alan Ellis. It connected a relatively large, diffuse group of music obsessives, united in their quest to illegally download music in a \"safe\" manner. I want to hover on the edenic promise of OiNK.
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Dissecting the ins, outs, and legitimacies of copyright law would require a book-length exploration. Suffice to say, my career relies on a certain level of copyright protection and the profit derived from intellectual property. Still, we must interrogate this treatment of copyright and related profit as sacred, inviolable rights. Such a mindset incited the music industry's holy crusade against illegal downloading in all its forms, long term effects be damned. The major labels can hardly be blamed for their approach; they saw their pockets besieged and, like white blood cells sensing a virus, blitzed the threat. Ironically, this obsession with copyright law metastasized into ambulance-chasing lawsuits in which intellectual property laws are pushed to protect \u201Cvibes\u201D and \u201Cfeelings,\u201D as fledgling producers set sights on superstars and major labels. It would be humorous karmic return, if high profile lawsuits against Katy Perry and Pharrell didn\u2019t have such dangerous implications for all creators. 2ff7e9595c
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